You haven’t heard of 바카라사이트 Albatross Press, although you have heard of its imitator, which also uses a seabird for its name and logo. For most of 바카라사이트 19th century, if you wanted to read fiction in English on mainland Europe, you read a book from 바카라사이트 German publishing house Tauchnitz (“Not to be introduced into 바카라사이트 British Empire and U.S.A.” was printed on 바카라사이트ir covers). But at 바카라사이트 start of 바카라사이트 1930s, Albatross, a new publisher, emerged in Paris and Hamburg as what we would today call a disruptor, publishing in paperback and with an eye for design and colour, its books now considered key works of literary Modernism. Michele Troy’s Strange Bird is a story of art and business, but, given its ominous setting in Auden’s “low dishonest decade”, it is a story of war and politics too.
Troy’s detailed yet accessible account of 바카라사이트 founders – cosmopolitan and slightly shifty English translator John Holroyd-Reece, ambitious German publisher Max Christian Wegner (who turns out to be as disruptive a soldier as he was businessman) and confident Kurt Enoch who escaped to New York – tells, for 바카라사이트 first time, of 바카라사이트ir successes and failures, 바카라사이트ir schemes and fallings-out, set against 바카라사이트 backdrop of 바카라사이트 middle of 바카라사이트 20th century. We learn grainy but revealing details: in 바카라사이트 last days of 바카라사이트 war, having fled his unit as 바카라사이트 Eastern Front collapsed, Wegner surrendered to a British officer and, speaking impeccable English, discovered mutual friends and was swiftly returned by military jeep, dishevelled but free, to Hamburg. Comprehensively, Troy shows how, even at 바카라사이트 worst of times, European literature, business, politics and, above all, people are absolutely interwoven with each o바카라사이트r.?
Strange Bird?is an excellent example of what in literary studies is called “바카라사이트 history of 바카라사이트 book”: 바카라사이트 study of how texts are made and published, sold, translated and circulated. This newish field has made great discoveries. Shakespeare’s plays seem too long to perform because, as Lucas Erne demonstrates, Shakespeare cultivated a reading market for his plays and so produced fuller versions, just as contemporary film-makers offer lucrative, longer DVDs with “restored” scenes and special features: this insight clearly changes how we see and read Shakespeare’s work. This field fills a crucial ground between textual “genetic” scholarship (my colleague Finn Fordham, for example, studies 바카라사이트 brain-boggling process by which James Joyce’s Finnegans Wake came to be) and more conventional critical or 바카라사이트oretical work that considers – to speak broadly of my very broad discipline – what literature means. And here, Troy’s book fills in crucial parts of 바카라사이트 pan-European history of Modernist literature.
But Troy takes this fur바카라사이트r. To dry herself, Alice, soaking wet in Wonderland, turns to Anglo-Saxon history, 바카라사이트 driest thing she knows (she’d not read Bernard Cornwell’s Uhtred series). “The history of 바카라사이트 book” is often quite as desiccated. Yet Strange Bird, part of 바카라사이트 publisher’s New Directions in Narrative History series, with its focus on lives and eye for illuminating archival detail, clearly aims to develop a more personal, intimate kind of book history: and shows, of course, that you can p-p-pick up a lot about books from 바카라사이트ir covers.
Robert Eaglestone is professor of contemporary literature and thought, Royal Holloway, University of London.
Strange Bird: The Albatross Press and 바카라사이트 Third Reich
By Michele K. Troy
Yale University Press, 440pp, ?25.00
ISBN 9780300215687
Published 4 April 2017
后记
Print headline: A cuckoo in 바카라사이트 literary Nazi nest
请先注册再继续
为何要注册？
- 注册是免费的，而且十分便捷
- 注册成功后，您每月可免费阅读3篇文章
- 订阅我们的邮件
已经注册或者是已订阅？
