Selected letters trace the relationship of the composer and actress, who were married for twenty-four years

This fascinating portrait of two of the most brilliant theater artists of the twentieth century—and the women who made their work possible—is set against the explosive years of the Weimar Republic. Among the most outsized personalities of the sizzling, decadent period between the Great War and the Nazis’ rise to power were the renegade poet Bertolt Brecht and the avant-garde composer Kurt Weill. These two young geniuses and the three women vital to their work—actresses Lotte Lenya and Helene Weigel and writer Elisabeth Hauptmann—joined talents to create the theatrical masterworks The Threepenny Opera and The Rise and Fall of the City of Mahagonny, only to split in rancor as their culture cracked open and their differences became irreconcilable. The Partnership is the first book to tell the full story of one of the most important creative collaborations of the last century, and the first to give full credit to the women who contributed their enormous gifts. Theirs is a thrilling story of artistic daring entwined with sexual freedom during the Weimar Republic’s most fevered years, a time when art and politics and society were inextricably mixed.

How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? Composers of the Nazi Era is the final book in a critically acclaimed trilogy that includes Different Drummers (OUP 1992) and The Twisted Muse (OUP 1997), which won the Wallace K. Ferguson Prize of the Canadian Historical Association. Here, historian Michael H. Kater provides a detailed study of the often interrelated careers of eight prominent German composers who lived and worked amid the dictatorship of the Third Reich, or were driven into exile by it: Werner Egk, Paul Hindemith, Kurt Weill, Karl Amadeus Hartmann, Carl Orff, Hans Pfitzner, Arnold Schoenberg, and Richard Strauss. Kater weighs issues of accommodation and resistance to ask whether these artists corrupted themselves in the service of a criminal regime--and if so, whether this may be discerned from their music. After chapters discussing the circumstances of each composer individually, Kater concludes with an analysis of the composers' different responses to the Nazi regime and an overview of the sociopolitical background against which they functioned. The final chapter also extends the discussion beyond the end of World War II to examine how the composers reacted to the new and fragile democracy in Germany.

Fangirl meets Jane Austen in this deeply heartfelt love story about hiding the worst parts of ourselves, and the people who love us anyway. “How could I open that door and let him see the messiest part of me?” From the moment she first learned to read, literary genius Darcy Wells has spent most of her time living in the worlds of her books. There, she can avoid the crushing reality of her mother’s hoarding and pretend her life is simply ordinary. But then Asher Fleet, a former teen pilot with an unexpectedly shattered future, walks into the bookstore where she works…and straight into her heart. For the first time in her life, Darcy can’t seem to find the right words. Fairy tales are one thing, but real love makes her want to hide behind her carefully constructed ink-and-paper wall. Still, after spending her whole life keeping people out, something about Asher makes Darcy want to open up. But securing her own happily-ever-after will mean she’ll need to stop hiding and start living her own truth—even if it’s messy. “A lovely tale for bookish readers that will give them all the feels.” —Kirkus

Now it is possible for the first time to trace in a systematic way the language patterns of one of the greatest poets who have written in English, W. B. Yeats. Like A Concordance to the Poems of Matthew Arnold, the first of the Cornell Concordances that are under the general editorship of Professor Parrish, this volume was produced on an IBM 704 electronic data-processing machine. Computer technique has so advanced that the Yeats concordance includes punctuation and gives cross references for the second parts of hyphenated words. The frequency of every word in Yeats's poems is given, and an appendix lists all indexed words in order of frequency. The body of this book consists of an index of all significant words in Yeats, each word listed in the line or lines in which it occurs. The concordance is based on the variorum text of Yeats, edited by Alspach and Allt, and includes all variants that occur in printed versions of Yeats's poems.