The nine essays in this volume deal with major achievements in the German novel since 1959. They range from the very well known, such as Brussig's Helden wie wir, an extravagant treatment of life under the Stasi and the fall of the Berlin Wall, to the much more recondite, such as Hubert Fichte's Detlevs Imitationen «Grünspan», one of the first, and most important, products of the abolition of the discrimination against gays in 1969. What is most surprising about this collection is that, in contrast to the majority of successful novels written in German before 1959, only one of these is by a clearly 'West' German author: Hubert Fichte. There is, by contrast, a surprising number who have their roots in the GDR (Plenzdorf, Wolf, Brussig, Schulze), or in Austria (Bachmann, Bernhard). This is also a period in which women writers emerge powerfully (Bachmann, Wolf, and Özdamar). Virtually all these novels aroused controversy in some quarters at the time of their publication, often for their treatment of semi-taboo, or at least uncomfortable, subject-matter. These essays, all by specialists in the relevant field, were originally delivered as lectures in the University of Cambridge.

Explore the rich history and mysteries of this Preserve America Community through the eyes of the people who live there! German Village's iconic homes, bustling businesses and other beloved sites harbor fascinating stories. Did you know that German Village's Recreation Park, now gone, is thought to have had the first baseball concession stand? Or that the four-story Schwartz Castle was the site of two murders? Or that the popular restaurant Engine House No. 5 closed its doors after the mysterious disappearance of its owners in the Bermuda Triangle? Longtime resident and tour guide John M. Clark goes behind the bricks of more than seventy German Village properties to explore the places and people who made the Old South End into a Columbus treasure.

Can a woman ever really know herself if she doesn't know her mother? From the author of the smash-hit bestseller Firefly Lane and True Colors comes Kristin Hannah's powerful, heartbreaking novel that illuminates the intricate mother-daughter bond and explores the enduring links between the present and the past. Meredith and Nina Whitson are as different as sisters can be. One stayed at home to raise her children and manage the family apple orchard; the other followed a dream and traveled the world to become a famous photojournalist. But when their beloved father falls ill, Meredith and Nina find themselves together again, standing alongside their cold, disapproving mother, Anya, who even now, offers no comfort to her daughters. As children, the only connection between them was the Russian fairy tale Anya sometimes told the girls at night. On his deathbed, their father extracts a promise from the women in his life: the fairy tale will be told one last time—and all the way to the end. Thus begins an unexpected journey into the truth of Anya's life in war-torn Leningrad, more than five decades ago. Alternating between the past and present, Meredith and Nina will finally hear the singular, harrowing story of their mother's life, and what they learn is a secret so terrible and terrifying that it will shake the very foundation of their family and change who they believe they are.

AN INTERNATIONAL BESTSELLER Featured in Entertainment Weekly, People, The Millions, and USA TODAY “An unforgettable and resplendent novel which will take its place among the great historical fiction written about World War II.” —Adriana Trigiani, bestselling author of The Shoemaker's Wife A young girl flees Nazi-occupied Germany with her family and best friend, only to discover that the overseas refuge they had been promised is an illusion in this “engrossing and heartbreaking” (Library Journal, starred review) debut novel, perfect for fans of The Nightingale, Lilac Girls, and The Tattooist of Auschwitz. Berlin, 1939. Before everything changed, Hannah Rosenthal lived a charmed life. But now the streets of Berlin are draped in ominous flags; her family’s fine possessions are hauled away; and they are no longer welcome in the places they once considered home. A glimmer of hope appears in the shape of the St. Louis, a transatlantic ocean liner promising Jews safe passage to Cuba. At first, the liner feels like a luxury, but as they travel, the circumstances of war change, and the ship that was to be their salvation seems likely to become their doom. New York, 2014. On her twelfth birthday, Anna Rosen receives a mysterious package from an unknown relative in Cuba, her great-aunt Hannah. Its contents inspire Anna and her mother to travel to Havana to learn the truth about their family’s mysterious and tragic past. Weaving dual time frames, and based on a true story, The German Girl is a beautifully written and deeply poignant story about generations of exiles seeking a place to call home.

W. G. Sebald’s celebrated masterpiece, “one of the supreme works of art of our time” (The Guardian), follows a man’s search for the answer to his life’s central riddle. “Haunting . . . a powerful and resonant work of the historical imagination . . . Reminiscent at once of Ingmar Bergman’s Wild Strawberries, Kafka’s troubled fables of guilt and apprehension, and, of course, Proust’s Remembrance of Things Past.”—Michiko Kakutani, The New York Times One of The New York Times’s 10 Best Books of the 21st Century • A Los Angeles Times, Entertainment Weekly, and New York Magazine Best Book of the Year Winner of the National Book Critics Circle Award, Koret Jewish Book Award, Independent Foreign Fiction Prize, and Jewish Quarterly Wingate Literary Prize A small child when he comes to England on a Kindertransport in the summer of 1939, Jacques Austerlitz is told nothing of his real family by the Welsh Methodist minister and his wife who raise him. When he is a much older man, fleeting memories return to him, and obeying an instinct he only dimly understands, Austerlitz follows their trail back to the world he left behind a half century before. There, faced with the void at the heart of twentieth-century Europe, he struggles to rescue his heritage from oblivion. Over the course of a thirty-year conversation unfolding in train stations and travelers’ stops across England and Europe, W. G. Sebald’s unnamed narrator and Jacques Austerlitz discuss Austerlitz’s ongoing efforts to understand who he is—a struggle to impose coherence on memory that embodies the universal human search for identity.

WINNER OF THE DAYTON LITERARY PEACE PRIZE A letter from a German soldier to his grandson recounts the terrors of war on the Eastern Front, and a postwar ordinary life in search of atonement, in this “raw, visceral, and propulsive” novel (New York Times Book Review). A New York Times Book Review Editors’ Choice In the throes of the Second World War, young Meissner, a college student with dreams of becoming a scientist, is drafted into the German army and sent to the Eastern Front. But soon his regiment collapses in the face of the onslaught of the Red Army, hell-bent on revenge in its race to Berlin. Many decades later, now an old man reckoning with his past, Meissner pens a letter to his grandson explaining his actions, his guilt as a Nazi participator, and the difficulty of life after war. Found among his effects after his death, the letter is at once a thrilling story of adventure and a questing rumination on the moral ambiguity of war. In his years spent fighting the Russians and attempting afterward to survive the Gulag, Meissner recounts a life lived in perseverance and atonement. Wracked with shame—both for himself and for Germany—the grandfather explains his dark rationale, exults in the courage of others, and blurs the boundaries of right and wrong. We Germans complicates our most steadfast beliefs and seeks to account for the complicity of an entire country in the perpetration of heinous acts. In this breathless and page-turning story, Alexander Starritt also presents us with a deft exploration of the moral contradictions inherent in saving one's own life at the cost of the lives of others and asks whether we can ever truly atone.

* Winner of the National Book Critics Circle Award * Silver Medal Society of Illustrators * * Named a Best Book of the Year by The New York Times, The Boston Globe, San Francisco Chronicle, NPR, Comics Beat, The Milwaukee Journal-Sentinel, Kirkus Reviews, and Library Journal This “ingenious reckoning with the past” (The New York Times), by award-winning artist Nora Krug investigates the hidden truths of her family’s wartime history in Nazi Germany. Nora Krug was born decades after the fall of the Nazi regime, but the Second World War cast a long shadow over her childhood and youth in the city of Karlsruhe, Germany. Yet she knew little about her own family’s involvement; though all four grandparents lived through the war, they never spoke of it. After twelve years in the US, Krug realizes that living abroad has only intensified her need to ask the questions she didn’t dare to as a child. Returning to Germany, she visits archives, conducts research, and interviews family members, uncovering in the process the stories of her maternal grandfather, a driving teacher in Karlsruhe during the war, and her father’s brother Franz-Karl, who died as a teenage SS soldier. In this extraordinary quest, “Krug erases the boundaries between comics, scrapbooking, and collage as she endeavors to make sense of 20th-century history, the Holocaust, her German heritage, and her family's place in it all” (The Boston Globe). A highly inventive, “thoughtful, engrossing” (Minneapolis Star-Tribune) graphic memoir, Belonging “packs the power of Alison Bechdel’s Fun Home and David Small’s Stitches” (NPR.org).

For the past 140 years, Germany has been the central power in continental europe. Twenty-five years ago a new German state came into being. How much do we really understand this new Germany, and how do its people understand themselves? Neil MacGregor argues that, uniquely for any European country, no coherent, overarching narrative of Germany's history can be constructed, for in Germany both geography and history have always been unstable. Its frontiers have constantly shifted. Königsberg, home to the greatest German philosopher, Immanuel Kant, is now Kaliningrad, Russia; Strasbourg, in whose cathedral Wolfgang von Geothe, Germany's greatest writer, discovered the distinctiveness of his country's art and history, now lies within the borders of France. For most of the five hundred years covered by this book Germany has been composed of many separate political units, each with a distinct history. And any comfortable national story Germans might have told themselves before 1914 was destroyed by the events of the following thirty years. German history may be inherently fragmented, but it contains a large number of widely shared memories, awarenesses, and experiences; examining some of these is the purpose of this book. MacGregor chooses objects and ideas, people and places that still resonate in the new Germany—porcelain from Dresden and rubble from its ruins, Bauhaus design and the German sausage, the crown of Charlemagne and the gates of Buchenwald—to show us something of its collective imagination. There has never been a book about Germany quite like it.

In Making German Jewish Literature Anew, Katja Garloff traces the emergence of a new Jewish literature in Germany and Austria from 1990 to the present. The rise of new generations of authors who identify as both German and Jewish, and who often sustain additional affiliations with places such as France, Russia, or Israel, affords a unique opportunity to analyze the foundational moments of diasporic literature. Making German Jewish Literature Anew is structured around a series of founding gestures: performing authorship, remaking memory, and claiming places. Garloff contends that these founding gestures are literary strategies that reestablish the very possibility of a German Jewish literature several decades after the Holocaust. Making German Jewish Literature Anew offers fresh interpretations of second-generation authors such as Maxim Biller, Doron Rabinovici, and Barbara Honigmann as well as of third-generation authors, many of whom come from Eastern European and/or mixed-religion backgrounds. These more recent writers include Benjamin Stein, Lena Gorelik, and Katja Petrowskaja. Throughout the book, Garloff asks what exactly marks a given text as Jewish—the author's identity, intended audience, thematic concerns, or stylistic choices—and reflects on existing definitions of Jewish literature.

With the outbreak of the Korean War, the poor, rural West German state of Rhineland-Palatinate became home to some of the largest American military installations outside the United States. In GIs and Frauleins, Maria Hohn offers a rich social history of this German-American encounter and provides new insights into how West Germans negotiated their transition from National Socialism to a consumer democracy during the 1950s. Focusing on the conservative reaction to the American military presence, Hohn shows that Germany's Christian Democrats, though eager to be allied politically and militarily with the United States, were appalled by the apparent Americanization of daily life and the decline in morality that accompanied the troops to the provinces. Conservatives condemned the jazz clubs and striptease parlors that Holocaust survivors from Eastern Europe opened to cater to the troops, and they expressed scorn toward the German women who eagerly pursued white and black American GIs. While most Germans rejected the conservative effort to punish as prostitutes all women who associated with American GIs, they vilified the sexual relationships between African American men and German women. Hohn demonstrates that German anxieties over widespread Americanization were always debates about proper gender norms and racial boundaries, and that while the American military brought democracy with them to Germany, it also brought Jim Crow.