"Drawing on writers such as Hannah Arendt, Viktor Klemperer, Heiner Müller, and W. G. Sebald (among others), Grünbein describes the current state of German national psychology as still recovering from its Nazi past, still searching for its own appropriate literature."
Choice
"These lectures identify Grünbein as both a poet and a German struggling to come to terms with his language. Grünbein interweaves sensitive readings of sociology, philosophy and contemporary diarists in an attempt to make some sense of the contentious subject of Germanness."
Times Literary Supplement
In his four Lord Weidenfeld Lectures held in Oxford in 2019, German poet Durs Grünbein dealt with a topic that has occupied his mind ever since he began to perceive his own position within the past of his nation, his linguistic community, and his family: How is it possible that history can determine the individual poetic imagination and segregate it into private niches? Shouldn’t poetry look at the world with its own sovereign eyes instead?
In the form of a collage or “photosynthesis,” in image and text, Grünbein lets the fundamental opposition between poetic license and almost overwhelming bondage to history appear in an exemplary way. From the seeming trifle of a stamp with the portrait of Adolf Hitler, he moves through the phenomenon of the “Führer’s streets” and into the inferno of aerial warfare. In the end, Grünbein argues that we are faced with the powerlessness of writing and the realization, valid to this day, that comes from confronting history. As he muses, “There is something beyond literature that questions all writing.”
If it wasn’t the sponge on the post office counter, then a human tongue must have moistened the reverse. I imagine all the times that happened, all those unnoticed, intimate moments, the occasions involved and the different sites within the new European theatre of war. The bright July day at a table in a Munich beer garden, or late summer in Vienna sitting beneath the vine tendrils, drinking the early wine and sending greetings to loved ones at home. A postcard to an aunt, sealed with at hump of the fist on the obstinate stamp when the soldier’s mate had disappeared to the toilet. Or sticking one on to the billet doux intended for the beloved, in high spirits, months before the order to leave for the front. A winter evening in the guard room of a barracks in Occupied Poland, forces mail after leave in Warsaw, walking alongside the fences of the newly erected ghetto; one soldier writing to his mother: ‘it’s still crawling with Jews here. ’Or sent from a barracks in Occupied Lublin on the anniversary of ‘Two Years of General Government’ in Poland. From a Berlin dive after a sleepless night, hours before boarding the troop trains to Russia.
Each time it was the same unconscious act, something an ape might do—like picking over a coat for lice, licking a stick covered with ants—a conditioned reflex; one of many necessities in our modern life. People who caught themselves doing it were likely ashamed for a split second, then came a passing anxiety about catching something, but the next moment it was forgotten, and they had already moistened the next stamp.