Bøger i Dedalus European Classics serien

Toomas Nipernaadi is one of the more peculiar works in the Estonian literary canon, and its eponymous male protagonist is without doubt one of the most exciting characters in the language. First of all he seems merely to be a man who travels from place to place charming people and telling stories, only to forget it all in the blink of an eye. But perhaps, more than anybody, it is precisely he who remembers. Perhaps all the hearts he touches will remain dear to him. The idea of Toomas Nipernaadi is said to have come to Gailit when he heard a man's echoing footsteps in a Berlin theatre, and those who wish to will hear this sound in the text of his novel. In many ways the protagonist can be seen as the writer's alter ego. Those close to Gailit knew that beneath his self-confidence and brio, a tender and melancholy soul was hiding, which the reader will no doubt be able to recognise in Toomas Nipernaadi. Since it was first published in 1928, the book has conquered one heart after another, and it will charm many coming generations. Besides other things, it captures the dream-like summer of Estonia: brief yet eternally recurring.

A novel about obsessive love initially published in France in 1898. Has inspired five film adaptations, including Josef von Sternberg's in 1935 and Luis Bunuel's in 1977.

The Other Side tells of a dream kingdom which becomes a nightmare, of a journey to Pearl, a mysterious city created deep in Asia, which is also a journey to the depths of the subconcious, or as Kubin himself called it, 'a sort of Baedeker for those lands which are half known to us'. Written in 1908, and more or less half way between Meyrink and Kafka, it was greeted with wild enthusiasm by the artists and writers of the Expressionist generation. ' Expressionist illustrator Kubin wrote this fascinating curio, his only literary work in 1908. A town named Pearl, assembled and presided over by the aptly named Patera, is the setting for his hallucinatory vision of a society founded on instinct over reason. Culminating apocalyptically - plagues of insects, mountains of corpses and orgies in the street - it is worth reading for its dizzying surrealism alone. Though ostensibly a gothic macabre fantasy, it is tempting to read The Other Side as a satire on the reactionary, idealist utopianism evident in German thought in the early twentieth century, highly prescient in its gloom, given later developments. The language often suggests Nietsche. The inevitable collapse of Patera's creation is lent added horror by hindsight. Kubin's depiction of absurd bureaucracy is strongly reminiscent of Kafka's The Trial, and his flawed utopia, situated next to a settlement of supposed savages, brings to mind Huxley's Brave New World; it precedes both novels, and this superb new translation could demonstrate its influence on subsequent modern literature.' Kieron Pim in Time Out It will appeal to fans of Mervyn Peake and readers who like the darkly decadent, the fantastic and the grotesque in their reading.