In Émigré Voices Lewkowicz and Grenville present twelve oral history interviews with men and women who came to Britain as Jewish refugees from Germany and Austria in the late 1930s, many of whom known for their enormous contributions to British culture.

Among the Jewish writers who emigrated from Eastern Europe to France in the 1910s and 1920s, a number chose to switch from writing in their languages of origin to writing primarily in French, a language that represented both a literary center and the promises of French universalism. But under the Nazi occupation of France from 1940 to 1944, these Jewish émigré writers—among them Irène Némirovsky, Benjamin Fondane, Romain Gary, Jean Malaquais, and Elsa Triolet—continued to write in their adopted language, even as the Vichy regime and Nazi occupiers denied their French identity through xenophobic and antisemitic laws. In this book, Julia Elsky argues that these writers reexamined both their Jewishness and their place as authors in France through the language in which they wrote. The group of authors Elsky considers depicted key moments in the war from their perspective as Jewish émigrés, including the June 1940 civilian flight from Paris, life in the occupied and southern zones, the roundups and internment camps, and the Resistance in France and in London. Writing in French, they expressed multiple cultural, religious, and linguistic identities, challenging the boundaries between center and periphery, between French and foreign, even when their sense of belonging was being violently denied.

The grand narratives of European music history are informed by the dichotomy of placements and displacements. Yet musicology has thus far largely ignored the phenomenon of displacement and underestimated its significance for musical landscapes and music history. Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond constitutes a pioneering volume that aims to fill this gap as it explores the interactions between music and displacement in theoretical and practical terms. Contributions by distinguished international scholars address the theme through a wide range of case studies, incorporating art, popular, folk, and jazz music and interacting with areas, such as gender and post-colonial studies, critical theory, migration, and diaspora. The book is structured in three stages—silence, acculturation, and theory—that move from silence to sound and from displacement to placement. The range of subject matter within these sections is deliberately hybrid and mirrors the eclectic nature of displacement itself, with case studies exploring Nazi Anti-Semitism in musical displacement; musical life in the Jewish community of Palestine; Mahler, Jewishness, and Jazz; the Irish Diaspora in England; and German Exile studies, among others. Featuring articles from such scholars as Ruth F. Davis, Sean Campbell, Jim Samson, Sydney Hutchinson, and Europea series co-editor Philip V. Bohlman, the volume exerts an appeal reaching beyond music and musicology to embrace all areas in the humanities concerned with notions of displacement, migration, and diaspora.

A detailed and moving account of the life of Anneliese Landau, who, in Nazi Germany and later in émigré California, fought against prejudice to do notable work in music.

A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.

Includes bibliographical references and index.

SHORTLISTED FOR THE 2018 READ RUSSIA PRIZE Imagine that many of Russia's greatest writers of the twentieth century were entirely unknown in the West, and only recently discovered in Russia itself. Strange as it may seem, it is in fact true, and their rediscovery is setting the literary world alight. Names such as Gaito Gazdanov and Vasily Yanovsky have excited great interest in Russia, and with stories of gambling, drug abuse, love, death, suicide, madness, espionage, glittering high society and the seedy underworld of Europe's capitals, their appeal is extremely broad. Many of these writers' works are only now being published in Russia for the first time, alongside those of leading contemporary authors - and to great critical acclaim. And we aren't just talking about two or three obscure authors; there are, quite literally, dozens of them.