Koeppen’s voice—cold, defiant and relentless in its fury at the deadly amnesia he saw emerge from Germany’s ruins after World War II—neither transforms nor imbues the world around him, but rather indicts it.
The New York Times

Wolfgang Koeppen’s postwar masterpiece in a luminous new translation by the poet Michael Hofmann

Available October 6, 2020

Pigeons on the Grass

Fiction

Translated from the German by Michael Hofmann

Pigeons on the Grass is told over a single day in Munich in 1948. The first new cinemas and insurance offices are opening atop the ruins, Korea and Persia are keeping the world in panic, planes rumble in the sky (but no one looks up), newspaper headlines announce war over oil and atomic bomb tests. Odysseus Cotton, a black man, alights at the station and hires a porter; Emilia sells the last of her jewelry; Philipp gives himself up to despair; with their interracial love affair, Carla Behrend and Washington Price scandalize their neighbors—who still expect gifts of chocolate and coffee; a boy hustles to sell a stray dog; Mr. Edwin, a visiting poet, prepares for a reading; Frau Behrend disowns her daughter; Alexander stars as the Archduke in a new German Super-production; and Susanne seeks out a night to remember. In Michael Hofmann’s words, “in their sum, they are the totality of existence.”

Koeppen spares no one and sees all in this penetrating and intense novel that surveys those who remain, and those who have just arrived, in a damaged society. As inventive as Joyce and as compulsively readable as Dickens, Pigeons on the Grass is a great lost classic.

Buy from:

Paperback (published October 6, 2020)

ISBN
9780811229180
Trim Size
5x8
Page Count
208

Ebook

ISBN
9780811229197
Koeppen’s voice—cold, defiant and relentless in its fury at the deadly amnesia he saw emerge from Germany’s ruins after World War II—neither transforms nor imbues the world around him, but rather indicts it.
The New York Times
Almost eerily contemporary in its concerns, and remarkable as a sidelong, searing appraisal of the legacy of the Nazi years, it is a recovered masterpiece.
Publishers Weekly (STARRED)