Bøker i Modern Czech Classics-serien

An inclusive collection of modern Czech short fiction that features overlooked women writers. Bringing together Czech fiction published by women between 1890 and 1910, Beyond the World of Men presents works that confront pivotal issues of the time, including the "woman question" and women's rights, class conflict, lesbian love, and the relationship between the aristocracy and the Czech peasantry (as in two stories originally written in German by the aristocrat Marie von Ebner-Eschenbach). The collection contains stories that are of literary merit, but also hold historical value. In these works, the authors offer trenchant social commentary while injecting both comic and sentimental elements into their writing, employing humanity and subtlety. As a whole, the collection suggests a revision of the critical understanding of Czech literary modernism; these writers represent voices that were not usually heard in the male writing of the period. They also demand evaluation in their differing (but constant) reactions to earlier women's writing in Czech and in other European languages, but particularly that of the central figure of Božena Nemcová, to whose canonic novel Babicka they constantly return.

A comprehensive reader on the Czech literary avant-garde.   In recent years a prominent trend in the study of European modernism and the avant-garde has been increased attention to texts and traditions that have long stood in the shadow of the French, German, and British traditions that dominate the canon. Yet this more expansive view of European modernism and the avant-garde has been hindered by the limited range of texts available outside the original languages. This book addresses that problem by offering a wide-ranging selection of literary, theoretical, and documentary sources from one of the most dynamic and original European avant-garde traditions: that of the first Czechoslovak Republic and of the Bohemian lands. The Czech avant-garde is in many respects the ideal "alternative" avant-garde to present in detail to a wider readership: it tracks Central European developments and was often influential internationally while being deeply embedded in particular cultural dynamics that produced original forms. This volume returns interwar Czech avant-garde writings to their place as a firmly embedded component of the European avant-garde.

A vision of late-twentieth-century Prague from an acclaimed Czech novelist.   In late 1992, three years after the Velvet Revolution and as Czechoslovakia is about to dissolve into the Czech Republic and Slovakia, choreographer and dancer Leonora Marty, who fled the Communist state decades earlier, has returned to Prague. Having wrapped up her ballet of The Makropulos Affair, the famous dancer meets old classmates, wanders the city through crowds of tourists, and visits the most obscure and unvisited museums. When she is approached by Thomas Asperger, a descendant of ethnic Germans driven from Czechoslovakia after World War II, she must confront three relationships‿her relationship with the city of her youth, her homeland‿s relationship with its past, and her new romance with this German admirer. Written in German and published in 1995, by an author whose life mirrored her protagonist‿s, the novel provides a cultural tour of Prague. Employing a style as influenced by the operas of LeoÅ¡ Janácek as the novels of Thomas Pynchon, Transfigured Night is a masterpiece of Czech literature, showing that the culture of this nation comes in a variety of tongues.   Â

Written by a Jewish survivor of the Holocaust, The Shop on Main Street is the story that inspired the highly successful Academy Award-winning Czechoslovak film of the same title. Looking at the Holocaust through the eyes of a complicit individual, the narrative follows a good-natured carpenter living in a Slovak town in 1942 who unwittingly becomes a participant in a moral crisis involving the abuse and persecution of Jews. Describing the film adaptation of Ladislav Grosman's novel, the New York Times declared that it is a "human drama that is a moving manifest of the dark dilemma that confronted all people who were caught as witnesses to Hitler's terrible crime." The review continues: "'Is one his brother's keeper?' is the thundering question the situation asks, and then, 'Are not all men brothers?' The answer given is a grim acknowledgement. But the unfolding of the drama is simple, done in casual, homely, humorous terms--until the terrible, heartbreaking resolution of the issue at the end."

Written in the years 1954-57 and treating events from the Stalinist era of Czechoslovakia's postwar Communist regime, Midway upon the Journey of Our Life flew in the face of the reigning aesthetic of socialist realism, an anti-heroic novella informed by the literary theory of Viktor Shklovsky and constructed from episodes and lyrical sketches of the author and his neighbors' everyday life in industrial north Bohemia, set against a backdrop of historical and cultural upheaval. Jedlicka, like many if not most intellectuals of his generation, was a member of the Communist Party when it came to power in February 1948, but by fall he had resigned, and shortly after, as a result, he was expelled from his studies in ethnography and esthetics at Charles University in Prague. In 1952 he and his wife had a son, and when she was offered a position as a doctor in the border town of Litvinov in 1953, the family moved. Jedlicka worked odd jobs as a laborer and tutor, with occasional freelance assignments for radio, TV and magazines, while writing Midway at night. The title of the book comes from the opening line of Inferno from Dante's Divine Comedy. For Jedlicka, Litvinov was hell. Meditative and speculative reflections here alternate and overlap with fragmentary accounts of Jedlicka's own biography and slices of the lives of the people around him, typically rendered as overheard conversations. The narrative passages range in chronology from May 1945 to the early '50s, with sporadic leaps back and forth as the "characters" go about the business of "building a new society" and the mythology that goes with it. Jedlicka and his family were residents of the Koldum (Collective House), a grandiose socialist architectural project of communal living that fails in ways comic and tragicomic alike. Jedlicka doesn't neglect to portray the era's most momentous events, including the February 25, 1948, speech by Czechoslovakia's first Communist president, Klement Gottwald, on Prague's Old Town Square, which readers of Kundera will recognize from The Book of Laughter and Forgetting, and which Jedlicka witnessed firsthand. But while Kundera was concerned with the grand sweep of history, Jedlicka zeroes in on more personal and quotidian features of the new order. Due to its critical view of socialist society, Jedlicka was not able to publish Midway until 1966, after the easing of cultural control. Even then, however, parts of the book were censored, and the complete version did not appear until 1994.

Features Mrs Mooshaber, who is an old widow whose husband was a coachman in a brewery. Her life revolves around her job as a caretaker for troublesome children, her own ungrateful children, and her fear of mice, which she tries to catch in traps.

A collection of nineteenth-century folklore-infused tales of Jewish life in Prague. Trained in philosophy and medicine, the writer, translator, scholar, and political and cultural activist Siegfried Kapper (1821-1879) devoted significant effort to the advancement of Jewish culture in Bohemia, Jewish emancipation, and to the commitment of Jews to contemporary Czech society. The three stories in this collection, which first appeared in the press in the 1840s and were posthumously published as a collection at the end of the century, offer a Romantic and folkloric vision of Jewish culture in Prague. The first story, "Genenda," displays Kapper's operatic eye for detail and drama with its account of a dutiful rabbi's daughter being swept away by a dashing young man, a Christian nobleman disguised as a Jew. "The Curious Guest" is an intricate tale of a quest for wisdom and power. The final story, "Glowing Coals," is a supernatural tale of romantic desire and revenge, displaying Kapper's skill at deploying the tropes of folklore for dramatic literary effect. The collection not only provides a colorful snapshot of nineteenth-century Czech-Jewish culture but also resonates with universal human themes that transcend a single national experience.

The first collection of poetry in English by an acclaimed twentieth-century Czech writer. From the eighth floor of a tower block in Central Europe, Jan Zábrana surveyed the twentieth century. He had been exiled from his own life by Communism. His parents were imprisoned, their health was broken, and he was not allowed to study languages in college. Refusing both to rebel outright or to cave in, he thought of himself as a dead man walking. "To all those who keep asking me to do things for them, I sometimes feel like saying: 'But I'm dead. I died long ago. Why do you keep treating me as if I were one of the living?'" ​ Yet during some of Europe's most difficult years, he wrote The Lesser Histories, a collection of sixty-four sonnets that range through themes of age, sex, and political repression-a radiant testament to his times. The lines are emptied both of personal pathos and political stridency. Often Zábrana's own voice segues into those of poets he had translated over the years, leaving only a bare shimmer of subjectivity-humorous, oblique, pained-with which to view his own works and days. The poems document a splendid and bitter isolation, and are immersed in the humor, hatreds, and loves of the everyday. Published in Czech in the ill-fated year of 1968, they subsequently fell into neglect. After the fall of Communism in 1989, Zábrana's collected poems and selected diaries were published in Czech, and he was acclaimed as a major twentieth-century writer. Now, with this collection, he can begin to reach English-language readers for the first time.

A collection of short stories by Czech women from the turn of the twentieth century.

"The devil's neatest trick is to persuade us that he doesn't exist."--Giovanni Papini It is a maxim that both rings true in our contemporary world and pervades this tragicomic novel of anxiety and evil set amid the horrors of World War II. As a gay man living in a totalitarian, patriarchal society, noted Czech writer Ladislav Fuks identified with the tragic fate of his Jewish countrymen during the Holocaust. The Cremator arises from that shared experience. Fuks presents a grotesque, dystopian world in which a dutiful father, following the strict logic of his time, liberates the souls of his loved ones by destroying their bodies--first the dead, then the living. As we watch this very human character--a character who never ceases to believe that he is doing good--become possessed by an inhuman ideology, the evil that initially permeates the novel's atmosphere concretizes in this familiar family man. A study of the totalitarian mindset with stunning resonance for today, The Cremator is a disturbing, powerful work of literary horror.

Springtide A chaffinch in a tree of cherry sings merrily spring's introit. Its blazing bobble dwells in leaves, alive, and swells > The flowers are flares of white. The chaffinch has gone quiet > My eyes close on the day: an orb revolves in grey > Poet and artist Bohuslav Reynek spent most of his life in the relative obscurity of the Czech-Moravian Highlands; although he suffered at the hands of the Communist regime, he cannot be numbered among the dissident poets of Eastern Europe who won acclaim for their political poetry in the second half of the twentieth century. Rather, Reynek belongs to an older pastoral-devotional tradition--a kindred spirit to the likes of English-language poets Gerard Manley Hopkins, William Wordsworth, Robert Frost, and Edward Thomas. The Well at Morning presents a selection of poems from across his life and is illustrated with twenty-five of his own color etchings. Also featuring three essays by leading scholars that place Reynek's life and work alongside those of his better-known peers, this book presents a noted Czech artist to the wider world, reshaping and amplifying our understanding of modern European poetry.

Famous as the libretto for Antonín Dvorák's opera of the same name, Jaroslav Kvapil's poem Rusalka is an intriguing work of literature on its own. Directly inspired by Hans Christian Andersen's famous "The Little Mermaid," Kvapil's reinterpretation adds an array of nuanced poetic techniques, a more dramatic tempo, and dark undertones that echo the work of eminent Czech folklorist Karel Jaromír Erben. All of these influences work in tandem to create a poetic work that is familiar yet innovative. Transposed into the folkloric topos of a landlocked Bohemia, the mermaid is rendered here as a Slavic rusalka-a dangerous water nymph-who must choose between love and immortality. Thus, Rusalka, while certainly paying homage to the original story's Scandinavian roots, is still a distinct work of modern Czech literature. Newly translated by Patrick Corness, Kvapil's work will now find a fresh group of readers looking to get lost in one of Europe's great lyrical fairy tale traditions.

A novel featuring Saturnin, a 'gentleman's gentleman' who obviously owes a debt to Wodehouse's beloved Jeeves, who wages a constant battle to protect his master from romantic disaster and intrusive relatives, such as Aunt Catherine, the 'Prancing Dictionary of Slavic Proverbs'.

An English translation that captures Vladislav Vancura's experimental style - or, as the author himself called it, "poetism in prose." It is presented alongside the original illustrations and typography and goes a long way toward deepening our understanding of the Czech spirit, humor, and way of life.

Novelist Bohumil Hrabal (1914-97) was born in Brno, Czechoslovakia, and spent decades working at a variety of laboring jobs before turning to writing in his late forties. This book offers a collection of stories that set in Hrabal's Kersko.

Presents a series of short stories based on the author's experiences as a Red Commissar in the Russian Civil War and his return to Czechoslovakia. This title focuses on the Russian town of Bugulma and takes aim, with mordant wit, at the absurdities of a revolution.

"Smoke from nearby factories shrouds a countryside as flat as a table, a countryside stretching off to infinity. Covering it are the ashes of millions of dead. Scattered throughout are fine pieces of bone that ovens were not able to burn. When the wind comes, ashes rise to the heavens, bone fragments remain on the ground. And rain falls on the ashes, and rain turns them to good fertile soil, as befits the ashes of martyrs. And who can find the ashes of those from my native land, of whom there were 77,297? I gather some ashes with my hand, for only a hand can touch them, and I pour them into a linen sack, just as those who once left for a foreign country would gather their native soil so as never to forget, so as always to return to it." ​ So begins Jiří Weil's unforgettable prose poem, Lamentation for 77, 297 Victims, his literary monument to the Czech Jews killed during the Holocaust. A Czech-Jewish writer who worked at Prague's Jewish Museum both during and after the Nazi Occupation-he survived the Holocaust by faking his own death and hiding out until the war had ended-Weil wrote Lamentation while he served as the museum's senior librarian in the 1950s. This remarkable literary experiment presents a number of innovative approaches to writing about a horror many would deem indescribable, combining a narrative account of the Shoah with newspaper-style reportage on a handful of the lives ended by the Holocaust and quotes from the Hebrew Bible to create a specific and powerful portrait of loss and remembrance. Translated by David Lightfoot, Lamentation for 77,297 Victims is a startling and singular introduction to a writer whose works have been acclaimed by Philip Roth, Michiko Kakutani, and Siri Hustvedt.

Sometimes called the Czech Bukowski, and more widely known by the epithet "Magor" (which translates roughly to "fool" or "madman"), Ivan Jirous was one of the most significant figures in the Czechoslovak cultural underground of the 1960s through the '80s. Although trained as an art historian and famed for his poetry, Jirous was convinced that it was actually rock and roll music that held the greatest potential to enact change under the repressive regime of communist Czechoslovakia. He designated himself as the artistic director of the dissident rock band The Plastic People of the Universe, legendary for psychedelic music that was heavily influenced by nonconformist Western acts like Frank Zappa and The Velvet Underground. Alongside other figures from the musical underground, Jirous was arrested in 1976--the second of five prison sentences he would serve for his dissent--which helped bring about the landmark civil rights initiative known as Charter 77. In the wake of 1989's Velvet Revolution, Váсlav Havel--the first president of the Czech Republic--was to say that Jirous and his unwavering commitment to liberation played "no small part" in casting off the yoke of Soviet oppression. End of the World is the first major collection in English of the works of this legendary Czech "madman." Although nicknamed for his aggressive and rebellious behavior, Jirous's writing reveal a refined, sophisticated, and even tender sensibility. Translated in part by Paul Wilson, an original member of the Plastic People, the book gathers his poems and letters from prison, as well as his book-length prose work, The True Story of the Plastic People, alongside critical essays on Jirous's life and work. End of the World is an ideal introduction to the raucous writer who playwright Tom Stoppard referred to as one of the most interesting personalities in modern Czech history.

"Glimmers in anticipation of Hrabal's later virtuosity." --New Yorker "A collection of formative fiction from a writer whose work has earned comparison with Joyce and Beckett. . . . Early work from a writer who merits a larger readership." --Kirkus Reviews This collection of the earliest prose by one of literature's greatest stylists captures, as scholar Arnault Maréchal put it, "the moment when Hrabal discovered the magic of writing." Taken from the period when Bohumil Hrabal shifted his focus from poetry to prose, these stories--many written in school notebooks, typed and read aloud to friends, or published in samizdat--often showcase raw experiments in style that would define his later works. Others intriguingly utilize forms the author would never pursue again. Featuring the first appearance of key figures from Hrabal's later writings, such as his real-life Uncle Pepin, who would become a character in his later fiction and is credited here as a coauthor of one piece, the book also contains stories that Hrabal would go on to cannibalize for some of his most famous novels. All together, Why I Write? offers readers the chance to explore this important nascent phase of Hrabal's writing. Expertly interpreted by award-winning Hrabal translator David Short, this collection comprises some of the last remaining prose works by Hrabal to be translated into English. A treasure trove for Hrabal devotees, Why I Write? allows us to see clearly why this great prose master was, as described by Czech writer and publisher Josef Skvorecký, "fundamentally a lyrical poet."

Described by Parul Sehgal in the New York Times Book Review as "one of the great prose stylists of the twentieth century; the scourge of state censors; the gregarious bar hound and lover of gossip, beer, cats, and women (in roughly that order)," Bohumil Hrabal is one of the most important, most translated, and most idiosyncratic Czech authors. In Bohumil Hrabal: A Full-Length Portrait, Jiří Pelán makes the case that this praise is far too narrow. A respected scholar of French and Italian literature, Pelán approaches Hrabal as a comparatist, expertly situating him within the context of European and world literature as he explores the entirety of Hrabal's oeuvre and its development over sixty years. Concise, clear, and as compulsively readable as the works of Hrabal himself, Bohumil Hrabal was universally praised by critics in its original Czech edition as one of best works of Hrabal criticism. Here it is beautifully rendered into English for the first time by David Short, a celebrated translator of Hrabal's works. Also featuring a fascinating selection of black-and-white images from Hrabal's life, Bohumil Hrabal is essential reading for anyone interested in this crucial Czech author.

Set in 1943 Nazi-occupied Czechoslovakia, J. R. Pick's novella Society for the Prevention of Cruelty to Animals tells the story of Tony, a thirteen-year-old boy who is deported from Prague to the infamous Terezi-n ghetto for Jews.

For The Pied Piper, Czech writer Viktor Dyk found his muse in the much retold medieval Saxon legend of the villainous, pipe-playing rat-catcher. Dyk uses the tale as a loose frame for his story of a mysterious wanderer, outcast, and would-be revolutionary--a dreamer typical of fin de siècle Czech literature who serves Dyk as a timely expression of the conflict between the petty concerns of bourgeois nineteenth-century society and the coming artistic generation. Impeccably rendered into English by Mark Corner, The Pied Piper retains the beautiful style of Dyk's original Czech. The inspiration for several theatrical and film adaptations, including a noted animated work from critically acclaimed director Jiří Barta, Dyk's classical novella is given new life by Corner's translation, proving that the piper is open to new interpretations still.