Not an autobiography in the customary sense, Benjamin's recollection of his childhood in an upper-middle-class Jewish home in Berlin's West End at the turn of the century is translated into English for the first time in book form.

This book of new research and commentary by Carl Skoggard brings philosopher Walter Benjamin's engaging autobiographical text into a new translation that is faithful to Benjamin's voice. Berlin Childhood circa 1900, Skoggard writes, "conjures Benjamin's earliest years in a series of mysterious tableaux. But it also reflects an urgent moment in his adult life—one that posed challenges to everything he had thought and felt previously." Our Jank Edition is illustrated with thirty black & white photographs and includes a foldable, color map of Berlin, circa 1900, offset-printed by Container Corps, Portland, Ore.

A companion volume to Walter Benjamin's (1892-1940) memoir "Berlin Childhood circa 1900, The "Berlin Chronicle" Notices" is now in a new translation by Carl Skoggard. The German-Jewish philosopher, theorist and critic Walter Benjamin began to ruminate on his comfortable Berlin childhood in 1932, not long before he would flee Germany for good to escape the Nazis. The resulting "Berlin Chronicle" notices--40 in all--do not result in a linear narrative but instead remain fragmentary recollections of Benjamin's young years, from his early childhood to the threshold of adulthood. More generally, they are a series of profound explorations of memory and of the ways memory relates to place. Rich in and of themselves, these notices greatly illuminate "Berlin Childhood circa 1900," written by Benjamin months later. This translation, in a charming pocket-sized format, comes with an extensive commentary, a historical map of Berlin and numerous illustrations.

Walter Benjamin and the Corpus of Autobiography is not merely the most extensive and insightful treatment of Benjamin 's autobiographical writings.

What is autobiography and how does it transform in the age of technological reproducibility? Katja Haustein discusses this question as it relates to photography and the role of emotion in Marcel Proust's In Search of Lost Time (1909-22), Walter Benjamin's Berlin Childhood around 1900 (1932-38), and Roland Barthes's Roland Barthes (1977) and Camera Lucida (1980). In her close critical readings, Haustein provides the first comprehensive comparative analysis of these popular works, mapping them against little-studied textual, visual and aural material, some of which has only recently become accessible. In this way, her book opens new avenues in scholarship dedicated to three outstanding twentieth-century writers and contributes to a field of critical inquiry that is still in the making: the history of autobiography in the light of a history of the gaze.

A man reflects on family memories—that may or may not be true—in this novel of “sharply composed vignettes with a keen sense of timing and humor” (Publishers Weekly). Ben is an artist closing in on forty, and it’s hard for him to be sure about the past. His parents are both dead, and his brother, who has mental issues, is a lousy source of information. So when Ben finds himself with a particularly persistent memory that keeps nagging at him, he doesn’t know where to turn to answer the question: Did his mother really assassinate a prominent neo-Nazi? In a novel that “shows maturity of vision without sacrificing the childish sense of play and absurdity his readers expect from him,” Stuart Ross sends Ben ranging through childhood summers at an Ontario cottage, teenage alienation in a Toronto suburb, a disastrous college career, and the calamity that precipitates his brother’s institutionalization—as he tries to sort through the events of his life, both real and surreal (The Globe and Mail, Toronto). “A writer with an original sensibility.” —The Vancouver Sun

This study moves the acclaimed Turkish fiction writer Bilge Karasu (1930–1995) into a new critical arena by examining his poetics of memory, as laid out in his narratives on Istanbul’s Beyoğlu, once a cosmopolitan neighborhood called Pera. Karasu established his fame in literary criticism as an experimental modernist, but while themes such as sexuality, gender, and oppression have received critical attention, an essential tenet of Karasu’s oeuvre, the evocation of ethno-cultural identity, has remained unexplored: Excavating Memory brings to light this dimension. Through his non-referential and ambiguous renderings of memory, Karasu gives in his Beyoğlu narratives unique expression to ethno-cultural difference in Turkish literature, and lets through his own repressed minority identity. By using Walter Benjamin’s autobiographical work as a heuristic premise for illuminating Karasu, Gökberk establishes an innovative intercultural framework, which brings into dialogue two representative writers of the twentieth century over temporal and spatial distances.