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Through the means of four powerful and extraordinary narratives from the 19th-century German underworld, this book deftly explores an intriguing array of questions about criminality, punishment, and social exclusion in modern German history. Drawing on legal documents and police files, historian Richard Evans dramatizes the case histories of four alleged felons to shed light on German penal policy of the time. 25 illustrations.
Originally published in 1932 and banned by the Nazis one year later, Blood Brothers follows a gang of young boys bound together by unwritten rules and mutual loyalty. Blood Brothers is the only known novel by German social worker and journalist Ernst Haffner, of whom nearly all traces were lost during the course of World War II. Told in stark, unsparing detail, Haffner’s story delves into the illicit underworld of Berlin on the eve of Hitler’s rise to power, describing how these blood brothers move from one petty crime to the next, spending their nights in underground bars and makeshift hostels, struggling together to survive the harsh realities of gang life, and finding in one another the legitimacy denied them by society.
Harry Black is lost between the world of war and the land of myth in this illustrated novel that transports the tale of Orpheus to World War II–era London. Brothers Marcus and Julian Sedgwick team up to pen this haunting tale of another pair of brothers, caught between life and death in World War II. Harry Black, a conscientious objector, artist, and firefighter battling the blazes of German bombing in London in 1944, wakes in the hospital to news that his soldier brother, Ellis, has been killed. In the delirium of his wounded state, Harry’s mind begins to blur the distinctions between the reality of war-torn London, the fiction of his unpublished sci-fi novel, and the myth of Orpheus and Eurydice. Driven by visions of Ellis still alive and a sense of poetic inevitability, Harry sets off on a search for his brother that will lead him deep into the city’s Underworld. With otherworldly paintings by Alexis Deacon depicting Harry’s surreal descent further into the depths of hell, this eerily beautiful blend of prose, verse, and illustration delves into love, loyalty, and the unbreakable bonds of brotherhood as it builds to a fierce indictment of mechanized warfare.
In Translating the World, Birgit Tautz provides a new narrative of German literary history in the late eighteenth and early nineteenth centuries. Departing from dominant modes of thought regarding the nexus of literary and national imagination, she examines this intersection through the lens of Germany’s emerging global networks and how they were rendered in two very different German cities: Hamburg and Weimar. German literary history has tended to employ a conceptual framework that emphasizes the nation or idealized citizenry, yet the experiences of readers in eighteenth-century German cities existed within the context of their local environments, in which daily life occurred and writers such as Lessing, Schiller, and Goethe worked. Hamburg, a flourishing literary city in the late eighteenth century, was eventually relegated to the margins of German historiography, while Weimar, then a small town with an insular worldview, would become mythologized for not only its literary history but its centrality in national German culture. By interrogating the histories of and texts associated with these cities, Tautz shows how literary styles and genres are born of local, rather than national, interaction with the world. Her examination of how texts intersect and interact reveals how they shape and transform the urban cultural landscape as they are translated and move throughout the world. A fresh, elegant exploration of literary translation, discursive shifts, and global cultural changes, Translating the World is an exciting new story of eighteenth-century German culture and its relationship to expanding global networks that will especially interest scholars of comparative literature, German studies, and literary history.
When people go looking for hell, they go underground. Dante, Aeneas, and Odysseus all journeyed beneath the earth to find the underworld, a place where the dead are tortured according to their sins. Buffy the Vampire Slayer had to deal with a huge underground pit infested with demons below her high school called the Hellmouth. And when Homer Simpson ate the forbidden donut for which he’d sold his soul to the devil, he was sucked through a fiery hole in the ground. Though humans actually haven’t gone more than 7.5 miles into the earth, we associate this mysterious underground realm with darkness and death, and the depths of the earth’s interior remain an inspiration for writers and artists trying to imagine hell. Why Hell Stinks of Sulfur uses subterranean mythology as a point of departure to explore the vast world that lies beneath our feet. Geologist Salomon Kroonenberg takes us on an expedition that begins in Dante’s Inferno and continues through Virgil, Da Vinci, Descartes, and Jules Verne. He investigates the nine circles of hell, searches a lake near Naples for the gates of hell used by Aeneas, and turns a scientific spotlight on the many myths of the underworld. He uncovers the layers of the earth’s interior one by one, describing the variety of gasses, ores, liquids, and metals that add to the immense variety of color that can be found below us. Kroonenberg views the inside of the earth as a living ecosystem whose riches we are only beginning to discover, and he warns against our thirst for natural resources exhausting the earth. From the underground rivers and lakes that have never seen the light of day to the story of Saint Barbara—the patron saint of mineworkers—Kroonenberg’s pursuit of the geological foundations of hell is a fascinating journey to the center of the earth.
Sophie Lawson is sent on assignment to her old high school in order to stop a secret witch coven from sacrificing a student, a situation complicated by her guardian's love for her.
The true story of a detective, two bronze horses and the dictator who set the world on fire. When detective Arthur Brand is summoned to a meeting with one of the most dangerous men in the art world, he learns that a clue has emerged that could solve one of the Second World War's unexplained mysteries- what really happened to the Striding Horses, Hitler's favourite statue, which disappeared during the bombing of Berlin. As Brand goes undercover to find the horses, he discovers a terrifying world ruled by neo-Nazis and former KGB agents, where Third Reich memorabilia sells for millions of dollars. The stakes get ever higher as Brand carefully lays his trap to catch the criminal masterminds trying to sell the statue on the black market. But who are they? And will he manage to bring them to justice before they discover his real identity? With a plot worthy of John Le Carre, Hitler's Horses is a thrilling retelling of one of history's most extraordinary heists.
From Ferdinand von Schirach, one of Germany’s most prominent defense attorneys, comes a jolting debut collection of short stories that daringly brings to light the motivations stirring within the criminal mind. By turns witty and sorrowful, unflinchingly brutal and heartbreaking, the deeply affecting, quietly unnerving cases presented in Crime urge a closer examination of guilt and innocence. In “Fähner,” a small-town physician and avid gardener betrays little emotion when he takes an ax to his wife’s head, an act that shocks the locals but provides a long-awaited reprieve for the good doctor. Abbas, a Palestinian refugee who is cornered into a life of crime, finds true love and seemingly a saving grace with a beautiful student named Stefanie in “Summertime.” But when she is viciously murdered in a hotel room after having been paid to sleep with one of the country’s wealthiest men, is Abbas to blame or is it the man who seems to have it all? And in the startling story “Love,” a young man’s infatuation with his girlfriend takes a grisly turn as he comes to grips with his unconventional—and uncontrollable—impulses to truly know a woman. “Guilt,” writes von Schirach, “always presents a bit of a problem.” In this beautifully nuanced and telling collection, guilt is indeed never as clear-cut as the crime, and justice is more nebulous still.
A history of the German-American Bund traces the efforts of Fritz Kuhn and his followers to overthrow the U.S. government with a fascist dictatorship, tracing their private and public meetings, the development of their own version of the SS and Hitler Youth and the politicians, lawyer, journalist and criminals who used respective means to counter the movement.
How did ministers, journalists, academics, artists, and subjects in the German lands imagine war during the nineteenth century? The Napoleonic Wars had been the bloodiest in Europe's history, directly affecting millions of Germans, yet their long-term consequences on individuals and on 'politics' are still poorly understood. This study makes sense of contemporaries' memories and histories of the Revolutionary and Napoleonic campaigns within a much wider context of press reportage of wars elsewhere in Europe and overseas, debates about military service and the reform of Germany's armies, revolution and counter-revolution, and individuals' experiences of violence and death in their everyday lives. For the majority of the populations of the German states, wars during an era of conscription were not merely a matter of history and memory; rather, they concerned subjects' hopes, fears, and expectations of the future. This is the second volume of Mark Hewitson's study of the violence of war in the German lands during the nineteenth and twentieth centuries. It investigates the complex relationship between military conflicts and the violent acts of individual soldiers. In particular, it considers the contradictory impact of 'pacification' in civilian life and exposure to increasingly destructive technologies of killing during war-time. This contradiction reached its nineteenth-century apogee during the 'wars of unification', leaving an ambiguous imprint on post-war discussions of military conflict.