Memory Rose into Threshold Speech gathers the poet Paul Celan's first four books, written between 1952 and 1963, which established his reputation as the major post-World War II German-language poet. Celan, a Bukovinian Jew who lived through the Holocaust, created work that displays both great lyric power and an uncanny ability to pinpoint totalitarian cultural and political tendencies. His quest, however, is not only reflective: there is in Celan's writing a profound need and desire to create a new, inhabitable world and a new language for it. In Memory Rose into Threshold Speech, Celan’s reader witnesses his poetry, which starts lush with surrealistic imagery, become gradually pared down; its syntax tightens and his trademark neologisms and word formations increase toward a polysemic language of great accuracy that tries, in the poet's own words, "to measure the area of the given and the possible." Translated by the prize-winning poet and translator Pierre Joris, this bilingual edition follows the 2014 publication of Breathturn into Timestead, Celan's collected later poetry. All nine volumes of Celan's poetry are now available in Joris's carefully crafted translations, accompanied here by a new introduction and extensive commentary. The four volumes in this edition show the flowering of one of the major literary figures of the last century. This volume collects Celan’s first four books: Mohn und Gedächtnis (Poppy and Memory), Von Schwelle zu Schwelle (Threshold to Threshold), Sprachgitter (Speechgrille), and Die Niemandsrose (NoOnesRose).

This book is the first comprehensive collection of the letters of Johannes Brahms ever to appear in English. Over 550 are included, virtually all uncut, and there are over a dozen published here for the first time in any language. Although he corresponded throughout his life with some of the great performers, composers, musicologists, writers, scientists, and artists of the day, and although thousands of his letters have survived, English readers have until now had scant opportunity to meet Brahms in person, through his words, and in his own voice. The letters in this volume range from 1848 to just before his death. They include most of Brahm's letters to Robert Schumann, over a hundred letters to Clara Schumann, and the complete Brahms-Wagner correspondence. They are joined by a running commentary to form an absorbing narrative, documented with scholarly care, provided with comprehensive notes, but written for the general music lover--the result is a lively biography. The work is generously illustrated, and contains several detailed appendices and an index.

The relations between memory and history have recently become a subject of contention, and the implications of that debate are particularly troubling for aesthetic, ethical, and political issues. Dominick LaCapra focuses on the interactions among history, memory, and ethicopolitical concerns as they emerge in the aftermath of the Shoah. Particularly notable are his analyses of Albert Camus's novella The Fall, Claude Lanzmann's film Shoah, and Art Spiegelman's "comic book" Maus. LaCapra also considers the Historians' Debate in the aftermath of German reunification and the role of psychoanalysis in historical understanding and critical theory. In six essays, LaCapra addresses a series of related questions. Are there experiences whose traumatic nature blocks understanding and disrupts memory while producing belated effects that have an impact on attempts to address the past? Do some events present moral and representational issues even for groups or individuals not directly involved in them? Do those more directly involved have special responsibilities to the past and the way it is remembered in the present? Can or should historiography define itself in a purely scholarly and professional way that distances it from public memory and its ethical implications? Does art itself have a special responsibility with respect to traumatic events that remain invested with value and emotion?

Pink Triangle Legacies traces the transformation of the pink triangle from a Nazi concentration camp badge and emblem of discrimination into a widespread, recognizable symbol of queer activism, pride, and community. W. Jake Newsome provides an overview of the Nazis' targeted violence against LGBTQ+ people and details queer survivors' fraught and ongoing fight for the acknowledgement, compensation, and memorialization of LGBTQ+ victims. Within this context, a new generation of queer activists has used the pink triangle—a reminder of Germany's fascist past—as the visual marker of gay liberation, seeking to end queer people's status as second-class citizens by asserting their right to express their identity openly. The reclamation of the pink triangle occurred first in West Germany, but soon activists in the United States adopted this chapter from German history as their own. As gay activists on opposite sides of the Atlantic grafted pink triangle memories onto new contexts, they connected two national communities and helped form the basis of a shared gay history, indeed a new gay identity, that transcended national borders. Pink Triangle Legacies illustrates the dangerous consequences of historical silencing and how the incorporation of hidden histories into the mainstream understanding of the past can contribute to a more inclusive experience of belonging in the present. There can be no justice without acknowledging and remembering injustice. As Newsome demonstrates, if a marginalized community seeks a history that liberates them from the confines of silence, they must often write it themselves.