A stranger walks out of a bar an is later found dead at the wheel of his car. The narrator creates the story of this man-or, rather, two stories, based on the two personae that he has imagined. One of these is named Enderlin; the other, Gantenbein. Originally published as A Wilderness of Mirrors. Translated by Michael Bullock. A Helen and Kurt Wolff Book.

Walter Faber is an emotionally detached engineer forced by a string of coincidences to embark on a journey through his past. The basis for director Volker Schlsndorff's movie Voyager. Translated by Michael Bullock. A Helen and Kurt Wolff Book

The unabridged version of a haunting story of a man in prison. His wife, brother, and mistress recognize him and call him by his name, Anatol Ludwig Stiller. But he rejects them, repeatedly insisting that he s not Stiller. Could he possibly be right-or is he deliberately trying to shake off his old identity and assume a new one? Translated by Michael Bullock. A Helen and Kurt Wolff Book
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Reissue of this Methuen classic to tie in with a major new production

The republic of Andorra is invaded by totalitarian forces. The populace capitulates to the anti-Semitism of the aggressor and betrays Andri, the foundling son of the local schoolmaster. But Andri it seems, is not a Jew at all.
Andorra explores the mechanism of racism with the story of a non-Jew brought up as a Jew, who falls victim to anti-Semitic hostility.

Arrested and imprisoned in a small Swiss town, a prisoner begins this book with an exclamation: "I'm not Stiller " He claims that his name is Jim White, that he has been jailed under false charges and under the wrong identity. To prove he is who he claims to be, he confesses to three unsolved murders and recalls in great detail an adventuresome life in America and Mexico among cowboys and peasants, in back alleys and docks. He is consumed by "the morbid impulse to convince," but no one believes him. This is a harrowing account part Kafka, part Camus of the power of self-deception and the...

Wilhelm Worringer s landmark study in the interpretation of modern art, first published in 1908, has seldom been out of print. Its profound impact not only on art historians and theorists but also for generations of creative writers and intellectuals is almost unprecedented. Starting from the notion that beauty derives from our sense of being able to identify with an object, Worringer argues that representational art produces satisfaction from our objectified delight in the self, reflecting a confidence in the world as it is as in Renaissance art. By contrast, the urge to abstraction, as...