The Eerdmans Encyclopedia of Early Christian Art and Archaeology edited by Paul Corby Finney Hagia Sophia and the Byzantine Aesthetic Experience by Nadine Schibille
But you, we don’t want anymore,” or “Let go of your dreams/That exceptions will be made for you./What your mother said/Was not binding.” The notes and brief texts between sections (in an otherwise rather fussy and oversegmented book) are good. If you don’t mind halfhearted smut (the originals are spirited), you will like some of the “pornographic” sonnets; I think the best joke is that Brecht signed one of them “Thomas Mann,” an unlikely ascription to the vague heterosexual and father of six. I have every expectation that when a 200- or 300-page selection is made from this collection—what the film people call “exploiting the rights” to it—it will be an important book, and something everyone should have. That is really the one Brecht readers (and nonreaders) have been waiting for, and are still waiting for. But for now, to experience Brecht, listen to some of the Kurt Weill or Hanns Eisler settings, read Stephen Parker’s outstanding biography, and teach yourself German.