Willy Fleckhaus Libri

Willy Fleckhaus (1925-1983) was one of the most innovative, creative and influential graphic designers in postwar Germany. He became internationally known for his groundbreaking work on the lifestyle magazine Twen, which attracted generations of readers with its generous layouts, modern typography and distinctive choice of house photographers such as (among others) Will McBride, Charlotte March, Guido Mangold, Reinhart Wolf. He invented the position of the art director, when this job description did not yet exist in Germany and earned himself the nickname of "Germany's most expensive pencil." Beside his longterm involvement with Twen he worked for the Frankfurter Allgemeine Magazine (from 1980 onwards), the magazine Quick, developed book series such as Edition Suhrkamp with its famous rainbow-coloured covers, exhibition designs for the Photokina trade fair in Cologne, and the logo of the Westdeutscher Rundfunk broadcasting corporation. The book, the first comprehensive monograph on Willy Fleckhaus in an international edition, includes texts by Michael Koetzle and Carsten Wolff (who also took over the book design), both long time collectors of Fleckhaus work samples

"One of the genuine masterpieces of sci-fi." — R. D. Mullen In this satirical and enduringly relevant work of science fiction, the acclaimed Czech author Karel Čapek offers a prescient fable of the benefits and dangers of atomic power. Originally published in 1922, the story is set in a then-futuristic Czechoslovakia of 1943, in which an inventor develops the Karburator, a device with the potential to provide abundant low-cost energy. But the reactor's exciting possibilities are shadowed by its dangerous side effect: instead of carbon dioxide, it emits the Absolute, a spiritual essence that inspires a powerful religious fervor. Greed triumphs over ethics as the inventor and his business partner proceed with mass production of the Karburator, resulting in simmering religious strife that ignites a world war. Karel Čapek is best known for popularizing the term "robot" in his play R.U.R., a seminal work of science fiction in which the robots are metaphors for a world dehumanized by social organization and technology. He offers another strikingly foresighted vision in The Absolute at Large, written decades before global warming awareness yet predicting the catastrophic consequences of the unchecked pursuit of profit by business and industry.