PUBLISHERS OF LITERARY FICTION SINCE 1983
Expressionist illustrator Kubin wrote this fascinating curio, his only literary work in 1908. A town named Pearl, assembled and presided over by the aptly named Patera, is the setting for his hallucinatory vision of a society founded on instinct over reason. Culminating apocalyptically - plagues of insects, mountains of corpses and orgies in the street - it is worth reading for its dizzying surrealism alone. Though ostensibly a gothic macabre fantasy, it is tempting to read The Other Side as a satire on the reactionary, idealist utopianism evident in German thought in the early twentieth century, highly prescient in its gloom, given later developments. The language often suggests Nietsche. The inevitable collapse of Patera's creation is lent added horror by hindsight. Kubin's depiction of absurd bureaucracy is strongly reminiscent of Kafka's The Trial, and his flawed utopia, situated next to a settlement of supposed savages, brings to mind Huxley's Brave New World; it precedes both novels, and this superb new translation could demonstrate its influence on subsequent modern literature.
The danger of a purely ideological enterprise is exposed in this unusual novel first published in 1908, and which seems now to be horribly prescient about what the Nazis would perpetrate 30 years later. A “dream state” is created, where reason doesn’t matter, only instinct, and its full horrors are realised. Powerful but highly engaging too.
A new translation of a phantasmagoric allegorical (1908) novel—the only one completed by the renowned Austrian expressionist graphic artist (1877–1959)—that has often been compared to Mervyn Peake’s fabulistic Gormenghast. It depicts its nameless narrator’s traumatic sojourn to a remote “Dream Realm” whose languorous calm is gradually destroyed by an outbreak of sleeping sickness, attacks by a “teeming multitude of animals,” and further derangements and catastrophes. Reminiscent as well of Witold Gombrowicz’s aggressively loopy psychodramas, The Other Side not only demolishes the very idea of Shangri-la; it may be a wry acknowledgement of the creative imagination’s perverse need for tension and trauma as stimulants. Blackly funny and boldly imagined, it’s an authentic modernist masterpiece.
Franz Kafka was one of the many admirers of this grotesque fantasy, which combines symbolist, expressionist and proto-surrealist devices. Mike Mitchell's accomplished translation manages to preserve the alluringly beautiful strangeness of the original and is accompanied by the author's illustrations... Anticipating the challenge to the distinction between dream and reality later propagated more loudly by the Surrealists, Kubin's novel is an important early work of avant-garde art. Inviting psychoanalytical and political readings, it deserves wider recognition, especially in the anglophone worl
A stunning exercise in subconscious dementia that preceded Kafka and the surrealists by nearly two decades. It was the only novel by the German artist Alfred Kubin, an adherent of the fantastic and grotesque best known for illustrating the works of Poe, Hoffman and Gustav Meyrink. THE OTHER SIDE, ably translated by Mike Mitchell, recalls all of those writers, but contains an aura that’s very much unique
Kubin wrote a novel, the phantasmagorical The Other Side, (1909), about a dream kingdom dedicated to the rejection of progress - “a place of asylum for those who are disgusted with modern culture.” Much admired by Hermann Hesse and Ernst Jünger, the book is also widely assumed to have influenced Kafka’s The Castle.
Although originally published in 1908, Kubin’s dystopian world is still awe striking today. Its strange logic, akin to Hitchhikers Guide to the Galaxy, shows the absurdism of bureaucratic nonsense. While the social quirkiness and word play, similar to Alice and Wonderland, creates a wonderfully dark and humorous atmosphere. Knowing the German origins of this novel, created before the World Wars, The Other Side reflects an interesting horror of following pure ideology with no reason or morality. When the newspaper Voice shouts ‘Vooooice! Get your Voice ‘ere!’, it echoes the underlying thought that continues throughout the novel; how much of your voice is yours, when so many things in life control you. This horrifically gripping storyline shows the grotesque nature of humanity, from deceit to murder, cruelness to sexual offenses, and personal control to dictatorship.
The visual impact of his words is acute and enduring. He portrays graphic scenes of carnage as the ‘Realm of Dreams’, created in a secret location by its President Claus Patera, dis- integrates; a young nun is raped by pestilent creatures and a barber is strung up outside his shop. He meticulously paints an imagined world where – quite literally – the sun never shines and the creator (and bankroller) ensures that time stops as far as human progress is concerned. Hidden from the rest of the world, it is a provincial paean to nostalgia.