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We have to keep reminding ourselves that they were not drawn in New York, London, and Paris of the twenty-first century but in the sensation-hungry, inflation-fed milieu of the Weimar Republic.\u003cbr\u003e-On an Expense Account, - for example, shows a well-fed businessman and his wife. We see only his back and neck, note her tastelessly modish skirts, and we know the whole story. -Total Devotion from 5:00 to 7:00- is a cocktail-bar scene, and in the dancing of the slick-haired man and the posture of his partner there is something depraved because it is only sensual. -Lunch- depicts a matron with unmistakably porcine features holding knife and fork affectedly as she swills. Her dining partner needs no animalization; the blase bag below his eye, the expression, and the fold below his chin are enough.\u003cbr\u003eCan prostitutes, contrary to sentimental folklore, appear smug, bloated with satisfaction, and wallowing in cheap gratification? See -Transit Trade- to realize the effects of mindless materialism. Schiller wrote, -Swim if you can and if you are too weak, sink.- Grosz takes this as his text for a compelling contrast between rich and poor in just two figures that completely refute the \u003ci\u003eUbermensch\u003c\/i\u003e doctrine. Hemingway in \u003ci\u003eNada\u003c\/i\u003e did not depict more tellingly the utter despair of empty lives in the hour when the cafe closes than does Grosz in -They Don't Sing Any More.- \u003ci\u003eLove Above All?\u003c\/i\u003e We are only partway through this portfolio when we realize suddenly how bitterly sarcastic is the title.\u003cbr\u003eBut the mordant eye, angry wit, and social consciences of Grosz were shared by many of his period. What lifts his art above the transient event is his supremely eloquent use of pen and brush. 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Grosz's account of a world gone mad is as acute and provocative as the art that depicts it, and this translation of a work long out of print restores the spontaneity, humor, and energy of the author's German text. 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