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"Stanley Corngold's translation is a triumph. This is a glorious achievement, a Werther for the ages."--Christopher Prendergast
Edgar Wibeau, seventeen years old, has died on Christmas Eve in an unfortunate accident involving electricity. His father, who left the family when Edgard was five, interrogates those close to him, to find out what exactly happened - and who his son really was. Helpfully for the reader, Edgar himself punctuates the father's conversations with his mother, best friend Willi, and Charlie, the woman with whom Edgar was unhappily in love, to give us his version of events from beyond the grave - and a story magically reminiscent of Goethe's The Sorrows of Young Werther and Salinger's The Catcher in the Rye unfolds before our eyes. Originally conceived as a screenplay, Plenzdorf's modern classic was first published in East Germany in 1973. A satire about the cultural and social limits of the GDR, it has long been a set text in German schools, and its critical and popular success remains unabated.
A New York Times Book Review Editors’ Choice Selection Named one of the Best Books of the Year by the Economist and Kirkus Reviews This “splendid biography” (Wall Street Journal) of Goethe presents his life and work as an essential touchstone for the modern age. A masterful intellectual portrait, Goethe: Life as a Work of Art is celebrated as the seminal twenty-first-century biography of the writer considered to be the Shakespeare of German literature. Johann Wolfgang von Goethe (1749–1832), a remarkably prolific poet, playwright, novelist, and—as Rüdiger Safranksi emphasizes—a statesman and naturalist, first awakened not only a burgeoning German nation but the European continent with his electrifying novel The Sorrows of Young Werther. Safranski has scoured Goethe’s entire oeuvre, relying exclusively on primary sources, including his correspondence with contemporaries, to produce a “fresh and authentic” (Economist) portrait of the avatar of the Romantic era. Skillfully blending “artistic analysis with swift, sharp renderings” of the great political and intellectual figures Goethe encountered, “[Safranski’s] portrait of the prolific genius leaves the reader with lasting awe, even envy” of a monumental legacy (The New Yorker). As Safranski ultimately shows, Goethe’s greatest creation, even in comparison to his masterpiece Faust, was his own life.
Finally back in print, a frighteningly lucid feminist horror story about marriage The Dry Heart begins and ends with the matter-of-fact pronouncement: “I shot him between the eyes.” As the tale—a plunge into the chilly waters of loneliness, desperation, and bitterness—proceeds, the narrator's murder of her flighty husband takes on a certain logical inevitability. Stripped of any preciousness or sentimentality, Natalia Ginzburg's writing here is white-hot, tempered by rage. She transforms the unhappy tale of an ordinary dull marriage into a rich psychological thriller that seems to beg the question: why don't more wives kill their husbands?
A New York Review Books Original The Soviet writer Andrey Platonov saw much of his work suppressed or censored in his lifetime. In recent decades, however, these lost works have reemerged, and the eerie poetry and poignant humanity of Platonov’s vision have become ever more clear. For Nadezhda Mandelstam and Joseph Brodsky, Platonov was the writer who most profoundly registered the spiritual shock of revolution. For a new generation of innovative post-Soviet Russian writers he figures as a daring explorer of word and world, the master of what has been called “alternative realism.” Depicting a devastated world that is both terrifying and sublime, Platonov is, without doubt, a universal writer who is as solitary and haunting as Kafka. This volume gathers eight works that show Platonov at his tenderest, warmest, and subtlest. Among them are “The Return,” about an officer’s difficult homecoming at the end of World War II, described by Penelope Fitzgerald as one of “three great works of Russian literature of the millennium”; “The River Potudan,” a moving account of a troubled marriage; and the title novella, the extraordinary tale of a young man unexpectedly transformed by his return to his Asian birthplace, where he finds his people deprived not only of food and dwelling, but of memory and speech. This prizewinning English translation is the first to be based on the newly available uncensored texts of Platonov’s short fiction.
This is the story of the families of the plains—obsessed with their land and history, their culture and mythology—and of the man who ventured into their world. First published in 1982, The Plains is a mesmerising work of startling originality. This handsome new hardback edition is introduced by Ben Lerner, author of the internationally acclaimed novels Leaving the Atocha Station and 10:04, and a work of criticism, The Hatred of Poetry.
The Sorrows of Young Werther is an epistolary novel by Johann Wolfgang von Goethe. Presented as a collection of letters written by Werther, a young artist of a sensitive and passionate temperament, to his friend Wilhelm. His sorrow comes from the fact that he has fallen in love with Charlotte, even though he knows that she is engaged to be married. Goethe later acknowledged the influence the book could have on young forlorn lovers, saying: 'It must be bad, if not everybody was to have a time in his life, when he felt as though Werther had been written exclusively for him.'
The Sorrows of Young Werther is a epistolary novel by J. W. von Goethe. First published in 1774, it reappeared as a revised edition in 1787. It was one of the most important novels in the Sturm und Drang (“Storm and Stress”) period in German literature, and influenced the later Romantic movement. The book's publication instantly placed the author among the foremost international literary celebrities, and was among the best known of his works. Goethe is, by some accounts, the father of the romantic period in literature, or at least the proto-romantic Sturm und Drang period. And The Sorrows of Young Werther was its genesis. While Voltaire parodied rationalism in Candide, Goethe transcended it with the semi-autobiographical story of Werther, a young man governed more by his emotions than his reason, whose only employment is his delight in the romantic ideals of the pastoral lives he finds in the rural town of Walheim. There he also finds Charlotte, and in her an idealized but unobtainable old-world domesticity. Werther’s internal dialog about his growing obsession with Charlotte, and his inability to cope rationally with the fact that she is engaged to—and in love with—another man, form the bulk of the book in the form of a series of ever more intense letters to a friend. Werther's descent into sorrow has captivated readers for centuries, helped by Goethe’s intensely beautiful prose, enchanting imagery, and obvious reverence for nature and a dying past.