| Prologue: The ellipsis: Fyodor Dostoyevsky's Notes from underground -- Part 1: Breaking the vessels. The vivisector: H.G. Wells's The Island of Doctor Moreau -- The abyss: Andre Gide's The immoralist -- Shutter time: Alfred Kubin's The other side and Franz Kafka's Amerika -- Youth and age: Colette's Claudine at school and Rudyard Kipling's Kim -- The American sentence: Gertrude Stein's Three lives -- A world of literature: Machado de Assis's The posthumous memoirs of Bras Cubas and Natsume Soseki's Kokoro -- Hippe's pencil: Thomas Mann's The magic mountain -- What did you do in the war? Marcel Proust's In search of lost time and James Joyce's Ulysses -- Part 2: A scattering of sparks. For there she was: Virginia Woolf's Mrs. Dalloway -- Nick stands up: Ernest Hemingway's In our time -- Critic as creator: Robert Musil's The man without qualities -- The human and the inhuman: Italo Svevo's Confessions of Zeno and Jean Rhys's Good morning, midnight -- The exception: D. H. Lawrence's Sons and lovers and The rainbow -- The end: Hans Erich Nossack's The end and Vasily Grossman's Life and fate -- Part III: The withdrawal. Don't cry: Anna Banti's Artemisia and Chinua Achebe's Things fall apart -- Reflections on damaged life: Vladimir Nabokov's Lolita and Alejo Carpentier's The lost steps -- The whole story of America: Ralph Ellison's Invisible man -- Boom: Gabriel Garcia Marquez's One hundred years of solitude -- Into the abyss: George Perec's Life a user's manual -- Being historical: Marguerite Yourcenar's Memoirs of Hadrian and Elsa Morante's History -- The enigma of arrival: V. S. Naipaul's The enigma of arrival -- Epilogue: W. G. Sebald's Austerlitz. |
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