Thomas Mann's last great novel, first published in 1947 and now newly rendered into English by acclaimed translator John E. Woods, is a modern reworking of the Faust legend, in which Germany sells its soul to the Devil. Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul—and the ability to love his fellow man.

John Fowles’s The Magus was a literary landmark of the 1960s. Nicholas Urfe goes to a Greek island to teach at a private school and becomes enmeshed in curious happenings at the home of a mysterious Greek recluse, Maurice Conchis. Are these events, involving attractive young English sisters, just psychological games, or an elaborate joke, or more? Reality shifts as the story unfolds. The Magus reflected the issues of the 1960s perfectly, and it continues to create tension and concern today.

One of the best-loved of Nabokov's novels, Pnin features his funniest and most heart-rending character. Professor Timofey Pnin is a haplessly disoriented Russian emigre precariously employed on an American college campus in the 1950s. Pnin struggles to maintain his dignity through a series of comic and sad misunderstandings, all the while falling victim both to subtle academic conspiracies and to the manipulations of a deliberately unreliable narrator.

The Pity of War makes a simple and provocative argument: the human atrocity known as the Great War was entirely England's fault. According to Niall Ferguson, England entered into war based on naive assumptions of German aims, thereby transforming a Continental conflict into a world war, which it then badly mishandled, necessitating American involvement. The war was not inevitable, Ferguson argues, but rather was the result of the mistaken decisions of individuals who would later claim to have been in the grip of huge impersonal forces.

Completed six years after Dostoyevsky's own term as a convict, The House of the Dead is a semi-autobiographical account of life in a Siberian prison camp, and the physical and mental effects it has on those who are sentenced to inhabit it. Alexandr Petrovitch Goryanchikov, a gentleman of the noble class, has been condemned to 10 years of hard labor for murdering his wife.

Stefan Zweig's memoir, The World of Yesterday, recalls the golden age of prewar Europe - its seeming permanence, its promise and its devastating fall with the onset of two world wars. Zweig's passionate, evocative prose paints a stunning portrait of an era that danced brilliantly on the brink of extinction. It is an unusually humane account of Europe from the closing years of the 19th century through to World War II, seen through the eyes of one of the most famous writers of his era.

Henri Bergson (1859-1941) was the leading French philosopher of the first half of the 20th century. Near the end of his life when he was forced to register with the police in Nazi occupied France he wrote: ‘Academic. Philosopher. Nobel prize winner. Jew.’ Time and Free Will, his doctoral thesis, was published as a book in 1889 and attacks and rejects the mechanistic view of causality described in Kant’s version of space and time and proceeds to attempt to define free-will and consciousness by separating space and time.

The Iliad is the world’s greatest epic poem—heroic battle and divine fate set against the Trojan War. Its beauty and profound bleakness are intensely moving, but great questions remain: Where, how, and when was it composed and why does it endure? Robin Lane Fox addresses these questions, drawing on a lifelong love and engagement with the poem. He argues for a place, a date, and a method for its composition—subjects of ongoing controversy—combining the detailed expertise of a historian with a poetic reader’s sensitivity.

Established in 1918–19, in the wake of Germany’s catastrophic defeat in the First World War and the revolution that followed swiftly on its heels, the Weimar Republic ushered in widespread social reform, a radical cultural flowering and the most democratic conditions the German people had ever known. The Weimar Years is a vivid narrative of a dramatic period in German history. Year by year, from 1918 to 1933, Frank McDonough covers the major events in both domestic and foreign policy and the personalities who shaped them, together with developments in music, art, theatre and literature.

Xenophon was a friend of Socrates, and yet his concise memories of the iconic philosopher have lived under the shadow of the more voluminous accounts by Plato. Yet Xenophon’s two works are, in many ways, more entertaining and more accessible, and they present a different view of the man who embodies a clear mind, temperate, ethical living, sharp intellect and humour.

The Divine Comedy describes Dante's descent into Hell with Virgil as a guide, his ascent of Mount Purgatory and his encounter with his dead love Beatrice, and finally, his arrival in Heaven. Examining questions of faith, desire and enlightenment, the poem is a brilliantly nuanced and moving allegory of human redemption. This major translation is published here for the first time in a single volume.

The story told in Vasily Grossman's Stalingrad unfolds across the length and breadth of Russia and Europe. At the heart of the novel is the Shaposhnikov family. Even as the Germans advance, the matriarch, Alexandra Vladimirovna, refuses to leave Stalingrad. Far from the front, her eldest daughter, Ludmila, is unhappily married to the Jewish physicist Viktor Shtrum. Viktor's research may be of crucial military importance, but he is distracted by thoughts of his mother in the Ukraine, lost behind German lines.

Considered one of the first existentialist novels, Notes from Underground contains one of the most unsettling characters in 19th-century fiction. Resentful, cruel, entitled, and pitiful, Dostoyevsky's Underground Man is a disturbing human being bent on humiliating others for his own amusement. The Gambler is perhaps the most personal of Dostoyevsky's novels. Written to pay off the author's own gambling debts, the book follows the obsessions and anxieties of Alexey Ivanovitch, a sympathetic character who has given in to the forces of addiction.

In the twilight of the Austro-Hungarian Empire, a young cavalry officer is invited to a dance at the home of a rich landowner. There - with a small act of attempted charity - he commits a simple faux pas. But from this seemingly insignificant blunder comes a tale of catastrophe arising from kindness and of honour poisoned by self-regard. Beware of Pity has all the intensity and the formidable sense of torment and of character of the very best of Zweig's work. Definitive translation by the award-winning Anthea Bell.

Seeking to depose his brother Artaxerxes and take his place upon the Persian throne, Cyrus the Younger leads the 10,000 mercenaries on a dangerous campaign deep into the heart of Persia. There, Cyrus is killed and his generals overthrown, leaving a young Xenophon to lead the army on its treacherous journey home. Snowy mountains, wide rivers, violent blizzards, and hostile tribes obstruct their way, testing Xenophon's leadership and his soldiers' perseverance to the extreme.

Paul Bäumer is just 19 years old when he and his classmates enlist. They are Germany’s Iron Youth who enter the war with high ideals and leave it disillusioned or dead. As Paul struggles with the realities of the man he has become, and the world to which he must return, he is led like a ghost of his former self into the war’s final hours. All Quiet is one of the greatest war novels of all time, an eloquent expression of the futility, hopelessness and irreparable losses of war.

“All Quiet on the Western Front” is one of the most powerful anti-war novels ever written—a timeless classic that strips away the myths of glory and honor to reveal the brutal, dehumanizing truth of warfare. Told through the eyes of Paul Bäumer, a young German soldier on the front lines of World War I, this harrowing narrative plunges listeners into the mud-soaked trenches, the constant threat of death, and the emotional numbness born of unspeakable loss.

This gripping tale follows Paul and his mates as they navigate the horror, boredom, and stupidity of the First World War. We see the pain of one comrade, who loses a leg, while his friends covet the pair of boots he can no longer wear. We follow Paul’s company as it is whittled down in combat from 150 men to 32. Paul, wounded, goes home on leave, but he feels alienated from his family, who do not understand what he has gone through and to whom he cannot explain it.

"This book is to be neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will simply try to tell of a generation of men who, even though they may have escaped its shells, were destroyed by the war." Prologue to All Quiet on the Western Front.

History offers few records of war as vivid, haunting, and evocative as Erich Maria Remarque’s All Quiet on the Western Front. As enthralling to twenty-first century audiences as it was to those who first encountered the book in 1928, Remarque’s landmark tells the story of a young German volunteer who, with his comrades, moves from idealism to fatalism witnessing the horrors of mass killing and the intimate deaths of friends or the disfiguring survival of young men languishing in field hospitals.