speaking world (Wilhelmine Germany) and show how it was actually a crucible for progressive thought that exerted an unacknowledged influence on later eras from the Weimar Republic to the present day.

Taking original imagery from the time and cropping, blowing up and amplifying the colour symbolises this process by liberating the latent Modernism of the age. There are the dots seen in close up which foretell everything from Pointillism to Pop Art. There are the mismatched colour registrations and their evocative suggestion of new and dynamic graphic realms. And even when (actually especially when) catering to mass market tastes, there are surreal juxtapositions of imagery.

The first series of eight cards is called 'Landscape', referring to both the format and the subject matter, with the source material depicting scenic splendourthroughout Germany from Heligoland to the Bavarian Alps. Some of the original cards were photographs, some illustrations, some a strange amalgam of the two.

Anyway, it's just an experiment for now. We'll be including a selection of postcards with each online order until we run out.

It's time we had a little talk about Death- the forthcoming English-language debut by late 19th/early 20th century German writer Anna Croissant-Rust which I translated for Rixdorf Editions.

Perhaps we should start with the author's highly unusual Franco-German name. She was actually born (1860) as Anna Rust in the Palatinate, then part of the Kingdom of Bavaria. But in 1888 she married Hermann Croissant – descended from French Huguenots – and added his name to hers. Bonus fun fact: Anna’s mother-in-law was called Philippine Croissant.

As