The Street of Crocodiles in the Polish city of Drogobych is a street of memories and dreams where recollections of Bruno Schulz's uncommon boyhood and of the eerie side of his merchant family's life are evoked in a startling blend of the real and the fantastic. Most memorable - and most chilling - is the portrait of the author's father, a maddened shopkeeper who imports rare birds' eggs to hatch in his attic, who believes tailors' dummies should be treated like people, and whose obsessive fear of cockroaches causes him to resemble one. Bruno Schulz, a Polish Jew killed by the Nazis in 1942, is considered by many to have been the leading Polish writer between the two world wars.

This dazzling collection of letters, essays, and narratives makes clear why Cynthia Ozick has called Schulz one of the most original imaginations in modern Europe. He was one of the most remarkable writers who ever lived.--Isaac Bashevis Singer.

This is the second and final work of Bruno Schulz, the acclaimed Polish writer killed by the Nazis during World War II. In the words of Isaac Bashevis Singer, "What he did in his short life was enough to make him one of the most remarkable writers who ever lived." Weaving myth, fantasy, and reality, Sanatorium Under the Sign of the Hourglass, is, to quote Schulz, "an attempt at eliciting the history of a certain family . . . by a search for the mythical sense, the essential core of that history."

In the 1930s, through the prose of Bruno Schulz (1892–1942), the Polish language became the linguistic raw material for a profound exploration of the modern Jewish experience. Rather than turning away from the language like many of his Galician Jewish colleagues who would choose to write in Yiddish, Schulz used the Polish language to explore his own and his generation's relationship to East European Jewish exegetical tradition, and to deepen his reflection on golus or exile as a condition not only of the individual and of the Jewish community, but of language itself, and of matter. Drawing on new archival discoveries, this study explores Schulz's diasporic Jewish modernism as an example of the creative and also transient poetic forms that emerged on formerly Habsburg territory, at the historical juncture between empire and nation-state.

This book considers how a combination of place-based writing and location responsive technologies produce new kinds of literary experiences. Building on the work done in the Ambient Literature Project (2016–2018), this books argues that these encounters constitute new literary forms, in which the authored text lies at the heart of an embodied and mediated experience. The visual, sonic, social and historic resources of place become the elements of a live and emergent mise-en-scène. Specific techniques of narration, including hallucination, memory, history, place based writing, and drama, as well as reworking of traditional storytelling forms combine with the work of app and user experience design, interaction, software authoring, and GIS (geographical information systems) to produce ambient experiences where the user reads a textual and sonic literary space. These experiences are temporary, ambiguous, and unpredictable in their meaning but unlike the theatre, the gallery, or the cinema they take place in the everyday shared world. The book explores the potentiality of a new literary form produced by the exchange between location-aware cultural objects, writers and readers. This book, and the work it explores, lays the ground for a new poetics of situated writing and reading practices.

"A prolonged labor of love [and] a model of a kind of penetrating adoration."--Richard Bernstein, New York Times

In The Cinnamon Shops and Other Stories, Bruno Schulz describes in fantastical, mythologised terms the cloth merchant's shop where he grew up and the bizarre antics of his father, such as turning the attic into an aviary and expounding strange theories on mannequins. Two sides of the Galician town of Drohobycz are seen: the old town full of ancient mystery is contrasted with newer districts that have sprung up in response to oil mining in the area. The language is poetic, heady and oneiric, employing a rich system of imagery incorporating books and labyrinths.

From Lovecraft to Borges to Gaiman, a century of intrepid literary experimentation has created a corpus of dark and strange stories that transcend all known genre boundaries. Together these stories form The Weird, and its practitioners include some of the greatest names in twentieth and twenty-first century literature. Exotic and esoteric, The Weird plunges you into dark domains and brings you face to face with surreal monstrosities. You won't find any elves or wizards here...but you will find the biggest, boldest, and downright most peculiar stories from the last hundred years bound together in the biggest Weird collection ever assembled. The Weird features 110 stories by an all-star cast, from literary legends to international bestsellers to Booker Prize winners: including William Gibson, George R. R. Martin, Stephen King, Angela Carter, Kelly Link, Franz Kafka, China Miéville, Clive Barker, Haruki Murakami, M. R. James, Neil Gaiman, Mervyn Peake, and Michael Chabon. The Weird is the winner of the 2012 World Fantasy Award for Best Anthology At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

"We live, as we dream--alone," Conrad revealed in "Heart of Darkness." This novel by Tadeusz Konwicki, a Pole writing in his own language, is an extension of the theme of dream and life and their interlocking realities, and man's attempt to come to meaningful and personal terms with an existential and absurd universe.The antihero (in the Camusian sense) is shown at the opening of the novel just coming out of a coma, having tried to commit suicide by poison. He is surrounded by provincial townsfolk, villagers who in their isolation and emotional impoverishment have turned their energies to creating a new religion--a private God, non-identifiable as either Christian or non-Christian.Called "one of the most terrifying novels in postwar Polish literature, ...greeted upon its appearance (in 1963) as a major literary sensation" (Czeslaw Milosz, "History of Polish Literature), " the novel moves through a series of flashbacks between present reality and recalled experiences. The language is that of a dream sequence with metaphors of nightmarish quality, both in intensity and "illogicality."The young Pole who narrates his experiences reveals himself to be caught up in a labyrinth leading nowhere, driven by an urge which ultimately is a need for punishment, and represents man's longing for a responsive and benevolent force over his destiny. Acutely feeling the lack, faced with a godless universe, he sees his choice to be between selfassertive survival at any price--moral, sensual, intellectual--or the selfpronouncement of worthlessness and the denouement of peace attained by suicide. The hero "escapes" death and is condemned to death-in-life.Konwicki's descriptions of the brutal mutual massacres of some of the war experiences of the narrator are unforgettable in their irony. The dialogue is witty and ironic, and retains the vernacular thrust of the Polish original. The author's experience as director and script writer earned him a Grand Prix (1958) at Venice for a film entitled "The Last Day of Summer." His vivid awareness of the passing values in an increasingly superficial world of interrelationships and goals makes this passionate work a powerful indictment of modern man's progress in guilt and war and his impotence in melding his idealistic dreams and his life.