The greatest book on Auschwitz since Primo Levi ... Kulka has achieved the impossible: a mythological and strangely beautiful new language for living with Auschwitz ... a book as mighty as it is modest

Of the many accounts of survival in the Nazi concentration camps - Jewish and non-Jewish - few approach Otto Dov Kulka's for the quality of its writing and attempt to understand the nature of contemporary barbarism ... one of the essential books of our age; not since Primo Levi's The Periodic Table has there been such a powerful holocaust memoir ... the writing, at times trance-like, creates an extraordinary sense of communion and intimacy with the reader ... in pained but lucid prose Kulka seeks to understand how his memory processed the trauma of Auschwitz

'A poetic masterpiece unlike anything else written on the subject'

This is one of the most remarkable testimonies to inhumanity that I know. The deeply moving recollections of Dov Kulka's boyhood years in Auschwitz, interwoven with reflections of elegiac, poetic quality, vividly convey the horror of the death-camp, the trauma of family and friends, and the indelible imprint left on the memory of a young boy who became a distinguished historian of the Holocaust. An extraordinarily important work which needs to be read

Astonishing ... [Landscapes] is, quite simply, extraordinary ... a sort of Modernist precipitate of a historical work, something strange and powerful formed from, but separate to, the solution of history ... I can't see how this book could be bettered

Almost unclassifiable ... Nothing else I have read comes close to this profound examination of what the Holocaust means ... [Kulka's] journey strikes me as a quest similar to the attempt to describe the face of God or the structure of the universe. They are too vast and too mysterious. Not that this stops us, or this author, from trying

Primo Levi's testimony, it is often said, is that of a chemist: clear, cool, precise, distant. So with Kulka's work: this is the product of a master historian - ironic, probing, present in the past, able to connect the particular with the cosmic. His memory is in the service of deep historical understanding, rendered in evocative prose that is here eloquently translated from Hebrew

Beautiful, startling ... This is a great book: read it. And be grateful - its publication is, in every possible sense, a miracle ... It is the strange and shocking paradox, this child's world constructed in such proximity to death, that makes the book so startling and so beautiful. Every incident is, in effect, seen twice: through the eyes of the historian and the eyes of a boy ... This is not history, it is something else... his words enter the wider sphere of literature

Kulka's reflections have an unsettling rawness ... yet even in Auschwitz, there are moments of protest, black humour and beauty ... This is a grave, poetic and horrifying account of the Holocaust which does not so much revisit the Auschwitz of the past, but the Auschwitz of Kulka's inner world

This is not so much a book about Auschwitz as one about coming to terms with the shock of survival ... Amid fragmentary, digressive impressions are images of terrible poetic concreteness ... What, ultimately, makes Kulka's book unlike any other first-hand account written about the camps is the authenticity of its vision of an 11-year-old boy... He has done the rest of us - and the world - so great a kindness by writing his book ... offer[ing] the barest glint of sunlight amid a thunderous darkness

A book of moments, hauntings and dreams ... it is unremitting and touches us all [with] a hallucinatory power

Otto Dov Kulka's brief, beautiful and unsettling Landscapes of the Metropolis of Death brings together childhood memories of Auschwitz with the reflections of a historian who has spent his life working on the Holocaust: a masterly interrogation of memory and the limitations of historical detachment

A historian's memoir of Auschwitz, without sentimentality and almost without outrage, since it is an examination of a place where all human reactions are inadequate ... an overwhelming testimony to the human love of truth

For the first time, [Kulka] has turned his academic eye inward to explore as unflinchingly as possible the ways in which his childhood encounter with Auschwitz has affected him. Landscapes of the Metropolis of Death makes for deeply disturbing but ultimately very rewarding reading, and is unlike any Holocaust memoir I have ever come across ... The book is not a memoir in the conventional sense, but an extraordinary collection of some of the memories, ideas and dreams that make up Kulka's internal landscape

In this short, powerful memoir, every word tells its story

The term memoir barely seems adequate to the introspective, often poetic, sometimes hallucinatory moments that [Landscapes] captures ... such an important contribution to the literature on the Holocaust ... [it] unsettles presuppositions about the camp and its lasting psychological effects so thoroughly that even a reader steeped in the Holocaust canon is likely to experience a sense of defamiliarisation

Otto Dov Kulka's name should be as well known as Primo Levi's as a supreme writer of personal experience of the hell of Auschwitz. But his Landscapes of the Metropolis of Death is unlike any other Holocaust writing because it faithfully reproduces the sensibility of the eleven year old boy that Kulka was at the time. So, unnervingly there are blue skies and daring games and actual school classes along with the smell of the smoke of incinerated bodies. More than other writing except Levi's Kulka's book, excavated with great pain via his attempted therapy of memory, sets you, the reader there. It is an imperishable achievement born of strength of mind and body and a kind of glowing inner vitality that I was lucky enough to encounter when I met him a few years ago. Profound scholar, extraordinary writer some part of him remained miraculously boyish in his warm vitality.

King's book tells this many-layered, mostly forgotten story cogently and compellingly ... a gift to the field of anthropology and to us all

King's book tells...[a] many-layered history, mostly forgotten story cogently and compellingly, and his collective method is a wise and welcome departure from the standard genre of a book focused on one towering individual... it also enriches our understanding of his [Boas's] female students, especially Hurston, enabling us to appreciate that she worked to develop innovative, story-driven ways of communicating anthropological insights... In breathing new life Boas's story he [Charles King] has given a gift to the field of anthropology and to us all

Franz Boas, whose achievements are set out in Charles King's The Reinvention of Humanity, recast the foundations of American anthropology. Against the prevailing political and intellectual orthodoxy, Boas and his students insisted that the basic unity of humankind was beyond dispute, and that within this unity there was no natural hierarchy of races, languages or cultures... That their ideas were found radical and strange is an indictment of their culture; that King's book seems timely is an indictment of our own

Timely stuff.

An intricate biographical essay.

[A] richly entertaining study.

A masterful portrayal of the Belle Epoque.

A personal meditation on the belle époque… The Man in the Red Coat is one long, meandering essay in Montaigne mode.

The book is at once a biography of Pozzi in the context of his time and a picture of the time as refracted by Pozzi. Barnes constructs it as a kind of mosaic.

Elegant and resonant.

I’ve just started Julian Barnes’s The Man in the Red Coat, and I am already hooked.

A tour de force… Dr Pozzi may not be remembered in medical history but his legacy is an artwork of himself in his prime that has transcended time.

Steeped in the luxury and scandal of Belle Epoque Paris and London, Barnes resurrects the charming, philandering Pozzi.