IN THE WORLD of German-speaking literature, at the end of the 19th and the beginning of the 20th century, the uncanny drastically influences the depiction of reality. This very characteristic is shared by the stories that make up the book: in all three, something uncanny invades an otherwise realistic environment, without offering the possibility of a logical explanation. In this way, a sense of uncertainty is created regarding what is considered real and what is imaginary; a feeling that is intensified both by the dreamlike atmosphere and by a sinister ambiance, which, through symbols and hints, foreshadows the characters' journey towards death. The bizarre and the uncanny, as presented by the three emblematic authors, leave a contemporary imprint on the reader; they portray in an innovative way the aspects of the existential anxiety of the characters, while simultaneously bringing to the forefront the unconscious forces that decisively influence our image of the world and of ourselves. * "Crossing the repulsive village, he had lost track of time. The horse was breathing heavily and wheezily. He didn't immediately understand what it was, because it was the first time he heard it breathe like that. [...] In the end, he noticed a rider from the same regiment standing at the other end of the stone bridge [...] He couldn't discern the rider's face, so he impatiently spurred his horse and forced it to gallop vigorously. Immediately, the other did the same. They were now separated by the distance of a stone's throw. And while the two horses simultaneously stepped onto the bridge with their front white legs, the sergeant, with an expressionless gaze, recognized himself in the other. He instinctively pulled the reins and stretched his right hand with open fingers towards this being. Then the figure stopped and, raising its right hand, disappeared abruptly." HUGO VON HOFMANNSTHAL, "War Story" "How long did all this last... Who knows? Who even knows if Albrecht van der Qualen really woke up that afternoon and went out into the unknown city; or if he didn't ultimately remain asleep in the first-class compartment and if the Berlin–Rome express didn't carry him at a tremendous speed to the other end of the world? Which of us would have the audacity to answer this question with certainty and responsibility? It remains entirely unclear. 'Everything must be suspended...'" THOMAS MANN, "The Wardrobe" "[...] the ghost is no longer a form of an irrationally demonized worldview but a metaphor for many unspeakable and intimidating, unconfessed and disturbing things found in the modern worldview." GERO VON WILPERT