Thomas Mann's last great novel, first published in 1947 and now newly rendered into English by acclaimed translator John E. Woods, is a modern reworking of the Faust legend, in which Germany sells its soul to the Devil. Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul—and the ability to love his fellow man.

In this first volume subtitled ‘The Stories of Jacob', Mann begins with a meditative prelude named “Descent into Hell”, which contextualises the story against a variety of historical, mythological, and historical contexts, before moving on to the story of Joseph's father Jacob. The following chapters follow Jacob as we learn of him stealing his brother's birthright, before fleeing to his uncle Laban and his later marriages to Rachel and Leah.

Central Europe has long been infamous as a region beset by war, a place where empires clashed and world wars began. In The Middle Kingdoms, Martyn Rady offers the definitive history of the region, demonstrating that Central Europe has always been more than merely the fault line between West and East. Even as Central European powers warred with their neighbors, the region developed its own cohesive identity and produced tremendous accomplishments in politics, society, and culture.

In this acclaimed biography that earned him a spot on Nixon's infamous "enemies list," Garry Wills takes a thoughtful, in-depth, and often "very amusing" look at the thirty-seventh US president, and draws some surprising conclusions about a man whose name has become synonymous with scandal and the abuse of power (Kirkus Reviews).

John Donne, Andrew Marvell, George Herbert, Thomas Carew, and Henry Vaughan: these were some of the 17th-century writers who devised a new form of poetry full of wit, intellect and grace, which we now call Metaphysical poetry. They wrote about their deepest religious feelings and their carnal pleasures in a way that was radically new and challenging to their readers. Their work was largely misunderstood or ignored for two centuries, until 20th-century critics rediscovered it, finding in it a deep originality and a willingness to experiment.