By Raymond Furness
Containing entries on over 400 authors of fiction, poetry and drama from Germany, Austria and Switzerland, this useful paintings of reference provides fabric of a spread and intensity that no different e-book at the topic in English attains. For the second one variation, the entries were up to date to incorporate the latest works of German literature. a couple of new entries were further, dealing particularly with the East German literary scene and the altering literary panorama after reunification. as well as uncomplicated biographical evidence, the better half deals summaries, details on involvement in literary teams and political advancements, colleges and hobbies, serious phrases and elements of the opposite arts, together with movie.
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Additional info for A Companion to Twentieth-Century German Literature
These brutal and frequently grotesque poems, which spoke of corpses and putrefaction, were welcomed by Ernst Stadler and established Benn’s reputation as a poet of uncompromising modernity. He published in the major expressionist journals (Die Aktion, Der Sturm, Neues Pathos and Die weiβen Blätter); the second volume of poems, Söhne (1913), was dedicated to Else Lasker-Schüler. In Die weiβen Blätter there appeared in 1914 a short dramatic sketch entitled Ithaka, which tells of a violent and lethal confrontation between young idealists and professional authority; typically expressionist is the plea for atavistic vitalism: ‘Wir wollen den Traum.
Williams, Robert Creeley and Frank O’Hara (cf. Brinkmann), place the clichés of politics and the media in a personal context or contain snapshots of everyday life or memories of past experiences and deceased friends. Politics, reflection on the function of poetry and moments of satisfaction and hope contrasted with fear of the impersonal forces of the state are further topics in the later poems. Born’s other novels, Die erdabgewandte Seite der Geschichte (1976) and Die Fälschung (1979), both suffer from uncontrolled emotional impressionism, the former in its concentration on the shipwreck of the narrator’s personal relations, a German variant of the psychological introspection which characterized much writing in the 1970s.
The lyrical impulse present in these early prose works becomes dominant in the poetry collections Schnee (1971), Das Ende der Landschaftsmalerei (1974), Erzähl mir nichts vom Krieg (1977), In der verbleibenden Zeit (1979) and, combining the poems in these volumes with unpublished pieces written between 1974 and 1980, Gedichte 1965–1980 (1981), all of which, like the prose, register perceptions by means of free association like diary jottings. In concentrating on the effects of industrial activity in the urban landscape these poems become the vehicle of regret for the loss of the idyll represented by pre-industrial nature and fear of environmental catastrophe.