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writes: "The Dead reads like a reboot of J. G. Ballard’s Crash, in a treatment by Wes
Anderson, after a weekend spent binge-watching John Schlesinger’s version of The Day of the Locust. The result draws out a comically bleak but shakily ambiguous vision of the coming image-world of fascist politics
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writes: "Across , Kracht leaves clues and tracks (perhaps traps) for the readers to connect (or tumble into), eschewing certainty through deliciously stimulating ambiguity in a remarkable, elegiac, sensual, often grotesque and hilarious novel." and the
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In telling the story of cinema’s development from silent to sound film, the novel considers the issue of "performance" – both in terms of individual identity and the social norms that represent the background to the performing of this identity.
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on the cover. Greek, Russian, Swedish, Danish, Italian, Korean, Polish, Croatian, French, Latvian, Lithuanian and
Norwegian translations have been published, while Albanian, Malayalam, Japanese and Mongolian translations are in preparation.
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and
Tinseltown productions, and of how both authorized a new power of the screen in startlingly effective ways.", while the
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and tells the story of a (fictional) Swiss director, Emil Nägeli, and a
Japanese government official (
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An
English translation by Daniel Bowles was published on 17 July 2018 through
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notes "The Dead is wholly unpredictable...and politically astute."
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play with three acts. The language is inspired by the works of
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149:gothic novel
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327:(in German)
243:Jean Harlow
210:Publication
176:Thomas Mann
687:Categories
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459:Buchreport
401:"The Dead"
304:References
200:Fritz Lang
157:Weimar era
59:Translator
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410:8 October
377:Die Toten
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255:Bookforum
250:Reception
145:Die Toten
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53:Die Toten
22:The Dead
575:The Dead
567:Imperium
324:Die Zeit
287:See also
136:The Dead
67:Language
220:Cologne
98:Germany
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113:Pages
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381:ISBN
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198:and
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218:in
172:Noh
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