Here are 100 books that Walter Benjamin fans have personally recommended if you like
Walter Benjamin.
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I am an art historian and was professor of art history at MIT, Tufts, Harvard, and elsewhere. As an undergraduate I studied Jewish history and philosophy and subsequently was assistant editor at Schocken Books focusing on art history and history of ideas. My graduate work was in art history, first in medieval manuscripts and then 19th century French art. I’ve written four books, edited four others, and made 30 documentaries, mostly on art. The French government knighted me “Chevalier dans l’ordre des arts et des lettres.”
This book, unique in its construction, gave me a deeper insight into this leading author of the 20th century. We all know and may use the term “Kafkaesque” we don’t necessarily know from whence the term and its experience comes. This biography, drawing from Kafka’s own writings, documents his life in his own words. Glatzer has masterfully edited excerpts from the writer’s diaries, letters, and published works to create an autobiography that Kafka “contemplated but never wrote.” Kafka’s world view, the Kafkaesque, is vividly evoked.
I am an art historian and was professor of art history at MIT, Tufts, Harvard, and elsewhere. As an undergraduate I studied Jewish history and philosophy and subsequently was assistant editor at Schocken Books focusing on art history and history of ideas. My graduate work was in art history, first in medieval manuscripts and then 19th century French art. I’ve written four books, edited four others, and made 30 documentaries, mostly on art. The French government knighted me “Chevalier dans l’ordre des arts et des lettres.”
I met Svetlana in the last two years of her life and was deeply impressed by her brilliance in literature and the history of ideas and cultures. She died, tragically, in her mid 50s cutting short her extraordinary career, from childhood and youth in Soviet Russia to her stellar career as a Harvard professor of comparative literature. Of her seven books, this highly original study of nostalgia has been particularly important.
A ground breaking study about longing in its positive and negative forms, focusing on post-communist cities such as St. Petersburg, Moscow and Berlin, and writers Nabokov, Brodsky, and Kabakov. Erudite, brilliant, and witty, this is a great cross-genre study of our modern condition.
Combining personal memoir, philosophical essay, and historical analysis, Svetlana Boym explores the spaces of collective nostalgia that connect national biography and personal self-fashioning in the twenty-first century. She guides us through the ruins and construction sites of post-communist cities-St. Petersburg, Moscow, Berlin, and Prague-and the imagined homelands of exiles-Benjamin, Nabokov, Mandelstahm, and Brodsky. From Jurassic Park to the Totalitarian Sculpture Garden, Boym unravels the threads of this global epidemic of longing and its antidotes.
I am an art historian and was professor of art history at MIT, Tufts, Harvard, and elsewhere. As an undergraduate I studied Jewish history and philosophy and subsequently was assistant editor at Schocken Books focusing on art history and history of ideas. My graduate work was in art history, first in medieval manuscripts and then 19th century French art. I’ve written four books, edited four others, and made 30 documentaries, mostly on art. The French government knighted me “Chevalier dans l’ordre des arts et des lettres.”
Paul Mendes-Flohr is a great scholar of modern German Jewish philosophy. A man of extraordinary erudition and humanity, I am always moved by his deeply insightful books. His work means very much to me.
This is a superb biography of the Jewish philosopher Martin Buber, conveying the range of his thought in the context of his life and times. Mendes-Flohr captures the complexities of this influential thinker, who many know for his revolutionary concept of “I and Thou” in religion and human relations.
From the prizewinning Jewish Lives series, the first major biography in English in over thirty years of the seminal modern Jewish thinker Martin Buber
"A scrupulously researched, perceptive biography."-Robert Alter, New York Times Book Review
An authority on the twentieth-century philosopher Martin Buber (1878-1965), Paul Mendes-Flohr offers the first major biography in English in thirty years of this seminal modern Jewish thinker. The book is organized around several key moments, such as his sudden abandonment by his mother when he was a child of three, a foundational trauma that, Mendes-Flohr shows, left an enduring mark on Buber's inner life, attuning…
I am an art historian and was professor of art history at MIT, Tufts, Harvard, and elsewhere. As an undergraduate I studied Jewish history and philosophy and subsequently was assistant editor at Schocken Books focusing on art history and history of ideas. My graduate work was in art history, first in medieval manuscripts and then 19th century French art. I’ve written four books, edited four others, and made 30 documentaries, mostly on art. The French government knighted me “Chevalier dans l’ordre des arts et des lettres.”
In this time of violence and rise of racism, authoritarianism, the Holocaust, the question of evil, its sources, its manifestations matter to me, and anyone of conscious. Glatzer lived through the rise of Nazism and Communism, and, as a person of religious faith, had to contend with the question of evil in our world today, and its challenges to religious belief. This book grew out of a course Prof. Glatzer taught over the years to thousands of students.
Job and the problem of evil was a central concern for Glatzer, as a scholar and as a humanist. In this book he compiles modern commentaries on the theme of Job, from Judaic, Christian and general philosophical tradition, including Kierkegaard and Martin Buber. In his lengthy introduction, Glatzer traces the interpretations from the Church Fathers, the medieval rabbis, and classical philosophers.
The contributors are: Leo Baeck, Martin Buber, Yehezkel Kaufmann, Leon Roth, Robert Gordis, Margarete Susman, Hans Ehrenberg, Jean Danielou, Ernest Renan, H. H. Rowley, Leonard Ragaz, Robert Lowth, J. G. Herder, Josiah Royce, Horace M. Kallen, Paul Weiss, Gilbert Murray, Arthur S. Peake, Emil G. Kraeling, W. O. E. Oesterley, T. H. Robinson, Hayim Greenberg, Rudolph Otto, G. K. Chesterton, Walter Kaufmann, H. Wheeler Robinson, James B. Conant, G. W. F. Hegel, Soren Kierkegaard, Seton Pollock, William Barrett, Marvin H. Pope, Archibald MacLeish.
I have always been fascinated by the relationship between the concept of time, history, and politics. My first publications were in the philosophy of history. I started by translating some Left Hegelians. Then I moved toward Kant and Benjamin. My research background was constituted by the attempt to liberate Marxism from any kind of teleological philosophy of history. Recently, I began digging into concrete historical cases to extract political and legal categories. I’m interested in the reactivation of past possibilities to reconfigure the present and open alternative futures. I am now fortunate to teach courses on Temporalities and History in the History of Consciousness Department at UCSC.
There are numerous reasons why this text should be read. Personally, Benjamin's reflections on progress and history are crucial to a critique of capitalist modernity.
From a methodological perspective, this text allows the reader to enter Benjamin's laboratory and grasp the essential aspects of his groundbreaking methodology that merged cultural analysis, historical research, and philosophical reflection. Benjamin's unique approach combined elements of sociology, anthropology, and literary critique, creating a multidisciplinary work that defied conventional boundaries.
"To great writers," Walter Benjamin once wrote, "finished works weigh lighter than those fragments on which they labor their entire lives." Conceived in Paris in 1927 and still in progress when Benjamin fled the Occupation in 1940, The Arcades Project (in German, Das Passagen-Werk) is a monumental ruin, meticulously constructed over the course of thirteen years--"the theater," as Benjamin called it, "of all my struggles and all my ideas."
Focusing on the arcades of nineteenth-century Paris-glass-roofed rows of shops that were early centers of consumerism--Benjamin presents a montage of quotations from, and reflections on, hundreds of published sources, arranging them…
I am a historian of cities and the ways people shape them. Living in Berlin, both before and after the Wall came down, made me aware of how the shared experiences and memories of particular places give meaning to civic life. (And for a historian it was thrilling to find a place where history was taken very seriously.) Although I have since written broader studies—of cars and cities (Autophobia) and of earlier street life (The Streets of Europe)–it was the experience of living in Berlin while learning its history that enabled me to see the layers of meaning embedded in buildings and streets.
There are many books about the glitz and the cultural icons that we associate with Weimar Berlin. This one gives us a broader and deeper picture. Instead of concentrating on a few writers and artists, it anchors the city’s creative explosion in mass-market newspapers and their readers, turning our eyes to people in the streetcars and cafés and the stories they read about their own lives. We can read about sensational crimes just as Berliners did, and we find the prototypes of modern art in the layout and content of newspapers and in the chaos of the streets where they are hawked.
The great cities at the turn of the century were mediated by words--newspapers, advertisements, signs, and schedules--by which the inhabitants lived, dreamed, and imagined their surroundings. In this original study of the classic text of urban modernism--the newspaper page--Peter Fritzsche analyzes how reading and writing dramatized Imperial Berlin and anticipated the modernist sensibility that celebrated discontinuity, instability, and transience. It is a sharp-edged story with cameo appearances by Georg Simmel, Walter Benjamin, and Alfred Doeblin. This sumptuous history of a metropolis and its social and literary texts provides a rich evocation of a particularly exuberant and fleeting moment in history.
Dina Gold is the author of Stolen Legacy: Nazi Theft and the Quest for Justice at Krausenstrasse 17/18, Berlin. After postgraduate degrees from London and Oxford universities, Dina spent over twenty years working as an investigative journalist and television producer at the BBC in London. She now lives in Washington DC and is a senior editor and film critic at Moment magazine.
If you are Jewish and have ambivalent feelings about visiting Berlin, then this could be the book for you. Leonard Barkan is a professor at Princeton where he teaches in the Department of Comparative Literature. A Jewish American, growing up in a secular New York family, his book is a personal reflection on traveling in the city.
Berlin for Jews is part history and part travel guide. Barkan shows how, in the early nineteenth century, Jews dominated the arts, sciences, and public life and the way in which, despite the horrors of the Nazi era, they left an indelible imprint on the Berlin of today. The book, described as a “love letter” to the city, takes the reader through some of the most iconic locations of Jewish life and describes the long-lost elegant Jewish suburbs, salons, writers, artists, politicians, philanthropists, art collectors, and intellectuals. And throughout, Barkan muses on what…
What is it like to travel to Berlin today, particularly as a Jew, and bring with you the baggage of history? And what happens when an American Jew, raised by a secular family, falls in love with Berlin not in spite of his being a Jew but because of it? The answer is Berlin for Jews. Part history and part travel companion, Leonard Barkan's personal love letter to the city shows how its long Jewish heritage, despite the atrocities of the Nazi era, has left an inspiring imprint on the vibrant metropolis of today. Barkan, voraciously curious and witty, offers…
As Iago says in Shakespeare’s Othello, “I am nothing if not critical,” and regardless of what he meant, it applies to me - my intelligence works best at scrutinizing things for their significance. I studied science, worked in the financial sector, read fiction, watched cinema, and developed a sense of the interconnectedness of things. If the connections existed, I thought, there could be no one way of approaching anything; all intellectual paths were valid and the only criterion of value was that it must be intelligent. My book tries to stick to this since a writer may hold any opinions, but he or she must show intelligence.
This is the work of a cultural sage with deep wisdom to offer on how political issues affect culture, especially literature.
It illuminated to me how significant cultural artifacts of high modernity like the short story as a phenomenon, the work of Charles Baudelaire in relation to the city, the plays of Bertolt Brecht, and the stories of Franz Kafka - that I had once been uncomfortable with because of their density - mattered and needed to be engaged with to make sense of the intellectual currents of the age.
To take my place among a culturally aware Benjamin is a writer I could not sidestep.
Essays and reflections from one of the twentieth century’s most original cultural critics, with an introduction by Hannah Arendt.
Walter Benjamin was an icon of criticism, renowned for his insight on art, literature, and philosophy. This volume includes his views on Kafka, with whom he felt a close personal affinity; his studies on Baudelaire and Proust; and his essays on Leskov and Brecht’s epic theater. Illuminations also includes his penetrating study “The Work of Art in the Age of Mechanical Reproduction,” an enlightening discussion of translation as a literary mode; and his theses on the philosophy of history.
I have been studying Jewish translation for over a decade now. I’m fascinated with the way translation enables dialogue between different languages and cultures without eliminating the differences that make such dialogue worthwhile. Most of my work has been dedicated to translation between Christians and Jews, but I’m also interested in the ways in which translation functioned (and continues to function) within Jewish culture as a means of conversation between different communities, classes, genders, and generations.
If I had to name one book that is almost the exact opposite of Toury’s, it is this one. Venuti’s book is the rare kind of scholarly book one reads over one or two sittings. It is angry, provocative, polemical, and just pure fun.
For Venuti, there is no separating fact from value, and whether it plans to or not, translation (and scholarship on translation) affects change in both text and world—often for the worst. If Toury’s book emulated scientific discourse, Venuti’s reads like a crossover between a political manifesto and a crime novel. Translation is a violent business, shrouded in suspicion and hidden agendas, that need to be exposed through symptomatic readings and critical analyses.
The book ends with a passionate call to action enlisting translators—despite the risks entailed therein—to develop new methodologies that will, as Venuti writes: “make a difference, not only at home [. . .] but…
Since publication over twenty years ago, The Translator's Invisibility has provoked debate and controversy within the field of translation and become a classic text. Providing a fascinating account of the history of translation from the seventeenth century to the present day, Venuti shows how fluency prevailed over other translation strategies to shape the canon of foreign literatures in English and investigates the cultural consequences of the receptor values which were simultaneously inscribed and masked in foreign texts during this period. Reissued with a new introduction, in which the author provides a clear, detailed account of key concepts and arguments in…
How might we live and write otherwise? I am preoccupied by this question, and am fairly certain that at minimum we have to start by imagining it. As a culture worker and writer I hope my projects and experiments do just this. There is so much to reinvent, and so much that interconnects us. I am inspired by the ways the authors of these books take on their times and passions, and tell stories in ways I find unexpected. Their abilities to integrate divergent avenues of thought, deep research, and truly weird characters and circumstances has lit my imagination and I hope it does yours as well!
I love this book. Dionne Brand conveys what it means to write through a crystalline web of ideas, poetry, and philosophy. Her profound, evocative, and real tale of imagined conversations between a poet and the clerk charged with dealing with their output is simultaneously familiar and fantastical. I got lost in the beauty of language only to be jolted into the realities of the world as it exists in all its beauty and awfulness.
On a lonely wharf a clerk in an ink-blue coat inspects bales and bales of paper that hold a poet’s accumulated left-hand pages—the unwritten, the withheld, the unexpressed, the withdrawn, the restrained, the word-shard. In The Blue Clerk renowned poet Dionne Brand stages a conversation and an argument between the poet and the Blue Clerk, who is the keeper of the poet’s pages. In their dialogues—which take shape as a series of haunting prose poems—the poet and the clerk invoke a host of writers, philosophers, and artists, from Jacob Lawrence, Lola Kiepja, and Walter Benjamin to John Coltrane, Josephine Turalba,…
