“What did Zweig have that brought him the fanatical devotion of millions of readers, the admiration of Herman Hesse, the invitation to give the eulogy at the funeral of Sigmund Freud? To learn that, we would have to have a biography that illuminated all aspects of his work, that read all of his books, and that challenged, rather than accepted, the apparent modesty of his statements about his life and work.” – Benjamin Moser, Bookforum
“Amok, a 1922 novella (recently reissued in Pushkin Press’s Collected Stories, translated by Anthea Bell). . . is quintessentially Zweig, masterful in generating suspense, operatically predictable (the woman always dies in Act Four, so the man has a story to tell in Act Five), and drenched in the implicit mores of the day, which Zweig tweaked in his modest fashion by depicting a clean abortion as a better option than a coat hanger. . . . Amok is a compelling story: for its meticulous portrait of the doctor’s emotional process, its compression, and the almost identically sharp observations of gestures, movements, the charged silences in a conversation.” – Gary Indiana, Bookforum
"I can’t think of a writer who is more successful at depicting amour fou - what one critic describes as 'sex and madness breaking through the lacquered screen of upper-bourgeois society'- nowhere more grippingly than in Amok in which a doctor, a Conradesque loner, is tipped into "a sort of human rabies" by an unattainable colonial wife." – Julie Kavanagh, The Economist Intelligent Life
"To read Zweig is to be in the presence of a properly mature writer, for all that his characters are often in the grip of highly inappropriate desires. (...) These are unforgettable stories, beautifully translated. Anthea Bell is a first-rate translator; she brings out the humour as well as the anguish that make Zweig's work so sympathetically acute." – Nicholas Lezard, Guardian
"Touching and delightful. Those adjectives are not meant as faint praise. Zweig may be especially appealing now because rather than being a progenitor of big ideas, he was a serious entertainer, and an ardent and careful observer of habits, foibles, passions and mistakes." — A.O. Scott, The New York Times
