Czech-born playwright, novelist and poet Franz Werfel (1890-1945) became internationally famous(and a special target of the Nazis) after he wrote The Forty Days of Musa Dagh, the first novel about the Armenian Genocide. He later published the Catholic classic The Song of Bernadette, written after a deeply religious experience in Lourdes, a stop on his escape route to the United States through occupied France. Born into a wealthy family of Prague Jews, Werfel was torn between his Jewish identity and his attraction to Catholicism, between high art and popular success. He was friends with Franz Kafka and Max Brod in his youth and later and part of a larger Central European intellectual circle that included Sigmund Freud and Martin Buber. He married Alma Schindler-Mahler-Gropius (widow of composer Gustav Mahler and ex-wife of Bauhaus architect Walter Gropius). The couple fled Nazi-occupied Vienna in 1938 and became part of the German exile community of California. They lived in Beverly Hills where Werfel died, a successful Hollywood screenwriter. “This lovely book is more than a biography — a meditation on art, history and human life.” — John Simon, New York Times Book Review “An exemplary biography.” Edward Timms, The Times Literary Supplement “Jungk’s description of how he researched his subject is highly suspenseful and reads like a detective story.” — Der Spiegel “This exemplary biography recalls Werfel’s career and its vanished settings as part of the cultural history of the West. Mr. Jungk also provides a searing picture of Werfel’s wife, the famous Alma Mahler Gropius Werfel...” — The New Yorker “This biography, ostensibly the story of a life, is really a broad panorama of culture and history... It is Jungk’s genius to seduce us into following him into Werfel’s world, and to keep us there, completely enthralled.” — Die Welt

Describes the life & work of the Austrian poet & novelist who heralded the German Expressionist movement in 1911, wrote some of Europe's most widely read novels in the 1930s, & enjoyed popular success in the 1940s with the film adaptations of his best-selling novels.

Shmuel Katz’s detailed and comprehensive biography of Vladimir Jabotinsky (1880–1940) is an unabashedly partisan defense of one of the most complex Zionists of the early 20th century. Jabotinsky was a Russian poet, playwright, journalist, and novelist as well as the founder of Revisionist Zionism and of Betar. His oratory in many languages was legendary. Katz first heard him speak in South Africa in the early part of the 20th century and was so impressed that he dropped out of university to work for Revisionist Zionism. Katz recounts Jabotinsky’s efforts to create the Jewish Legion during World War I, traces the history of Jewish relations with the British during the time of the Palestine Mandate, describes Jabotinsky’s role in the defense of the Jewish Yishuv and in organizing the Af-Al-Pi “illegal” Jewish immigration to Palestine before World War II. He paints a vivid mural of competing Jewish personalities, factions and ideologies in the decades before the establishment of Israel. “Shmuel Katz has written an intelligent, journalistic account of Jabotinsky’s life […] and was able to use a substantial amount of previously unavailable material, particularly British archival documents. Although Katz clearly has tremendous respect and affection for Jabotinsky, he does not hesitate to criticize him, for example, for his ineffectiveness as a fundraiser [...] Lone Wolf’s greatest strength is its comprehensive breadth. Every major event and many minor incidents are extensively covered. Furthermore, Katz has taken the rather unorthodox move of including verbatim large sections of Jabotinsky’s original speeches and writings.” — Paul Radensky, H-Net “[S]cholarly and yet totally gripping... we must be everlastingly grateful [...] to Shmuel Katz for so masterfully giving [Jabotinsky’s] memory fresh life... this [book] — quiet, calm, and, while certainly partisan, without a single shrill note — may one day help to direct the course of Israel’s seemingly endless argument with itself.” — Midge Decter, Commentary Magazine “Dr. Katz's monumental and superb biography is a balanced, detailed story of a lion and not a wolf. (Ze'ev in Hebrew means a wolf and this is the reason why the title isLone Wolf)” — Jewish Post

Once thought to be a provincial composer of only passing interest to eccentrics, Leos Janácek (1854-1928) is now widely acknowledged as one of the most powerful and original creative figures of his time. Banned for all purposes from the Prague stage until the age of 62, and unable to make it even out of the provincial capital of Brno, his operas are now performed in dynamic productions throughout the globe. This volume brings together some of the world's foremost Janácek scholars to look closely at a broad range of issues surrounding his life and work. Representing the latest in Janácek scholarship, the essays are accompanied by newly translated writings by the composer himself. The collection opens with an essay by Leon Botstein who clarifies and amplifies how Max Brod contributed to Janácek 's international success by serving as "point man" between Czechs and Germans, Jews and non-Jews. John Tyrrell, the dean of Janácek scholars, distills more than thirty years of research in "How Janácek Composed Operas," while Diane Paige considers Janácek's liason with a married woman and the question of the artist's muse. Geoffrey Chew places the idea of the adulterous muse in the larger context of Czech fin de siècle decadence in his thoroughgoing consideration of Janácek's problematic opera Osud. Derek Katz examines the problems encountered by Janácek's satirically patriotic "Excursions of Mr. Broucek" in the post-World War I era of Czechoslovak nationalism, while Paul Wingfield mounts a defense of Janácek against allegations of cruelty in his wife's memoirs. In the final essay, Michael Beckerman asks how much true history can be culled from one of Janácek's business cards. The book then turns to writings by Janácek previously unpublished in English. These not only include fascinating essays on Naturalism, opera direction, and Tristan and Isolde, but four impressionistic chronicles of the "speech melodies" of daily life. They provide insight into Janácek's revolutionary method of composition, and give us the closest thing we will ever have to the "heard" record of a Czech pre-war past-or any past, for that matter.

Once thought to be a provincial composer of only passing interest to eccentrics, Leos Janácek (1854-1928) is now widely acknowledged as one of the most powerful and original creative figures of his time. Banned for all purposes from the Prague stage until the age of 62, and unable to make it even out of the provincial capital of Brno, his operas are now performed in dynamic productions throughout the globe. This volume brings together some of the world's foremost Janácek scholars to look closely at a broad range of issues surrounding his life and work. Representing the latest in Janácek scholarship, the essays are accompanied by newly translated writings by the composer himself. The collection opens with an essay by Leon Botstein who clarifies and amplifies how Max Brod contributed to Janácek 's international success by serving as "point man" between Czechs and Germans, Jews and non-Jews. John Tyrrell, the dean of Janácek scholars, distills more than thirty years of research in "How Janácek Composed Operas," while Diane Paige considers Janácek's liason with a married woman and the question of the artist's muse. Geoffrey Chew places the idea of the adulterous muse in the larger context of Czech fin de siècle decadence in his thoroughgoing consideration of Janácek's problematic opera Osud. Derek Katz examines the problems encountered by Janácek's satirically patriotic "Excursions of Mr. Broucek" in the post-World War I era of Czechoslovak nationalism, while Paul Wingfield mounts a defense of Janácek against allegations of cruelty in his wife's memoirs. In the final essay, Michael Beckerman asks how much true history can be culled from one of Janácek's business cards. The book then turns to writings by Janácek previously unpublished in English. These not only include fascinating essays on Naturalism, opera direction, and Tristan and Isolde, but four impressionistic chronicles of the "speech melodies" of daily life. They provide insight into Janácek's revolutionary method of composition, and give us the closest thing we will ever have to the "heard" record of a Czech pre-war past-or any past, for that matter.

In the second decade of the twentieth century the cultural life of Germany was transformed by the emergence of Expressionism, a series of vigorous, youthful artistic movements which were to exert a lasting influence on modern culture. In the same decade a young Swiss pastor called Karl Barth began a theological revolution, laying the foundations for probably the most influential body of Christian theology in the modern age. Some relationship between these two revolutions has long been assumed by scholars; yet it has never been examined in detail. The first part of this study addresses this omission, offering the most detailed analysis to date of the important relationship between Barth and Expressionism. The second part of the book takes a broader look at both Barth's theology and Expressionist culture, considering the relevance of the Enlightenment as a context for both. The key to this is a detailed discussion of Barth's own analysis of the Enlightenment in his neglected book Protestant Theology in the Nineteenth Century. Barth's view is also compared with Alasdair MacIntyre's treatment of the Enlightenment in After Virtue. The examination of these two contexts, German Expressionism and the Enlightenment, yields valuable insights into Barth's entire theological project.