Enfilade

From Other Press, where one can also find a playlist for the book:

Ariel Dorfman, Allegro: A Novel (New York: Other Press, 2025), 272 pages, ISBN: ‎ 978-1635424485, $18.

This thrilling historical mystery starring Mozart tells of friendship and betrayal, and how music allows us to defy death—from the acclaimed author of Death and the Maiden and The Suicide Museum.

In 1789 Wolfgang Amadeus Mozart visits the grave of Johann Sebastian Bach in Leipzig, looking for a sign, a signal, an answer to an enigma that has haunted him since childhood: Was Bach murdered by a famous oculist? And years later, was Handel a victim of the same doctor? Allegro follows his investigation, from the salons of London to the streets of Paris, recreating an enthralling and turbulent time, full of rogues and brilliant composers, charlatans and presumptuous nobles. Running parallel to this search is the rise of Mozart, his knowledge and fame, his trials and losses.

Ariel Dorfman is a Chilean-American author, born in Argentina, whose award-winning books in many genres have been published in more than fifty languages and his plays performed in more than one hundred countries. Among his works are the plays Death and the Maiden and Purgatorio, the novels The Suicide Museum (Other Press, 2023), Widows, and Konfidenz, and the memoirs Heading South, Looking North and Feeding on Dreams. He lives with his wife Angélica in Santiago, Chile, and Durham, North Carolina, where he is the Walter Hines Page Emeritus Professor of Literature at Duke University.

The shortlist for this year’s International Booker Prize was announced on Tuesday. Included is the first installation Solvej Balle’s seven-part novel On the Calculation of Volume. As noted by Hilary Leichter in her review for The New York Times (25 January 2025), the central character is an antiquarian bookseller “specializing in illustrated works from the 18th century.” I’ve not yet read the book, but that feels just about perfect to me. –CH

From New Directions:

Solvej Balle, On the Calculation of Volume, Part I, translated from the Danish by Barbara Haveland (New Directions, 2024), 160 pages, ISBN: ‎978-0811237253, $16.

Tara Selter, the heroine of On the Calculation of Volume, has involuntarily stepped off the train of time: in her world, November eighteenth repeats itself endlessly. We meet Tara on her 122nd November 18th: she no longer experiences the changes of days, weeks, months, or seasons. She finds herself in a lonely new reality without being able to explain why: how is it that she wakes every morning into the same day, knowing to the exact second when the blackbird will burst into song and when the rain will begin? Will she ever be able to share her new life with her beloved and now chronically befuddled husband? And on top of her profound isolation and confusion, Tara takes in with pain how slight a difference she makes in the world. (As she puts it: “That’s how little the activities of one person matter on the eighteenth of November.”)

Balle is hypnotic and masterful in her remixing of the endless recursive day, creating curious little folds of time and foreshadowings: her flashbacks light up inside the text like old flash bulbs. The first volume’s gravitational pull―a force inverse to its constriction―has the effect of a strong tranquilizer, but a drug under which your powers of observation only grow sharper and more acute. Give in to the book’s logic (its minute movements, its thrilling shifts, its slant wit, its slowing of time) and its spell is utterly intoxicating. Solvej Balle’s seven-volume novel wrings enthralling and magical new dimensions from time and its hapless, mortal subjects. As one Danish reviewer beautifully put it, Balle’s fiction consists of writing that listens. “Reading her is like being caressed by language itself.”

Solvej Balle was born in 1962, made her debut in 1986 with Lyrefugl, and she went on to write one of the 1990s’ most acclaimed works of Danish literature, According to the Law: Four Accounts of Mankind (praised by Publishers Weekly for its blend of “sly humor, bleak vision, and terrified sense of the absurd with a tacit intuition that the world has a meaning not yet fathomed”). Since then, she’s published a book on art theory, Det umuliges kunst, 2005, a political memoir Frydendal og andre gidsler, 2008, and two books of short prose Hvis and Så, published simultaneously in 2013. On the Calculation of Volume is Solvej Balle’s major comeback, not just to Danish or Nordic fiction, but―expanding the possibilities of the novel―to all of world literature.

Barbara J. Haveland (born 1951) is a Scottish literary translator, resident in Copenhagen. She translates fiction, poetry, and drama from Danish and Norwegian to English. She has translated works by many leading Danish and Norwegian writers, both classic and contemporary, including Henrik Ibsen, Peter Høeg, Linn Ullmann, and Carl Frode Tiller.

Coming soon, with distribution by The University of Chicago Press:

Geoffrey Tyack, with photographs by Dan Paton, Oxford Libraries: Architecture (Oxford: Bodleian Library Publishing, 2025), 336 pages, ISBN: 978-1851246052, £50 / $80.

Curated illustrations of the architectural design and history of the most beautiful libraries in Oxford and a close look at the artistic prowess of the architects responsible.

The libraries of the colleges and the University of Oxford are among the finest, but also among the least-known, buildings in the city. Ranging in date from the thirteenth to the twenty-first centuries, they embody successive changes in internal design and architectural taste. Libraries were originally established as repositories of knowledge in the form of manuscripts and printed books, and until fairly recently, they were used only by scholars. Over time, the University’s libraries, and those of the constituent colleges, attracted wealthy donors, some of whom, like John Radcliffe, gave generously to the provision of impressive and architecturally innovative buildings in which to house the books. These buildings are still among the most impressive features of Oxford’s architectural landscape, helping to define its visual identity. Architectural styles range from medieval wooden stalls to the concrete and glass of twentieth-century Brutalism, and notable architects include Sir Christopher Wren, Nicholas Hawksmoor, Sir Giles Gilbert Scott, James Gibbs, Sir Edwin Lutyens, and Arne Jacobsen. With specially commissioned photography, this profusely illustrated book invites readers through the doors of over fifty beautiful and iconic libraries, revealing how they are steeped in history, learning, and cultural change.

Geoffrey Tyack is an emeritus Fellow of Kellogg College, University of Oxford, and the Director of Stanford University Centre in Oxford.
Dan Paton is a commercial photographer specialising in architecture, lighting, interiors, and the built environment, as well as portrait, PR, and event photography.

This is a book that I should have noted years ago; David Stern’s review for Mosaic usefully introduces the collectors, many of whom lived in the 18th century. –CH

Distributed by The University of Chicago Press . . .

Rebecca Abrams and César Merchán-Hamann, eds., Jewish Treasures from Oxford Libraries (Oxford: Bodleian Library Publishing, 2020), 304 pages, ISBN: 978-1851245024, $55.

Representing four centuries of collecting and a thousand years of Jewish history, this book brings together Hebrew manuscripts and rare books from the Bodleian Library and Oxford colleges. Highlights of the extraordinary collections include a fragment of Maimonides’ autograph draft of the Mishneh Torah, the earliest dated fragment of the Talmud, exquisitely illuminated manuscripts of the Hebrew Bible, stunning festival prayer books, and one of the oldest surviving Jewish seals in England. Lavishly illustrated essays by experts in the field bring these outstanding works to life, exploring the personalities and diverse motivations of their original collectors. Saved for posterity by religious scholarship, intellectual rivalry, and political ambition, these extraordinary collections also detail the consumption and circulation of knowledge across the centuries, forming a social and cultural history of objects moved across borders from person to person. Together, they offer a fascinating journey through Jewish intellectual and social history.

Rebecca Abrams is Royal Literary Fund Fellow at Brasenose College, Oxford and author of The Jewish Journey: 4000 Years in 22 Objects.
César Merchán-Hamann is the Victor Blank Hebraica and Judaica curator in the Bodleian Library and director of the Leopold Muller Memorial Library at the University of Oxford.

c o n t e n t s

Librarian’s Foreword — Richard Ovenden
Preface — Martin J. Gross

Introduction to the Bodleian Library and College Collections — César Merchán-Hamann
1  The Laud Collection — Giles Mandelbrote
2  The Pococke Collection — Benjamin Williams
3  The Huntington Collection — Simon Mills and César Merchán-Hamann
4  The Kennicott Collection — Theo Dunkelgrün
5  The Canonici Collection — Dorit Raines
6  The Oppenheim Collection — Joshua Teplitsky
7  The Michael Collection — Saverio Campanini
8  The Genizah Collection — Nadio Vidro
9  The College Library Collections — Rahel Fronda
From Collectors to Readers — Piet van Boxel

Notes
Further Reading
Contributors
Picture Credits
Index

From PSU Press (and for now, 30% off with discount code NR25) . . .

Todd Kontje, Global Germany Circa 1800: A Revisionist Literary History (University Park: Penn State University Press, 2025), 266 pages, ISBN: ‎ 978-0271099668, $60.

Global Germany Circa 1800 asks two interrelated questions: How did Germans participate in the European conquest of the world, and how were they different from other imperial powers? In other words, what is the relation between the German form of empire, the old Reich, and the modern European empires that emerged in the global age? Todd Kontje presents a revisionist literary and intellectual history, inviting readers to consider how we might understand ‘Germany’ at the turn of the nineteenth century if we remove the nation-state as the inevitable goal of cultural and political development. Focusing on the pivotal years around 1800, when many of the concepts that define the modern era first came into being, Kontje investigates how thinkers in and around Weimar―from Goethe, Schiller, and Kant to Georg Forster, Heinrich von Kleist, and Alexander von Humboldt―worked within existing political structures to make sense of the region’s place in the world. Ultimately, he reveals how Weimar, a remote artist hub long thought to exemplify the insularity of a soon-to-be-unified nation, was in fact utterly worldly, and in a manner very different from the political capitals of imperial nation-states like London and Paris. Accessible and entertaining, this literary history is essential reading for German studies students and scholars, and it will appeal to audiences in world history, empire studies, intellectual history, and comparative literature.

Todd Kontje is Distinguished Professor of German and Comparative Literature at the University of California, San Diego. He is the author of four books, including Georg Forster: German Cosmopolitan, winner of the 2023 DAAD/GSA Prize for the Best Book in Literature and Cultural Studies.

c o n t e n t s

Preface
Acknowledgments

Introduction
1  The World in Letters
2  The World in Motion
3  Goethe’s Journey to the Center of the Earth
4  Schiller and the Drama of Empire
5  Kleist and the Revolution
6  Alexander von Humboldt and the Anthropocene
Conclusion

Notes
Bibliography
Index

Distributed by Yale UP:

Jennifer Montagu, Giovanni Battista Maini (1690–1752) and Roman Sculpture of His Time (London: Burlington Press, 2025), 302 pages, ISBN: 978-1916237858, $125.

Giovanni Battista Maini is one of the most important and accomplished—although least known and appreciated—of late Baroque sculptors. This new monograph provides an authoritative, scholarly, and beautifully illustrated survey of all his principal commissions. Maini was born in Lombardy and had moved to Rome by 1710. His prestigious projects in the city included the funerary monument for Pope Innocent X in Sant’Agnese in Agone and the two majestic tombs in the family chapel of Pope Clement XII in San Giovanni in Laterano. Maini also worked in Santa Maria Maggiore and was involved in the design for the iconic Fontana di Trevi. These works are set in the context of the Roman art scene: the struggle for commissions, payment, and reputation.

Jennifer Montagu is a distinguished art historian who specialises in Roman Baroque sculpture. Her monograph on Alessandro Algardi was published in 1985 to great acclaim. Montagu worked as Curator of the Photographic Collection of the Warburg Institute, London, and has been both the Slade Professor of Fine Art at Oxford and the Andrew W. Mellon Lecturer at the National Gallery of Art, Washington. She has also served as a Trustee of the Wallace Collection and British Museum, London, and is an Officer of the Order of Merit of the Italian Republic.

From Lund Humphries:

Edward McParland, The Language of Architectural Classicism: From Looking to Seeing (London: Lund Humphries Publishers, 2025), 288 pages, ISBN: 978-1848226593, £35 / $70.

Classicism is ubiquitous, from the facade of Selfridges to the letterhead of The Times, to the pedimented porches of neo-Georgian housing estates. This book invites readers to discover in their surroundings a rich language of form which is there to be revealed. It discusses the pleasures and problems of post-medieval architectural classicism, both its rigour and flexibility, its perfections and incompleteness, its continuities and innovations, and its expressiveness—from the camp to the sublime, and from originality to plagiarism. Abandoning conventional chronological, biographical, or stylistic arrangements, the book makes connections between familiar art historical periods, focusing on looking closely at the buildings and their details, from which useful generalisations emerge.

The book discusses how Renaissance architects, when faced with the bewildering variety of classical antiquity, produced canonical versions of the orders and thus a systematic method of designing in the antique manner. It asks how the highly regulated language of classicism can sustain the originality of a Michelangelo, a Soane or a John Simpson and looks at the human body in relation to classical architecture. It examines the various treatments of the wall and of lettering on classical buildings, before concluding with a chapter on architectural backgrounds in Quattrocento art, revealing how this can lead to a different kind of looking at painting and sculpture.

Edward McParland is an Irish architectural historian and author of several books, including James Gandon (1985) and Public Art in Ireland, 1680–1760 (2001). He was elected as Pro-Chancellor of University of Dublin, Trinity College in 2013. McParland is the co-founder of the Irish Architectural Archive which was established in 1976, and he has contributed extensively to architectural conservation in Ireland.

c o n t e n t s

Introduction
1  The Canon
2  Imitation
3  Body and Building
4  The Wall
5  Discord
6  Lettering
7  Architectural Backgrounds, Mostly Quattrocento
Conclusion

Select Bibliography
Index