“The Great American Novel that came from Germany”: Here’s a lovely introduction to Uwe Johnson’s Anniversaries: From a Year in the Life of Gesine Cresspahl, newly translated by Damion Searls.  (The Baffler, 5/2019)

What’s not to love about Bauhausmädels: A Tribute to Pioneering Women Artists, a new Taschen book by Patrick Rössler?!  (Afar, 4/18/19; Creative Boom, 4/30/19)

Martin Buber “had preached the importance of saying ‘You,’ but the Holocaust represented the ultimate triumph of the ‘It’,’ reducing human beings to mere things.”  (The New Yorker, 4/29/19)

Now you, too, can hike vicariously with Nietzsche and philosophy professor John Kaag.  (The Atlantic, 10/2018; The Guardian, 4/10/19)

In The Fourth Reich: The Specter of Nazism from World War II to the Present, Gavriel Rosenfeld has written a compelling history of something that never happened.  (New Statesman, 3/13/19; Los Angeles Review of Books, 4/1/19)

Now you can read Metropolis, Philip Kerr’s last Bernie Gunther story: “Wonderfully plotted, with elegant prose, witty dialogue, homages to German Expressionism and a strong emotional charge, this is a bittersweet ending to a superb series.”  (The Guardian, 4/4/19; The Washington Post, 4/9/19)

Christian Petzold’s adaptation of Anna Seghers’s 1944 novel Transit is “unstuck in history. . . unfolding like a remake of ‘Casablanca’ as written by Franz Kafka.”  (Indiewire, 2/17/18; The New York Times, 2/28/19)

“The story is fictional, and the ink is true.” Benedict Wells’s fourth novel, Vom Ende der Einsamkeit, has been translated into English by Charlotte Collins (The End of Loneliness).  (The New York Times, 1/24/19; The Guardian, 3/20/19)

Kurt Vonnegut grappled with his traumatic memories of the firebombing of Dresden for more than two decades before publishing Slaughterhouse-Five in 1969.  (The New York Times, 3/21/19)

In Time and Power, Christopher Clark examines how Prussian and German leaders “learnt to bend the past to suit the present” in four different centuries.  (New Statesman, 2/13/19; Standpoint, 3/2019)

Just in time for anguished end-stage Brexit negotiations, Robert Menasse’s “unexpectedly delightful book about Brussels” (translated by Jamie Bulloch as The Capital) has at last made it to English bookstores.  (The Economist, 2/16/19; The Arts Desk, 3/10/19)

Wolfgang J. Fuchs shares a few words on the art of comic book translation—he’s been working in the field since 1965.  (Deutsche Welle, 3/13/19)

“Ernst Jünger’s Second World War was less dramatic than his first; it could hardly be otherwise.” Find out more from his journals as an officer in occupied Paris, newly translated by Thomas and Abby Hansen.  (The Washington Post, 1/16/19; New Statesman, 2/20/19)

“‘Faust’ was the original viral content, and it’s still relevant today.” Olivia Giovetti looks back at retellings of the 400-year-old story, from Christopher Marlowe to The Americans.  (Electric Literature, 2/19/19)

“When a refugee flees to another country and claims asylum, she is, in effect, petitioning the state to listen to her story . . .  Where the state has failed to meet its moral obligation to listen, writers like Jenny Erpenbeck have stepped in.”  (Longreads, 2/2019)

Ali Fitzgerald’s graphic memoir, Drawn to Berlin: Comic Workshops in Refugee Shelters and Other Stories from a New Europe depicts “a city and the refugees who’ve tried to adopt it as their own, as well as the medium of comics as a tool for self-knowledge.”  (The Atlantic, 11/7/18; Los Angeles Review of Books, 2/9/19)

We can read Christa Wolf’s journals, writes Becca Rothfeld, “not as the sum of her worst lapses and most public mistakes, not as a political symbol or a work of history, but as a testament to her haltingly singular self.”  (The Nation, 2/22/19)