The Swiss writer Robert Walser is one of the quiet geniuses of twentieth-century literature. Largely self-taught and altogether indifferent to worldly success, Walser wrote a range of short stories, essays, as well as four novels, of which Jakob von Gunten is widely recognized as the finest. The book is a young man's inquisitive and irreverent account of life in what turns out to be the most uncanny of schools. It is the work of an outsider artist, a writer of uncompromising originality and disconcerting humor, whose beautiful sentences have the simplicity and strangeness of a painting by Henri Rousseau.

Austria, 1944. Jakob, a gypsy boy--half Roma, half Yenish--runs for his life as he has been told to do. With shoes made of sack cloth--stained with another person's blood--and a stone clutched in one hand, a small wooden box in the other, he runs blindly, full of fear and nearly drained of hope. He knows when to trust a stranger and when to be wary. He knows how to read the land and the sky--when to seek shelter, when not to. He has grown up following the wind and sticking to the shadows. They are familiar to him. It is the loneliness that is new. He has never, until now, been so alone. Weaving back and forth in time and place between WWII Austria, Switzerland, and 1920s England to tell the interlinked stories of Jakob, an 8-year-old gypsy boy, his father Yavy, and his English mother Lor, Jakob's Colors is about the painful legacies passed down from one generation to another, finding hope when there is no hope and color where there is no color.

The Swiss writer Robert Walser is one of the quiet geniuses of twentieth-century literature. Largely self-taught and altogether indifferent to worldly success, Walser wrote a range of short stories, essays, as well as four novels, of which Jakob von Gunten is widely recognized as the finest. The book is a young man's inquisitive and irreverent account of life in what turns out to be the most uncanny of schools. It is the work of an outsider artist, a writer of uncompromising originality and disconcerting humor, whose beautiful sentences have the simplicity and strangeness of a painting by Henri Rousseau.

The book is a comprehensive introduction to the work of the Estonian-German biologist Jakob von Uexküll. After a first introductory chapter by Morten Tønnessen and a second chapter on Uexküll's life and philosophical background, it contains four chapters devoted to the analysis of his main works. They are followed by a vast eighth chapter which deals with the influence Uexküll had on other philosophers and scientists. Finally, the author discloses his conclusions, focused on the possibility of updating Uexküll’s work. As far as the key issue is concerned, the Uexküllian Umwelt is the perceptive and operative world which surrounds animal species; it is a subjective species-specific construction which provides living organisms with great security and behaviour stability. The relationship that the animal carries out with its environment is a complex system of semiotic interactions: its behaviour is not a set of mechanical reactions, but a spontaneous attribution of meaning to the outside world.