When usually the prospect of reading a complete book of stories by the same author fills me with apathy, I’m not sure why I continue to be attracted to the collections of Stefan Zweig, published in the UK by Pushkin Press. This volume includes two stories I’ve already read, ‘The Invisible Collection’ and ‘Buchmendel’: frankly, to have already got two-fifths of a book under my belt before I’d even begun must have been a factor.

An image like the one on the cover appears in the third story, ‘The Fowler Snared’.

From time to time came a meteor, like one of these stars loosened from the firmament and plunging athwart the night sky; downwards into the dark, into the valleys, on to the hills, or into the distant water, driven by a blind force as our lives are driven into the abysses of unknown destinies.

‘Lives … driven into the abysses of unknown destinies’ are a feature of many of Zweig’s stories, though really it’s not so much the destiny which interests him - often the tale will end just as the life is opening up to new possibilities, and the reader must imagine those for himself - as the ‘blind force’ which drives them. But if this suggests a fatalism in his characters, that would not be quite true.

In the title story ‘Fantastic Night’ (1922) - the longest in the collection at 54 pages - the central character, typically for Zweig, is at one remove from us, his story told through the framing device of the narrator being given a bundle of papers which contain the text. Again typically for Zweig, we are then given a detailed and emotive account of the man’s spiritual awakening, which “has become the pivot on which my whole existence turns.” Before this ‘fantastic night’ he was a successful but empty man of 36 with independent income and no real concerns.

I did not lack for success with women, and here too, with the secret collector’s urge which in a way indicates a lack of real involvement, I chalked up many memorable and precious hours of varied experience. In this field I gradually moved from being a mere sensualist to the status of a knowledgeable connoisseur. … But nothing stirred, I felt as if I were made of glass, with the world outside shining through me and never lingering within…

What changes his life is a day at the races, where a minor lapse of morality gives vent to such feelings of vigour and life when he cheats to win that “I felt myself, desiccated as I was, suddenly flowering again.” This leads to “the pull of criminality” and later to “the frenzied enchantment of gambling for the second time in twelve hours, but this time for the highest of stakes, for my whole comfortable existence, even my life.” Zweig takes his time over this development, and it’s tempting to yell Get on with it! as he gives us a moment-by-moment account of our man’s growth. Yet his triumph in ‘Fantastic Night’ is twofold. First, to reach one of his usual fine epiphanies at the end of the story and make us realise it could not have been told any more briefly without losing its cumulative power; and second, to seemingly leave the story open-ended until we return to the framing introduction and discover we already know the character’s fate from the outset as surely and as subtly as we do with Mrs Richard F Schiller’s in Lolita, and that the end loops back to the beginning in a highly satisfying way.

Elsewhere I read that the second story in this volume, ‘Letter from an Unknown Woman’ (1922), was one of Zweig’s finest moments. I don’t know about that, but it does have one remarkable quality in a story - yet again - of constantly heightened emotion and passionate expression, which is to make the most interesting character the one who never speaks, to whom the story is addressed. This is a writer of Zweig’s age and nationality, who receives a letter from a woman who turns out to have adored him all her life.

Nothing can equal the unnoticed love of a child. It is hopeless and subservient; it is patient and passionate; it is something which the covetous love of a grown woman, the love that is unconsciously exacting, can never be.

There are dramatic developments, but all along the most interesting question from the reader’s point of view is: how is the writer - who has chosen to share this letter with us - feeling about it? Wondering whether we will ever find out is the greatest pleasure of all.

This volume is essential for any Zweig fan, or indeed any admirer of strongly driven stories of unrequited love and metaphysical frenzy - which almost goes without saying as I had already recommended the last two stories here (’The Invisible Collection’ and ‘Buchmendel’) in their stand-alone edition. The final story here that was new to me is the ten-page short ‘The Fowler Snared,’ where Zweig plays with the notion of fiction and the responsibility of the author to his characters. One character has no interest in such things:

The fancies of fiction… do they not fade after a time, do they not perish in twenty, fifty or a hundred years?

Yes they do, but this one - first published in 1906 - looks like surviving a little longer yet.

For keen readers staying away from home overnight - indeed, for anyone with time to kill and a standard sized pocket - I recommend the Pushkin Press editions of the stories of Stefan Zweig. We’ve been here before, of course, twice in fact, but I always seem to have another of these handsome volumes squirreled away, and another trip where they make early waking in a strange bed a pleasure (don’t make up your own jokes).

Last weekend I read Confusion, first published in 1927, which at 140 pages is one of Zweig’s longer stories: perhaps even a novella. It lacks the framing device of some of his other tales - the narrator here is also the central character - but contains in full the qualities we expect of him: an urgency in the reader’s mind to read on, and a heightened emotional state more or less throughout.

This latter is odd: in other hands, in a modern story, it might seem parodic or over-the-top, but we never doubt the sincerity and angst of Zweig’s people. This one is a university professor looking back on his career, and in particular his dealings with another professor who inspired him as a young student. He is a vital youth, discovering his independence, “every cell in my being … crying out for sudden expansion” and finding the perfect vehicle for this in Berlin, “that heated giantess, that restless city radiating power.” He passes the time indulging himself:

I would take back to my lodgings now a flaxen-haired milky-skinned servant girl from Mecklenburg, heated by the dancing, before she went home from her day off, now a timid, nervous little Jewish girl from Posen who sold stockings in Tietz’s - most of them easy pickings, to be had for the taking and passed on quickly to my friends.

It doesn’t hurt that he’s “a strikingly good-looking young man. Tall, slim, the bronzed hue of the sea coast still fresh on my cheeks, my every movement athletically supple,” but soon he discovers passion not of the body but of the mind, when he attends a tutorial by a literature professor. It is a revelation to our hero as he listens to a discussion on Elizabethan England and its “true bold leap into infinity” as an age comes into its own through the crucible of art, Shakespeare being “merely the strongest manifestation, the psychic message of a whole generation, expressing, through the senses, a time turned passionately enthusiastic.”

I had never before known language as ecstasy, the passion of discourse as an elemental act, and the unexpected shock of it drew me closer.

It draws him closer in particular to the professor, and he ends up sharing accommodation with him and his wife. What follows cannot be detailed any further for risk of landing in a swamp of spoilers, though the fact that our narrator seems to be returning to his old ways when he acknowledges the “slender boyish figure” of the professor’s wife in her swimsuit, should be warning enough. Alternatively, if you read the gnomic and superfluous afterword to the story by Joel Rosenthal (who also provided the cover illustration) then the essence of the game will be given away instantly. Be warned.

What Confusion gives us is a remarkably sympathetic portrait for the times of a particular social heresy - filled with his reliably high-octane emotion and cataclysmic sense of despair. The subject matter, as a taboo, has so faded for us that it would hardly make the story worth writing today. But if Zweig was still alive and wanted to write it again, I’d probably let him away with it.

Where have I heard that name before? Ah yes: Arthur Schnitzler was the author of Traumnovelle (Dream Story), which was adapted into Stanley Kubrick’s final film, Eyes Wide Shut, in 1999. I got a free copy of the book with the Guardian, and never bothered reading it. So I think we can safely say I’m approaching Dying without any unnecessary mental clutter such as, say, knowledge or understanding.

And here’s the thing: how do you counter the natural reaction to the idea of reading a 19th century German novella about the inevitability of death, which is something like Do you mind if I don’t? How to counter it is simple: bring it out in an irresistible little edition by Pushkin Press, the people who brought us Stefan Zweig. Their pocket size, elegant cover design and tactile paper make them, for me, literally unputdownable, even before we consider the content.

No worries there anyway. Dying (1895) has that sensibility - European, and of the period, I suppose - of emotional directness which is so refreshing to us stiff-lipped British. Felix has been diagnosed with a terminal illness and has been given a year to live. His lover, Marie, reacts with disarming - hysterical - loyalty: “I want to die with you.”

He smiled. “That’s childish. I’m not so small-minded as you think me. And I have no right at all to take you with me.”

“I can’t live without you.”

“But think how long you lived without me before! I was already doomed when I met you a year ago. I didn’t know it, but even then I had a presentiment.”

“You don’t know now.”

“Yes, I do. That’s why I want you to have your freedom, beginning today.” She clung all the closer. “Take it, take it,” he said. She did not reply, but looked up at him as if she didn’t understand.

She cried out, “I’ve lived with you, I’ll die with you.”

Of course, as Felix moves toward the inevitable, Marie finds herself rather more attached to life than she anticipated. The couple move from place to place for rest cures and convalescence, and when she leaves Felix’s side for an hour or two, she finds “unutterable contentment flow through her.” So she battles her instincts, just as Felix battles despair and, even worse, hope. He is sometimes insouciant, other times Larkinesque (”Being brave / Lets no-one off the grave. / Death is no different whined at than withstood”) in his approach to the matter:

I’ll tell you straight out, people falsify the psychology of dying, because all the great figures of world history of whose deaths we know anything felt duty-bound to put on an act for posterity. … I too feel in duty bound to pretend, whereas in reality I’m prey to a boundless, raging fear of a kind that healthy people can’t imagine. They’re all afraid, and that includes the heroes and the philosophers, only they make the best play-actors.

As such Dying presents us with a frank and bracing meditation on the subject. How often we hear, in the news or anecdotally, of someone “being given” (as though it were a gift) so many months to live, but rarely do we stop to consider the effect this has on them and their loved ones, and how it irrevocably alters those remaining months. Dying makes us wonder, and then gives us at least one answer. At 120 pages, it’s an invigorating palate cleanser between longer books, the introspective story as addictive as it is inevitable. Now where’s that copy of Dream Story?

In the past week I have begun, and failed to click with, four different books. I began to think I was losing my mind. So I needed something short, something addictive, something beautifully written, and ideally also something about someone else losing their mind to make me feel better. I found them all in one hundred pages in Stefan Zweig’s Twilight/Moonbeam Alley.

Twilight (first published 1910) is one of the finest stories I have ever read. (The second story Moonbeam Alley is enjoyable but not a patch on Twilight, so I will restrict myself to talking about the main feature.) Oddly, I’d flicked through this volume when browsing my Zweigs and had been put off by the opening lines of the blurb: ‘Twilight, based on the real life of Madame de Prie…’ - I got no further before silently thinking Boring! Who wants to read a fictionalised account of the life of an 18th century French aristocrat? Well, shame on me.

Madame de Prie is a favourite of the King at the Palace of Versailles, with almost no qualities whatsoever, or at least no positive ones - she is vain, shallow, self-centred and a mistress of self-deception. So long has she been lying to herself and to others for her own amusement (”Deception, the delight of her life, opened up her heart again”) that she no longer knows what is important to her.

When she falls from favour, and is exiled to a country estate, she is lost but confident:

Her exile couldn’t last for more than a few days, until tempers had calmed down, and then her friends would make sure she was recalled. In her mind, she was already looking forward to her revenge, and soothed her anger with that idea.

Writing a letter to stay in touch with her true - that is, her truly false - friends back at Versailles, she “hoped not to stay in the country long, she said, although she liked it here very well. She didn’t even notice that she was lying to him.” She tries to find ways to amuse herself in her new life, including her dealings with a local peasant:

It made her feel quite cheerful. For the first time she felt the old relish, mingled with slight contempt, of seeing a human being powerless before her. It revived the desire to toy with others which had become a necessity of life to her during her years of power.

Zweig skewers Madame de Prie until she is pinned and wriggling on the wall, her terrible behaviour and turmoil awful to read about but impossible to tear yourself away from. To say any more would spoil it, but I could quote dozens more extracts. His bleak and ironic telling finds time for cool wit even in the darkness of the last pages, when he offers us his usual summation of the theme. It’s a testament to Zweig’s ability that this ‘moral of the tale’ ending does not seem superfluous, but rather tops the whole thing off beautifully. Why Zweig isn’t spoken of in the same revered tones as Chekhov is a mystery.

As promised previously, I have finally picked up some of Stefan Zweig’s stories as published by Pushkin Press in their handsome little squarish editions, and the first of these was The Invisible Collection / Buchmendel.

This slim volume comprises two stories, 26 pages and 56 pages respectively, and you might think this is not very good value at the price of a normal paperback. You might be right - there is another volume of Zweig pairs, Twilight / Moonbeam Alley, not much longer. Would it have killed Pushkin to bundle them together in one 200-page book? On the other hand, they are bringing us great fiction, and these beautifully stitched and printed volumes can’t be cheap to make.

Anyway. The Invisible Collection, first published in 1926, has the usual Zweig framing device of a man telling us a story about a story told to him by another man. This time it’s a dealer in rare books and prints in Germany, during its period of hyperinflation in the 1920s, when goods rose in price daily and most money literally wasn’t worth the paper it was printed on. The book dealer decides to look up some old buyers, to see if they are willing to sell back their purchases in these straitened times. What he discovers with one old man shocks him, and provides Zweig not only with the opportunity to fit a story within the story, but to produce a satisfying and accessible tale reflecting (as he points out) Goethe’s maxim that “Collectors are happy creatures.” It put me a little in mind of Raymond Carver’s story ‘Cathedral,’ or one of Roald Dahl’s adult stories without the glib desire for a twist.

Buchmendel, dating from 1929, introduces us to the story of Mendel, an unassuming young man who has

a titanic memory, wherein, behind a dirty and undistinguished-looking forehead, was indelibly recorded a picture of the title page of every book that had been printed. No matter whether it had issued from the press yesterday or hundreds of years ago, he knew its place of publication, its author’s name, and its price. From his mind, as if from the printed page, he could read off the contents, could reproduce the illustrations; could visualise, not only what he had actually held in his hands, but also what he had glanced at in a bookseller’s window; could see it with the same vividness as an artist sees the creations of fancy which he has not yet reproduced upon canvas.

This takes us into a story with some similarities to Zweig’s Chess / The Royal Game, and it’s a feature of these short stories (the pages are small as well as few) that I can’t really say any more without spoiling part of the fun. And reading Zweig is fun. He reminds us in Buchmendel that “one only makes books in order to keep in touch with one’s fellows after one has ceased to breathe, and thus to defend oneself against the inexorable fate of all that lives - transitoriness and oblivion.” Thanks to Pushkin Press, Zweig’s mission is accomplished.