By Graham Bartram
Theodor Fontane, Hermann Hesse, Thomas Mann, Franz Kafka, and Gunther Grass are one of the writers tested during this entire creation to the advance of the German novel within the past due 19th and early 20th centuries. together with a chronology and advisor to additional examining, the spouse conveys the energy and complexity of the fashionable German novel, and the debates surrounding it.
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Additional resources for The Cambridge Companion to the Modern German Novel (Cambridge Companions to Literature)
At the same time, the omnipresent censorship within Germany and later Austria meant that in some cases, allegorical or quasi-mythical novels that were allowed by the Nazis ¨ (Bergengruen’s A Matter of Conscience, Ernst Junger’s On the Marble Cliffs) were mistakenly endowed by the readers with a ‘coded’ anti-Hitler message that the author had not in fact intended. In the years and decades following the 1945 defeat of Germany (including annexed Austria) and the collapse of the Nazi regime, the ways in which German-speaking novelists went about making sense of reality were marked, perhaps more starkly than they had ever been, by the divergent worldpolitical fates of the different German-speaking states: Austria; Germanspeaking Switzerland (an ethnic entity within the Swiss confederation); and Germany itself, divided from 1945 until 1990 into a Soviet-dominated socialist state in the East, and a pluralist–capitalist West.
And ¨ and, resuming after the Second World War with the novels of Heinrich Boll 7 g r a h a m ba rt r a m later, Martin Walser, this subgenre documents with imaginative empathy and often naturalistic detail the lives of ordinary people who, like Remarque’s soldiers, albeit in a less extreme situation, see themselves largely as the passive objects of social forces they have no hope of controlling. 11 Literature as direct and truthful witness to contemporary events could not be published within the Third Reich.
Chapter 15 shows how a new generation of writers coming to prominence after the building of the Berlin Wall in 1961 – in particular Christa Wolf with Divided Heaven – began a process of chipping away at this deadening orthodoxy, introducing subject-matter and narrative structures that created spaces for individual rather than socialised subjectivity – Wolf’s ‘subjective authenticity’ – and increasingly for penetrating critiques of GDR society. In her study of works by Wolf, Irmtraud Morgner, Volker Braun, Christoph Hein and Stefan Heym, Patricia Herminghouse shows how the GDR’s ‘critical Marxists’, engaged to the end with their state’s professed goals and its manifest shortcomings, turned the novel into a vital ‘public space’ in which between the lines, but also increasingly openly (cf.
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