"Went to the movies. Wept. Matchless entertainment." So wrote Franz Kafka in one of his diaries, giving us but one hint of his little-known passion for the cinema. Until now, Kafka aficionados have been left to speculate about which films moved Kafka so powerfully and how those films might have influenced his writing. With Kafka Goes to the Movies, German actor and film director Hanns Zischler draws on years of detective work to provide the first account of Kafka's moviegoing life.

Since many of Kafka's visits to the cinema occurred during bachelor trips with Max Brod, Zischler's research took him not only to Kafka's native Prague but to film archives in Munich, Milan, and Paris. Matching Kafka's cinematic references to reviews and stills from daily papers, Zischler hunted down rare films in collections all across Europe. A labor of love, then, by a true man of the cinema, Kafka Goes to the Movies brims with discoveries about the pioneering years of European film. With a wealth of illustrations, including reproductions of movie posters and other rare materials, Zischler opens a fascinating window onto movies that have been long forgotten or assumed lost.

But the real highlights of the book are those about Kafka himself. Long considered one of the most enigmatic figures in literature, the Kafka that emerges in this work is strikingly human. Kafka Goes to the Movies offers an absorbing look at a witty, passionate, and indulgently curious writer, one who discovered and used the cinema as a place of enjoyment and escape, as a medium for the ambivalent encounter with modern life, and as a filter for the changing world around him.

The famous library of Alexandria, founded around 295 BCE by Ptolemaios I, housed the greatest collection of texts in the ancient world and was a fertile site of Hellenistic scholarship. Rudolf Blum’s landmark study, originally published in German in 1977, argues that Kallimachos of Kyrene was not only the second director of the Alexandrian library but also the inventor of two essential scholarly tools still in use to this day: the library catalog and the “biobibliographical” reference work. Kallimachos expanded the library’s inventory lists into volumes called the Pinakes, which extensively described and categorized each work and became in effect a Greek national bibliography and the source and paradigm for most later bibliographic lists of Greek literature. Though the Pinakes have not survived, Blum attempts a detailed reconstruction of Kallimachos’s inventories and catalogs based on a careful analysis of surviving sources, which are presented here in full translation.

Born into a family of attorneys, Dickinson absorbed law at home. She employed legal terms and concepts regularly in her writings, and her metaphors grounded in law derive much of their expressive power from a comparatively sophisticated lay knowledge of the various legal and political issues that were roiling nineteenth-century America. Dickinson displays interest in such areas as criminal law, contracts, equity, property, estate law, and bankruptcy. She also held in high regard the role of law in resolving disputes and maintaining civic order. Toward the end of her life, Dickinson cited the Spartans' defense at Thermopylae as an object lesson demonstrating why societies should uphold the rule of law.

Yet Dickinson was also capable of criticizing, even satirizing, law and lawyers. Her poetic personae inhabit various legal roles including those of jurymen, judges, and attorneys, and some poems simulate courtroom contests pitting the rights of individuals against the power of the state. She was keenly interested in legal matters pertaining to women, such as breach of promise, dower, and trusts. With her tone ranging from subservient to domineering, from reverential to ridiculing, Dickinson's writings reflect an abiding concern with philosophic and political principles underpinning the law, as well as an identification with the plight of individuals who dared confront authority.

A Kiss from Thermopylae reveals a new dimension of Dickinson's writing and thinking, one indicating that she was thoroughly familiar with the legal community's idiomatic language, actively engaged with contemporary political and ethical questions, and skilled at deploying a poetic register ranging from high romanticism to low humor.