Books in the Modern Czech Classics series

Set in 1943 Nazi-occupied Czechoslovakia, J. R. Pick's novella Society for the Prevention of Cruelty to Animals tells the story of Tony, a thirteen-year-old boy who is deported from Prague to the infamous Terezi-n ghetto for Jews.

Described by Parul Sehgal in the New York Times Book Review as "one of the great prose stylists of the twentieth century; the scourge of state censors; the gregarious bar hound and lover of gossip, beer, cats, and women (in roughly that order)," Bohumil Hrabal is one of the most important, most translated, and most idiosyncratic Czech authors. In Bohumil Hrabal: A Full-Length Portrait, Jiří Pelán makes the case that this praise is far too narrow. A respected scholar of French and Italian literature, Pelán approaches Hrabal as a comparatist, expertly situating him within the context of European and world literature as he explores the entirety of Hrabal's oeuvre and its development over sixty years. Concise, clear, and as compulsively readable as the works of Hrabal himself, Bohumil Hrabal was universally praised by critics in its original Czech edition as one of best works of Hrabal criticism. Here it is beautifully rendered into English for the first time by David Short, a celebrated translator of Hrabal's works. Also featuring a fascinating selection of black-and-white images from Hrabal's life, Bohumil Hrabal is essential reading for anyone interested in this crucial Czech author.

Presents a series of short stories based on the author's experiences as a Red Commissar in the Russian Civil War and his return to Czechoslovakia. This title focuses on the Russian town of Bugulma and takes aim, with mordant wit, at the absurdities of a revolution.

Novelist Bohumil Hrabal (1914-97) was born in Brno, Czechoslovakia, and spent decades working at a variety of laboring jobs before turning to writing in his late forties. This book offers a collection of stories that set in Hrabal's Kersko.

An English translation that captures Vladislav Vancura's experimental style - or, as the author himself called it, "poetism in prose." It is presented alongside the original illustrations and typography and goes a long way toward deepening our understanding of the Czech spirit, humor, and way of life.

A novel featuring Saturnin, a 'gentleman's gentleman' who obviously owes a debt to Wodehouse's beloved Jeeves, who wages a constant battle to protect his master from romantic disaster and intrusive relatives, such as Aunt Catherine, the 'Prancing Dictionary of Slavic Proverbs'.

Springtide A chaffinch in a tree of cherry sings merrily spring's introit. Its blazing bobble dwells in leaves, alive, and swells > The flowers are flares of white. The chaffinch has gone quiet > My eyes close on the day: an orb revolves in grey > Poet and artist Bohuslav Reynek spent most of his life in the relative obscurity of the Czech-Moravian Highlands; although he suffered at the hands of the Communist regime, he cannot be numbered among the dissident poets of Eastern Europe who won acclaim for their political poetry in the second half of the twentieth century. Rather, Reynek belongs to an older pastoral-devotional tradition--a kindred spirit to the likes of English-language poets Gerard Manley Hopkins, William Wordsworth, Robert Frost, and Edward Thomas. The Well at Morning presents a selection of poems from across his life and is illustrated with twenty-five of his own color etchings. Also featuring three essays by leading scholars that place Reynek's life and work alongside those of his better-known peers, this book presents a noted Czech artist to the wider world, reshaping and amplifying our understanding of modern European poetry.

"The devil's neatest trick is to persuade us that he doesn't exist."--Giovanni Papini It is a maxim that both rings true in our contemporary world and pervades this tragicomic novel of anxiety and evil set amid the horrors of World War II. As a gay man living in a totalitarian, patriarchal society, noted Czech writer Ladislav Fuks identified with the tragic fate of his Jewish countrymen during the Holocaust. The Cremator arises from that shared experience. Fuks presents a grotesque, dystopian world in which a dutiful father, following the strict logic of his time, liberates the souls of his loved ones by destroying their bodies--first the dead, then the living. As we watch this very human character--a character who never ceases to believe that he is doing good--become possessed by an inhuman ideology, the evil that initially permeates the novel's atmosphere concretizes in this familiar family man. A study of the totalitarian mindset with stunning resonance for today, The Cremator is a disturbing, powerful work of literary horror.

Features Mrs Mooshaber, who is an old widow whose husband was a coachman in a brewery. Her life revolves around her job as a caretaker for troublesome children, her own ungrateful children, and her fear of mice, which she tries to catch in traps.

Written in the years 1954-57 and treating events from the Stalinist era of Czechoslovakia's postwar Communist regime, Midway upon the Journey of Our Life flew in the face of the reigning aesthetic of socialist realism, an anti-heroic novella informed by the literary theory of Viktor Shklovsky and constructed from episodes and lyrical sketches of the author and his neighbors' everyday life in industrial north Bohemia, set against a backdrop of historical and cultural upheaval. Jedlicka, like many if not most intellectuals of his generation, was a member of the Communist Party when it came to power in February 1948, but by fall he had resigned, and shortly after, as a result, he was expelled from his studies in ethnography and esthetics at Charles University in Prague. In 1952 he and his wife had a son, and when she was offered a position as a doctor in the border town of Litvinov in 1953, the family moved. Jedlicka worked odd jobs as a laborer and tutor, with occasional freelance assignments for radio, TV and magazines, while writing Midway at night. The title of the book comes from the opening line of Inferno from Dante's Divine Comedy. For Jedlicka, Litvinov was hell. Meditative and speculative reflections here alternate and overlap with fragmentary accounts of Jedlicka's own biography and slices of the lives of the people around him, typically rendered as overheard conversations. The narrative passages range in chronology from May 1945 to the early '50s, with sporadic leaps back and forth as the "characters" go about the business of "building a new society" and the mythology that goes with it. Jedlicka and his family were residents of the Koldum (Collective House), a grandiose socialist architectural project of communal living that fails in ways comic and tragicomic alike. Jedlicka doesn't neglect to portray the era's most momentous events, including the February 25, 1948, speech by Czechoslovakia's first Communist president, Klement Gottwald, on Prague's Old Town Square, which readers of Kundera will recognize from The Book of Laughter and Forgetting, and which Jedlicka witnessed firsthand. But while Kundera was concerned with the grand sweep of history, Jedlicka zeroes in on more personal and quotidian features of the new order. Due to its critical view of socialist society, Jedlicka was not able to publish Midway until 1966, after the easing of cultural control. Even then, however, parts of the book were censored, and the complete version did not appear until 1994.

Written by a Jewish survivor of the Holocaust, The Shop on Main Street is the story that inspired the highly successful Academy Award-winning Czechoslovak film of the same title. Looking at the Holocaust through the eyes of a complicit individual, the narrative follows a good-natured carpenter living in a Slovak town in 1942 who unwittingly becomes a participant in a moral crisis involving the abuse and persecution of Jews. Describing the film adaptation of Ladislav Grosman's novel, the New York Times declared that it is a "human drama that is a moving manifest of the dark dilemma that confronted all people who were caught as witnesses to Hitler's terrible crime." The review continues: "'Is one his brother's keeper?' is the thundering question the situation asks, and then, 'Are not all men brothers?' The answer given is a grim acknowledgement. But the unfolding of the drama is simple, done in casual, homely, humorous terms--until the terrible, heartbreaking resolution of the issue at the end."