In 1923, a group of young radical German thinkers and intellectuals came together, determined to explain the workings of the modern world. Their lives, like their ideas, profoundly, sometimes tragically, reflected and shaped the shattering events of the twentieth century.
Grand Hotel Abyss: The Lives of the Frankfurt School is a brilliant new group biography by Stuart Jeffries, looking at the enduring importance and influence of the Frankfurt School.To celebrate publication we bring you a Frankfurt School Bookshelf with 40% off Grand Hotel Abyss, alongside Walter Benjamin, Theodor Adorno, Max Horkheimer, Herbert Marcuse, & more. Ends on Friday September 23rd, and includes free worldwide shipping (and bundled ebooks where available).
We'll also be posting pieces & excerpts from works by Frankfurt School thinkers throughout the week, including a Frankfurt School Timeline by Stuart Jeffries. See everything here.
*** THE SALE IS NOW OVER - THANKS FOR ORDERING! ***
We’ve come to realize that our 90% off ebook sale has placed our readers in a dual crisis of both shortening time and expanding options, leaving many paralyzed or uncertain on how to navigate this vast terrain of radical ebooks. The task is certainly daunting. With a diverse list of authors ranging from Rosa Luxemburg
, Ellen Meiksins Wood
, Fredric Jameson
, David Harvey
, and Benedict Anderson
to Patrick Cockburn
, Liza Featherstone
, John Berger
, and Richard Seymour,
choosing the right bundle can be a challenge.
To celebrate Verso's new paperback edition of Erdmut Wizisla's Benjamin and Brecht: The Story of a Friendship, we present this selection of Walter Benjamin's diary entries on Bertolt Brecht, translated by Anya Bostock, which appeared in Aesthetics and Politics.
Benjamin and Brecht. Svendborg, Denmark, 1934.
4 July. Yesterday, a long conversation in Brecht’s sickroom about my essay "The Author as Producer." Brecht thought the theory I develop in the essay — that the attainment of technical progress in literature eventually changes the function of art forms (hence also of the intellectual means of production) and is therefore a criterion for judging the revolutionary function of literary works — applies to artists of only one type, the writers of the upper bourgeoisie, among whom he counts himself.