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“... joined by its predecessor, The Fifth Year, a dreamy novella from 1952 that has been translated by Shaun Whiteside.Nowhere Ending Sky and The Fifth Year are superficially different but essentially continuous. The heroine of the former is a mischievous girl called Meta; the heroine of the latter is a mischievous girl called Marili. Meta lives with her ...”

“... forty years later, the rhythms have the same feel. From Maigret and the Killer (1969), in Shaun Whiteside’s translation:Half of his words were lost in the storm. The gutters were real torrents that you had to jump over, and a few cars sent dirty water spraying several metres.The spectacle that awaited him in Rue Popincourt was unexpected. There ...”

“... want to say anything wrong, so she doesn’t say anything at all. This article was translated by Shaun Whiteside. He has won the Schlegel-Tieck prize for his translations from German, which include Freud, Musil, Schnitzler and Bernhard ...”

“... Maryse, part of the nursing team looking after his father. A less worshipful translator than Shaun Whiteside would have corrected an obvious error in the original text: ‘As he undressed he found Maryse’s mobile phone in one of his jeans pockets. He had asked her for it that same morning, just before leaving the hospital.’ A nurse who gives the ...”

“... Between 1975 and 1983, Luther Blissett made 246 appearances as a striker for Watford FC and scored 95 goals. When he joined the club they were in the Fourth Division. When he signed for AC Milan for £1 million in 1983 he was the First Division’s top scorer, with 27 goals in the 1982-83 season. He didn’t do so well at Milan, scoring only five goals in 30 games; after a year they sold him back to Watford for £550,000 ...”

“... Werner Schwieger, one of Maxim Leo’s grandfathers, hung out a big swastika banner after Hitler came to power. But he couldn’t get his father-in-law, Fritz, to accept one: Fritz was a left-winger. Twenty years later, in the German Democratic Republic, Werner hung out a big red flag, but he didn’t even offer one to Fritz. He thought Fritz wasn’t left-wing enough ...”

“... In a series of lectures on German responses to the wartime bombing of their country, delivered in Zurich in the autumn of 1997, W.G. Sebald asked why ‘the sense of unparalleled national humiliation felt by millions in the last years of the war had never really found verbal expression, and those directly affected by the experience neither shared it with each other nor passed it on to the next generation ...”

“... Ragg-Kirkby, in An Outline of Psychoanalysis); ‘investment’ and ‘charge’ (Shaun Whiteside, in On Murder, Mourning and Melancholia). Similar worries arise with the trio we know as the ego, the superego and the id. Luckhurst has a relatively easy time here because early in his career Freud writes ‘das Ich’, a term already in ...”

“... Among​ the leading Austrian writers of the postwar period, Marlen Haushofer is an unobtrusive presence. Where Bachmann and Bernhard, Handke and Jelinek all in their time achieved international recognition, Haushofer hung back, failing to take the chance, when it came, to break beyond Austrian borders, and, at her untimely death (she died of bone cancer in 1970, three weeks short of her fiftieth birthday), left a miscellany of work that has neither fallen into complete neglect nor settled into general acceptance ...”

“... Had Franz Schubert​ been asked how he had come to write the song ‘Am Meer’ – he, who had never seen the sea and whose knowledge of it was limited to hearsay and the stylised depictions of painting and literature – he might have answered as, a hundred years later, Maurice Ravel answered, when a friend teasingly asked him how, since he never got up before ten thirty, he had come to write, in Daphnis and Chloe, an evocation of the dawn: ‘It was simple – I used my imagination ...”