Hermann Hesse's 1912 collection "Umwege," which translates to "Detour Stories" in English, comprises five distinct short stories: "Ladidel," "Die Heimkehr" (translated as "The Homecoming"), "Der Weltverbesserer" (translated as "The World Improver"), "Emil Kolb" (title retained in English), and "Pater Matthias" (translated as "Father Matthias"). This collection of experimental narratives employs fragmented structures to mirror the circuitous paths of self-discovery. Characters abandon linear trajectories for meandering quests, their journeys reflecting Hesse’s growing skepticism toward teleological progress. The title story’s protagonist, a disillusioned academic, finds meaning not in scholarly pursuit but in the act of wandering itself. Umwege represents Hesse’s formal and philosophical rupture with 19th-century narrative conventions. Its rejection of climactic resolution in favor of open-ended becoming aligns with Bergson’s theories of durée, while its stylistic irregularity anticipates high modernist fragmentation. The work’s emphasis on process over achievement moves towards Hesse’s evolving belief in life as an iterative, non-teleological project, with the only goal being Wholeness or integration, as in Jungian Psychology. This collection of stories and sketches, published by S. Fischer in Berlin, presents characters who do not take the straight path in life, but instead find themselves on winding journeys—literally or metaphorically—that lead to unexpected destinations. The title Umwege itself is a telling choice: it suggests that sometimes one must stray from the direct course to discover deeper truths. In the context of Hesse’s life, 1912 was a year of subtle transition. He was increasingly restless in Gaienhofen, and the following year he would embark on a long trip to Asia. Detour Stories can be seen as a prelude to that shift, as if the author’s mind was already wandering down “detours” of imagination and place. The collection might include, for example, tales of travelers who leave home and encounter transformative experiences, or individuals who temporarily escape their routine and see their world with new eyes. Published a couple of years before the outbreak of World War I, Umwege didn’t make a loud splash but was appreciated by Hesse’s readers for its craftsmanship and reflective tone. It has rarely been translated as a unit; however, the concept of “detours” as meaningful in Hesse’s work resonates in many of his later, more famous writings (one thinks of the winding spiritual journey of Siddhartha, for instance, as an ultimate “detour” from an expected path). These rarely-translated works show another side of Hesse—not the mystic sage of later novels, but a man alive to his changing times, finding beauty and truth in new machines while still asking what they might mean for the human spirit. For readers familiar only with Hesse's major fiction, these flight writings open fresh views of his evolving thought during a key period before his best-known works took shape.