Walter Benjamin (1892–1940) was the author of many works of literary and cultural analysis. Howard Eiland is an editor and translator of Benjamin’s writings.

• Translator's Foreword "Hope in the Past: On Walter Benjamin" by Peter Szondi Berlin Childhood around 1900: Final Version Loggias * Imperial Panorama * Victory Column * The Telephone * Butterfly Hunt * Tiergarten * Tardy Arrival * Boys' Books * Winter Morning * At the Corner of Steglitzer and Genthiner * Two Enigmas * Market Hall * The Fever * The Otter * Peacock Island and Glienicke * News of a Death * Blumeshof 12 * Winter Evening * Crooked Street * The Sock * The Mummerehlen * Hiding Places * A Ghost * A Christmas Angel * Misfortunes and Crimes * Colors * The Sewing Box * The Moon * Two Brass Bands * The Little Hunchback * The Carousel * Sexual Awakening From the 1932-1934 Version Departure and Return * The Larder * News of a Death * The Mummerehlen * Society * The Reading Box * Monkey Theater * School Library * New Companion of German Youth * The Desk * Cabinets * Beggars and Whores * The Moon Complete Table of Contents, 1932-1934 Version Notes Credits for Illustrations Index Illustrations Walter Benjamin and his brother Georg The Victory Column on Konigsplatz The goldfish pond in the Tiergarten Berlin's Tiergarten in winter Market hall on Magdeburger Platz Interior of a middle-class German home Courtyard on Fischerstrasse in Old Berlin

Conceived in the early Thirties, the Berlin Childhood belongs in the orbit of that primal history of the modern world on which Benjamin was working during the last thirteen years of his life. It forms the subjective counterpart to the masses of materials brought together for the project on the Paris arcades. The historical archetypes he wished to lay out in their social-pragmatic and philosophical provenance in the study of Paris were to be illuminated by lightning flashes of immediate remembrance in the Berlin book, which throughout laments the irretrievability of what, once lost, congeals into an allegory of its own demise. For the images this book unearths and brings strangely near are not idyllic and not contemplative. Over them lies the shadow of the Third Reich. And through them dreamily runs a shudder at the long forgotten.

Walter Benjamin (1892–1940) was the author of many works of literary and cultural analysis. Howard Eiland is an editor and translator of Benjamin’s writings.

• Translator's Foreword "Hope in the Past: On Walter Benjamin" by Peter Szondi Berlin Childhood around 1900: Final Version Loggias * Imperial Panorama * Victory Column * The Telephone * Butterfly Hunt * Tiergarten * Tardy Arrival * Boys' Books * Winter Morning * At the Corner of Steglitzer and Genthiner * Two Enigmas * Market Hall * The Fever * The Otter * Peacock Island and Glienicke * News of a Death * Blumeshof 12 * Winter Evening * Crooked Street * The Sock * The Mummerehlen * Hiding Places * A Ghost * A Christmas Angel * Misfortunes and Crimes * Colors * The Sewing Box * The Moon * Two Brass Bands * The Little Hunchback * The Carousel * Sexual Awakening From the 1932-1934 Version Departure and Return * The Larder * News of a Death * The Mummerehlen * Society * The Reading Box * Monkey Theater * School Library * New Companion of German Youth * The Desk * Cabinets * Beggars and Whores * The Moon Complete Table of Contents, 1932-1934 Version Notes Credits for Illustrations Index Illustrations Walter Benjamin and his brother Georg The Victory Column on Konigsplatz The goldfish pond in the Tiergarten Berlin's Tiergarten in winter Market hall on Magdeburger Platz Interior of a middle-class German home Courtyard on Fischerstrasse in Old Berlin

Conceived in the early Thirties, the Berlin Childhood belongs in the orbit of that primal history of the modern world on which Benjamin was working during the last thirteen years of his life. It forms the subjective counterpart to the masses of materials brought together for the project on the Paris arcades. The historical archetypes he wished to lay out in their social-pragmatic and philosophical provenance in the study of Paris were to be illuminated by lightning flashes of immediate remembrance in the Berlin book, which throughout laments the irretrievability of what, once lost, congeals into an allegory of its own demise. For the images this book unearths and brings strangely near are not idyllic and not contemplative. Over them lies the shadow of the Third Reich. And through them dreamily runs a shudder at the long forgotten.

Walter Benjamin (1892–1940) was the author of many works of literary and cultural analysis. Howard Eiland is an editor and translator of Benjamin’s writings.

• Translator's Foreword "Hope in the Past: On Walter Benjamin" by Peter Szondi Berlin Childhood around 1900: Final Version Loggias * Imperial Panorama * Victory Column * The Telephone * Butterfly Hunt * Tiergarten * Tardy Arrival * Boys' Books * Winter Morning * At the Corner of Steglitzer and Genthiner * Two Enigmas * Market Hall * The Fever * The Otter * Peacock Island and Glienicke * News of a Death * Blumeshof 12 * Winter Evening * Crooked Street * The Sock * The Mummerehlen * Hiding Places * A Ghost * A Christmas Angel * Misfortunes and Crimes * Colors * The Sewing Box * The Moon * Two Brass Bands * The Little Hunchback * The Carousel * Sexual Awakening From the 1932-1934 Version Departure and Return * The Larder * News of a Death * The Mummerehlen * Society * The Reading Box * Monkey Theater * School Library * New Companion of German Youth * The Desk * Cabinets * Beggars and Whores * The Moon Complete Table of Contents, 1932-1934 Version Notes Credits for Illustrations Index Illustrations Walter Benjamin and his brother Georg The Victory Column on Konigsplatz The goldfish pond in the Tiergarten Berlin's Tiergarten in winter Market hall on Magdeburger Platz Interior of a middle-class German home Courtyard on Fischerstrasse in Old Berlin

Conceived in the early Thirties, the Berlin Childhood belongs in the orbit of that primal history of the modern world on which Benjamin was working during the last thirteen years of his life. It forms the subjective counterpart to the masses of materials brought together for the project on the Paris arcades. The historical archetypes he wished to lay out in their social-pragmatic and philosophical provenance in the study of Paris were to be illuminated by lightning flashes of immediate remembrance in the Berlin book, which throughout laments the irretrievability of what, once lost, congeals into an allegory of its own demise. For the images this book unearths and brings strangely near are not idyllic and not contemplative. Over them lies the shadow of the Third Reich. And through them dreamily runs a shudder at the long forgotten.