Selected Prose of Heinrich von Kleist - Archipelago Books
This opens up the paradox that art transcends human imperfection: Grace return[s] once perception, as it were, has traversed the infinite—such that it simultaneously appears the purest in human bodily structures that are either devoid of consciousness or which possess an infinite consciousness, such as in the jointed manikin or the god. Leave Your Comment. Like what you read? Help WWB bring you the best new writing from around the world.
- Selected Prose of Heinrich von Kleist by Heinrich von Kleist | Penguin Random House Canada.
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The King In Prussia. Rafael Sabatini.
Selected Books for the Course
Speaking of Prussians. Irvin S Cobb. Thomas Nelson Page. The Valley of Vision. Henry Van Dyke. Alexander Kuprin. Matilda "Tillie" Pierce Alleman. Fischer Henry.
The Kaiser's Captive. Albert Rhys Williams. Jacob Grimm. Michael Stern. Petrus Borel the Lycanthrope. Memoirs from Beyond the Grave. Alex Andriesse. They Divided the Sky. Christa Wolf. Giacomo Casanova. Prince Roman. Priests In The Firing Line. The Wine-Ghosts of Bremen. Wilhelm Hauff. In the Claws of the German Eagle.
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Baby Professor. Arthur George Frederick Griffiths. Stories of the French Revolution. Walter Montgomery. The German Refugees. Johann von Goethe. The Burial of the Rats. Bram Stoker. The Greatest Novels of All Time. Centaur Classics. Karl Ludwig Sand. Works of Erckmann-Chatrian. The stories—of which six are translated by Peter Wortsman in his very welcome Selected Prose of Heinrich von Kleist , along with a few brief but endlessly suggestive essays and fragments—were written in between the plays and in between the episodes of a life rapidly unraveling.
He had a brief career as a newspaper editor and was fervent in the cause of German nationalism. His personal circumstances were dire. The stories offer no direct commentary on any of this.
Selected Prose of Heinrich von Kleist
They are tales, supernatural incidents, mock-historical chronicles, exotic adventures, discreetly erotic comedies. None point to an obvious moral; in fact, they deviously confound attempts to locate any such thing. Two of them— The Marquise of O. Yet there is nothing to which their manner and texture can really be compared. They are machines that, once turned on, move ineluctably forward: sometimes with the swift, destructive force of a military unit, sometimes with the lumbering, exhausting weight of a protracted lawsuit, sometimes with the maddening, hair-splitting insistence of a theological argument carrying with it the threat of some savage punishment, and sometimes like a joke spun out beyond normal bounds.
We wait for a punch line, which, when it comes, plunges us deeper into mystery. He is the least quotable of great writers. Extracting a sentence from one of his stories is like taking a stone from a wall of Machu Picchu—every phrase is wedged into its context. A meaning is asserted, only for an ensuing sentence to sabotage or undermine it.
His unities are built out of internal contradictions. The Marquise of O.