A relevant and important book, as it can serve as a comforting, perspective-providing read for people who fear death. Because—and this is what makes it such a fascinating book—the 150 respondents’ approach to the book’s central theme is almost without exception characterized by interest, curiosity, and “down-to-earth” thinking. In fact, only one person mentioned immortality in their wish. Instead, the desire for a world with fewer conflicts emerged. Or the wish to leave something sustainable behind in the realm of art.

It was to be expected that the answers would be individual in nature. But it is precisely this complexity that surprises even Lüscher herself: “One might think that many people wish to die in their sleep. But no—this wish appears only once among the150 respondents. People want to understand and experience what is happening,” summarizes the 89-year-old artist and recipient of the Prix Meret Oppenheim.

Please note: This is a German language edition.

Reading a novel by Ben Lerner is intellectual work. It is casual learning. It is a magnificent twist, time and again. It is the art of dialogue at its finest. It is profound joy. Of course: that’s too absolute and too sweeping a statement; reading is and always will be an individual, subjective adventure. But when countless people from different cultural backgrounds tend toward very similar conclusions, there must be more to it than meets the eye.

Newcomers to Lerner’s work should ideally start with his debut novel, Leaving the Atocha Station, which contains all these elements—often in a powerful form, it should be noted. Or with Transkription, his latest work. In it, the existential question at the heart of the story is what can happen when someone, due to a mishap that is strangely just accepted as such, finds themselves in a situation that would have been more or less routine, but which, because of the incident, develops a completely different dynamic.

Please note: This is a German language edition.

The book American Images—the catalog accompanying photographer Dana Lixenberg’s major traveling exhibition—attempts the impossible: namely, to bring together a 30-year span and diverse projects, such as editorial portraits and the award-winning long-term study "Imperial Courts" (1993–2015) from Watts, Los Angeles.

But instead of failing, the book succeeds in offering a revelation in form of a sort-of retrospective, demonstrating page by page what the Dutch photographer can do like few others: capturing the essence of the human being, independent of the complex context of their biography. Or as Aesthetica Magazine writes in its review of the exhibition, which runs through May 24 at the Maison Européenne de la Photographie (MEP) in Paris: “By returning to the same places over decades and working with the same people, she transforms the camera from an instrument of appropriation into a tool of dialogue and memory.”

Most books published to date that focus on the iconic Parisian bookstores “La Maison des Amis des Livres” and “Shakespeare and Company”—and amorous co-owners, Adrienne Monnier and Sylvia Beach, whose shops were practically across the street from each other on Rue de l’Odéon—deal with the heyday of the interwar years. That is, the time when the avant-garde circle around Ernest Hemingway, T. S. Eliot, André Gide, Ezra Pound, D. H. Lawrence, Gertrude Stein, and Man Ray turned the shops into the famous intellectual circle that Monnier liked to call “Odéonia.”

Uwe Neumahr takes a different approach: In Die Buchhandlung der Exilanten he also addresses these aspects and stories, but broadens the historical focus to include WWII and beyond. This gives us insight into fateful turns in the biographies of the two heroic protagonists... and allows us to experience Hemingway as a U.S. soldier liberating the Rue de l’Odéon!

Please note: This is a German language edition.

Bruno Ganz (1941—2019) was one of Europe's most important actors and a fan favorite. From the working-class district of Zurich-Seebach, he has made it onto the most important stages of German-language theatre and excelled in productions by Luc Bondy, Klaus Michael Grüber, Peter Stein and Peter Zadek. With more than 100 roles in films by directors such as Francis Ford Coppola, Theo Angelopoulos, Wim Wenders, Alain Tanner, Sally Potter, Eric Rohmer and Ridley Scott, Ganz has written cinema history.

To this day, there is no book about the life and work of Bruno Ganz, because he was always reluctant to write a biography. Zurich-based film critic Walter Ruggle conceived this book together with the actor. It explores his life and work by tracing more than 100 film characters he has portrayed.

Schau Spiel Bruno Ganz is an tribute to the outstanding actor and a unique documentation of his art.

Please note: This is a German language edition.

Cats (aka cats, felines, furry noses, kitties, pussies, velvet paws, etc.), owners know this, are idiosyncratic animals. And idiosyncratic animals like to take their own paths. To do so, they naturally need special architectural structures—especially when it comes to finding their way to the food bowl or favorite sleeping spot.

Such structures are called cat stairs. The fact that this mundane term rarely does justice to the actual thing is underscored by the book Catwalk Stories by photographer Francisco Paco Carrascosa, graphic designer Emanuel Tschumi, and art historian Matthias Oberli. The trio traveled across Switzerland, capturing the objects of their desire in documentary style, staging them cleverly—supplementing them with facts, figures, and charming stories.

This original roundup of cat stairs is complemented by a smorgasbord of feline pop culture, ranging from knick-knacks to trash, loosely following the motto: “Cat(ch) as cat(ch) can!”

Please note: This is a German language edition.

Architects, historians, and theorists have had a weird obsession with fascist architecture since postmodernism. Why? And who are the antifascist architects? What does antifascist architecture look like? Antifascist Architecture is the first attempt at creating a working definition of antifascist architecture after academia has spent decades fetishizing fascist architecture.

Brilliant scholarship has of course been presented about anti-colonial architecture, liberation architecture, and so forth. Yet antifascist architecture is an avenue that remains to be explored. This book does just that, offering a kaleidoscopic, peripatetic bricolage of architects who heroically aligned themselves with antifascist struggles, buildings made in the name of antifascism, and a call to arms for antifascist utopian futures. It is written for students and practitioners of architecture, but also activists and scholars in the social sciences who are interested in antifascist history, theory, and practice.