The Tin Drum, one of the great novels of the twentieth century, was published in Ralph Manheim's outstanding translation in 1959. It became a runaway bestseller and catapulted its young author to the forefront of world literature. In this new translation of this classic novel. Breon Mitchell, acclaimed translator and scholar, has drawn from many sources: from a wealth of detailed scholarship; from a wide range of newly-available reference works; and from the author himself. The result is a translation that is more faithful to Grass's style and rhythm, restores omissions, and reflects more fully the complexity of the original work. Since it's publication THE TIN DRUM has, if anything, gained in power and relevance. All of Grass's amazing evocations are still there, and still amazing: Oskar Matzerath, the indomitable drummer; his grandmother, Anna Koljaiczek; his mother, Agnes; Alfred Matzerath and Jan Bronski, his presumptive fathers; Oskar's midget friends--Bebra, the great circus master and Roswitha Raguna, the famous somnambulist; Sister Scholastica and Sister Agatha, the Right Reverend Father Wiehnke; the Greffs, the Schefflers, Herr Fajngold, all Kashubians, Poles, Germans, and Jews--waiting to be discovered and re-discovered.
The final work of Nobel Prize-winning writer Günter Grass - a witty and elegiac series of meditations on writing, growing old, and the world.Suddenly, in spite of the trials of old age, and with the end in sight, everything seems possible again: love letters, soliloquies, scenes of jealousy, swan songs, social satire, and moments of happiness.Only an ageing artist who had once more cheated death could get to work with such wisdom, defiance and wit. A wealth of touching stories is condensed into artful miniatures. In a striking interplay of poetry, lyric prose and drawings, Grass creates his final, major work of art.A moving farewell gift, a sensual, melancholy summation of a life fully lived.
The final work of the Nobel Prize winner Günter Grass--a witty and elegiac series of meditations on writing, growing old, the world /> /> In spite of the trials of old age, and with the end in sight, suddenly everything seems possible again: love letters, soliloquies, scenes of jealousy, swan songs, social satire, and moments of happiness crowd onto the page. Only an aging artist who has once more cheated death can set to work with such wisdom, defiance, and wit. A wealth of touching stories is condensed into artful miniatures. In a striking interplay of poetry, lyric prose, and drawings, the Nobel Prize-winning author creates his final major work of art. A moving farewell gift, a sensual, melancholy summation of a life fully lived.
Starusch, a bachelor aged forty teaching 'German and history (two inseparable subjects), undergoes protracted treatment by a dentist who uses TV to distract his patients. Gagged in his chair, the patient projects onto the screen his past and present with the fluidity and visual quality of the movies. Reality and fantasy, the actual and the repressed, overrun the screen in a mirror image of German history. Thus among other episodes we see Krings, one of Hitler's most ferocious 'fight-to-the-finish' generals, return from Russian captivity and engage in sandbox reconstructions of Germany's battles, determined to win them this time. In a casual throwaway, the author reveals his true identity -- Field Marshal Schoerner.Under the influence of local anesthesia, Starusch's imagination releases h erotic fantasies and the very violence he tries to combat in his pupils, one of them a militant Maoist. The dentist, dispensing humdrum wisdom and painkillers with godlike aloofness, objects to violence, real or imagined, advocating universal Sickcare and a diet preventive of caries as a cure-all. Meanwhile, Scherbaum, Starusch's favorite pupil, grimly prepares to burn his dachshund Max to stir u the conscience of dog- and cat-loving Berliners.Juggling mockingly with lost and found illusions, with the tensions between reformists and revolutionaries, middle age and youth, Grass has created a satirical portrait of social confusions that adds to his customary exuberance a new mastery of subtle control.
Probably the most autobiographical of his novels, From the Diary of a Snail balances the agonising history of the persecuted Danzig Jews with an account of Grass's political campaigning with Willie Brandt. Underlying all is the snail, the central symbol that is both model and a parody of social progress, and a mysterious metaphor for political reform.From the winner of the Nobel Prize for Literature and author of The Tin Drum.
The publication of The Tin Drum in 1959 launched Günter Grass as an author of international repute. Bitter and impassioned, it delivers a scathing dissection of the years from 1925 to 1955 through the eyes of Oskar Matzerath, the dwarf whose manic beating on the toy of his retarded childhood fantastically counterpoints the accumulating horrors of Germany and Poland under the Nazis.
Peeling the Onion is a searingly honest account of Grass' modest upbringing in Danzig, his time as a boy soldier fighting the Russians, and the writing of his masterpiece, The Tin Drum, in Paris.It is a remarkable autobiography and, without question, one of Günter Grass' finest works.By the Nobel Prize-winning author of The Tin Drum.
To compensate for his unusually large Adam's apple - source of both discomfort and distress - fourteen year old Joachim Mahlke turns himself into athlete and ace diver. Soon he is known to his peers and his nation as 'The Great Mahlke'. But to his enemies, he remains a target. He is different and doomed in a country scarred by the war.Cat and Mouse was first published in 1961, two years after Gunter Grass' controversial and applauded masterpiece, The Tin Drum. Once again Grass turns his attention on Danzig. With a subtle blend of humour and power, Cat and Mouse ostensibly relates the rise of Mahlke from clown to hero. But Mahlke's outlandish antics hide the darkness at the heart of a nation torn by Nazi violence, the war and its aftermath.
WITH A NEW FOREWORD BY THE AUTHOROn his third birthday Oskar decides to stop growing. Haunted by the deaths of his parents and wielding his tin drum Oskar recounts the events of his extraordinary life; from the long nightmare of the Nazi era to his anarchic adventures is post-war Germany.
'Gdansk 1989. A polish woman, a guilding specialist, meets a German man, a professor in art history. A walk together in a graveyard gives rise to an ambition to establish a Cemetery of Reconciliation as a mark of the times and their spirit of unity... The satire is sharp, the analysis precise, and Grass is still expert in drawing out the painful comedy of human behaviour and the pitfalls that await good intentions' - The New YorkerFrom the Nobel Prize-winning author of The Tin Drum comes a satire of european politics and a love story.
Günter Grass, says The Times, 'is on his own as an artist', and indeed this extraordinary, provoking and joyously Rabelaisian celebration of life, food and sex is unique.Lifted from their ancient fairytale, the fisherman and his wife are still living today. During the months of Ilsebill's pregnancy, the fisherman tells her of his adventures through time with the Flounder, constituting a complete reworking of social, political and gastronomic history.
In this delightful sequel to Peeling the Onion, Günter Grass writes in the voices of his eight children as they record memories of their childhoods, of growing up, of their father, who was always at work on a new book, always at the margins of their lives. Memories contradictory, critical, loving, accusatory - they piece together an intimate picture of this most public of men. To say nothing of Marie, Grass's assistant, a family friend of many years, perhaps even a lover, whose snapshots taken with an old-fashioned Agfa box camera provide the author with ideas for his work. But her images offer much more. They reveal a truth beyond the ordinary detail of life, depict the future, tell what might have been, grant the wishes in visual form of those photographed. The children speculate on the nature of this magic: was the enchanted camera a source of inspiration for their father? Did it represent the power of art itself? Was it the eye of God?Winner of the Nobel Prize for Literature.