World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
Softcover, 296 pages, 13.3 x 20.6 cm
Published by Sternberg Press / Berlin
$38.00 - In stock -
This collection of essays does not aim to illustrate a prefabricated theory of art, but rather follows the impulses given by artworks themselves. Philosopher and art critic Boris Groys writes about significant works and artists over the last century that have pushed his thinking in new directions. His compelling arguments do not try to replace the singular content or message of an artwork. Instead, his writings are inspired by art as a mind-changing practice—as if contemporary artists, completely secularized, can still produce a kind of conversion within the spectator. Particular Cases is an original exploration of pivotal concerns related to the development of contemporary art—originality and repetition, the valuation of artworks, materiality and production, historical and personal archives, and the language of power.
Featuring essays on Paweł Althamer, Francis Alÿs, Yael Bartana, Paul Chan, Olga Chernysheva, Marcel Duchamp, Peter Fischli and David Weiss, Martin Honert, Rebecca Horn, IRWIN, Wassily Kandinsky, Piero Manzoni, Anri Sala, Thomas Schütte, Mladen Stilinović, Inga Svala Thorsdottir and Wu Shanzhuan, Jeff Wall, Andy Warhol
Design by Chad Kloepfer
$50.00 - Out of stock
Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism’s retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer’s endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going.
In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk’s social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.
Artists surveyed include:
Chantal Akerman, Francis Alÿs, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet Zweig
Ina Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven Lütticken, John Miller, Agné Narušyté, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev
About the Author
Tom McDonough is Associate Professor of Art History at Binghamton University, State University of New York. He is the author of “The Beautiful Language of My Century”: Reinventing the Language of Contestation in Postwar France, 1945–1968 (MIT Press)
From the "Documents of Contemporary Art" series.
Softcover, 236 pages, 21.5 x 27.5 cm
1st Edition, Out of print title / Used*,
Published by Wolf & Sohn / Munich
$60.00 - Out of stock
"Möbel als Kunstobjekt" ("Furniture as Art Object") was published in 1987 to accompany an exhibition of the same name held in Munich in 1987-1988.
This heavily researched book profiles an amazing selection of fine artists, designers, and architects that have challenged the field of furniture design and experimented with furniture design forms in their practice. It traces a long history of furniture as a field of endless provocative artistic forms and publishes here alongside essays and timelines, profiles and illustrated examples of work from no less than: Peter Josef Abels, Volker Albus, Sandra Antal, Ron Arad, Richard Artschwager, Elvira Bach, Joachim Bandau, Joseph Beuys, Bernhard Johannes Blume, Rudolf Bott, Heinrich Brummack, Marcel Breuer, Carlo Bugatti, Scott Burton, Tony Cragg, Miles Davies, Otto Dressler, Andre Dubreuil, Charles Eames, Egon Eiermann, Hildegard Erhard, Suzan Etkin, Rainer Fettin, Uwe Fischer/Klaus Achim Heine, Peter Fischli/David Weiss, Wolfgang Flatz, Rupprecht Geiger, Frank Gehry, Jochen Gerz, Walter Gropius, Al Hansen, Christian Hasucha, Wolfgang Hausler, Anne Jud, Donald Judd, Bruno K., Margaret Kelley, Martin Kippenberger, Jurgen Klauke, Imi Knoebel, Lawrence Compton Kolawole, Huub Kortekaas, Shiro Kuramata, Heinz Landes, Wolfgang Laubersheimer, El Lissitzky, Adolf Loos, Inge Mahn, Wasa Marjanov, Peter Monnig, George Nelson, Meret Oppenheim, Aribert von Ostrowski, Bruno Paul, Sarah Pelikan, Gaetano Pesce, Pino Poggi, Gerrit Rietveld, Thomas Ruff, Reiner Ruthenbeck, Denis Santachiara, Berthold Schepers, Karl Friedrich Schinkel, Klaus Schmitt, Ettore Sottsass, Daniel Spoerri, Patricia Maria Staudenhochtl, Stiletto, Axel Stumpf, Gunther Uecker , Timm Ulrichs, Karl Valentin, Hermann Waldenburg, Rupert Walser, Helmut Weber, Herbert Jakob Weinand, Stefan Wewerka, Georg Wirsching, Carl Emanuel Wolff, Bernd Zimmer, Stefan Zwicky... and so many more.
Hardcover, 400 pages, 20.5 x 24 cm
Published by Prestel / Munich
$100.00 - Out of stock
Heavy, definitive volume on the history of work by Peter Fischli and David Weiss, with texts and contributions by Ann Goldstein, Isabelle Graw, Anne Wheeler, and John Kelsey.
Throughout the course of their collaboration, Peter Fischli and David Weiss celebrated the sheer triviality of everyday existence, observing the world with bemused detachment. As this book shows, their often humorous work offers a sustained reflection on the intertwined strands of leisure, productivity and playful absurdity that shape our lives. With its deliberately mundane subject matter and quotidian source material, their work explores the poetics of banality in a wide range of mediums, including photography, videos, slide projections, films, books, sculptures and multimedia installations. This retrospective volume features an in-depth, illustrated survey of the artists' long history of collaboration, from the early Sausage Series (1979)-staged vignettes created in miniature using deli meats and various household items-to their last work, the large-scale public installation Rock on Top of Another Rock (2010-13), augmented by archival images, notes on process and interview excerpts culled from the artists' Zurich-based archives.A series of probing essays on their practice and thematic concerns rounds out this definitive account of Fischli and Weiss's vital contribution to contemporary art.
Hardcover (clothbound), 380 pages, 27 x 18 cm
Published by Walther König / Köln
$85.00 - In stock -
Plötzlich diese Übersicht is a loose collection of over 350 hand-sculpted, unfired clay figures, is one of those artworks that is very familiar even to those who are not all that interested in art.
Fischli and Weiss have created a masterpiece, using an entirely unspectacular material to form sculptural snapshots that sparkle with cheerful wit: sketched models of everyday situations and objects; clay reproductions that reveal the absurdity and artificial normality of the ordinary.
Alongside them are semi-freely imagined scenes and events from history, culture, entertainment, sport and assorted memories from their own biographies, immortalised in emblematic scenarios.
The titles, with their characteristic subtle mockery, fragmentary encyclopadic knowledge and serious irony, are an integral part of the work.
This expansive catalogue raisonné art book gives an overview of the ‘Overview’. Moreover, the superb illustrations reveal the sculptural aspect of this multipartite work, begun in 1981, the quality and continued relevance of which goes beyond the sly humour of language and creative skill.
Softcover (loose-leaf bound in ribbon), 160 pages, 20 x 26.5 cm
Published by Walther König / Köln
$46.00 - In stock -
Flowers & Mushrooms is the new and improved release of the previously published artists’ book from 1999.
Bursting with luscious colour and consisting of multiple superimposed images these photographs by Peter Fischli and David Weiss navigate the fine line between beauty and kitsch.
From 1997—98, the artists spent countless hours documenting gardens and mushroom patches, thoughtfully crafting intoxicating compositions.
The book is released on the occasion of the exhibition Fischli/Weiss: How to Work Better at the Guggenheim Museum, New York and the Museu Jumex, Mexico City in 2016.
2016, German (originally 1981)
Softcover (staple-bound), 48 Pages, 10.3 x 14.6 cm
Published by Nieves / Zurich
$15.00 - In stock -
Peter Fischli (1952) and David Weiss (1946–2012) began their 33-year collaboration in 1979. Resisting any specific style, medium, or material, their work explores the poetics of banality – the sublimity of the objects and events constituting everyday life. Indebted to Dada, Surrealism, Pop Art, and Conceptual Art, their photographs, videos, slide projections, films, books, sculptures, and multimedia installations rely on keen observation and uncanny wit.
Throughout the course of their partnership, Fischli and Weiss probed the idea of dualistic thinking. Perhaps because they were a team of two involved in constant dialogue and debate, they consistently interrogated Western culture’s reliance on contraries. In one way or another, everything they produced together playfully unravels what the artists understood to be “popular opposites” – labor versus leisure, fiction versus reality, kitsch versus beauty, and the banal versus the sublime. The artists embodied this approach in their alter egos, Rat and Bear, who, for all their differences (rats being ugly and ubiquitous while pandas are lovable and endangered), appear as equal partners in their various misadventures. Rat and Bear surface throughout Fischli and Weiss’s work in a range of forms, including appearances in the early films The Least Resistance (1980–81) and The Right Way (1983); as “authors” of the artists’ book Order and Cleanliness (1981); and as a sculpture, Rat and Bear (Sleeping) (2008).
The booklet Ordnung und Reinlichkeit (Order and Cleanliness, 1981) accompanied the Rat and Bear films and is crammed with charts and diagrams, each attempting to impose a crazed order on the world. The original booklet was a self produced booklet, comprising a set of 15 photocopies on sale following the first showing of The Least Resistance at a late-night screening in Zurich.
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
ISSUE NO. 100
“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”
ISSUE NO. 100 / DECEMBER 2015 “THE CANON”
TABLE OF CONTENTS
TOM HOLERT IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?
MORE MANNERISM / Ruth May and Jan Molzberger
EMBEDDED NUDES / Arno Rink
ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005
POST-INTERNET: THE NEW ORDER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!
ALICE CREISCHER AND ANDREAS SIEKMANN
PAMELA M. LEE
TOWARD A CANONIC FREEDOM
FALLING APART, TOGETHER
ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon
GREAT & SMALL
CANON OF EXISTENCE, ETHICS OF THE BREAK
ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”
VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie
AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York
ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City
WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art
IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München
HERE'S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York
WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco
PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015) by Tim Griffin
PETER FISCHLI/DAVID WEISS
Softcover, 240 pages, 145 x 210 mm
$43.00 - Out of stock
Edited by Antony Hudek
Artists increasingly refer to “post-object-based" work while theorists engage with material artifacts in culture. A focus on “object-based" learning treats objects as vectors for dialogue across disciplines. Virtual imaging enables the object to be abstracted or circumvented, while immaterial forms of labor challenge materialist theories. This anthology surveys such reappraisals of what constitutes the “objectness" of production, with art as its focus.
Among the topics it examines are the relation of the object to subjectivity; distinctions between objects and things; the significance of the object’s transition from inert mass to tool or artifact; and the meanings of the everyday in the found object, repetition in the replicated or multiple object, loss in the absent object, and abjection in the formless or degraded object. It also explores artistic positions that are anti-object; theories of the experimental, liminal or mental object; and the role of objects in performance. The object becomes a prism through which to reread contemporary art and better understand its recent past.
Artists surveyed include
Georges Adéagbo, Art in Ruins, Iain Baxter, Louise Bourgeois, Pavel Büchler, Lygia Clark, Claude Closky, Brian Collier, Jimmie Durham, Fischli & Weiss, Luca Frei, Meschac Gaba, Isa Genzken, Gruppe Geflecht, Eva Hesse, Mike Kelley, John Latham, Antje Majewski, Gustav Metzger, Cady Noland, Gabriel Orozco, Adrian Piper, Falke Pisano, Eva Rothschild, Aura Satz, Kenneth Snelson, Hito Steyerl, Josef Strau, Alina Szapocznikow, Joelle Tuerlinckx, Erwin Wurm
Homi K. Bhabha, Jack Burnham, Ewa Lajer-Burcharth, Lynne Cooke, Gillo Dorfles, Jean Fisher, Ferreira Gullar, Charles Harrison, Paulo Herkenhoff, Julia Kristeva, Bruno Latour, Bracha Lichtenberg-Ettinger, Jean-Fran?ois Lyotard, Lev Manovich, Ursula Meyer, Bruno Munari, Georges Perec, Hans-Jorg Rheinberger, Dieter Roelstraete, Howard Singerman, Nancy Spector, Marcus Steinweg, Anne Wagner, Gérard Wajcman, Slavoj Zizek
$60.00 - Out of stock
Swiss writer Robert Walser (1878-1956) worked as a bank clerk, a butler in a castle, and an inventor's assistant, and produced nine novels and more than a thousand stories. He stopped writing in 1933 when he was hospitalized for mental illness, declaring, "I am not here to write, but to be mad."
Robert Walser wrote many of his manuscripts in a highly enigmatic, shrunken-down form. These narrow strips of paper (many of them written during his hospitalization in the Waldau sanatorium) covered with tiny ant-like markings only a millimeter or two high, came to light only after the author's death in 1956. At first considered a secret code, the microscripts were eventually discovered to be a radically miniaturized form of a Germanic script: a whole story could fit on the back of a business card. Selected from the six-volume German transcriptions from the original microscripts, these twenty-five short pieces are gathered in this gorgeously illustrated co-publication with the Christine Burgin Gallery. Each microscript is reproduced in full color in its original form: the detached cover of a trashy crime novel, a disappointing letter, a receipt of payment. Sometimes Walser used the pages of small tear-off calendars (but only after cutting them lengthwise and filling up each half with text). Schnapps, rotten husbands, small town life, the radio, pigs (and how none of us can deny being one), jealousy, Van Gogh and marriage proposals are some of Walser's subjects. These texts take strength from Walser's motto: "To be small and to stay small."
W.G. Sebald called Robert Walser "a clairvoyant of the small," and nowhere is the phrase more apt than in his "microscripts."
“The incredible shrinking writer is a major twentieth-century prose artist who, for all that the modern world seems to have passed him by, fulfills the modern criterion: he sounds like nobody else.” — Benjamin Kunkel, The New Yorker
“One of the profoundest products of modern literature.” - Walter Benjamin
Translated by Susan Bernofsky. Contributions by Walter Benjamin.
Prize-winning translator Susan Bernofsky has translated numerous works by Robert Walser including The Microscripts, The Tanners, and The Assistant. She is currently at work on a biography of Robert Walser
Walter Benjamin was a German-Jewish Marxist literary critic, essayist, translator, and philosopher. He was at times associated with the Frankfurt School of critical theory and is the author of Illuminations, The Arcades Project, and The Origin of German Tragic Drama.