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“... For anybody interested in the history of the modern Russian theatre, particularly its visual aspects, the publication of Dr Rudnitsky’s handsomely illustrated book is an event. Based at the Moscow Research Institute for Art History, the writer is an established authority who has already published two books on Meyerhold in the USSR, and was enterprisingly commissioned by Thames and Hudson to write the present work for English-language readers ...”

“... It is now some twenty-two years since Camilla Gray’s The Great Experiment opened up for us the achievements of the Russian artistic avant-garde immediately before and after the Revolution; 13 since the ‘Art and Revolution’ exhibition at the Hayward Gallery in London. But the story of that avant-garde is only slowly becoming clear, and it remains at once deeply tragic and electrifyingly exciting ...”

“... from our heads/But when we first agreed to put them on’). As well as translating War Primer, John Willett, co-editor of the new Collected Works, has revised his volume of essays, Brecht in Context. Although hostile to John Fuegi’s argument, set out in The Life and Lies of Bertolt Brecht (1994), that Brecht’s ...”

“... Bert Brecht, the Communist poet and playwright, has become a cultural monument. Is it then not time, he might ask, to consider blowing him up?One of the problems is this kind of tough talk. A certain recklessness of language, a down-to-earth bluntness, has been widely received as his most valuable legacy. It is what makes him, some say, an essentially popular writer ...”

“... It​ was John who had the idea that I should say something about his professional life at his funeral. It was a very nice idea and I’m glad – not to say flattered – that he had it. But I found it a spookily hard thing to do. ‘Spooky’ because every time I thought I had a point to make I heard myself checking it with John – ‘Is that right?’ ‘Can I say that?’ ‘Does that make sense?’ – and then I began to understand what had happened to all of us ...”

“... books under review belong to very different genres, both of which are relevant to this task – John Willett’s a critical and historical study based on many years as reviewer, English editor and translator of Brecht, Ronald Hayman’s a lively, detailed biography – though the first turns out to be far the more expert, original and ...”

“... and every description of the opus sounds dizzying. The 1976 selection of translations edited by John Willett and Ralph Manheim contains ‘roughly five hundred poems’, while a German collected edition of 1967 has ‘approximately one thousand items’. The new book tells us that the latest complete works includes ‘more than two thousand ...”

“... and Dutch. It is characteristic that what amounted to a ‘Constructivist international’, as John Willett described it, was set up by a collection of Hungarians, Dutch, Belgians, Romanians, Soviet Russians and Germans at a meeting in Weimar with prospective headquarters in Berlin. This was the culture that German émigrés imported into their ...”

“... and fumed at a ‘smart-alecky’ review of some avant-garde magazines, deciding it was written by John Willett (its real author was in fact his near-namesake Ian Hamilton, never the warmest admirer of the Scottish avant-garde). He felt too good for the Scottish papers and too isolated for the English ones, though when visitors beat a path to his door ...”

“... I have never read a life like John Fuegi’s of Brecht. Revisionism doesn’t begin to describe it. This is dartboard stuff, effigy abuse, voodoo biography. If Fuegi could get inside the Dorotheenfriedhof, uproot Brecht’s jagged scalene headstone, dig through six feet of Brandenburg sand and a zinc coffin, and do something to the remains involving chicken heads, inverted crosses and black candles, I don’t doubt that he would ...”

“... seen Cabaret, listened to Kraftwerk, read Thames and Hudson paperbacks on the Bauhaus as well as John Willett and Ralph Mannheim’s punkish translations of Brecht, attended repertory screenings of Metropolis and M and put Louise Brooks posters on bedroom walls. Fassbinder’s real obsession was with the 1950s, and with West Germany’s US-bankrolled ...”