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When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his manuscripts. Instead, Brod devoted his life to championing Kafka's writing, rescuing his legacy from obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership of Kafka's work: Israel, where he dreamed of living, or Germany, where his three sisters perished in the Holocaust.

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa into multiple dimensions of the artist's life and afterlife.