Even the most pious Jew need not shed so many tears over the destruction of Jerusalem as the women were in the habit of shedding when Stempenyu was playing. The first work of Sholom Aleichem’s to be translated into English—this long out-of-print translation is the only one ever done under Aleichem’s personal supervision—Stempenyu is a prime example of the author’ s hallmark traits: his antic and often sardonic sense of humor, his whip-smart dialogue, his workaday mysticism, and his historic documentation of shtetl life. Held recently by scholars to be the story that inspired Marc Chagall’s “Fiddler on the Roof” painting (which in turn inspired the play that was subsequently based on Aleichem’s Tevye stories, not this novella), Stempenyu is the hysterical story of a young village girl who falls for a wildly popular klezmer fiddler—a character based upon an actual Yiddish musician whose fame set off a kind of pop hysteria in the shtetl. Thus the story, in this contemporaneous “authorized” translation, is a wonderful introduction to Aleichem’s work as he wanted it read, not to mention to the unique palaver of a nineteenth-century Yiddish rock star.

Even the most pious Jew need not shed so many tears over the destruction of Jerusalem as the women were in the habit of shedding when Stempenyu was playing. The first work of Sholom Aleichem’s to be translated into English—this long out-of-print translation is the only one ever done under Aleichem’s personal supervision—Stempenyu is a prime example of the author’ s hallmark traits: his antic and often sardonic sense of humor, his whip-smart dialogue, his workaday mysticism, and his historic documentation of shtetl life. Held recently by scholars to be the story that inspired Marc Chagall’s “Fiddler on the Roof” painting (which in turn inspired the play that was subsequently based on Aleichem’s Tevye stories, not this novella), Stempenyu is the hysterical story of a young village girl who falls for a wildly popular klezmer fiddler—a character based upon an actual Yiddish musician whose fame set off a kind of pop hysteria in the shtetl. Thus the story, in this contemporaneous “authorized” translation, is a wonderful introduction to Aleichem’s work as he wanted it read, not to mention to the unique palaver of a nineteenth-century Yiddish rock star.

Even the most pious Jew need not shed so many tears over the destruction of Jerusalem as the women were in the habit of shedding when Stempenyu was playing. The first work of Sholom Aleichem’s to be translated into English—this long out-of-print translation is the only one ever done under Aleichem’s personal supervision—Stempenyu is a prime example of the author’ s hallmark traits: his antic and often sardonic sense of humor, his whip-smart dialogue, his workaday mysticism, and his historic documentation of shtetl life. Held recently by scholars to be the story that inspired Marc Chagall’s “Fiddler on the Roof” painting (which in turn inspired the play that was subsequently based on Aleichem’s Tevye stories, not this novella), Stempenyu is the hysterical story of a young village girl who falls for a wildly popular klezmer fiddler—a character based upon an actual Yiddish musician whose fame set off a kind of pop hysteria in the shtetl. Thus the story, in this contemporaneous “authorized” translation, is a wonderful introduction to Aleichem’s work as he wanted it read, not to mention to the unique palaver of a nineteenth-century Yiddish rock star.

A sparkling and eye-opening history of the Broadway musical that changed the world In the half-century since its premiere, Fiddler on the Roof has had an astonishing global impact. Beloved by audiences the world over, performed from rural high schools to grand state theaters, Fiddler is a supremely potent cultural landmark. In a history as captivating as its subject, award-winning drama critic Alisa Solomon traces how and why the story of Tevye the milkman, the creation of the great Yiddish writer Sholem-Aleichem, was reborn as blockbuster entertainment and a cultural touchstone, not only for Jews and not only in America. It is a story of the theater, following Tevye from his humble appearance on the New York Yiddish stage, through his adoption by leftist dramatists as a symbol of oppression, to his Broadway debut in one of the last big book musicals, and his ultimate destination—a major Hollywood picture. Solomon reveals how the show spoke to the deepest conflicts and desires of its time: the fraying of tradition, generational tension, the loss of roots. Audiences everywhere found in Fiddler immediate resonance and a usable past, whether in Warsaw, where it unlocked the taboo subject of Jewish history, or in Tokyo, where the producer asked how Americans could understand a story that is "so Japanese." Rich, entertaining, and original, Wonder of Wonders reveals the surprising and enduring legacy of a show about tradition that itself became a tradition. Wonder of wonders, miracle of miracles.

Their friend Marcel Proust had killed himself after the fall in diamond shares, a collapse that annihilated a part of his fortune. This is the first-ever translation into English of this startling tour-de-force by one of the twentieth century’s greatest writers. The Lemoine Affair was inspired by the real-life French scandal involving Henri Lemoine, who claimed he could manufacture diamonds from coal and convinced numerous people—including officers of the De Beers diamond mine company and Proust himself—to invest in the scheme. In a series of pastiches—imitations written in the style of other writers—Proust tells the story of the embarrassment rippling across high society Paris in the wake of the scandal, poking fun at himself (in one story, a character declares that Marcel Proust is so embarrassed he’s suicidal) while lampooning some of France’s greatest writers, including Flaubert, Balzac, and Saint-Simon. Full of sophisticated wit and dazzling wordplay, and rife with allusions to his friend and fictional characters, many Proust scholars see the dead-on mimicry of The Lemoine Affair—written soon after Proust’s rejection of society life—as the work by which he honed his own unique, masterly voice. The Art of The Novella Series Too short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.

A new translation of the hilarious picaresque about a man with an indomitable spirit The Enchanted Wanderer is a Russian Candide with a revolutionary edge, a picaresque that features a fast-talking monk named Ivan who is at war, it seems, with every level of society. Working as a carriage man for a Count, Ivan accidentally causes the death of a monk, which leads to his being ostracized by the local peasantry . . . until the dead monk returns as a ghost to guide him through trouble upon trouble.

"It was...unnecessary for me to fret about who the murderer was: Everybody was." A haunting, never-before-translated, autobiographical novella by the 2002 Nobel Prize winner. An unnamed narrator recounts a simple anecdote, his sighting of the Union Jack—the British Flag—during the Hungarian Revolution of 1956, in the few days preceding the uprising's brutal repression by the Soviet army. In the telling, partly a digressive meditation on "the absurd order of chance," he recalls his youthful self, and the epiphanies of his intellectual and spiritual awakening—an awakening to a kind of radical subjectivity. In his Nobel address Kertesz remembered: "I, on a lovely spring day in 1955, suddenly came to the realization that there exists only one reality, and that is me, my own life, this fragile gift bestowed for an uncertain time, which had been seized, expropriated by alien forces, and circumscribed, marked up, branded—and which I had to take back from 'History', this dreadful Moloch, because it was mine and mine alone..." The Contemporary Art of the Novella series is designed to highlight work by major authors from around the world. In most instances, as with Imre Kertész, it showcases work never before published; in others, books are reprised that should never have gone out of print. It is intended that the series feature many well-known authors and some exciting new discoveries. And as with the original series, The Art of the Novella, each book is a beautifully packaged and inexpensive volume meant to celebrate the form and its practitioners.

There is a degree of bliss too intense for elation. This little-known novella from one of the masters of the form is so unusual for Joseph Conrad's work in several respects, although not in its exotic maritime setting or its even more exotic prose—it is unusual in that it is one of his very few works to feature a woman as a leading character, and to take the form of a romance. Still, it's a Conradian romance: a sweeping saga set in the Indian Ocean basin, against a turbulent background of barely suppressed hostilities between Dutch and British merchant navies, told by one of Conrad's classically detached narrators. In the end, the unique perspective of the sharply etched character of Freya is one of Conrad's most piercing studies of how the lust for power can drive men to greatness—or its opposite. The Art of The Novella Series Too short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.

"Why, you simple creatures, the weakest of all weak things is a virtue which has not been tested in the fire." Written on hotel stationary while in Europe on the run from American creditors, soon after the death of a daughter, The Man That Corrupted Handleyburg is often cited as a work of bitter cynicism—a statement on America, to some, on the Dreyfus Case, to others—created by a weary author at the end of his career. Another appreciation, however, is that it is, simply, Mark Twain at his best. The story of a mysterious stranger who orchestrates a fraud embarrassing the hypocritical citizens of "incorruptible" Hadleyburg. The novella is an exceptionally crafted work intertwining a devious and suspenseful plot with some of the wittiest dialogue Twain ever wrote. And like the most masterful literature, it subverts any notion of easy conclusion: is Hadleyburg ruined, or liberated? Is the mysterious stranger Satan, or a hero? Is this a book of revenge, or redemption? One thing is clear: This brilliant novella is a complex and compassionate consideration of the human character by a master at the height of his form. The Art of The Novella Series Too short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.