By Raymond Furness
Containing entries on over 400 authors of fiction, poetry and drama from Germany, Austria and Switzerland, this necessary paintings of reference offers fabric of a variety and intensity that no different booklet at the topic in English attains. For the second one variation, the entries were up to date to incorporate the newest works of German literature. a couple of new entries were additional, dealing particularly with the East German literary scene and the altering literary panorama after reunification. as well as easy biographical evidence, the spouse bargains summaries, details on involvement in literary teams and political advancements, colleges and routine, 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
He soon fell foul of the authorities for his criticisms of blinkered dogmatism, residual Stalinism (which, like Heiner Müller, he links with the regimentation fostered by the Prussian ethos) and failure to allow scope for revolutionary idealism and a personal fulfilment grounded on spontaneous feeling. From 1965 until September 1976 he was forbidden to perform in the GDR and all his publications and records appeared only in the West (Die Drahtharfe (1965), Mit Marx- und Engelszungen (1968), Deutschland.
Billinger was considered a ‘safe’ writer by the Nazis because of his description of peasant life, although the baroque excesses, particularly of many of the plays, are hardly exemplary. Perchtenspiel (1928, first performed at the Salzburg Festival) mixes natural and supernatural, modern and mystical, in an uncomfortable manner; Rauhnacht (1931) and Spiel vom Knecht (1932) anticipate the theatre of Franz Xaver Kroetz. In 1937 Billinger achieved great success with Der Gigant, a depiction of Bohemia and Prague which was filmed as Die goldene Stadt (the ‘giant’ of the title referring to the big city).
Vermischte Gedichte appeared in 1924. Borchardt had little dramatic talent, and his plays (including Päpstin Jutta (1920) and Die Staufer (1936)) were unsuccessful. Like Hofmannsthal, Borchardt insisted upon a ‘conservative revolution’ (this is expressed in the essay Die Aufgaben der Zeit gegenüber der Literatur (1929)), and used terminology which, in its reactionary earnestness, contains a somewhat dubious ring. The novel Vereinigung durch den Feind hindurch (1937) was published in Vienna: the title refers to an essay on military tactics.