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A novel about obsessive love initially published in France in 1898. Has inspired five film adaptations, including Josef von Sternberg's in 1935 and Luis Bunuel's in 1977.

First published in 1994 it is a welcome return for these classic stories in a 2-volume collection of Meyrink's short stories. "Meyrink's short stories epitomised the non-plus-ultra of all modern writing. Their magnificent colour, their spine-chilling and bizarre inventiveness, their aggression, their succinctness of style, their overwhelming originality of ideas, which is so evident in every sentence and phrase that there seem to be no lacunae." -- Max Brod"These tales - sc-fi, ghost-stories, gothic fables, oriental allegories - were written in the first decade of the century and are now translated for the first time. They make a magnificent introduction to his bizarre genius, which combined the sharp Bohemian scepticism of his contemporary Kafka with the mordant humour and outreach of Swift." -- Independent on Sunday

This collection contains short stories translated for the first time as well as stories featured in Dedalus anthologies. Together with volume 1 they comprise the most comprehensive collection of Meyrink short stories to appear in English. "Meyrink's short stories epitomised the non-plus-ultra of all modern writing. Their magnificent colour, their spine-chilling and bizarre inventiveness, their aggression, their succinctness of style, their overwhelming originality of ideas, which is so evident in every sentence and phrase that there seem to be no lacunae." -- Max Brod"These tales - sc-fi, ghost-stories, gothic fables, oriental allegories - were written in the first decade of the century and are now translated for the first time. They make a magnificent introduction to his bizarre genius, which combined the sharp Bohemian scepticism of his contemporary Kafka with the mordant humour and outreach of Swift." -- Independent on Sunday

Grazia Deledda is one of the most important women writers of the twentieth century. Her depiction of the primitive and isolated communities of northern Sardinia in a perceptive, intense and individual style gained her the Nobel Prize for Literature in 1927. 'The interest in La Madre lies in the presentation of sheer instinctive life. The love of the priest for the woman is sheer instinctive passion, pure and undefiled by sentiment. The instinct of direct sex is so strong and so vivid, that only the bling instinct of mother obedience, the child instinct, can overcome it.' D. H. Lawrence

Monsieur de Phocas ranks with A Rebours as the summation of the French Decadent Movement. Modelled on The Portrait of Dorian Gray, it drips with evil and certainly would have unpublishable in fin-de-siecle England. 'With Ethel's friends, grotesque, ageing decadents, Phocas for the first time tastes opium. He experiences the pleasure of absolute degradation, and the double pleasure of being both observer and observed, dominant subject and passive object. As the opium takes effect, the naked Javanese dancers at the orgy vanish in a swirling cloud, to be replaced by a dark lamplit street where two thieves carefully saw at a woman's throat with a delicate knifeblade. From this cruel vision, Phocas soars into dizzy flight from which, suddenly, he plunges to destruction, into oozing depths where clinging vampires suck his blood, until he almost swoons into spasms. The mysterious, vicious double is on the threshold of existence: Phocas sees himself as Giles de Retz in the forest of Tiffauges, haunted by obscene desires.' Jennifer Birkett in Sins of the Fathers

'Literally translated as "down there", là-bas is here used by Huysmans in its other sense: Hell. This novel is one of the key texts of the Decadent movement of the 1890s and writhes with satanists, occultists, incubi (male demons), succubi (female demons) and intellectuals. Durtal is a disaffected, middle-aged writer living in Paris, not unlike Huysmans himself. Working on a biography of Gilles de Rais, a 15th-century nobleman and mass murderer widely thought to be the model for Bluebeard, Durtal researches Rais's obsession with alchemy. Through this, he becomes drawn into the underworld of 19th-century satanic worship. This sounds racy, and some areas of the novel do not disappoint: several setpieces - the description of a crucifixion, Rais's murderous rampage and the climactic debauched satanic mass - are described in vivid and barbaric prose. The rest follows the conversations of Durtal's friends over elaborate dinners in a gothic bell tower: peppered with references to historical figures and demonology, the obsessive detail at times verges on the comic. Durtal's friend des Hermies reports in the tones of a gossiping housewife that one devil-worshipping priest "fattens fish on consecrated wafers and toxic substances ... fortified by sacrilegious rites ... [then] leaves them to putrefy and extracts their essential oils". A precursor to the horror fiction of HP Lovecraft and the nihilism of Michel Houellebecq, Huysman's fascination with evil and gore, history and the gothic is clear, although one can be left with the impression of gutter press themes cloaked in a literary veil. As the first, and the darkest, in a tetralogy about conversion to Catholicism there is at least the hope of redemption to follow.' Sophia Martelli in The Observer

Teodorico Raposo, the novel's anti-hero, is a master of deceit; one minute feigning devotion in front of his rich, pious aunt, in order to inherit her money, the next indulging in debauchery. Spurred on by the desire to please his aunt, and in order to get away from his unfaithful mistress, he embarks on a journey to the Holy Land in search of a holy relic. The resulting fiasco is a masterpiece of comic irony as religious bigotry and personal greed are mercilessly ridiculed. 'Eca de Queiroz wrote in an elegant, clear prose. He was also a satirist with great eye for details who described in his novels the absurdities of the society around him, and living in Portugal he was never short of absurd things to make fun of. Here he attacks religion, greed, gullibility and hypocrisy, always with irony and humor, which makes The Relic a very light and enjoyable 'experience. -' World Literature Forum

Certain Artists makes for compelling reading. Huysmans' idiosyncratic assessments throw light on his aesthetic preoccupations, past and present, and hint at the spiritual journey he was about to undertake. It includes over 140 black and white illustrations, as well as an introduction, setting the book in the context of its time, comprehensive notes, and a glossary of the artists mentioned. First published in 1889, but never before translated into English, this second collection of J.-K. Huysmans' art criticism serves as a companion to the author's iconoclastic Modern Art (L'Art moderne) of 1883. Unlike the earlier volume, Huysmans wastes little time lambasting the art of the establishment, the Academic painters whose work had lined the annual Salon for years. Instead, he concentrates on a series of his own artistic enthusiasms, which he explores with his trademark spleen and invective. There are extended analyses of Edgar Degas's controversial portraits of women at their toilette; of Odilon Redon's monstrous and disturbing engravings, of Gustave Moreau's heiratic paintings that had such a powerful influence on Against Nature; and of Felicien Rops, whose Satanic engravings, particularly his images of women as agents of the devil, would haunt Huysmans' subsequent novel, Là-bas, of 1891.

The White Dominican is Meyrink's most esoteric novel, and draws on the wisdom of a number of mystical traditions, the most important of which is Tao. It is set in a mystical version of the Bavarian town of Wassserburg which sits on a promontory surrounded on three sides by the river Inn. The novel describes the spiritual journey of the simple hero, who, guided by a number of figures including his eccentric father, the spirit of of a distant ancestor, the protecting presence of his dead lover and the mysterious figure of the White Dominican, escapes the 'Medusa head' of the world to a transfiguration, through which he joins the 'living chain that stretches to infinity'.

J.-K. Huysmans Stranded (En Rade 1887), published just three years after the iconoclastic Against Nature, sees him again breaking new ground and pushing back the boundaries of the novel form. Stamped throughout with his characteristic black humour, Stranded is one of Huysmans most innovative, most imaginative works. Jacques waking reveries and daydreams are balanced by a succession of dreams and nightmares that explore the seemingly irrational, often grotesque, world of unconscious desire, producing a series of images that are as unforgettable and unsettling as anything to be found in the decadent fantasies of Against Nature, or the satanic obsessions of L-bas. Hounded by creditors and gripped by a deep existential gloom, Jacques Marles decides to flee Paris for the countryside, hoping to find shelter from the financial storms raging around his head, hoping to find peace. But Jacques soon discovers he cannot escape the problems of modern city life by hiding in the country. Stuck with his sick wife, Louise, in an abandoned chteau that seems to be rotting to pieces around them, Jacques waits for money to arrive with nothing to do but give himself up to his increasingly disturbing dreams

The stories in The Angels of Perversity are key examples of early Symbolist prose shaped and inspired by the French Decadent consciousness and must rank among the best short stories of the 1890s.The tone of the stories is unique, with an unusual mixture of decadence and eroticism, balanced by an ironic and sentimental view of the world. "Anatole France called Remy de Gourmont (1858-1915) the 'greatest living French writer'. The stories Francis Amery has collected and translated under the not inappropriate title The Angels of Perversity are from the first half of Gourmont's career, when, as a writer of short fictions he established himself as a significant figure in the Symbolist movement." --Adrian Tahourdin in The Times Literary Supplement

Serafino is a typical Pirandellian anti-hero, a spectator rather than a participant in the tragi-comedy of human existence. Indeed he has the perfect job for it, that of a film cameraman. Serafino is an observer, an impersonal tool of a new industry based on make-believe. All he has to do is turn the handle of his camera and watch. He has no part in what is going on and is so removed from life that the mauling of an actor by a tiger cannot deflect him from filming the action. The Notebooks of Serafino Gubbio is set in Rome circa 1915, partly on a film set, partly in the city.

This is the first English translation of Chasing the Dream, Liane de Pougy's first novel, published in 1898 when she was 29. It is the story of a courtesan in search of true love which repeatedly proves ungraspable - insaisissable. Josiane de Valneige is young, beautiful and rich. She is also exhausted, depressed and despairing. Although scores of wealthy Parisians have been her lovers, she has loved none in return. And despite Josiane's fame as one of the fin-de-siecle's grandes horizontales, fêted in every gossip column, the journey to success has revealed a flaw in her character: she has a heart. Her real self is never engaged. It is not enough to be universally loved. She needs, she yearns, to give her heart.

The Other Side tells of a dream kingdom which becomes a nightmare, of a journey to Pearl, a mysterious city created deep in Asia, which is also a journey to the depths of the subconcious, or as Kubin himself called it, 'a sort of Baedeker for those lands which are half known to us'. Written in 1908, and more or less half way between Meyrink and Kafka, it was greeted with wild enthusiasm by the artists and writers of the Expressionist generation. ' Expressionist illustrator Kubin wrote this fascinating curio, his only literary work in 1908. A town named Pearl, assembled and presided over by the aptly named Patera, is the setting for his hallucinatory vision of a society founded on instinct over reason. Culminating apocalyptically - plagues of insects, mountains of corpses and orgies in the street - it is worth reading for its dizzying surrealism alone. Though ostensibly a gothic macabre fantasy, it is tempting to read The Other Side as a satire on the reactionary, idealist utopianism evident in German thought in the early twentieth century, highly prescient in its gloom, given later developments. The language often suggests Nietsche. The inevitable collapse of Patera's creation is lent added horror by hindsight. Kubin's depiction of absurd bureaucracy is strongly reminiscent of Kafka's The Trial, and his flawed utopia, situated next to a settlement of supposed savages, brings to mind Huxley's Brave New World; it precedes both novels, and this superb new translation could demonstrate its influence on subsequent modern literature.' Kieron Pim in Time Out It will appeal to fans of Mervyn Peake and readers who like the darkly decadent, the fantastic and the grotesque in their reading.

"Of the volumes available to the English public, The Green Face, first published in 1916, is the most enjoyable. In an Amsterdam that very much resembles the Prague of The Golem, a stranger, Hauberisser, enters by chance a magician's shop. The name on the shop, he believes, is Chidher Green; inside, among several strange customers, he hears an old man, who says his name is Green, explain that, like the Wandering Jew, he has been on earth 'ever since the moon has been circling the heaven.' When Hauberisser catches sight of the old man's face, it makes him sick with horror. The face haunts him. The rest of the novel chronicles Hauberisser's quest for the elusive and horrible old man." Alberto Manguel in The Observer

First published on the eve of the First World War, Keyserling's masterpiece offers a vivid portrait of a society on the verge of dissolution. A group of German aristocrats gathers at a seaside village on the Baltic Sea for a summer holiday in the early years of the twentieth century. The characters represent a cross-section of the upper classes of imperial Germany: a philandering baron, his jealous wife, a gallant cavalry officer, the elderly widow of a general, a cynical government official, a lady's companion. Their lives, even on holiday, are regulated by rigid protocol and archaic codes of honour. But their quiet, disciplined world is thrown into disarray by the unexpected presence of Doralice, a young countess who has rebelled against social constraints by escaping from an arranged marriage and running away with a bourgeois artist.

Toomas Nipernaadi is one of the more peculiar works in the Estonian literary canon, and its eponymous male protagonist is without doubt one of the most exciting characters in the language. First of all he seems merely to be a man who travels from place to place charming people and telling stories, only to forget it all in the blink of an eye. But perhaps, more than anybody, it is precisely he who remembers. Perhaps all the hearts he touches will remain dear to him. The idea of Toomas Nipernaadi is said to have come to Gailit when he heard a man's echoing footsteps in a Berlin theatre, and those who wish to will hear this sound in the text of his novel. In many ways the protagonist can be seen as the writer's alter ego. Those close to Gailit knew that beneath his self-confidence and brio, a tender and melancholy soul was hiding, which the reader will no doubt be able to recognise in Toomas Nipernaadi. Since it was first published in 1928, the book has conquered one heart after another, and it will charm many coming generations. Besides other things, it captures the dream-like summer of Estonia: brief yet eternally recurring.

The Continuation is Grimmelshausen's 'pilgrim's progress', the concluding chapter in one of the greatest and most acclaimed German novels. It combines fantastic episodes with a realistic narrative style. At the end of his original adventures his hero withdraws from the world to live as a hermit in the Black Forest. Now, after a vivid dream of the Devil and all his minions at work, he decides to become a pilgrim and visit the holy places, making his way, with various encounters, across Switzerland to Italy, where he takes passage on a ship to Egypt. Outside Cairo he is captured by Arab robbers who take him to the Red Sea, exhibiting him as a wild man from the desert. Rescued by European merchants, he embarks on a ship to return home via the Cape of Good Hope, but the ship is wrecked and, 50 years before Robinson Crusoe, he is marooned on a desert island.

Courage is one of most indomitable women in European literature and a feminist icon for our times. The Life of Courage (first published in 1670), one episode from whose life Brecht used as the basis for his Mother Courage, is the female counterpart to Simplicissimus. A young girl caught up in the turmoil of the Thirty Years War, she survives, even prospers, by the use of her native cunning and sexual attraction. Completely amoral, she flits from man to man, having a succession of husbands and lovers, and ends her life with a band of gypsies. Courage supposedly tells her story to get her own back on Simplicissimus, who treats her rather dismissively in his memoirs. Her method is to reveal the truth about herself, including the fact that she was recovering from the pox at the time of their affair, so that he will be tarred with the same brush. The result is a lively account of lechery, knavery and trickery told with disarming frankness and a complete lack of remorse. It will appeal to anyone who likes a rollicking good yarn and a bit of knavery in their reading.

Mike Mitchell's new translation replaces S. Goodrich's 1912 version of the first German bestselling novel. Simplicissimus is the eternal innocent, caught in the middle of the Thirty Years War. The novel follows a boy from the Spessart named Simplicius in the Holy Roman Empire during the Thirty Years War as he grows up in the depraved environment and joins the armies of both warring sides, switching allegiances several times. Born to an illiterate peasant family, he is separated from his home by foraging dragoons and is eventually adopted by a forest hermit. He is conscripted at a young age into service, and from there embarks on years of foraging, military triumph, wealth, prostitution, disease, travels to Russia, and countless other adventures.

A classic Portuguese novel translated here into English by Margaret Jull Costa. Follows the fortunes of widower Richard Whitestone who regularly re-reads "Tristram Shandy", his wise daughter and romantic son.

Mike Mitchell has revised his translation and a new introduction has been added. 'A superbly atmospheric story set in the old Prague ghetto featuring the Golem, a kind of rabbinical Frankenstein's monster, which manifests every 33 years in a room without a door. Stranger still, it seems to have the same face as the narrator. Made into a film in 1920, this extraordinary book combines the uncanny psychology of doppelganger stories with expressionism and more than a little melodrama... Meyrink's old Prague -- like Dickens's London -- is one of the great creation of city writing, an eerie, claustrophobic and fantastical underworld where anything can happen.' Phil Baker in The Sunday Times

The first English translation of Huysmans' seminal art book, analysing work by a range of key figures including Paul Gauguin, Mary Cassatt and Edouard Manet.

''''The greatest book by Portugal''s greatest novelist.'' Jose Saramago. The Maias is part of Dedalus'' project to make all of Eca de Queiroz'' major works available in English. Margaret Jull Costa''s translation of The Maias won both The Pen and The Oxford Weidenfeld Translation Prizes. According to Publishers Weekly, ''This novel stands with the great achievements of fiction.''

Some of Grabinski's best stories, including a watchmaker whose death stops all the town clocks, and a phantom train that always turns up unannounced.