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THE WRITINGS OF CHRISTA WOLF:

FROM OBJECTIVE TO SUBJECTIVE AUTHENTICITY

BY

Victoria Maddox Kingsbury

A DISSERTATION

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Linguistics and Germanic. Slavic. Asian, and African
Languages

1981

Exp'e
IOIEw
Chroi

theor

"j’I’Iv, :

x
/

ABSTRACT

THE WRITINGS OF CHRISTA WOLF:
FROM OBJECTIVE TO SUBJECTIVE AUTHENTICITY

By

Victoria Maddox Kingsbury

Christa Wolf. a writer in the German Democratic Republic. has been
expressing her ideas about literature in essays. reviews. interviews. and
forewords to various works since 1952. This dissertation examines the
chronological development of the different topics discussed In her
theoretical writings. Chapters One through Four deal with the following
topics which are found in her theoretical writings: i) the development of
GDR literature. 2) the interaction of author. reader. and society. 3) the
relationship between the author and the work. and 4) the literary work
itself. In order to discover the extent to which they correlate with the
difference in viewpoint between her early and late theoretical writings. her

earliest fictional work. Moskauer Novelie (1961). and a recent novel.

 

Klndheitsmuster (1976). are analyzed.

 

Her early theoretical writings exhibit the belief that literary works
should be aimed at promoting the goals of the socialist society. To this
end she urges writers to show the interrelatedness of past. present. and
future in their works and to depict the problems and conflicts of the
emerging socialist society In order to help the reader adjust to his
surroundings. Thus. in her early works she believes the author should be
motivated by a desire to further the goals of socialism. Moskauer Novelie

is shown to be consistent with her early views on literature.

aU‘

wbi

aut‘

Her later theoretical writings reflect her growing interest in the
author’s subjective reasons for wanting to write. This concern with the
author’s inner experience leads to the development of a theory of prose
which centers around the term “subjective authenticity.“ which describes the
authors approach to reality through the act of writing. An analysis of

Klndheitsmuster shows that it conforms to the principles of subjective

authenticity.

(1..- Copyright by
‘ ALICE VICTORIA MADDOX KINGSBURY
1981

To my parents.

whose confidence in me has made all things possible

For

exp.r
Hein

com:

lime;

Anna

n'Chl

their

"Vow;

ACKNOWLEDGEMENTS

For their assistance in the completion of my dissertation. I would like to
express my appreciation to:

the members of my committee. Professor Raimund Belgardt. Professor
Heinz J. Dill. Professor Mark O. Kistier. especially the chairman of my
committee. Professor Thomas H. Falk. for his constant encouragement and
timely suggestions:

my husband. Larry. for his unending help. patience and support:

my dear friend. Michael Eric Bennett. in the words of Christa Wolf to
Anna Seghers. 'wenn Griinde filr Dankbarkeit so zahlreich sind. kann man
nicht aile nennenz'

my friends Michael O’Hanlan. Marny Payne. and Lynne Woods. for
their continual friendship und understanding:

Walter W. Burlnskl. for his invaluable assistance in obtaining materials

through lnterlibrary Loan.

INTR

Chat

3

moow»

2067'"

Cha;

TABLE OF CONTENTS

lNTRODUCTiON ........ . . . . . ...................
Notes--introduction . . ..........................
Chapter One--The Development of GDR Literature .........

introduction .......... . . . ...................
The Origins of GDR Literature ....................
The Entertainment Novel ........................
.The Presence of Naturalistic Elements in the Novel .........
.The Humanization of Man .......................
The Importance of Literary Discussions for the Development of a
National Literature ...........................
F. War as a Theme ...........................
G.A Shift in her Viewpoint on the Development of GDR Literature
Conclusion ........... . ....................
Notes--Chapter One ...........................

meow?

Chapter Two--The interaction of Author. Reader. and Society ......

introduction ................................
A. Responsibility of the Author and the Possibilities for Literature
in the GDR ..............................
1. Representation of Reality ......................
2. The Difficulty of the Authors Task .................
3. Historical Truthfuiness ........................
4. The Depiction of Problems and Conflicts .............
5. The Concept of Newness ......................
6. The Humanization of Man .....................
B. The Reader ..............................
Conclusion ................................
Notes--Chapter Two ...........................

Chapter Three--The Relationship between the Author and the Work

introduction ................................
A. General Comments on the Author—Work Relationship ........
B. The Role of Experience ........................
.The Lifestyle of the Author ......................
.The Author’s Personal Motivation for Writing .............
.The Process of Remembering .....................
. Subjective Authenticity .........................

'fllTIUO

Conc
Nore

Chapter

Conclusion ................................. 102

 

 

 

 

 

Notes--Chapter Three .......................... 104
Chapter Four--The Literary Work itself ............... . . . . 107
introduction ............................... . 107
A. Characterization. Plot. and Structure ................. 108
B. The Presence of Personal Elements in the Work .......... 118
C. The Narrative Perspective ....................... 120
Conclusion ................................. 122
Notes-“Chapter Four ........................... 125
Chapter Five—-The Relationship of Moskauer Novelie and Klndheitsmuster
to the Theoretical Writings of Christa Wolf ............... 128
introduction ................................ 128
A. The Relationship of Moskauer Novelie to the ideas Expressed in
her Early Theoretical Writings ..................... 129
1. The interaction of Author. Reader. and Society .......... 129
2. The Relationship between the Author and the Work ....... 138
3. The Work Itself ........................... 141
a. Characterization. Plot. and Structure .............. 141
b. The Presence of Personal Elements .............. 145
c. The Narrative Perspective .................... 147
B. The Relationship of Klndheitsmuster to the ideas Expressed in
her Later Theoretical Writings ..................... 149
1. The interaction of Author. Reader. and Society .......... 149
2. The Relationship between the Author and the Work ....... 155
3. The Work itself ........................... 157
a. Characterization and Plot .................... 157
b. Structure and Narrative Perspective ............... 159
c. The interrelatedness of Features in Klndheitsmuster ...... 161
Conclusion ................................. 162
Notes--Chapter Five ........................... 165
Conclusion .................................. 167
APPENDIX A--Sociaiist Realism ....................... 171
Notes--Appendix A ............................ 173
APPENDIX B--Timetabie ........................... 174
SELECTED BIBLIOGRAPHY .......................... 181
A. Primary Works by Christa Wolf .................... 181
1. Theoretical Writings ......................... 181
2. Fiction ................................ 186
3. Collections .............................. 187
8. Secondary Material ........................... 187
1. On Specific Works by Christa Wolf ................ 187
2. On Christa Wolf and GDR Literature ............. . . . 194

vi

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INTRODUCTION

One of the German Democratic Republic’s leading writers of fiction
and literary theory is Christa Wolf. who was born in 1929 in Landsberg an
der Warthe. She attended school there until 1945. when she fled with her
family to Meckienburg.‘ From 1949 to 1953 she studied German literature
in Jena and Leipzig. in 1952 her first review was published in M

Deutschland and since then she has continued to write reviews. as well as

 

editorials. essays on literature. and forewords to various works. She has
also expressed her views on literature in interviews with authors and
critics. Although presently working primarily as a writer in Kleinmachnow.
after moving there in 1962. she has been Involved with all aspects of
literary life in the GDR. She has worked with the German Author’s Union.

has served as editor of the journal Neue deutsche Literatur. and has been

 

employed by the publishing houses Neues Leben and Mitteldeutscher Veriag.
She has edited various anthologies of GDR literature and given speeches
at writers’ conferences. Having been influenced by the First Bitterfeid
Conference. where writers were urged to experience the working world in
order to write about it more effectively. she worked in a railroad car

factory. In 1961 her first fictional work. Moskauer Novelie. was published

 

and received the Kunstpreis der Stadt Halie. After that she began to
spend Increasingly more time writing fiction. although she has continued to
publish theoretical works. in 1963. she published her second fictional

piece. Der geteiite Himmei. for which she received the Heinrich-Mann Preis

 

der Ax
Cins_ta
She I'i
(1965i

(1910i

baCkg
wnhn
Oeve;
that
(SOP
Pmfle

tene;

2

der Akademie der Klinste der DDR. Her later novels are Nachdenken (iber

 

Christa T. (1968). Klndheitsmuster (1976) and Kein Ort. Nirgends (1980).

 

 

She has also published several short stories. including 'Juninachmittag“
(1965). 'Unter den Linden” (1969). 'Neue Lebensansichten eines Katers"
(1970). 'Kielner Ausflug nach H.“ (1971) and 'Selbstversuch' (1972).

A brief sketch of the developments of GDR literature will provide a
background to the ideas that Christa Wolf presents in her theoretical
writings. since as a literary theorist she has been concerned with the
development of literature in GDR society. as well as with the possibilities
that her society offers for the production of literature? The origins of
GDR literature can be traced back to the foundation of the Association of
Proietarlan and Revolutionary Writers in 1928 and to the formulation of the
tenets of Socialist Realism around 1934. Anna Seghers. a GDR writer
whose works have been the subject of articles and interviews by Christa
Wolf. was one of the members of the Association: she is also included in
the group of writers who formed the anti-fascist front around 1945 to
1949. The First Authors’ Congress. held in the GDR in 1947. proposed
that Soviet literature be an example for GDR literature. in 1948. writers
were also urged to propagate the Two-Year Plan and were encouraged to
go to factories and villages to gain the material for their works. At the
Second Authors’ Congress in 1950. the Authors’ Union was founded and
authors were urged to help the government in the establishment of
socialism. Although the Third Authors’ Congress in 1952 saw a stronger
enforcement of publishing restrictions. after 1953 administrative controls
lessened slightly and instead. authors were encouraged to internalize

responsibility for what they wrote. At the First Bitterfeld Conference in

1959.a
Anna 8
(Rue lo
FiCiiona
acapUn
lOIIOwec
uneracf
novel 1
memem
'Mensci
seen fr
Bitterfe.
aCiuai g
nOvei D

‘

Clings”
NEUlscn
Certain
and 50C
and pro
and the
Iiberalizé
lo 9W8
Eleventh
reSDO’ISi
unable l

Dreserwr

3
1959. authors were urged to further the goal of a national literature.

Anna Seghers’ novel Die Entscheidung set a precedent in literature at this

 

time for depicting the individual in the midst of making difficult decisions.
Fictional works began to show the difficulties the individual faced in

adapting to his new society. Christa Woifs 1961 work Moskauer Novelie

 

followed this trend. in 1964. at the Second Bitterfeld Conference. the
interaction of writers and workers was stressed. Both Brigitte Reimann’s

novel. Ankunft im Alltag. and Christa Wolf's Der geteilte Himmel included

 

 

elements of the work world. The idea that literature should present a
"Menschenbild.’ i.e.. that it should depict man In his present-day situation
seen from a socialist perspective. was also expressed at the Second
Bitterfeld Conference. Writers began to be concerned with the depiction of
actual societal development. as was the case with Hermann Kant and his
novel Die Aula. Following the Fifth Authors’ Congress in 1961. more
criticism of the political and social system began to be allowed and Erik

Neutsch’s Spur der Steine raised the question of whether there were

 

certain conflicts inherent in s00iaiism. such as that between the individual
and society. This more liberal attitude. where the depiction of conflicts
and problems in the society was tolerated. seemed to satisfy both authors
and the SED party. but by 1965 the party wanted to stop this trend toward
liberalization. it soon became clear. however. that authors were unwilling
to give up their new-found freedom. Christa Wolfs comments at the
Eleventh Plenum of the Central Committee in late 1965 on the
responsibility of art to raise new questions showed that the party would be
unable to stop the emancipation of literature. in 1971 the insistence on

preserving the tenets of socialist realism was dropped and the statement

was m
taboos
depiCii
other .
was ill
iiiEraiu
With ti“
lenden
wOUTS
COnfror
his na
there i

'c‘isthei;

4
was made that in a stable socialist society there should be no need for
taboos in literature. One trend in literature around this time was the
depiction of the interrelationship of past and present. Christa Wolf and
other authors began to believe that the past had not been overcome and
was thus a potentially valuable theme for literature. Tendencies in GDR
literature in the 1970’s include the incorporation of the first person narrator
with the resultant perspective of inner/subjective authenticity. There is a

tendency. especially in Erik Neutsch’s Suche nach Gatt and the recent

 

works of Christa Wolf. for this subjective perspective to result in the
confrontation of the narrator with himself and not just with the object of

his narration.3

in addition to the incorporation of the first-person narrator.
there is a recent trend in GDR literature towards what Steinbach calls
'asthetische Reflexion'--the reflection upon the possibilities and difficulties

of the writing process. This trend is reflected in Christa Wolfs novel

Klndheitsmuster. where this process of reflection forms one of the levels of

 

narration.

Beginning with her 1952 review published In Neues Deutschland.

 

Christa Wolf has produced numerous reviews. essays. forewords to
anthologies. and interviews with other authors. Through the years her
ideas on literature have changed. maturing and becoming more
personalized as she has developed as a critic and as an author. This
work will trace and analyze the development of her theoretical writings by
examining the various t0pics that she discusses In her reviews. essays.
and interviews. Critics have been primarily concerned with Christa Woifs
fiction. although some have mentioned her theoretical writings in discussing

her works of fiction. They have used her views on literature. primarily

those h
ab0ul I
develop
19705.
LQSEn

to her
deveio'
is by

Chhcw
Oeveic
senier
hafi~s
does

his is
UiSCus

pUbhc

5
those found in “Lesen und Schreiben."4 to substantiate their statements
about her short stories and novels. None of these articles discusses any
development of her theoretical writings from the early 19503 to the mid
19703. There also exist numerous reviews of her collection of essays

Lesen und Schreiben. but none of these relate the views expressed in it

 

to her earlier theoretical writings. Only three works discuss the
development from her early to her late theoretical writings. One of them
is by Alexander Stephan. who devotes thirteen pages to her literary

5 He summarizes the

criticisms. work as an editor. and essays.
development from her early to her later theoretical writings in one
sentence. He states that only after having hidden her own position behind
half-scientific. half-literary analyses of works of other authors for ten years
does she finally in 1970 begin to express her own ideas on literature. In
his 1973 article entitled 'Auf dem iangen Weg zur Wahrheit.“ Jager
discusses her theoretical writings. citing only sixteen of her over 60

6

publications. His goal is to show that her fictional work Nachdenken Uber

 

Christa T. is consistent with the ideas expressed In her essays and
critiques. He discusses her early theoretical writings. and then uses her
fictional works to show the progression of ideas towards those expressed in
"Lesen und Schreiben.“ He does not. however. trace the chronological
development of any specific themes within her theoretical writings. In his
1975 article. "Die Literaturkritikerin Christa Wolf.” he discusses primarily her

development from a critic into a writer of fiction.7

in regard to her
earlier theoretical writings. he states that she was primarily concerned In
her reviews that works exhibit a cohesiveness of plot. In regard to her

later writings. he states only that they are thematically similar to one

anomer

WOifs i
theme
within
theoret
IOIIOW
01 GD
te‘ialio
itseif.
categ-
his w
memz
What
3009

They

Witt-j”

Winn

another.

The present work examines in detail the ideas presented in Christa
Wolf's theoretical writings. grouping them thematically and examining each
theme chronologically in order to discover any changes or developments
within each theme. The various topics that Christa Wolf discusses in her
theoretical writings are grouped for the purpose of this study into the
following categories. which form the first four chapters: 1) the development
of GDR literature. 2) the interaction of author. reader. and society. 3) the
relationship between the author and the work. and 4) the literary work
itself. None of these categories exists in complete isolation from the other
categories within her writings because it is the writer. who. interacting with
his work and with society. creates a work with which the reader. a
member of society. interacts. There may even be further interaction if
what the author says causes the reader to act in a certain way within
society. and all of these interactions occur within a historical context. i.e..
they are a part of the development of literature in the GDR.

The groupings chosen for investigation serve merely as a framework
within which to organize the ideas Christa Wolf presents in her theoretical
writings. it should be remembered that she rarely discusses any of these
topics in isolation: for example. the writer is not viewed as an entity
standing by himself. He is seen as a functioning and influential member
of his society. who. by creating works of literature. plays an important role
in the development of his society. Even when in her later writings Christa
Wolf concerns herself with the more subjective and personal reasons for
an author wanting to write. the author is never viewed as being alienated

from his society. it is her desire that the writer be accepted by society.

and s
and ii
behaVi
import
somen
and a
interCi
carriec
spec:a

lntercr

NOvei'c
\‘a
(Glamor
the 0'”.

win be

blbjjogr
regarg

rGains",
theorem

8 prO'v'r

7

and she perceives that her society/s goal is to become more able. willing.
and flexible enough to deal with the more subjective aspects of human
behavior. The interplay between writer and society (the reader being an
important part of society) is a lasting and ever-changing process. As the
society develops historically. so too does the writer change in his personal
and artistic development. As both society and the writer develop. the
interchanges between the writer. the work. the reader and society are
carried out at an increasingly mature level. The writer. through his
special talent in using the medium of literature. is the catalyst for
interchanges between himself. the work. the reader. and society.

Chapter Five examines both her earliest fictional work. Moskauer

Novelie (1961) and her 1976 novel Klndheitsmuster. to reveal the

 

relationship of those works to the four topics discussed in Chapters One
through Four. The extent to which these two fictional pieces correlate with
the difference in viewpoint between her early and late theoretical writings
will be revealed.

Two appendices have been provided in addition to the usual
bibliography. Because the term socialist realism is often encountered in
regard to GDR literature. Appendix A provides a brief definition of socialist
realism. Because this work discusses the themes found in Christa Wolfs
theoretical works with respect to their chronological development. Appendix
B provides a timetable containing biographical information on Christa Wolf.
the dates when her theoretical writings were written. the publication dates

of her fictional works. and dates important to GDR literary development.

 

C0r

Arm

Chr.
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V ~ I

\
be:
>\
OQQ

46l

Notes--lntroduction

IMuch of the biographical information is from Alexander Stephan's
timetable. (Alexander Stephan. Christa Wolf (Autorenbiicher. No. 4. ed. Heinz
Ludwig Arnold and Ernst-Peter Wirckenberg) (Munich: Veriag C.H. Beck.
1976). pp. 139-40.

 

28) David Bathrick. 'GeschichtsbewuBtsein ais SeibstbewuBtsein. Die
Literatur der DDR.‘ in Literatur nach 1945. l. Politische und regionale
Asgekte. by Jost Hermand. vol. 21: Neues Handbuch der
Literaturwissenschaft ed. Klaus von See (Wiesbaden: Akademlsche
Veriagsgeseilschaft Athenaion. 1979):

b) DDR Handbuch. ed. Bundesmlnisterium fiir innerdeutsche Beziehungen
(Cologne: Veriag Wisenschaft und Poiitik. 1975):

c) Dietrich Steinbach. "Die neuere Literatur der DDR: Probleme. Tendenzen.
Konsteliationen.‘ Deutschunterricht 30 (1978): 100—118:

d) Witold F. Tulasiewicz. “Socialist Realism in the German Democratic
Republic.” In Oakland Symposium on Socialist Realism in Literature. ed.
Renate Geruiaitis (Rochester. Michigan: Oakland University. 1975). pp. 20-
47.

 

 

 

 

 

 

3The term 'subjektlve Authentizltat' is proposed by Christa Wolf in her
conversation with Hans Kaufmann. (“Hans Kaufmann. Gesprach mlt Christa
Wolf.“ Welmarer Beltrage 6 [1974]: 90-112.) This recent development is
discussed by Dietrich Steinbach. pp. 114-19.

 

4cmista Wolf. "Lesen und Schreiben.‘ in Lesen und Schreiben.
Aufsatze und Prosastticke. by Christa Wolf. 3rd ed. (Darmstadt: Hermann
Luchterhand Veriag. 1978). pp. 149-180.

 

 

5Alexander Stephan. Christa Wolf. pp. 117-29.

 

6Manfred Jager. 'Auf dem langen Weg zur Wahrheit. Fragen.
Antworten und neue Fragen in den Erzahlungen. Aufsatzen und Reden
Christa Wolfs.‘ in Sozialliteraten. Funktion und Selbstverstandnis der
Schriftstelier in der DDR. by Manfred Jager. vol. 14: Literatur in der
Gesellschaft. ed. Klaus Gilnther. Leo Krutzer and Jochen Vogt (Diisseldorf:
Bertelsmann Veriag. 1973). pp. 11-101.

 

 

 

 

7 Manfred Jager. 'Die Literaturkritikerin Christa Wolf." Text und Kritik
46 (1975): 42-49.

 

lnuoducu
As
ChriSla ll
SSDGCIalii
i0rm the
area of
a way tr
writings '
plays in
developm
discusses
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I01 the I
Stigma 0
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I’llimamZa

Chapter One——The Development of GDR Literature

introduction

As an essayist and critic. one of the main areas that concerns
Christa Wolf is the topic of the development of GDR literature. it is
especially important to her because she believes that literature can help
form the continually evolving society. and all those concerned with the
area of literature have an obligation to their society to help it develop in
a way that will improve the life of the pe0ple within it. Her theoretical
writings frequently mention the role that a certain writer or a certain work
plays in the development of her society/s literature. Her views on the
development of GDR literature fall into several categories. She occasionally
discusses the historical origins of GDR literature. but is in general more
concerned with the role of contemporary literature in the general literary
development. in her earlier essays she is concerned about the influence
of the entertainment novel ('Unterhaltungsroman') on the people and calls
for the raising of literary standards. She believes that naturalistic details
should be avoided in literary works and that there should be greater
emphasis on more ail-encompassing themes in literature. such as the
humanization of man. She also mentions the importance of literary
discussions to clarify the goals of literature. Another topic that concerns
her is the theme of war. which she feels needs to be dealt with. but not
to the point of losing contact with present-day life. it will be seen that in
her later discussions of the development of GDR literature there is a
movement in her theoretical writings toward a more personal view of

literary developments. engendered by her own development into a writer of

“awn

A. The

n hm
idea 1h.

m me

She ‘
eany
ConCi
Dast

“tera
WGSr
bOur

Titsy

10

fiction.

A. The Origins of GDR Literature

Christa Wolf discusses the origins of GDR literature in the Forewords
to two volumes of collected writings by GDR authors. She expresses the
idea that GDR literature can trace its development back to the beginning
of the century:

Die Wurzein unserer neuen Literatur reichen zurlick bis an
den Beginn unseres Jahrhunderts. als eine junge Generation
blirgeriicher Schriftstelier die alten ldeale verwarf und mlt
ihren besten Vertretern aus der Literaturrevolte zur
geselischaftsumgestaitenden Revolution der Arbeiterklasse
vorstieB. um gemeinsam mlt Dichtern aus dem Proletariat als
Augen— und Ohrenzeuge Stlmme eben dieser Revolution zu
sein.

She views the GDR literature of that time as being firmly based on the
early revolutionary literature. Even if the present literature is primarily
concerned with depicting the building of a socialist society. the historical
past should not be forgotten. Her views conform to those of other GDR
literary critics who accepted the tradition of German literature which was
'identified with the cause of the working class and critical of the
bourgeoisie.'2 Christa Wolf names several authors who were among the
first to attempt to portray the form and spirit of the new society in their
literary works. and continues by saying that the number of such young
authors had increased since 1955. These new authors brought to
literature their own fresh experiences and views:
Eine neue Generation ist In die Literatur elngetreten. mlt lhrem
spezifischen Grunderlebnls. mlt lhrer elgenen Art. das Leben
zu sehen. zu fiihien und darauf zu reagieren. mlt lhren
elgenen Konflikten und ihren spezielien Mbglichkeiten. Konflikte

zu liberwinden.3

Other than in these two Forewords. Christa Wolf ls primarily concerned. not

with the

and the

B. The

CONCGTH
the 08v
SliOuld
be igno
an artis
SGCOng-
hUn‘orm
mOre Iii
IS impo
‘he auti
SUCCESS
Commer-
emeFlair
his DOSI
Si

’"e'alure

11
with the origins of GDR literature. but with specific features of literature

and the direction that the literary development is taking at any given time.

B. The Entertainment Novel
in one of her earliest theoretical writings Christa Wolf expresses
concern about the role of the entertainment novel ('Unterhaltungsroman") in

4 She feels that entertainment novels

the development of GDR literature.
should be analyzed and their literary value ascertained. They should not
be ignored simply because they are entertaining. She believes that from
an artistic viewpoint. such entertaining works should not be considered
second-rate. as if it were somehow easier to write in an entertaining.
humorous manner than in a serious manner. Since the general reader is
more likely to read these works rather than more problematical material. it
is important that critics investigate them. Although Christa Wolf feels that
the author whose book she is reviewing has not been completely
successful in expressing his theoretical knowledge in his work. he is to be
commended for trying to reach the people with a book that is not just
entertaining but is also relevant to the reader as he attempts to ascertain
his position in the new society.
She believes that the entertainment novel could serve as a transitional
literature intended to gradually raise the level of the reader’s taste:
Selt langerer Zeit versuchen Schriftstelier bei uns. die triibe
Flut kitschiger 'Unterhaltungsllteratur" durch bessere Bilcher
elnzudammen: es schelnt elne Art von "Zwischenllteratur' zu
entstehen. die den Leser vom schlechten Buch weg- und an
das beste heranft'lhren will.5

She feels that this transitional literature should be judged by literary

standards. and that it is important to discover the reasons for the literary

snoncomii
608. if
[0 a 06W
the authc
good lite
entenaini
masses.
readers

entertain

”Oveis ,
kitscmge
Still ma:
the h‘g?
’eac‘mng
Ge‘vej0m
in Critic

5C“.

12

shortcomings of many of the books produced in the early 1950's in the
GDR. if such a transitional literature is indeed to be the stepping stone
to a better literature. gradually raising the level of the reader’s taste. then
the author of such literature should strive to incorporate the elements of
good literature into his works. if no attempt is made to better this
entertainment literature it will continue to function as a drug for the
masses. helping them only to overcome the meaningless activities of the
reader’s everyday life. Christa Wolf questions the ability of the existing
entertainment novels to perform a valid function in her society:

Auch der gute Unterhaitungsroman muB seine Spannung aus

echten Konflikten schdpfen. er soil nicht als Zugestandnis an

schiechten Geschmack geiten. Der Schatten eines riesigen

Berges schiechter Literatur iastet auf unserem Blichermarkt.

Wird er durch diese Art neuer Unterhaitungsliteratur wirklich

'besiegt'?6

in 1956 she is still concerned about the plenitude of entertainment

novels which she describes as 'wertlose. oftmals gefahriiche. silBlich-
kitschige ’Romane‘.‘ Authors of this stream of superficial novels. which they
still maintained was transitional literature. justified its existence by citing
the high number of volumes sold and by claiming that it was at least

reaching the masses.7

Christa Wolf hypothesized that this literature
developed in reaction to the schematism which had been a central issue
in criticism of the early 1950’s. Christa Wolf does not define the term
schematism. but Anna Seghers also refers to the problem of schematism
and describes it in some detail. Anna Seghers is a GDR writer born in
1900 who. even during her exile in Mexico from 1941-1947. was concerned
with the development of literature in what she termed “the other Germany."

When she returned to Germany In 1947. she chose to live in what was

then the Soviet occupation zone and she has since played a leading role

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13
in the literary development of the GDR. At the Fourth Writers’ Congress.
she discusses the fact that in many novels there were no real conflicts.
only apparent conflicts. no genuine developments in the characters. only
apparent developments. which caused the reader to lose interest in what
he was reading. Rather than letting the characters speak for themselves.
the authors tended to depict their characters as types: 'Man erkennt
augenblickiich. wie in den Mysterienspieien des Mittelaiters. die Engel an
ihren Filigein und die Teufei an lhren HOrnern. Und die Personen
handein. wie es ihren lnsignien entspricht.‘8 Anna Seghers believed that
this schematism existed whenever the authors viewed the teachings of the
party as dogma. Because the reader could so easily guess the plot of
the story. he was not likely to reflect upon the story after he had read it.
Although Christa Wolf does not deny the importance of the stated goal of
transitional literature--to support the power of workers and farmers—she ls
convinced that the goal does not justify jeopardizing the development of
good literature. The transitional literature was really no higher in quality
than the earlier literature. In order for literature to develop further. a
deepening of the content was necessary. Schematic works lacked depth of
character whereas this transitional literature lacked depth of Idea. Christa
Wolf calls for realistic characterization in works which should also have
socially beneficial ideas. i.e.. ideas which will help the reader adjust to his
new society. She feels that there exists in her society sufficient material
for use in literature so that authors should not have to resort to trite
themes. in order to best serve the interests of both reader and author.
attempts should be made to eliminate the superficial elements in literature:

“Die Spitze der Kritik muB sich gegen ein Oberhandnehmen von Piatitiiden.

von B
ncmer

SChnh:

Omappl
reader:
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14

von Banalisierungen des groben dramatischen Geschehens unserer Zeit
richten - im lnteresse der Leser und. wie ich hoffe. auch im lnteresse der
Schriftstelier.“9

The justification for the existence of “trashy“ literature will slowly
disappear. she believes. when the process of raising the level of the
reader’s taste (‘Niveauhebung') has run its course.‘0 it is the
responsibility of the critic to stimulate production of good literature and
especially to help the reader understand such literature so that he will no

longer turn to trashy novels as the drug addict turns to drugs.H

C. The Presence of Naturalistic Elements in the Novel
Another of Christa Wolfs concerns was the presence of naturalistic
elements in the works of the late 1950’s and early 1960’s. She never
states outright what she means by the term naturalistic elements. nor does
she discuss exactly why they should be avoided. She Is not the only
critic to criticize naturalism without discussing what the term actually
means. however. Alexander Fadejew makes the following comments about
naturalistic elements in his own work:
Die Seuberung eines Werkes von groben Ablagerungen bedeutet
nicht eine Entstellung der Epoche. um so mehr als sie den
Charakter der Helden nicht andert. vlelleicht gerade lm
Gegenteil... ich habe das Recht. das Werk von solchem
Naturalismus zu saubern. um die groBe Epoche nicht
herabzuwiirdigen. ich muB zugeben. daB ich persbnilch einen
Hang zu naturallstlschen Einzelheiten habe. langst wurde mir
aber bewuBt. daB das den Leser verletzt und...in keiner
Hinsicht bereichert.12
He. too. finds naturalism to be discordant with the aims of a socialist

literature. but does not really explain what he means by the term. He

goes on to say that the writer should orient himself to the progressive

r880

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15
reader and not cater to the baser instincts of the reading population. a
view with which Christa Wolf concurs.

We can only assume that by naturalism Christa Wolf means attention
to the details of life which reveal the less noble side of mankind. For
her. the use of naturalistic details does not contribute to what she
perceives as the goal of literature in the early 1960’s--—to aid in the
development of the socialist state by helping people find their place in
society. Depicting minute. unpleasant details detracts from the attention
that should be given to the raising of societYS consciousness. The writer
should divert people’s attention from the sordid details of life. directing it
rather toward a belief in. and aspiration toward. a better world. This is
consistent with the discussion of naturalism at the ist Soviet Authors’
Congress in 1934. where the terms reality and truth were dlstingulsed form
one another. Reality was defined as the details of life as it is. and was
equated with naturalism: truth was the view of life as It should be.

Writers were urged to depict truth in order to further the goals of
socialism. it is questionable. though. whether by avoiding naturalistic
details and by concentrating only on an optimistic view of life literature
can actually produce the effect Christa Wolf and others desired. if the
“masses.“ who operate on a mundane. day-to-day level of existence. do
not find the details of their life in what they read. it does not seem likely
that they are going to read the books intended for their cultural
enlightenment. There was a great deal of idealism in the early essays
written by Christa Wolf and others of that time who were concerned with
the development of their socialist society. idealism was a necessary

ingredient for the building of their new society. for without it there would

have bet
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16
have been no aspiration toward their goal. no hope for the future. The
idealism needed to be tempered by realism. however. As early as 1957.
Christa Wolf was concerned that the idealism expressed in works of
literature was too abstract. and that too many works. although validly trying
to deal with the problems of man in the developing society. had been
guilty of shallow portrayals of those problems: "Mit oberflachlichem
Optimismus. mit Scheinkonfiikten. mit schematischen Vereinfachungen ist
unsere Wirklichkeit. ist das erste Stadium einer sozialistischen Gesellschaft
.13

weder darzusteiien noch tiefergehend zu beeinflussen.

in discussing Erwin Strittmatters first novel. Ochsenkutscher. she

 

praises his artistic talent but concedes that his work is not free from
naturalistic elements. She indirectly criticizes naturalism when she states
that although Strittmatter has overcome the tendency to give characters
and actions a symbolic value greater than they merit. other contemporary
authors still needed to learn that abstract symbolism was just the reverse

‘4 in a different essay. she states her belief that an

side of naturalism.
important goal of literature should be to convey the capability of society to

make people more human ('den Menschen menschiicher zu machen'). By

 

concentrating on the portrayal of the greater ideals of society. writers can

‘5 lna

avoid naturalistic detail even when portraying bourgeois characters.
later article. Christa Wolf praises Anna Seghers’ latest novel. Die

Entscheidung. for encompassing the basic goals and ideals of the times.

 

believing that in concentrating on these basic ideas. Seghers’ novel is
protected from any trace of provincial naturalism.16
After 1961 Christa Wolf does not mention naturalism in her essays

again. There are two possible reasons for this--1) naturalistic details no

17
longer appeared in works and thus her concern had become obsolete. or
2) naturalistic details still appeared in works but they were no longer a
concern because she and society had developed to the point where the
depiction of the less positive aspects of life was no longer seen as a
threat to the attainment of societYs goals. The second possibility is the
most likely. because as GDR literature progressed from the early years of
idealistic. dogmatic writing aimed at propagating the beliefs of socialism to
the later years of less political and more personal writing. negative aspects
of socialist life began to be depicted in the literature. Once the society
had gained a firm ground and was surer of itself. it was no longer so
necessary to gloss over or ignore the unpleasant features of life in that
society. The presence of naturalistic details became less and less a
concern as the restrictions on writers lessened. although the situation still

does not exist that authors can publish whatever they wish.

D. The Humanization of Man

Christa Wolf feels that if authors want to avoid schematism and
naturalism in their works. they should strive to depict the goals of the
society. one of which is the humanization of man ('Menschenwerdung des
Menschen“). She views the humanization of man as an ail-encompassing
theme: 'Jeder der unendllch vlelen mbgilchen Stoffe. welche die Wirklichkeit
bereit halt. muB dem echten Schriftstelier unter den Handen zu einer

Modiflkation dieses Themas warden)”

Unfortunately. there had been a
lack of novels in the early 1950's dealing with the humanization of man.
and for this reason she is quick to praise Rudolf Fischer for depicting in

his novel the various facets of modern life that she believes lead to the

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18
humanization of man. He presents the conflicts and excitement in the life
of modern socialist man. Through the resolution of conflicts man improves
himself. his place in society. and ultimately society itself. She further
lauds Fischer for placing his characters within a historical context: he
shows that their actions and conflicts are a result of their pasts. She
sees his depiction of people in a historical context as a genuine
accomplishment. especially in view of the many novels of that time whose
characters were not placed in a historical context. Characters in other
novels of the time were not only devoid of a past but were also
manipulated by present. external circumstances. it is important to Christa
Wolf that literary characters take an active part in their lives and that their
present actions be realistically based on their past experiences--oniy then
can characters serve as suitable role models for the socialist citizen. She
criticizes the 'occupationai novei" ('Betriebsroman") precisely because of its
sketchy. unrealistic portrayal of characters as stereotypes rather than as
real people. She exempts Fischer's book from the category of occupational
novel because. although his novel takes place at a coal mine. he is
involved with his characters and depicts them in a life-like manner:
'Giilcklicherweise hatte Rudolf Fischer von Anfang an nicht die Konzeption
eines sogenannten ’Betriebsroman’ gewahit. sondern die Geschichte
wirklicher Menschen in den Mlttelpunkt seiner Aufmerksamkelt gertickt.‘18
Unfortunately. not all authors had achieved this solidarity with their work:
'Wie haufig zeigen unsere Blicher sonst ein seelenloses. diirres Verhaltnls
des Schriftsteliers zu seinen Gestalten. die er nur als Illustration filr
!.19

bestimmte Gedanken benutzt

Christa Wolfs concern with the theme of the humanization of man is

 

consm
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In this
the int
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19

consistent with her views on the role of literature. which is to depict
people in a humane manner. as individuals and not as stereotypes. The
reader can then identify with them and learn how to fit into his society.

In this way the interests of the state are served: the reader identifies with
the individuals he reads about and learns from them how to function in
the new socialist society. it was important to her that the developing GDR
literature realize its obligation to present the theme of the humanization of

man.

E. The Importance of Literary Discussions for the Development of a
National Literature

in an essay written in 1955. Christa Wolf stresses the importance of
discussions on literature by literary critics. believing that such discussions
will enrich the critic’s views by exposing him to other people’s viewpoints.
and thus creating a climate less colored by subjective inclinations and
aversions. For a devel0ping literature in a developing society it is
important that the literary theoreticians maintain an open and honest
relationship with one another so that the needs of the society can be
handled in the best possible manner. The comments that Christa Wolf
makes in her early writings are strongly influenced both by the young and
developing society and by the literature which reflects that development.
Her praise of authors who place their characters in a historical context
reflects her concern with literature as part of society/s historical
development. She stresses this in her discussion of a conference on the
development of a socialist national literature which was held in preparation
for the Fourth German Authors’ Congress. Concern was expressed that the

writers of the GDR were repeating the mistakes of earlier times instead of

20
learning from history. The earlier mistakes had supposedly been discussed
and overcome in previous literary discussions. but Christa Wolf feels that
more discussion is still needed: 'Wie wichtig ware flir uns alie elne
Auswertung dieser theoretischen Diskussionen heute noch oder heute

wiederl‘20

if writers intend to be part of the cultural development of their
society. then they should be aware of their own cultural past and learn
from the mistakes and successes of their predecessors.

Christa WOIf considers one of the most important ideas presented at
the conference to be the idea that the decisive impulses for literary
progress can arise only from material stemming from the present-day
society. The concern with a socialist national literature is repeated and
further discussed at the Fourth German Authors’ Congress. which took
place in January 1956. Johannes Becher set forth the idea that GDR

2‘ it was at

literature should develop towards a socialist national literature.
this conference that Christa Wolf's concern with a socialist national
literature received its legitimation. By 1959 she seems to feel that a
national socialist literature is well on its way to reality. in reference to a
collection of various authors’ works she states that their best works form

the basis of a socialist German national literature.”

She perceives that
GDR literature has progressed to the point where there is a body of work
which depicts the present-day reality of her society. And yet. in 1962 she
asks what the prerequisites of a national literature would be for those
authors around 35 years of age (“Was ware die Voraussetzung fiir elne
nationale Literatur von uns heute FlinfunddreiBigjahrigen7')?3 The use of

the subjunctive indicates that she is not sure what the prerequisites for a

national literature would be for those of her generation. She does not

21
view a socialist national literature as a fixed. obtainable goal. but rather as
an on-going process. Because the society is continually changing. any
literature which reflects the society must also be continually changing. if
it becomes static it will no longer be an accurate depiction of the society.
A work of literature must be judged within the context of the events of the

time and cannot be viewed in historical isolation.

F. War as a Theme
Consistent with her belief in the role of literature in depicting the
emerging socialist society. Christa Wolf expresses concern about the
tendency of writers who deal with the theme of World War ii to have their
books conclude with the end of the war. She does not wish to deny the
importance of the war. but sees the time period after the war as being
more Important and thus warranting more attention:
Die Zeit der groBen Wandlungen lag nicht im. sondern nach
dem Krieg. Das bringt wahrscheiniich vieie Autoren mlt lhrer
Wahrheitsliebe in Konflikt. wollen sle doch - und mlissen sle
doch auch - Entwicklungen. Wandlungen schon wahrend der
Handlungszeit lhrer Biicher zeigen. So entstehen dann
untypische Konstruktionen. unglaubwiirdige Schemafiguren.
Aber wieso fesselt die ungeheuer interessante Obergangszelt
zwischen Krleg und Frieden. da wirklich auf breiter Front die
ldeologien miteinander in Beriihrung kamen und aufeinander-
stieBen. warum fesselt diese Zeit unsere Autoren weniger als
die des Krleges selbst? ist die Nachkriegszelt ihnen vielleicht
weniger zum Erlebnis geworden?
To her. the time after the war is much more important because it was then
that the people began working together towards the creation of a new
socialist society. She wants what is written to be placed in its proper
historical context. and In order to help the reader find his place in society

he needs to be shown the developments which followed the war. This

belief stems from the difference she perceives between anti-fascist and

22
socialist elements in literature: war books that conclude with the end of
the war can be anti-fascist. but to be socialist they need to go further.
She believes that it is necessary to progess from the anti-fascist
standpoint. which was already present in GDR literary works. to a socialist
standpoint.25 Since it is important to her that books be relevant to the
times. she calls for a critical examination of existing war books to see
whether they are performing any valid function. She is concerned that
once an interesting theme. such as the war. has been found. that writers
will just keep repeating the same basic information. never striving to
discover new insights within that particular theme.

By 1958 she has become impatient with those authors who keep
turning to the past for their themes. After having read yet another war
novel. she questions going backwards and covering ground that she feels
has already been sufficiently examined in literature.26 She feels that the
war novel has reached its limits and can no longer present anything
meaningful to the reader. Just four years later. however. she welcomes

the appearance of Max Waiter Schulz’s war novel. Wir sind nicht Staub lm

 

Meg. and seems to feel that the "new” war novel can. by virtue of the
fact that more time has elapsed since the war. provide insights into the
historical development of the country as well as help those who are still
personally troubled by the war. And in 1962. instead of worrying that old
material is simply being reworked as she did in 1958. she states that the
recent past Is an especially important theme for Germans: 'Gerade wir
Deutschen haben keinen Grund. die jiingste Vergangenheit als eriedigt
anzusehen.’ Still advocating a relevance to the present. she clarifies the

preceding statement by saying that anyone who keeps their eyes open can

23
see the varied ways in which the past. which has been politically
overcome. plays a role in the lives of the people. in order to overcome
the past at all levels of consciousness and to free oneself from the past.
one needs time. patience. persistence. knowledge. and an active
relationship to the present.27
This seems to be a fairly short period of time for such a complete

change in her view of war novels. but this change could have been
influenced by the First Bitterfeld Conference. held in 1959. There was
some discussion at the conference about the necessity of depicting the
war so that the events of the past would not be forgotten. Her
acceptance of the new war novels also occurs simultaneously with the
development of an 'Entwickiungsroman.‘ which was characterized by an
examination of the past. Her belief that these new novels served a valid
function in the society is in accord with the views of one critic writing
about that time period:

Diese verschiedenen Formen [Ankunftsliteratur. Entwicklungs-

roman. Lyrik] der literarischen Rilckbesinnung trugen dazu bei.

das historische Verstandnis vieler Bilrger der DDR zu fdrdern.

ihr sozialistisches StaatsbewuBtsein zu fbrdern. ihr
sozialistisches Staatsbewufltsein weiter auszubilden.28

G. A Shift in her Viewpoint on the Development of GDR Literature
Beginning in the middle 1960s. Christa Wolfs view of the development

of GDR literature shifts. it is not surprising that when she herself begins

to write fiction her position in respect to literature would change. it

seems obvious that her view both of the author’s role in society and his

relationship to his work would change. but an alteration appears even in

her discussions about the history of GDR literature. in a 1965 article she

24

briefly mentions the improvement in the books of those writers who are
around 30-35 years old. including herself in that group. Her view of the
development of literature in the DDR has become more personal. tempered
by her own experiences as a developing writer:

Seit wir gelernt haben. uns frei und sicher in dieser

Gesellschaft zu bewegen. vbilig eins mlt ihr und zugleich

krltisch. wie man sich nur der elgenen Arbeit gegenliber

verhalten kann - seitdem sind die Bacher der heute DreiBig-.

FUnfunddreiBigjahrigen lebendiger. wahrhaftiger.

wirklichkeitsvoller geworden.

in her speech at the Seventh Authors’ Congress. where she discusses

the relationship of the writer to his work. she includes herself in the
generation of writers who. having been teenagers at the end of the war.
find a present need to come to grips with their experience. because they
were too young to do so at that time. The history of the development of
GDR literature is no longer for her an abstract theme which can be dealt
with without personal intervention. but rather one in which she has become
deeply involved. Now that she has become a writer of fiction. her earlier
idealistic views are tempered with a realism born of experience. in
reviewing the recent history of GDR literature. she states that there was an
initial phase of thoughtful working through of the influences of the fascist
time. a process which caused people to reflect upon their past but one
which did not really deal with the subject of the war thoroughly enough for
the reader and the writer to overcome their feelings about their war
experiences. She believes. however. that this was a necessary first step
towards working through the events of the past. She admits there was a
tendency in the 1950’s to place the blame for fascism on others. But she

believes that that time has past: ”Diese Zeit schelnt mir vorbei. Wir

machen das nicht mehr. Aber as war kein Zufall. daB wir es gemacht

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25
haben...‘ She sees the necessity of dealing with the past in a new.
realistic manner as an aspect of literature which cannot be eliminated:
'...man kann elne Kindheit. die man nicht nur als Objekt. also passiv.
erlebt hat und die einen geformt hat. nicht wie niemals gewesen von sich
abtun."30
in a 1973 interview with Konstantin Simonow (a Soviet writer best
known for his war novels). she states that she hopes to discover in the
course of their conversation how their respective nationalities and ages
have affected their writing. She is concerned about the relationship
between Soviet and GDR literature in terms of their development. and now
that she herself is a writer. she can lend her discussion a personal tone.
comparing her ideas as a writer with those of her Soviet dialogue partner.
She and Simonow discuss the effect that belonging to a certain generation
has on a writer’s work and agree that a writer’s early experiences.
especially remembrances of the war years. have a great effect on him.
both personally and artistically. Later in the conversation. Christa Wolf
discusses the development of literature in her country. still seeking to
reveal the differences and similarities between the literature of the USSR
and the GDR:
Was die Literatur meines Landes und meiner Generation betrifft:
ich habe oft das Gefiihl. daB die wichtigsten Erlebnisse -
innere und auBere -. die wichtigsten Entscheidungen und
Konflikte. die unsere Entwicklung bestimmt haben und uns seit
bald drei Jahrzehnten bewegen. nur schwach oder gar nicht in
unserer Literatur slchtbar werden. ich mbchte gerne wissen.
ob Sie eln solches Gefllhi auch kennen.
Simonow agrees that in his countn/s literature. too. much has been left

undiscussed. Christa Wolfs concern with the development of literature in

her country is evident in the quotation above. For her it is very important

In

00
are
Of

late

COR:

26
that literature deal with the crucial issues of the times and that authors do
not neglect their responsibility of portraying the conflicts experienced by
the people and the society in the course of their evolution. Here. as well
as throughout her conversation. she interjects her own experiences as a
writer. No longer. as in her earlier essays. does she view her countrYS
literature from a distant vantage point as critic: now she is personally
involved in that literature by being not just a critic. but also a writer.

In a 1974 discussion with Hans Kaufmann. she makes the statement
that several authors of that time question in their works the ethics of their
profession. She lists the names Gtinter de Bruyn. Jurek Becker. Erwin
Strittmatter. and Anna Seghers as being examples of such authors.32

Although she does not mention her own name in this list. her novel

Klndheitsmuster. by virtue of the recurring discussions in the work of the

 

function and validity of the author in modern society. justifies inclusion of

her name in this list.

Conclusion

Although Christa Wolf’s concern with the origins of GDR literature is
not found throughout her writings. occurring only in two Forewords. there
are certain topics concerning the development of GDR literature which are
of constant interest to her from her early theoretical writings through her
later writings. One facet of the development of GDR literature that
remains constant throughout her writings is her belief in the necessity of
literature to express profound ideas. i.e.. literature should have an overall
goal. not be just a shallow portrayal of everyday life. This particular

concern changes form according to the particular stage of literary

27
development in her society: at one time. naturalistic elements are a
concern. at another time the entertainment novel is a problem.
Throughout her writings she remains concerned that literature both deal
with the humanization of man as a theme and also aid in the
humanization of man by helping the reader realize his potential in society.
Throughout her writings. she makes occasional reference to the importance
of literary discussions as an aid In the exchange of ideas about the goals
of literature. Literature should play an integral role in the development of
the society and should strive to be a socialist national literature. reflecting
the aspirations of society. Her concern with a socialist national literature
culminates in her realization that such a literature is not an absolute. but
is a goal toward which authors must aspire.

An examination of the overall change in the tone of her discussions
on the development of GDR literature reveals that. coinciding with her own
development as a writer. she gains a more personal viewpoint towards its
development. and includes herself as a member of the literary
establishment. it is not just her experience as a writer that causes this
change in tone. it is also the fact that she matures as a critic. Her first
essay. a review. was written when she was still a university student.

Later. after experience as an editor and Increased involvement in literary
spheres. she gains the confidence to express her own views. These

natural developmental changes. combined with her own experience as a
writer. contribute to the alteration in the tone of her theoretical writings

from impersonal and idealistic to personal and realistic.

Reouh
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QUOteu

Notes--Chapter One

1Christa Wolf and Gerhard Wolf. Foreword to Wir. unsere Zeit. Prosa
aus zehn Jahren. ed. Christa Wolf and Gerhard Wolf (Berlin: Aufbau Veriag.
1959). pp. 11-12.

 

 

2Wltold F. Tulasiewicz. 'Socialist Realism in the German Democratic
Republic.‘ in Oakland Symposium on Socialist Realism in Literature. ed.
Renate Geruiaitis (Rochester. Michigan: Oakland University. 1975). p. 25.

 

30hrista Wolf and Gerhard Wolf. Foreword to Wir. unsere Zeit.
Gedichte aus zehn Jahren. ed. Christa Wolf and Gerhard Wolf (Berlin:
Aufbau Veriag. 1959). p. 10.

 

 

4Christa Wolf. 'Um den neuen Unterhaitungsroman.” Neues
Deutschland (20 July 1962): p. 6.

 

50hrista Wolf. "Besiegte Schatten?” Neue deutsche Literatur 3
(September 1955): 137. 138.

 

6|bid.. 138.

7Christa Wolf. 'Achtung. Rauschglfthandel.‘ Neue deutsche Literatur 3
(February 1955): 139. 141.

 

8Anna Seghers’ comments at the Fourth German Authors’ Congress.
quoted by Hans-Dietrich Sander. Geschichte der Schdnen Literatur in der
DDR. Ein GrundrlB. ist ed. (Freiburg: Rombach. 1972). p. 153.

 

 

9Christa Wolf. “Popularitat oder VoikstUmlichkeit.‘ Neue deutsche
Literatur 4 (January 1956): 115. 119. 124.

 

10told. p. 120. She credits Mao Tse-Tung with the term
'Niveauhebung.'

11The analogy between reading trashy novels and drug addiction is
made in her article 'Achtung. Rauschgifthandel.‘

12Eduard Claudius. Ruhelose Jahre - Erinnerungen (Halie:
Mitteldeutscher Veriag. 1968). p. 328.

 

13Christa Wolf. 'Warum singt der Vogel nicht?" Neues Deutschland No.
270 (I4 November 1957).

 

14Christa Wolf. "Menschliche Konflikte in unserer Zeit." Neue deutsche
Literatur 3 (July 1955): 140.

 

15Wolf. 'Popuiaritat oder Voikstijmiichkelt’?‘ pp. 121—22.
16Christa Wolf. 'Land. in dem wir leben. Die deutsche Frage in dem

28

29

Roman Die Entscheidung’ von Anna Seghers.‘ Neue deutsche Literatur 8
(May 1961): 50.

 

17Christa Wolf. 'Menschen und Werk.“ Neue deutsche Literatur 3
(September 1955): 144. 145. 146. 148.

 

18lbid.. p. 148.
19lbld.. p. 146.

QOChrista Wolf. 'Die Literaturtheorie findet zur literarischen Praxis.‘
Neue deutsche Literatur 3 (November 1955): 159.

 

”Geschichte der Literatur der Deutschen Demokratlschen Republik
(Von einem Autorenkoliektiv unter Leitung von Horst Haase und Hans
Jlirgen Geerdts. Erich Klihne. Waiter Palius). vol. 11: Geschichte der
deutschen Literatur von den Anfangen bis zur Gegenwart. ed. Hans-Glinther
Thalheim et al. (Berlin: Volk und Wissen Voikseigener Veriag. 1977): 222. it
was at the Fourth German Authors’ Congress that other topics that
concerned CW were mentioned. such as the fact that portrayals of the
workplace were simply not adequate. Stefan Heym also criticized
schematism for the same reason that CW had--because of the unrealistic
portrayal of the characters’ motivations.

 

 

”Wolf and Wolf. Wir. unsere Zeit. Gedicme aus zehn Jahren. p. 11.

 

23Chrlsta Wolf. Discussion at the 'Konferenz junger Schriftstelier in
Haile.‘ Neue deutsche Literatur 9 (August 1962): 133.

 

“Christa Wolf. ‘Vom Standpunkt des Schriftsteliers und von der Form
der Kunst.‘ Neue deutsche Literatur 5 (December 1957): 121.

 

25lbid.. 123.

26Christa Wolf. 'Kann man eigentiich fiber ailes schreiben?‘ Neue
deutsche Literatur 6 (June 1958): 4.

 

27Christa Wolf. 'Schicksal einer deutschen Kriegsgeneration.‘ Sonntag
50 (1962).

”Geschichte der Literatur der deutschen demokratischen Republik. p.

 

242.

29Christa Wolf. 'Elniges ()ber meine Arbeit als Schriftstelier.“ In Junge
Schriftstelier der Deutschen Demokratlschen Republik in Selbstdarstellungen.
ed. by Wolfgang Paulik (Leipzig: Bibliographisches Institut. 1965). p. 13.

30V”. Schriftstelierkongrel} der Deutschen Demokratlschen Republik.
Protokoli. ed. Schriftstelierverband der Deutschen Demokratlschen Republik
(Berlin: Aufbau-Veriag. 1973). pp. 149 and 150.

 

31Christa Wolf. “Fragen an Konstantin Simonow.“ Neue deutsche

 

30
Literatur 20 (December 1973): I3.

32'Hans Kaufmann. Gesprach mlt Christa Wolf,“ Welmarer Beltrage 6
(1974): 90.

 

Chapter Two-~The interaction of Author. Reader. and Society

introduction

From her earliest essays to her latest. Christa Wolf is concerned with
the responsibility of the author towards his socialist society and the
possibilities that the socialist society presents for the expression of ideas
in literature. in her earliest essays she feels that the authors
responsibility towards his society is best expressed through a presentation
of reality. not as a static reality. but as the reality engendered by the
developing socialist society. By dealing with reality and depicting the
changes that are occurring. the reader can be helped to adjust to his
new environment. She believes that a socialist society provides an
opportunity for the humanization of literature. and that literature. by
concentrating on peOple and their reactions to their environment. can
enrich the life of the reader and inspire him to achieve his greatest
potential.1 The author must have a clear understanding of his society. its
history. and its goals in order to create works of literature which can
effectively portray reality and help the reader to understand his society.

Christa Wolf views the emerging socialist society idealisticaiiy. in that
she believes that the society can and will improve itself. but she is
realistic in seeing that there are problems which need to be overcome.
For that reason she believes that the author should portray society not just
as it is. but also as it could be in the future. By presenting problems to
the reader and showing characters who effectively deal with them. the
author further aids the transition to a socialist society. The relationship

between the author and the society is seen as being a reciprocal one-—

31

32
the author furthers the transition to a new society while. at the same time.
the emerging socialist society enables the author to create a humanistic.
realistic work of literature. The role of the author is not seen as an easy
one: it is. rather. a difficult task to help mold the developing society while
at the same time forming a new. socialist literature. It is a task requiring
a careful balance between responsibility and risk-taking.

This chapter is divided into two main sections. The first section
deals with Christa Wolfs views on the authors responsibilities towards both
his society and himself and on the possibilities that the socialist society
presents for literature. This first section contains the following topics: a)
literature as a representation of reality: b) the difficulty of the authors task
in presenting a relevant representation of reality: c) the idea of historical
correctness (“historische Wahrhaftigkeit'): d) the depiction of problems and
conflicts: e) the concept of newness: and f) the humanization of man
('Menschenwerdung des Menschen“). The second section of the chapter
deals with Christa Wolfs views on the readers relationship to the author.
the work and society. It will be seen that although her views on the
relationship between the reader and the author change from her early to
her later works. the importance of the reader does not diminish. Since it
is the authors responsibility to help the reader understand his society
better. the two sections. one on the responsibility of the writer and the

other on the interaction of the reader with the work. are integrally related.

33

A. Responsibility of the Author and the Possibilities for Literature in the
GDR

1. Representation of Reality

According to Christa Wolf. the basic responsibility of the author is the
presentation of reality for the purpose of helping the reader understand his
role in the new society: 'Mit Hilfe des Schriftsteliers. der seine Macht
richtig gebraucht....kbnnen sle weiter fijr den Soziaiismus arbeiten.
Sozialisten erziehen. Und was sonst ware die Aufgabe einer sozialistischen

Gegenwartsliteratur?"2

The concept of responsibility to the society is
integral to socialism. As discussed by von Salisch. a consciousness of
duty and responsibility to the society is one of the main characteristics of
the well-rounded personality in the GDR.3 The author. as a member of
the society. has an obligation to further the goals of socialism. Just as
the worker on the assembly line should consider his work as essential to
the developing society. so too should the author do his part by portraying
the society in a way consistent with the goals of socialism.

in one of her earliest essays. Christa Wolf criticizes a certain author’s
work for a plot which lacked an inner necessity. which she believes arises
only out a pure. elevated reflection of realitYs developmental rules.4 This
concept of the reflection of developmental laws of reality is ever-present in
her early essays. She is convinced that the society is progressing towards
a socialist society according to certain laws of development: “Die
Entwicklung zum Soziaiismus voilzieht sich gesetzmaBig und unaufhaltsam."5
it is the obligation of the author to assist the progression towards a

socialist society by presenting the reality of the developing society in his

works.

34
Although she believes that the author must promote progress towards
the socialist state. she criticizes the younger authors of that time who view
literature as the mere depiction of an ideology.6 The author’s obligation
extends beyond the mere presentation of an ideology: he needs to depict
people and their reactions to actual life situations in order to be of
assistance to the reader and thus to society. The presentation of reality
and its laws of development. although abstract concepts. must be given life
by the author. who. through his ability to fashion characters and plots. can
create a realistic presentation of the present with which the reader can
identity.7
in order to serve the interests of socialism the work must maintain
the reader’s interest by keeping in step with reality and presenting material
relevant to the reader: 'Nur fiber die angemessene. das heiBt auf der
Hdhe der Zeit stehende literarische Gestaltung der Veranderungen unserer
Wirklichkeit [ftihrt] der Weg unserer sozialistischen Literatur. wie schwierig
es auch sel. mit der Wirklichkeit Schritt zu haiten."8
in her Foreword to a collection of works by GDR writers she
reiterates the idea of the authors responsibility to expose facets of reality
in order to intensify the reader’s experience:
Gemeinsam ist ihnen [den Autoren] der Ernst lhrer
Bemiihungen und das VerantwortungsbewuBtseln gegenilber
lhrem Talent: gemeinsam ist ihnen der ieidenschaftliche Wille.
ein Stiick Wirklichkeit. das Gegenstand lhrer Erzahlungen und
Romane ist. ganz zu durchdringen. seinen immanenten Sinn
bloBzulegen und auf diese Weise das Erlebnis des Lesers zu
lntensivieren.
Although Christa Wolf usually makes her statements about the

responsibility of the author without specific reference to the party. she

occasionally mentions that it is the party. in addition to organized groups

35
of writers. that sets the goals of literature and assigns tasks to the author.
In discussing the development of literature in the GDR. she mentions in
1957 that the party repeatedly demands that authors present reality
truthfully.10 in a later article which discusses a meeting of the German
Authors’ Union in 1958. she states that the present demand is that authors
understand the organic connection between literature and societal life.11
She agrees with these goals for authors and believes that all writers of
that time were aware of their responsibility towards reality. Because the
goal of presenting reality in an optimistic. socialistic manner had not yet
been met. she continually urges writers to aim for this goal. She feels
that authors should choose their material in such a way that they can
depict the trends of societal development.

Her discussion of a short story by Egon Giinther. with respect to
the question of whether a writer in the GDR can write everything that he
wants to. reveals further her position on the responsibilities of the author.
She praises the author for at least having picked a subject from the
present to write about. but goes on to criticize him for having presented a
character whose demise by external circumstances would cause the reader
only to sympathize with the character and not relate the story to his own
life. She feels that the author. who chose to present the story of an
engineer out of work ("ein extremer Ausnahmefall bei uns‘12) should have
portrayed him as being in control of his life. rather than being determined
exclusively by external events. if the engineer had been mistreated. his
anger should have caused him to act. not to give up in resignation. The
author should present a character from whom the reader can learn that

he. too. Is in control of his destiny. The work as a whole should lead

36
the reader to feel that he is an essential element within the developing
socialist society. not just someone buffeted by fate. it is the author’s
responsibility to create a work which inspires the reader to attain his
potential as a human being.
One of the reasons that Christa Wolf considers Anna Seghers’ novel

Die Entscheidung to be one of the great novels of world literature is

 

because it depicts socialist reality so well. She believes that in Seghers’
book socialism is not just recognized. but is a reality. a reality which
creates new realities. She feels that Seghers succeeds in presenting the
inner logic of societal truth. it is this inner connection with reality that
places this work among the great novels of world literature.13 The idea
that one reality can create other realities is understandable in the light of
Christa Wolf’s belief that the reality to be presented and developed in a
work of literature should not be an exact representation of life. but rather
a representation of life which takes into account past events and possible
future events. it is consistent with her idea that reality should be
presented in a way that inspires the reader: it is a carefully chosen
section of reality. a reality viewed in a certain context. that the author
should present.

Beginning with her speech at the second Bitterfeld Conference in
1964. Christa Wolf discusses not just the responsibility of the author
towards the socialist society but also the possibilities that the society
presents for literature. She poses a question concerning what possibilities
the GDR society offers art. She answers by saying that the advantage of
the GDR society is that its goals are consistent with those of literature:

Filr die Kunst bestehen die Vorzilge unserer Gesellschaft darin.
daB Ihr Wesen mit den objektlven Gesetzen der Entwicklung.

Stateme
the rele
iiieraiur
society
essenCi
attribute
UGveiOQ
life inc
‘5 cons
WOVIOlr

idea in

”OI N!

a truly

37
mit den objektlven lnteressen des Menschen iibereinstimmt.

daB sle also nicht den Ehrgeiz hat. als mystisches.
undurchschaubares Etwas vor den Leuten zu erscheinen...

14
She is not saying anything different here than in her earlier
statements on the relationship of art and society. but ls only discussing
the relationship from the opposite perspective. in her earlier essays.
literature is supposed to represent life. by which she means socialist
society. The society is seen as being in concord with the “humanistic
essence of art.‘ The difference in her perception of the issue can be
attributed to the fact that in her earlier writings. during the early
developmental stages of the society. literature aimed to present a view of
life incorporating its future potential. Now that she feels that the potential
is considerably closer to being realized. the society is more capable of
providing the appropriate support of humanistic literature. She repeats this
idea In a different article:
Zum erstenmai treibt die Wirklichkeit uns Lebensstoff zu. der
uns nicht zwingt. unsere Flguren physisch oder moralisch
zugrunde gehen zu iassen. Die Konflikte werden dabei nicht
schwacher. sondern eher scharfer. moralischer. das heiBt:
menschiicher.1
In another article she repeats this idea. stating that the socialist society is
not just interested in its own progress. but is the only society which allows
a truly free development of literature and art.16
This viewpoint of society as capable of supporting a humanistic
literature does not mean that she is no longer concerned with the
responsibility of the author. in the summary of an essay on her own work
as a writer. she again mentions the responsibility of the socialist author to

develop his themes fully. to comprehend life as correctly as possible. and

to continue to try to work with the events of life in order to understand

them.
emphas
in her

win he

Cihha
00 mo
Simply
Certain

OI tea

38
them. The interplay between the two elements. writer and society. is
emphasized in her statement that. because socialism has become a reality
in her society. the writer is increasingly free to develop ideas which will in
turn help the society.

Diese Tatsache [die Realitat des Sozialismus] glbt uns die
Slcherheit. uns frei in unserem Stoff zu bewegen. die Vorteile
lmmer besser zu nutzen. die unsere Gesellschaft dem
Schriftstelier bietet: Dal) er in die Lage versetzt wird. sich das
Wissen und die Erlebnisse zu verschaffen. die ndtig sind. um
ein Gesamtbild der modernen. komplizierten industrie-
gesellschaft zu bekommen: daB er sich nicht. wie ein groBer
Tell der blirgerlichen Literature heute. mit Randerscheinungen
zufrieden geben mu8. sondern zum Wesentlichen gedrangt
wird.

in her 1968 article on Anna Seghers’ novel Glauben an lrdisches.

 

Christa Wolf begins to develop more strongly the idea that the author must
do more than passively reflect reality. She never advocated that the writer
simply mirror reality: he was always supposed to view reality from a
certain perspective. Even when she mentioned the idea of the reflection
of reality/s developmental laws ('Widerspiegelung der Entwicklungsgesetze in
der Wirklichkeit”). she modified the word reflection with the adjectives pure
and elevated ("gereinigt' and 'gehoben'). From this article on. though.
she begins to deal increasingly more with the author’s subjectivity. Her
discussions about the author’s responsibility begin to emphasize the
responsibility of the author to his artistic talent and his own experience.
not just his responsibility to society. Krogmann mentions this development
in his article on Christa Wolf: 'Das ist deutlich: an die Stelie des
Zentralbegriffs des Soziaiistischen Reallsmus Widerspiegelung der Wirklichkeit
trltt hler Widersplegelung der Erfahrung der Wirklichkeit."18 The idea of
responsibility towards society never disappears from her writings. but when

the author is advised to heed his inner voice. he stands a greater chance

39
of conflicting with established literary dogma. Her new emphasis on the
author’s subjectivity is expressed here when she concurs with Anna
Seghers’ emphasis on the author’s responsibility to actively participate in
the creative process:
Gegenliber einer Theorie. die den Schriftstelier in die Roiie
eines passiven Spiegels der objektlven Realitat zu drangen
suchte. hebt Anna Seghers die aktive Arbeit des Autors
hervor. der ein Produkt seiner Zeit. aber auch ein
schbpferisches Subjekt ist. das den Mut und die Verantwortung
finden muB. rUckslchtsios 'auf die Realitat loszusteuern'. keine
"Furcht vor Abweichung' vom unmitteibaren Erlebnis zu haben.
da diese Furcht 'entrealisierend" wirkt. aber auch nicht
auszuruhen auf dem "Vollbesitz der Methode". Die
Unmbglichkeit fiir den Klinstler. sich dieser Aufgabe zu
entziehen. wenn sle ihm bewuBt geworden ist. Das Rislko des
MiBlingens. das zunimmt. je kompromiBioser man vorgeht. je
hbher man zielt.
in her best-known essay. “Lesen und Schreiben.“ Christa Wolf
maintains that the author must go beyond the realm of information
dispersal. because that role is adequately covered by media such as
television and newspaper. Because people can turn to documents such as
memoirs. diaries. and sociological investigations for information on life
around them. the modern writer must be willing to present more than the
realm of what is and has been if he wants to convey something to the
reader that other media cannot: "Der Kuchen Wirklichkeit von dem der
Prosaschreiber sich friiher in ailer Seeienruhe Stiick ftir Stilck abschnitt. ist

aufg etellt."20

Christa Wolf’s solution Is a type of literature she calls epic
prose ('epische Prosa"). referring to Brecht’s term 'episches Theater.“ She
defines epic prose as a type of literature which has the courage to
understand itself. not as an end in itself. but as an instrument for

bringing the future into the present. (L&S/207) This epic prose. she

believes. can only be realized in a new society. i.e.. her socialist society.

Wfl

40
which is free of the restraints of the past and does not fear
experimentation:
...die Prosa kann sich nur mlt gedanklichen Strbmungen und
geselischaftlichen Bewegungen verbinden. die der Menschheit
elne Zukunft geben. die frei sind von den jahrhundertealten
und den brandneuen Zauberformeln der Manipulierung und
seibst das Experiment nicht scheuen. Das heiBt. ich sehe
elne tiefe Ubereinstimmung zwischen dieser Art zu schreiben
mit der sozialistischen Gesellschaft. (L&S/207)
Literature should not t_e_fl the reader that a certain idea or belief is right or
wrong. it should let him discover and think for himself:
Ob nicht Aussagen. bei deren Wiederholung nichts anderes im
BewuBtsein des Lesers aufieuchtet als ein Lampchen mit der
Beschriftung ‘falsch' oder 'richtig" - ob nicht soiche Aussagen
in andere Bereiche gehbren und die Literatur. die Prosa. von
der hier die Rede ist. den Mut haben muB. auf Erkundung zu
gehen. (L&S/208)
She concludes one section of ”Lesen und Schreiben' with the idea that we
should let mirrors perform the function of mirroring reality. whereas
literature does not stand opposite to reality. merely re-presenting it: rather
literature and reality are merged together in the author’s consciousness:
Lassen wir Spiegel das lhre tun: Spiegeln. Sie kdnnen
nicht anderes. Literatur und Wirklichkeit stehen sich nicht
gegenllber wie Spiegel und das. was gespiegeit wird. Sie
sind ineinander verschmolzen im BewuBtsein des Autors.
Der Autor namiich ist ein wichtiger Mensch. (L&S/213)
From her early to her later essays there are several shifts in her
view of the interrelationship between the author. the work. reality. and
society. in her earliest essays. she states that it is the author’s
responsibility to present reality. viewed from a socialist perspective. in his
literature for the purpose of aiding the developing socialist society. A
second stage begins when she believes that society has reached the point

where it can have positive input into the author-literature-reaiity

configuration. No longer is the relationship between literature and society

41
one-sided. with literature serving society/s goals: it becomes a symbiotic
relationship. with society helping literature fulfill its purpose. The third
stage In her views on the author’s responsibility is represented by her
statements in 'Lesen und Schreiben.‘ where she stresses the idea that
literature and reality are not in opposition to one another. but are fused
together in the consciousness of the author. The idea expressed in her
early essays that the development of the society is more important than
the development of literature is counterbalanced by her statements in
'Lesen und Schreiben." which almost ignore the role of society and instead
emphasize the role of the author. 'ein wichtiger Mensch." From this point
on. her discussions of the responsibility of the author center primarily on
the relationship between the author and the work. the subject of Chapter

Three.

2- The Difficulty of the Author’s Task
in her discussion of the responsibility of the author. Christa Wolf
makes it clear that the presentation of socialist reality is not an easy task.
In her earliest theoretical works she maintains that the author must have a
particular perspective of reality. a perspective that will allow him to depict
society in such a way that his work aids the developing society. in one
Of her earliest theoretical writings. a review of a novel by Ehm Welk. she
states that the author expresses the correct theoretical insights through
var'ouS characters. This clearly shows. she continues. that this author is
weu‘GWare of the responsibility of the author.21 Thus the portrayal of
- Cerrec‘. insights is one of the responsibilities of the socialist author. in

t h g
s particular article she does not clarify what “correct” Insights are. but

42

in later articles it becomes clear that socialist insights are the only

COUGCt 01185.

Christa Wolf believes that another of the authors difficult tasks is the
presentation of the conflicts of life. rather than just a naive. simplistic view

of life. Presenting such conflicts requires of the author ability. courage.

and a realistic view of life. not a superficially optimistic mood.22 The
author must have more than just an understanding of the socialist goals in
order to fulfill his task: he must believe whole-heartedly in the goals of

socialism?3 She thinks that for many beginning writers the task of

conveying reality may be more difficult than they had expected: 'Es mag

far denjenigen. der anfangt zu schreiben. elne Oberraschung sein. daB das
Leben sich nicht elnfach aus der Wirklichkeit in das Buch libertragen

talkie“ This relates directly to her idea that the author should present

reality. but reality seen from a particular perspective. Because of the

complex societal developments. it is a difficult task to realistically depict

the present time in a literary work. She criticizes Egon Giinther. as well

as other authors. for their iaxness in judging their literary characters
according to social criteria. She urges authors not to be ashamed of

having a particular 'Weltanschauung.’ Le. a socialist world-view. and warns

that the opposite of one world-view is always another world-view. the false

one in such cases. By having the proper understanding of the fight for

socialism. authors can avoid the mistake that Christa Wolf perceives a
Certain author (who remains unnamed) has made in portraying the extreme
a 'fficulty of the conflicts that a socialist must struggle with. As Christa
W0” sees it, that particular author has not understood that exactly the

o p
pos‘te is true: the fight for socialism already offers the chance to

43

explore the possibilities of acting and thinking in a more humane manner.
The better the author understands the basic tendency of societal
development. the better he is capable of portraying the humanistic features
of the socialist society. Even with the proper understanding of societal
development. the author must not think that his task will be easy. He
must always ask himself the question--"Can one write that?“ Christa Wolf
explains that what she means here is not whether the author will have the
opportunity to publish what he has written. but whether the author’s feeling
of responsibility to the society will assure him that what he has written is
appropriate for his society. in addition to portraying the rules of societal

development. the author needs both the ability to depict the occurrences of

life and an interest in the essential nature of life. in order to depict llfe

properly. a socialist perspective is necessary:

Voraussetzung hierfiir ist ein festes (nicht statlsches). richtiges
(das heiBt in unserer Zeit sozialistisches) Weltbiid. welches die
Rolle des ordnenden und wertenden Prinzips iibernehmen muB:
ein Weltbiid. das aus Wissen und Erfahrung. aus Theorie und
Praxis gewachsen ist.“

She perceives that a common element in the problems of the literature of

that time is that some authors do not completely understand the dialectic

Of

their society/s development and thus are unable to depict life in the

p roper socialist manner.

on

She explains why so many of the early literary discussions centered

i<jec>ioglcai questions by stating that before one can depict life

Co'rectly. one must view it correctly.26 Because works of literature in the

s .
QC'a'ist society are intended to reach a larger audience than those in a

n0n~

sOclailst society. the author must concern himself with the truth content

ah"'heitsgehalt") of his books. Christa Wolf is pleased with the

44

appearance of Anna Seghers’ novel Die Entscheidung because it sets a

new standard of quality for GDR literature. One of the reasons that she

feels that Seghers' novel is so successful is that it manages to do justice
to contemporary life even though modern life is difficult to understand?7

in a discussion at a conference of young authors in Haiie. she

states that the first prerequisite of a national literature is a secure

relationship between the author and the nation. She believes that unless

authors have a genuine. undisturbed relationship with the nation. no great

national literature can develop?8
in her speech at the Second Bitterfeld Conference. she adds a new

element to her discussions of the difficulty of the author’s task. She

develops the idea that if literature is to have anything new to say to the

people. writers must be willing to take some risks when they write:

Ich bin der Melnung. daB man zum Belsplel als
Trapezkiinstier unbedingt mit Sell. Schutzgtirtel und Netz
arbeiten muB. Aber wenn man schreibt - auf welchem Gebiet
auch lmmer -. kann man nicht mlt Netz arbeiten: da muB
man schon ein kleines Fiisiko eingehen. das aber mlt

Verantwortung verbunden sein soil."

Writers must be willing to present the problems in their society.

They should not just ignore the imperfect aspects of socialism. Just

because they present problems does not mean they are against socialism.

In reference to her meeting with a youth club in Frankfurt in 1964. Christa

wo'f reports that when she read a chapter from her latest work.

QaCMnken Uber Christa T.. the audience thought she must be an

o pponem of socialism because she criticized certain aspects of it. She

t
r‘ed to explain that just because she depicted problems in the system did
3") Q
t mean that she was opposed to the basic beliefs of the system.30

The difficulty of the authors task is mentioned by Max Walter Schulz

 

the

Co

Du

45
in his talk at the Sixth German Writers’ Congress. His view agrees with
that of Christa Wolf. In response to Becher’s statement at the Fourth
Congress that what is needed by the author is "Sicht und Obersicht.
Durchsicht. Einsicht. Aussicht.‘ Schulz states that it is indeed true that life
is becoming more complicated and that authors must be careful to view
life from the proper perspective:

Es ist wahr. wenn wir sagen. die Dinge sind komplizierter
geworden und werden immer komplizierter. Entsprechend muB
sich aber auch der Mensch. der die Dinge flir sich nutzen
will. mlt hdherem Wissen ausstatten. Es kann sich der
Schriftstelier heute nicht mehr allein auf seine
Lebenserfahrungen. seine spezifische und aligemeine Bildung.
auf sein Talent und seine Sinnesorgane verlassen. Die
Durchsicht bezieht sich auf Erkenntnis groBer Zusammenhange
in groBen geschichtlichen Dimensionen. Von der Aussicht
verlangen unsere Leser heute die gleiche Genauigkeit wie von
der gegenstandlichen Beschreibung. An irgendweicher
Ungenauigkelt von Aussicht kbnnen sich unsere Leser nur
langweilen.

He. like Christa Wolf. believes that authors must have a complete enough
understanding of societal processes to be willing and able to give some
idea of what the future might be like.

The difficulty of the author’s task increases when. as Christa Wolf
states in 'Lesen und Schreiben.‘ the author can no longer be content with
showing external reality. but must delve deeply into his own mind to find a

theme for his work. There must be an 'lnner authenticity' to what he

says- Krogmann discusses Christa Wolfs concept of inner authenticity:
Filr Christa Wolf ist 'innere Authentizitat’ aber die (innere)
Aufrichtlgkeit des Autors. der sich mlt selnem gewahlten Bild
selber darbietet. seine Unmittelbarkelt. faBbar eher lm
Begriffsfeld ‘Spontaneitat’. Natilrllch handelt es sich um
Subjektivitat. die hier zum Ausdruck kommt. aber nicht als
Willkiir einer individualitat. sondern eher in der Form
moralischer lntegrltat. in der der Autor sich findet. durch die

or vor sich bestehen kann.

' h
e authors difficulty now lies in the problem of finding this well—spring

46

within himself. out of which his writing should come:

Ein lrrtum ist es. sich etwas wie Stoffbanke vorzustellen...auf
denen die Stoffe bereitlagen. um sich von jedem beliebigen
Autor nach Hause tragen zu iassen. Fiir einen bestimmten
Autor gibt es in einem bestimmten Augenblick nur einen
einzigen Stoff. ist der Autor fleiBig und kenntnisreich. wird er

das Material finden. das ndtig ist. ihn zu realisieren....
(L&S/2i3)

Because of the shift from an emphasis on the responsibility of the
author to society to the responsibility of an author to his own inner moral
obligations. there is a shift in the reason for the difficulty of the author’s

task. in her earlier theoretical writings. Christa Wolf maintained that the

difficulty for the author lay in the necessity of understanding socialist

processes. Now. in her later works she sees the difficulty as lying in the

necessity of the author understanding his own internal processes and his

own relationship to what he writes.

3- Historical Truthfuiness
One of the difficulties that besets the author is the task of
understanding the historical. developmental processes of his socialist

society. in discussing the authors responsibility Christa Wolf repeatedly

mentions the importance of depicting reality in the context of its
development.” The author should portray the contemporary society. but
a lways as it appears within the context of its historical development.

Christa Wolf's continual concern with the historical relevance relates both to

poniucal and literary development in the society. The developing socialist

so
Ciety sought to justify its existence by stressing its historical roots in the
c)'e"58rlan struggles of earlier times: likewise. the evolving GDR socialist

I i te
ratUre claimed that its roots were in the proletarian writers who wrote

47

even before the establishment of the GDR. As Tulasiewicz points out in

his article on Socialist Realism in the GDR:

The new economic basis of the German Democratic Republic
demands a new literature. Using the concept of a Marxist
perspective. however. it is possible to find antecedents for this
literature in the earlier proletarian-revolutionary and anti—fascist

literatures in pre-1919 Germany.

Christa Wolf believes that the author has a responsibility towards the

continuation of the traditions of socialist literature.35

Through the author’s portrayal of the historical development of the
society. the reader ls led to see that as a member of the developing

society he should take an increasingly more important role in this

development. The author should help the reader gain an understanding of

the important historical processes that he can be a part of:

AuBer dem Leben seibst kann ln ehnlicher Vielseltigkeit.

Eindringlichkeit und Konzentration nur die Kunst ein
umfassendes neues Lebensgefiihl und LebensbewuBtsein lm

Menschen wachrufen und festigen. Dahln geht auch der
Appell des 25. Plenums des Zentralkomitees der SED an den

fortgeschrlttenen Tell unserer Kilnstler. der Partei zu heifen.
'das KlassenbewuBtsein der Arbeiterklasse auf die Hdhe lhrer
geschichtlichen Aufgabe zu heben'. Das ist ein hohes Ziel.
und ich krltisiere nicht. daB nicht jeder Schriftstelier es
erreicht: ich krltlsiere. daB manche es aufgegeben haben.

danach zu streben.

By showing the reader that he can take an active role in his society. the

a uthor will help the reader avoid the trap of determinism. which is the
belief that a person’s actions are determined primarily by external
thus

circumstances. if the reader succumbs to the idea of determinism.

beuevhfig that he has no control over his own life. he will no longer have
th
a will to help his developing society. Christa Wolf believes that to
e n
Sure the continuation of the novel-writing tradition. it is necessary to

S h
ow that people can take an active role in their own lives:

48

Wenn man nun aber annimmt. daB der Mensch in dieser
Welt nichts tun kann? DaB alle Bewegung von auBen kommt
und der Mensch nur in den Fangen eines unentrinnbaren
Geschicks sich abmiiht wie elne Fliege im S innennetz? Wie
soll dann elne Romankonzeptlon entstehen?

This idea of historical truthfulness is found repeatedly in her

theoretical works. in various contexts. in discussing the criteria upon

which a critic judges a literary work. she states that the first question the

critic asks is whether what is stated in the book is true. She then

qualifies the question with the statement that she does not want to simplify
the parallels between truth and literature. but that nonetheless artistic truth

should correspond to historical truth.38 Consequently. although she is not

advocating an absolute reflection of reality in a literary work. she does
believe that there must be a correspondence between the work and

historical truth. Nieraad describes Christa Wolfs emphasis on historical

relationships:

Christa Wolf seibst hat in diesem Sinne lhre Kritik an
der konventionell sozialistisch—realistischen Schreibweise
deutllch genug formuliert: dlese manifestlere sich vor dem
i-lintergrund eines mechanischen Weltbildes in der bioBen
Abschilderung eines vergegenstandlichten. d.h. enthistorisierten
geselischaftlichen Beziehungsgerilstes. eines 'hierarchlsch
geordneten geselischaftlichen Kosmos. in dem Menschenpartlkei
auf soziologisch oder ldeologlsch vorgegebenen Bahnen sich
bewegen oder von dieser erwarteten Bewegung abweichen."3

The author has an obligation not just to understand the historical truth
h imself. but to present characters who understand the historical background
0f ti'Ieir society. On these grounds she criticizes an author who allows his
0 ha'acter to exist in a perpetual misinterpretation of the historical
situathnftO

The presentation of reality in the light of historical processes is

(2 Q
“Slatent with the responsibility of the author to help the people in a

49
developing socialist society realize their potential. Literature should portray
a segment of mankind's path to self—realization in a historically accurate

41

manner. The fate of the people should be shown in the unerring light

of the great historic struggles of the century.“

By showing the inter-
relationship of past. present. and future as part of a natural historical
development. the writer can 'give the people a future.""’3 Christa Wolf
believes that because past. present. and future are integrally related. the
reader must be given an idea of his position with regard to the
development of the society. in order for him to understand the time in
which he lives he must understand its past. This idea correponds to the
views expressed by several literary critics. Mohr believes that one of the

tasks of GDR literature is the working through of the past. especially the

period of the construction of a socialist society in the GDR.44 Max Walter

Schulz. in discussing the responsibility of the author. also mentions the

Idea of historical perspective: “Die Durchsicht bezieht sich auf Erkenntnis

'45 Steinbach sees Christa

groBer Zusammenhange in groBen Dimensionen.
Wolf's belief in the relationship between past and future and the
historization of the present as part of an overall tendency in recent GDR
liteira1:i_1re.“'6 if indeed this is only a recent tendency in GDR literature. as
he Says. then Christa Wolf was certainly ahead of her time by proposing
the ‘0 ea of historical relevance as earlY as 1955-

‘rhe idea that the author should have an understanding of historical
deve'<>r)ment is present from Christa Wolfs early to her late theoretical
Writings. There is. however. a shift from generalizations about historical
Berg Dectlve in her early writings to mention of specific past events in her

r Writings. Beginning with her discussions of her 1976 novel

50

Klndheitsmuster. in which her goal was to work through her own

 

experiences during the war with the hope that others might benefit from
what she learns about confronting the past. she deals with the concept of
historicity in a more personal. specific way. Her theoretical writing reflects
her preoccupation with investigating her own past in a work of fiction.
Another reason that she deals with historical relevance on a more direct
level in her later theoretical writings is that the society is no longer in its
developmental stages. it is more settled. and the people are no longer in
need of being helped through the transition to a socialist society. The
relative stability of the society allows the author to turn from a
preoccupation with the present society to an examination of the immediate
past. not so much to justify the present societal developments. but to gain
an awareness of how he as a person has evolved from his own personal
past. For Christa Wolf. the Second World War is an important experience
that needs to be examined. and it becomes the subject of her novel
findheitsmuster as well as the topic of many of her later theoretical
writings. This personal view of the past contrasts with her earlier writings
in which she stated the idea of historical truthfulness in general terms.
Again - as with the other themes investigated. there is a shift in emphasis
from her early to her later works. a shift based on the development of the
SOCiSty around her and her own development as a writer.
4‘ The Depiction of Problems and Conflicts
in his task of depicting reality. the author should. according to
Chflsta Wolf. present a view of life that shows the possibilities for

.WW»)?
Ovemem of the society. She is Optimistic that the society will better

 

51
itself and feels that it is the author’s task to depict the problems of the
present so that they can be overcome. it is through the confrontation of
problems and the solution of them that society can be improved. in
discussing the tasks of the GDR writer. Mohr also views the presentation
of problems in the society as one of the responsibilities of the author:
'Das Vorstellen von Problemen and Konflikten einer erweiterten Gegenwart
ist eine zweite Aufgabe. an der Literatur sich produktiv zu erweisen hat."47
Even in her earliest writings. Christa Wolf is concerned that the author not
present an unrealistic view of society: she knows that the society is only
in the early developmental stages and urges the writer to present it as

such:

Wohl soll man zeigen. daB gute. starke Keime llberall
hervorbrechen: aber aus ihnen fertige Baume zu zaubern.
heiBt die Methode des sozialistishen Reallsmus mtierstehen
und den Menschen einen schiechten Dienst erweisen. die im
taglichen Kampf diese Keime pflegen und schiitzen milssen.4

Authors should not be ashamed to recognize the imperfection of the
socziety.49 Christa Wolf argues against the presentation of only those
aspects of present-day life which are generally called positive:

Jeder Mensch well}. daB in der Wirklichkeit sehr viel
'passiert". Unter anderem passieren auch menschiiche
Tragbdlen: unsere Literatur ignoriert sie. well sie “nicht
typisch“ selen: denn typisch sei nur das Positive! Auf diese
Weise lassen unsere Schriftstelier. gerade unsere jiingeren
Schriftstelier. die in unserem neuen Leben lhre Stoffe finden.
um einer falsch verstandenen Definition willen und aus Angst
vor genauso falsch orientierten Veriagslektoren. lhre Leser
allein. die ja von ihnen auch wlssen wollen. wieso denn heute
noch Menschen durch eigene oder fremde Schuld zugrunde
gehen oder schwere Fehler einzeiner Funktionare groBen
Schaden anrlchten kdnnen.

Christa Wolf believes that conflicts and problems are necessary for
the
development of the society: without them the society would be static

and
t"Were would be no impetus for change. Not only can society benefit

 

52
if literature presents conflicts and problems. but the socialist society makes
the task of writing more challenging for the author precisely because it
offers productive conflicts:
Die Fruchtbarkeit unserer Gesellschaft fiir die Literatur schelnt
mir nicht darin zu bestehen. daB es ihr leichter macht: nicht
darin. daB sle ihr abgeschliffenere oder kieinere Konflikte
anbietet: sondern darin. daB sle neuartige Konflikte produziert.
produktive kontllkte.“
it would be a disservice to the reader were the author to ignore these
problems. for it is by depicting problems and possible solutions that the
author can help the reader find answers to his own problems and those of
the society. The depiction of reality should not just include those
elements that she labels "klelnbilrgerllch':
Aber wahrheltsgetreu ist nicht kieinbilrgerlich: wahrheltsgetreu ist
nicht: unsere Zeit aus der Froschperspektlve sehen und sle
sauberlich in kieine Happen zerteilen. die ein SpleBer ohne
Beschwerden verdauen kann. alte Konflikte verkleistern und auf
das Happy-End zusteuern um jeden Preis.
She urges the author to comprehend the more profound problematic of the
time ("die tiefere Problematlk unserer Zeit"). Later in the same article she
clarifies what she means by the more profound problematic of the time
When she urges the writer to delve into the problems of his time with the
necessary thoughtful profundity. in order to comprehend them in terms of
the ti me in which they have arisen.53 The conflicts of the time are those
e"°°u htered by the people and the society in their transition from a
cap‘tanst to a socialist society. in 1965. a critic is able to state that the

G
DR author has reached the point where he can be honest in his relation

wit

h himself and the reader. ”Nowhere is the fact ignored that present-
da

y ”f8 has tragic moments. too. and that what has been attained up until
now 54

Still does not give occasion for self—complacency.“

53
Even after the society has settled somewhat after its original
transition. Christa Wolf sees that there are still problems and conflicts that
need to be perceived by the author and presented in his works. She
feels that. as Anna Seghers depicts in her novel Die Entscheidung. the
separation of Germany caused a wound which must never heal: 'Die
Grenze schneidet tief ins Fleisch des Voikes. Diese Wunde dart nie
vernarben."55 She views the problems engendered by the separation as
part of the 'Weltproblematik.‘ by which she means the conflict between
capitalism and socialism. Because of this perpetual conflict there will
always be issues which need to be resolved. and literature can help by
depicting the problems and either offering solutions or offering the hope
that solutions will be found.
She praises the author Werner Heiduczek for his ability to depict the
meaning of present-day life in his play. and comments about his depiction

o f c onflicts:

Charakteristisch ftir die Erzahlung...ist die zupackende Art.
in der hier Konflikte vom heutigen Standpunkt aus behandelt
werden. Das gibt diesem Stoff Frische. sogar Aktualltat. und
doch auch historische Perspektive: Die Schwierlgkelten. die
man ilberwand. machen Mut. mit den andersgearteten
Schwierlgkelten von heute fertig zu werden.

She praises his ability to see beyond the events of the time and
comprehend the meaning of present-day life. The link that she sees
between the ability to solve past problems and the courage to resolve
present ones makes it all the more important that the author not forget
hi
Sto""Cal developments when presenting present-day situations.
In 1963. she praises Karl-Heinz Jacobs for portraying in his novel

Bes
mibung eines Sommers the conflicts that can arise between the new

8°C
'9‘)! and its people. She is not oblivious to the fact that in a time of

54
such quick societal change there might be people who cannot immediately
adapt to their new surroundings. She feels that the author has a
responsibility to depict the possible conflicts and offer the hero. as well as

the reader. possible solutions:

Hier stdBt also das Leben. elne groBe Leidenschaft. mlt
Norman der Gesellschaft zusammen - ein Hauptthema der
Literatur vergangener Jahrhunderte. auch heute in seiner
ZeitgemaBen Abwandlung noch nicht gegenstandslos.

Because the novel presents life realistically. it functions to help the

developing society gain self—awareness.58 She repeats this idea almost

verbatim in a later article: 'Die Literatur einer neuen Gesellschaft hat

schon immer versucht. eben dieser lhrer Gesellschaft zum BewuBtsein lhrer

seibst zu verhelfen."59

in her speech at the Eighth Authors’ Congress. she presents the idea
that the depiction of conflicts which she has advocated since her earliest
writings must now include specifically the most recent German past. the
time of fascism.60 A serious depiction of the time of fascism is only
possible if the author simultaneously depicts a confrontation with the
present. She stresses the necessity of relating the present and the past
so that the mistakes of the past not be made in the future. She believes
a" ' mportant theme for future discussions would be the unsolved problems
0‘ the past.“ if such problems could be brought into the open and
worked through. she believes that there would be less chance of the past
repsfilting itself. This requires the ability of the author to confront his own
present and past life and appropriately convey his findings through his
lite'riatljre. She says that as an author. she has had to come to terms
w‘th the conflicts that she encountered within herself.62

As with the theme of the authors difficulty in portraying reality. the

 

55

insistence on depicting problems has been a constant element in her
theoretical writings. The types of problems that she feels must be shown
have changed from her early to her later writings. just as the society has
changed. in her early theoretical writings she is concerned with the
depiction of the problems engendered by the transition to a socialist
society. Once the society has become more stable. problems of the past
can be dealt with. The past history of the society and the people in it
are integrally connected. and she advocates the author’s investigation of his
own past. in her later writings. having become an author herself. she can
relate to the problems that other authors need to confront within

themselves.

5. The Concept of Newness
A recurrent theme in Christa Woifs theoretical writings. which often
appears in conjunction with the themes previously mentioned. is the idea
of "newness.’ She uses the word 'new' as an adjective in such terms as
“the new person.‘ "the new society.“ and 'a new feeling towards life'
(“Lebensgeftihl'). and as a noun by itself ('das Neue”). This section
examines her discussions of the concept newness in an attempt to
discover whether there is any change in her viewpoint from her early to
her .819 writings.
She discusses the concept of newness (’das Neue") from her earliest
“m“ "9s through to her 1959 Foreword to a collection of writings by eon
wflte '8. Her earliest reference to the idea appears in a review of Erwin

Strl
ttr"‘atter’s novel Tinko. in which she states that Strittmatter is concerned

wit
h depicting the essence of this newness in his work: “Erwin Strittmatter

 

56
wollte nicht nur die auBere Erscheinungsform des Neuen auf unseren
Ddrfern aufzeichnen. er wollte zugleich und vor ailem das Wesen dieses
Neuen deutlich machen.‘63 He discloses the essence of newness by
placing the present situation in its historical perspective. He uses a child
as his personification of newness. showing the child drawn to that which is
new. whereas that which is old is seen as being unnatural. Christa Wolf
praises Strittmater for symbolizing the contrast between the old and the
new way of life in his society. and for showing the naturainess of the new
way of life. The fact that an entire meeting of the German Writers’ Union
in 1957 had as its theme the reflection of newness in the country
emphasizes the importance of this concept in literary discussions of that
time.64

in discussing the background of the writers whose work appears in

the volume Proben junger Erzahler. she points out that for many of them

 

it was a difficult but essental process to stop discussing the unpleasant
past (the wartime) and to recognize where newness was developing and
what form this newness was taking.65 in the Foreword to a different
collection of writings she states that the new literature has given the
people a new answer in their search for meaning in their lives: 'sie
9"tdeckte ihnen das Neue. das Einmaiige unserer Zeit. das Gehelmnls der
Epocr‘GI-66

Much more frequent than the use of the term newness alone is her

use of the word new in conjunction with a noun. She discusses the new
society in light of the authors responsibility to present in his works the
CoanCt between old habits and the new societal circumstances.67 She

8'30
DOims out the relationship between the new society and literature:

 

57

'Prijfstein fUr die Literatur...wird immer mehr die neue Gesellschaft seibst.
die sich bei lhrer kultureiien Revolution der sozialistischen Literatur
bedient.‘68 She commends authors who attempt to portray the essence of
their society in their literary works.69

in her early articles. Christa Wolf believes that literature should be
concerned not lust with the new society. but with the new people within it
whom literature was to help achieve a new feeling for life. Literature
should try to define what the new people in GDR society will be like: 'Wer
sind sle denn. die ’neuen Menschen’ dieser Periode. wie sehen sle aus.

7-70

welche Konflikte sind filr sle typisch Literature should help define the

new person’s personality development. as well as help him fit into the new
society:

Es geht den Autoren nicht um Dinge. sondern um Menschen.
die in unserer Zeit leben. die mit Schwierlgkelten zu kampfen
haben und zusehen milssen. wie sle ihr Denken und Handeln
mit den Forderungen unserer Gegenwart in Obereinstimmung

bflngen.

She criticizes those authors who do not have a clear conception of this

function of literature:
Manche literarische Arbeit der letzten Jahre krankte doch ganz
offenslchtlich daran. daB ihr Autor von dem so eminent
wichtigen Vorgang in unserer Wirklichkeit - der Herausbildung
neuer Menschen - nur sehr ailgemeine. verschwommene
Vorstellungen hatte. obwohl gerade dies der Gegenstand seiner
Darsteiiung war.

She feels that Ruth Werner has achieved the goal of presenting the new

person in her book Ein ungewbhniiches Leben. unlike those authors who

 

do not understand the importance of depicting the new person in their
works: "Suchen wir Zijge des neuen. sozialistisch denkenden. filhienden und
handelnden Menschen in unserer Literatur - hier werden wir sle finden.'73

Not only the present-day person should concern the author. but since the

58
past. present. and future are so integrally connected. the author should
also ask himself what the person of the future will be like.74 if the
person of the future can be imagined. writers can better communicate
through their works the goals toward which the present-day person should
strive.
This new person should attain a new feeling for life if he is to
function in the new society. Christa Wolf believes that one of the tasks of
literature is to develop in the reader this new feeling for life. by waking
up the readers senses. Literature should enrich the reader. making him
more aware and more feeling: '[die Literatur] soil eln Gefilhl fiir die Tiefe
und den Sinn des Lebens in ihm wecken. soil ihn erschiittern und
voranreiBen. auf die Hdhe seiner Zeit heben."75 The author should inspire
the reader in such a way that he looks with anticipation to the future and
works actively toward it. Much later. in a letter to a novice writer who
has written for advice. she again states the idea that literature can wake
up the forces within a person:
AuBer einer schnell fortschreitenden echten Demokratisierung
des bffentiichen Lebens kann auch die Literatur elne Menge
dazu tun - nicht, indem sle. wie etwa die Klasslk. ldeale
schafft. die nicht im bffentllchen Leben. sondern nur im Gelste
zu realisieren sind. sondern. indem sle Krafte weckt. die
unbewuBt vorhanden sind und Bestatigung. Ermutigung. AnstoB
brauchen.

Her views on the ability of literature to portray newness in order to help

the reader relate to society have changed little from her early to her late

writings.

59

6. The Humanization of Man

Related to her discussions of the new man is the idea that socialist
society and s00ialist literature share the goal of the humanization of man.
It is a reciprocal arrangement: the socialist society aids the humanization
of man. and literature is obligated to help this humanization by portraying
life as it is. as well as the future towards which people should strive.
She strongly believes that a socialist society is best able to provide the

environment in which people can fulfill themselves. She believes that the

 

socialist novel will prove that only in a socialist society can literature
become a science of people ('Wissenschaft vom Menschen') in the full
sense of the word.77 in a later article she repeats the idea that
literature is directly connected to the socialist society: 'theratur ist von
lhrem Wesen her direkt an die sozialistische Gesellschaft gebunden.
Insoweit und lnsofern sich diese Gesellschaft einer grdBeren
Vervollkommnung des Menschlichen. der Mdgiichkelten des Menschen
néhert.'78 Nawlewski summarizes her belief about the relationship between
humanism and the socialist society:
So wird der Humanismus begrifien nicht als der 'Natur der
Dinge“ oder der 'Natur des Menschen' immanent oder
angeboren oder gar als anachronistlsch. sondern als etwas.
das immer wieder vom Individuum neu erlernt werden muB.
unter den schwierlgsten Verhaltnlssen in der spatbllrgerlichen
Welt. unter gilnstigen Bedingungen in der sozialistischen.

Her belief that the author should depict the humanization of man
occurs throughout her theoretical writings. She first mentions the idea
when she states that the present time provides the theme of the
humanization of man:

Unsere Zeit gibt den Romanschriftsteilern ein gewaltiges Thema

auf: zu schreiben Uber die Menschwerdung des Menschen.
Jeder der unendllch vlelen mbglichen Stoffe. welche die

60

Wirklichkeit bereit halt. muB dem echten Schriftstelier unter
den Handen zu einer Modifikation dieses Themas werden.

She further develops the idea in a later article in which she explains that
the function of GDR literature is to clarify the correspondence between a
socialist society and the desires of humanity:

Sie miJBte klarmachen. wie bei uns endiich das geselischaftlich
Notwendige sich in Obereinstlmmung befindet mit der tiefen
Sehnsucht der Menschen nach Vervollkommnung. nach
allseitiger Ausbiidung lhrer Persbnlichkeit: welch ein starker.
unerschbpflicher Kraftstrom der sozialistischen Welt durch die
Mdglichkelt zufiieBt. diese tiefe Sehnsucht der Menschen zu
befriedigen. Hier. in dem BewuBtsein von der historischen
Notwendigkeit. von der echten Menschlichkeit unseres Kampfes
liegen die Quellen unserer Siegeszuversicht. nicht aber in
winzigen. manchmal sogar zufailigen Tellerfolgen. wie manche
Bilcher uns glauben machen mdchten. Unsere Gesellschaft ist
nicht nur imstande. nein. es liegt in lhrem Wesen. den
Menschen menschiicher zu machen.

 

This quotation also shows the interrelation of the concepts of humanization.
historicity. and the new person. Her emphasis on the humanization of
man relates to her belief that literature is capable of evoking responses in
people that might otherwise be ignored in their struggle for economic and
political progress: 'Denn es kann passieren. daB fiber den Mitteln - Poiitik.
Okonomie - das Ziel vergessen wird: der Mensch. Hier. glaube ich. ist
der Punkt. an dem die Literatur aufpassen und ihren Platz verteidigen
muB."82

Her belief in this responsibility of literature correlates with the central
topic of the Fifth German Authors’ Congress which was “the socialist
concept of people in our literature“ and which included discussion of the
topic of the growth and development of new human relationships.83 The
humanization of man was part of the plan for the society of the GDR:

Dieser an sich idealistische. aufklarerisch-utopische Gedanke.

daB die Literatur dazu predestinlert sel. die Vervollkommnung
des Gattungswesens Mensch (hier: in der sozialistischen Ge-

61
seiischaft) herbeifiihren zu heifen. wird nun in der DDR in
umfassender Weise zu verwirkilchen versucht: als Planziei der
'gebildeten Nation“. als Modeli theraturgeselischaft.84
The concern with the development of the people was also expressed by Otto
Gotsche in his reply to a Soviet literary journal which asked about the
possibilities for literature offered by the GDR:
Den hbchsten Beitrag fiir die Entwicklung der sozialistischen
Menschengemeinschaft und unserer Arbeiter- und-Bauern-
Macht geben die literarischen Beitrage. die sich mit dem
Schatten und der Entwicklung der Menschen in unserer
Gegenwart bechaftigen.85
For Christa Wolf. believing in the humanization of man means
believing that man has the potential to fulfill himself. and that the future
will offer increased opportunities for him to develop to his fullest potential.
For this reason she considers that if an author expresses a pessimistic
perspective of the future. he contradicts reality: she consequently considers
his position to be anti-humane.86 Von Saiisch discusses Christa Wolfs
belief that the socialist society is in a position to give the people a future:
Christa Wolf mdchte mlt lhrer Prosa das 'Subjektwerden des
Menschen' unterstiitzen. und sle sieht die bestmbglichen
Voraussetzungen fiir ein Geiingen dleses ’Projekts‘ in den
geselischaftlichen Bewegungen. die der "Menschheit die Zukunft
geben“. d.h. sie sieht “elne tiefe Oberelnstlmmung' zwischen
der diaiektischen Schreibweise und der sozialistischen
Gesellschaft.87
The dehumanization of man is a topic which relates to Christa Woifs
idea that one goal of literature is to convince the people that they have
the power within them to forge their own destiny. Not only do people
have responsibility for their present and future. but also for their past. in
referring to the war years. she states that peOple were at that time. and

88

continue to be. subjects of history. not objects. in her discussion with

Hans Kaufmann she states that anything that prevents the masses from

62

being subjects of history is immoral.89
in her later works. her discussions of humanization begin to take on

a slightly different tone. Rather than being so concerned with the
humanization of man with respect to his society. she emphasizes the
possibility of man coming to terms with his inner self. Man is not seen
as separate from society. but her concern becomes centered on man’s
relationship to himself. his relationship to society being only of secondary
interest. She feels that society is supportive of this goal. and that one of
the advantages of her society is that it views literature as an instrument
for the gaining of awareness (“Instrument der Bewutitwerdung').90 She
sees both socialist society and its literature as having the goal of helping
people attain self-realization: “Die tiefe Wurzel der Ubereinstimmung
zwischen echter Literatur und der sozialistischen Gesellschaft sehe ich eben
darln: Belde haben das Ziel. dem Menschen zu seiner Seibstverwirkllchung

zu verhelfenfg]

She asks the question that she feels literature should
help the reader to answer for himself: What is this process of coming to
terms with oneself? (“Was ist das: dieses Zu-slch-selber-Kommen des
Menschen7').92 She becomes increasingly concerned with the development
of the inner man and his attempt to discover more about himself. She
believes that literature can serve an invaluable function by presenting
material in such a way that the reader must confront his own feelings and
examine his own development. She feels that literature should not give
pat answers to problems that confront the characters. but should depict
their struggle to come to terms with their own feelings. leaving the reader

to drew his own conclusions.

Literature should push people to discover increasingly more about

63

themselves: '...ich habe herausgefunden. daB man um jeden Preis
versuchen muB. den Kreis dessen. was wir fiber uns seibst wlssen oder zu
wlssen glauben. zu durchbrechen und zu iiberschreiten."93 Saiisch lists
self-actuaiization (”Seibstverwirkllchung”) as one of the characteristics of the
official personality picture ("Persbnlichkeitsbildes') in the GDR: the official
view is that such seif-reaiiziation comes about through the process of
working for the society.94 Christa Wolf does not disagree with the idea
that work can be fulfilling. but feels that people need more than one
impetus to prompt them to delve into their own feelings and deal with the
remembrances of the past that are buried deep within them. She feels
that literature is well—suited to this purpose: 'Meine Melnung ist. ...daB
Literatur versuchen solite. diese Schichten zu zeigen. die in uns liegen -
nicht so sauberlich. nicht kataiogisiert und schbn 'bewaltigt’. wie wir es
gern mtichten."95

From her early to her later theoretical writings there has been a
progression from an outward. societaily-oriented view of the humanization of
man. to an inward. personally-oriented perception of humanization. Part of
this shift in viewpoint can be ascribed to her own development as a writer
of fiction. in which she progresses from works which depict man in his
relationship to society to works which are more concerned with the inner
realm of experience. The shift in viewpoint can also be attributed to the
changes occurring in her society. The early developing socialist society
needed works of literature which supported its beliefs and aims. whereas
later on. once the society had stabilized. attention could be turned towards

the inner man.

64

B. The Reader

Whether affecting the reader in some way is the primary goal of the
author. as Christa Wolf maintains in her earlier writings. or whether the
author’s primary obligation is to himself and his material. as she postulates
in her later writings. the topic of the reader is ever-present in her
theoretical writings. Without the reader. literature could have no effect on
society. and Christa Wolf believes that the reader is especially important in
her socialist society because the reader takes the writers and literature so
seriously.96 She agrees with Anna Seghers that there can be no purely
artistic questions in a time and society in which the written word has such

a direct impact on the peOpie.97

She also agrees with Anna Seghers that
the effect of art on the people can be greater than that of reality.98 The
effect of literature on the society. and hence on the reader. must be
taken into consideration in the creation of literature. With the exception of
some of her recent articles. Christa Wolfs discussions of the role that the
reader plays in the author—literature-society configuration can be divided
into two main areas. One of the areas answers the question ”What
characteristics of literature will most likely hold the reader’s interest?“ The
Other area answers the question “What should the reader learn or
experience from reading literature?“ After discussing these two areas. the
direct relationship between author and reader expressed in some of her
more recent articles will be examined.

in an early article. Christa Wolf states that one of the questions that
authors ask themselves is how they can reach the masses with their

work."9 it is a difficult question. she says. because the society contains

people of such varied interests and levels: “Unsere Bilcher miissen fiir

65
den kiinftigen Weltraumfahrer interessant. aber auch fiir den ehemaligen
Tagelbhner verstandllch sein."100 Basically. a work should depict aspects
of life with which the reader is able to identify. She states in an early
essay that up to that time. most works had unfortunately failed to satisfy
this criterion: '[unsere Landbevdlkerung] sucht doch...fast vergeblich nach
einer Begegnung mlt lhrem elgenen Leben in einem neuen Buch.‘]°]
Later she praises a novel by Rudolf Fischer for presenting elements of life
with which even the less-educated reader Is able to identify: 'Deutiich
spricht aus seinem Buch die lnnige Anteilnahme am Leben der elnfachen
Menschen: es ist zu erwarten. daB vieie einfache Leser es mlt derselben
Anteilnahme iesen werden.'102 She also praises Ruth Werner for depicting
in her book every-day reality with its inherent conflicts: 'Der Leser welB:
Dies ist nicht Spekulatlon: so steilte und stelit das Leben Konflikte vor
Kommunisten. und so lassen sie sich austragen."103 if a reader can
associate his own experiences with those in a book. he is more likely to
keep reading it and learn something from it. in discussing reactions to
her own work Nachdenken fiber Christa T.. she states the following:
'Reaktionen bei Lesungen zeigen mir. in welchem MaBe Leser bereit sind.
ein iiterarisches Vorhaben. das lhrer eignen Erfahrungswelt entstammt.
durch Assoziationen anzureichern."104 Although in both this statement
about her own work and the earlier statements about Fischel’s and
Wernel’s works. Christa Wolf is concerned with the reader being able to
identify with the material he reads. there is a difference in both the
audience the authors are writing for and the purpose of the works. The
earlier works were written to reach all levels of society: as she says. even

the “simple people' should be able to understand the ideas presented.

66

The purpose of these earlier novels was to help the reader adjust to his
society. with the goal of becoming a better socialist citizen. Later in her
own work. Nachdenken iiber Christa T.. there is no pretense of trying to
reach even the simplest reader. Her work has a complex structure and
would probably not be understood by uneducated readers. Her aim is to
investigate the inner workings of the mind. especially the process of
remembering and reflecting upon the past. and is not intended to show
the every-day man how to function as a proper socialist. Therefore.
although both the early works of other writers and her own later work
were intended to be understood by the reader. the type of reader for
whom the works are written has changed. as has the purpose of the work.

The interplay between the reader and what he reads can be so
strong that the reader can almost take over the role of writer:
'Wahrscheiniich werden sich vieie Leser die elgenen Erinnerungen zwischen
die Selten schieben. Auch wenn die Handiung abbricht. weiB man. wie es
weltergehen wird: Man schreibt unbewuBt. aus elgenen Erfahrungen
schdpfend. mlt."105 The author should not forget the tastes of the reader
when deciding what type of material to present. A certain environment
may prove stimulating. or the relevance of the plot to his own life may
keep the reader’s interest. in any case. the author must be concerned
with preventing his work from being unattainable: “indem er seine Kunst
unerreichbar macht. rettet der Kilnstier keineswegs das Menschliche in
sich."106

The second question that concerns Christa Wolf is "What should the
reader learn or experience from the work?“ One of her hopes centers

around the readers ability to understand. The work should encourage the

67

reader to use his own mind: 'aber kann ein Buch kiug sein. das den
Leser verstimmt. well es ihm nicht die Fahigkelt zum elgenen Denken und
Urteiien zutraut?"107 In her Foreword to one anthology of works. she
claims that the works contained in it help to clarify for the reader the
most recent history of the GDR.108 Literature can aid the readers
understanding of recent history as well as his understanding of the
meaning of life: “Die Menschen - eine ganze Generation - fragten nach
dem Sinn ihres Lebens. und die neue Literatur gab ihnen eine neue
Antwort: sle entdeckte ihnen das Neue. das Einmaiige unserer Zeit. das
Gehelmnls der Epoche."109 Christa Wolf emphasizes this pedagogic aspect
of literature when she states that 'die Belehrung. die auch elne Absicht
des Schriftsteliers ist. so aufgenommen wird. als gebe sle das Leben
seibst: durch Anteilnahme. Sympathie. Liebe. HaB und Abscheu lernt der
Leser mlt Herz. Sinnen und Verstand begreifen."no

The author can help the reader adjust to everyday life by depicting
characters and situations from which he can learn to conduct his own life.
Christa Wolf praises Otto Gotsche for depicting understandable characters
who can function as genuine role models.111 She lauds those authors
who present new heroes and themes in their works and who portray the
recent past in such a way that the reader gains an understanding of his
life and its historical context)” She praises Anna Seghers’ novel gig

Entscheidugq for this reason: “Dieses Buch will uns ieben heifen. heute

 

"“3 in a different review of the same novel she makes a

und hier.
similar remark: 'ihr Buch gibt seinen Lesern - Leser verschiedener
Generationen. verschiedener Gesellschaftsschichten. verschiedener

Nationalitat und BewuBtselnstufe — Beistand in alltagiichen Fragen und

68
Nttiten.H4
Christa Wolf postulates an “epic prose“ which. by avoiding a cathartic
effect such as that of Aristotelian drama. can awaken the feelings inside a
person and cause him to react to what he has read. Literature should
not leave the reader with a satisfied sigh and a feeling that now
everything is in order. "Ein solches Gefiihi tdtet wie ein chemisches Gift
das Leben der Menschen in einem Buch. es sterilislert alle Keime. die
fruchtbar lm Leser weiterwachsen ktinnten."n5 Instead. if the reader is to
be inspired to take what he has learned and apply it to his own life, then
he must be agitated by what he reads. not satisfied. in order to have
this effect. literature must probe deeply into a person's thoughts and
feelings: 'Und haben Blicher nicht tief in die Menschen einzugrelfen?"“6
She believes that an epic prose can serve this function:
Die epische Prosa sollte elne Gattung sein. die as unternimmt.
auf noch ungebahnten Wegen in das innere dieses Menschen
da. des Prosalesers. elnzudringen. in das lnnerste innere.
dorthln. wo der Kern der Persdnlichkeit sich bildet und festigt.
Diese Region kann die Stimme eines anderen Menschen.
kann Prosa erreichen. kann durch die Sprache beriihrt und
aufgeschiossen werden - nicht. um sich lhrer zu bemachtlgen.
sondern um seelische Krafte freizusetzen. die an Gewait mlt
den im Atom gebundenen Energien zu verglelchen sind.

(L&S/ 20 7)

Christa Wolf praises Anna Seghers novel Die Entscheidung for fulfilling

 

the function of epic prose:
Dieses Buch erklart nicht nur. es belehrt nicht nur. Es weckt
Wiinsche und Sehnsiichte. Hoffnungen und Traume. die
vieileicht weitergiimmen werden, wenn man schon vergessen
hat. woran sle sich zuerst entziindeten. Es kbnnte manchem
der AnstoB sein zu seinem 'ersten Schritt."

This "first step“ can be interpreted to mean the first step towards taking an

active role in socialist life. Later. in an essay on her own work as a

writer. she expresses the wish that literature have the capability of

69
awakening the desires of all people: “ich wiinsche mir oft. die Literatur
ware etwas wie eln Zauberstab. ihn. sle alle zu eribsen: Die toten Seelen
zum Leben zu erwecken. ihnen Mut zu sich seibst zu machen. zu ihren oft
unbewuBten Traumen. Sehnsiichten und Faihigkeiten.“118 Not only should
literature awaken the forces lying dormant within the reader. but it should
intensify the experiences that he has already had. By depicting reality and
attempting to penetrate its meaning. the author. through his work. is in a
position to intensify the experience of the reader. in depicting past
situations. specifically the war. it is not sufficient that the author invoke
the response from the reader 'Ja. so ist es gewesen."119 He must
induce the reader to repeat his own experience.
Aber diese Wiederholung darf kein Abkiatsch des einstigen
Erlebens sein. sondern sle muB zu seiner Bewertung fiihren.
Unsere Biicher miissen die Leser zwingen. ehriich gegen sich
zu sein. mlt sich ins Gericht zu gehen und die eigene. die
unheilvolle Rolle unseres Volkes im letzten Krieg zu begreifen
und zuzugeben. Unsere Biicher diirfen kein Schlupfioch fiir
den bequemen Zeitgenossen lessen: Sie miissen ihn wirklich
betreffen.1
Here. in discussing the war. she again mentions that one of the reasons
that literature is so important is that it causes the reader to remember
and work through past events:
Wie oft. wenn Menschen aus lhrem Leben erzahlen. wenn sle
von lhrer inneren errnis nach dem Zusammenbruch des
Hitlerregimes sprechen. wie oft nennen sle dann den Titei
eines Buches. das ihnen AnstoB gab. nachzudenken. richtig zu
fragen. sich iiber miihsam verarbeitete Antworten zur
tiefgreifenden Entscheidung vorzutasten.
Beyond providing answers to the questions of what will interest the reader
and what the reader should learn or experience from literature. Christa

Wolf mentions several times in her more recent writings the direct

relationship between reader and writer. As a writer herself. she feels that

70
in recent years talks with readers have helped her more than talks with
official literary critics.122 in the GDR there is a direct relationship
between the author and his audience. Writers often meet with the public.
to discuss literature in general or to give readings from their work: in this
way there is a flow of information from the author to the reader and back
again. By meeting with readers. the author can gain a better
understanding of the needs of the public. and the public in turn comes to
know the writer as a person. not just as a picture on the cover of a
book. Christa Wolf believes that there is an increasing willingness for the
author and the public to work together to help deal with the problems they
both face: 'Besonders in der Jugend besteht ein wachsendes Bedfirfnis. mit
Schriftsteliern und anderen. die sich darum kiimmern wollen. gemeinsam
fiber den Sinn der Anstrengungen und Kampfe nachzudenken. denen sle
sich tagtagllch aussetzen."]23

in a discussion about her novel Klndheitsmuster. she makes several

 

statements that show that her feelings towards the author-reader
relationship have changed from her previous statements:

Das ist sowieso elne falsche Vorstellung. daB man schreibt in
Hinbiick auf den Leser. ich gehbre allerdings nicht zu denen.
die behaupten kdnnen - und ich glaube es auch anderen
nicht. die as behaupten -: ich denke fiberhaupt nicht daran.
daB das mal verbffentiicht wird. Das stimmt nicht. Man
denkt nicht dran. aber man weiB es: es ist da: Man mbchte
es verbffentllchen. man schreibt es zur Verdffentilchung.
lnsofern schreibt man anders. als wenn man sich in seinem
Tagebuch Notizen machen wfirde fiber die Kindheit oder fiber
irgend etwas. Die Versuche [diese Geschichte zu
erzahlen] sind nicht gemacht worden im Hinbiick darauf. wer
as iesen soil. sondern lm Hinbiick auf den Stoff. auf das
Material. Eine Art Selbstversuch: namlich man muB sich zu
demz‘leaterial in elne Beziehung bringen. und darum ging

es.

Although she says that she is no longer writing primarily with the reader in

7i

mind. she does hope that what she has to say might be relevant to the
young reader. who. although he has not experienced the same events that
she has. might find something in what she has said that he can apply to
his own life: "Es gibt aber Erfahrungsmuster. die fiir Jugenden allgemein
gelten oder in einem bestimmten Jahrhundert geiten. in einer bestimmten
Nation oder in einer bestimmten Gesellschaft. in diesem Sinne hoffe ich
schon. daB man etwas Verallgemeinertes findet."125

The author must have the courage to write what he feels he must.
regardless of what politicians. newspapers. or even readers might think

about what he says.”6

Therefore. in this article she is not totally
abandoning her belief in the possibilities of the author-reader relationship
that she expressed in her earlier essays. but rather she is now much
more concerned with the relationship of the author and the work. The
change in her ideas about the reader follow the same change as her
ideas on the topics discussed earlier. This change involves a progression

from a concern primarily for the society to a concern for the relationship

of the author with his own work.

Conclusion

Because of Christa Wolfs ideas on the interrelationship between the
author. his work. the society. and the reader within that society. it would
be logical to expect that any progression of her ideas over the period
between her early and her late theoretical writings would be reflected in
each of the tOpics that she discusses in respect to that relationship. it
has been seen that this is indeed the case. Within the general topic of

the responsibility of the author and the possibilities for literature in a

72
socialist society. each of the areas that she discusses—-the representation
of reality. the difficulty of the author’s task. historical truthfulness. the
depiction of problems. the concept of newness. and the humanization of
mam-reflects a change of perspective from her early to her late writings.
in her early works she is more concerned with the impact of literature on
society and how it can help the society develop towards its goal of
socialism. Her later works exhibit the belief that the author’s primary goal
is inwardly oriented: he is to examine his own mind and find within it the
material for his work.

The topic of the reader includes her concern for what aspects of
literature maintain the reader’s interest. and her concern for what the
reader should learn or experience from literature. as well as a description
of the direct author-reader relationship. Here. too. her ideas show a
progression. in her early writings about the reader. she believes that he
must be helped to fit into his developing society. but later she becomes
more concerned with the enrichment of the inner man. in one of her
most recent articles. she emphasizes the writer’s responsibility to himself.
which must at times mean that he cannot be concerned with what the
reader thinks. The progression of ideas from her early to her late works
is caused by two factors: 1) her own development as a writer which leads
to a more personal view of the responsibilities of writing. and 2) the
development of the society. which. now having become somewhat stable.
can allow literature to be preoccupied with the inner world of the people

living within it.

Notes--Chapter Two

1Chrlsta Wolf. 'Die Literatur der neuen Etappe. Gedanken zum iii.
Sowjetischen SchriftstelierkongreB.’ Neues Deutschland No. 167 (20 June
1959).

20hrlsta Wolf. "Soziallstische Literatur der Gegenwart.‘ Neue deutsche
Literatur 7 (May 1959): 6-7.

3Marion von Saiisch. Zwischen Seibstaufgabe und Seibstverwirkllchung;
Zum Problem der PersOnllchkeitsstruktur im Werk Christa Wolfs. vol. 12:
Literaturwissenschaft-Geseilschaftswissenschaft: Materiaiien und Untersuchungen
zur Literatursozioiogie. ed. Theo Buck and Dietrich Steinbach (Stuttgart:
Ernst Klett Veriag. 1975). pp. 69-70.

 

4Christa Wolf. “Probleme des zeitgenbssischen Gesellschaftsromans.
Bemerkungen zu dem Roman ’lm Morgennebel’ von Ehm Weik.‘ Neue
deutsche Literatur 2 (January 1954): 148.

 

5Christa Wolf. “Menschliche Konflikte in unserer Zeit.“ Neue deutsche
Literatur 3 (July 1955): 141.

60hrista Wolf. 'Kompiikationen. aber keine Konflikte.” Neue deutsche
Literatur 2 (June 1954): 143.

7Wolf. 'Probleme des zeitgenbssischen Gesellschaftsromans.“ i4].

8Christa Wolf. "Die Literaturtheorie findet zur literarischen Praxis."
Neue deutsche Literatur 3 (November 1955): 159.

9Christa Wolf. Foreword to in dlesen Jahren: deutsche Erzahler der
Gegenwart. ed. Christa Wolf (Leipzig: Veriag Philipp Reciam jun.. 1956). p.
4.

10Christa Wolf. 'Warum singt der Vogei nicht? Fortsetzung einer
bffentlichen Diskusslon in der 'Schwarzen Pumpe’ fiber Gegenwartsiiteratur.‘
Neues Deutschland 12 (November 1957).

 

nChrista Wolf. “Unsere Melnung.“ Neue deutsche Literatur 6 (January
1958): 3.

12Christa Wolf. 'Kann man eigentiich fiber ailes schreiben?‘ Neue
deutsche Literatur 6 (June 1958): 7.

13Christal Wolf. "Land. in dem wir ieben. Die deutsche Frage in dem
Roman ‘Dle Entscheidung’ von Anna Seghers.“ Neue deutsche Literatur 9
(May 1961): 63.

14Christa Wolf. Speech at the Second Bitterfeld Conference. Protokoii
der von der ldeologlschen Kommission beim Politbfiro des ZK der SED und

73

74

dem Ministerium ffir Kultur am 24. und 25. April im Kulturpalast des
Elektrochemischen Kombinats Bitterfeld abgehaitenen Konferenz (Berlin: Dietz.
1964). pp. 224. 229.

 

 

15Christa Wolf. 'Eine Rede.“ in Lesen und Schreiben. Aufsatze und
Prosastficke. 3rd. ed. (Berlin: Luchterhand. 1972). p. 121.

 

 

16Christa Wolf. "Gute Bficher - und was weiter?.' Neues Deutschland
(19 December 1965).

 

17Christa Wolf. "Einiges fiber meine Arbeit als Schriftstelier.“ Junge
Schriftstelier der Deutschen Demokratlschen Republik in Selbstdarstellungen.
ed. Wolfgang Paulick (Leipzig: Bibliographisches lnstitut. 1965). pp. 16.

 

18Werner Krogmann. 'Moraiischer Reallsmus — Ein Versuch fiber
Christa Wolf.” Amsterdamer Beitrage zur neueren Germanlstik 7 (1978): 252.

 

19Christa Wolf. 'Giauben an lrdisches.” in Lesen und Schreiben.
Aufsatze und Prosastficke. 3rd. ed. (Darmstadt: Luchterhand. 1978). pp. 92-
94.

 

QOChrlsta Wolf. 'Lesen und Schreiben.” in Lesen und Schreiben.
Aufsatze und Prosastficke. 3rd. ed. (Darmstadt: Hermann Luchterhand Veriag.
1978). pp. 189. Further citations from this article will be indicated directly
in the text by using the abbreviation L&S followed by the page number.

 

 

2"Wolf. 'Probleme des zeitgenbssischen Gesellschaftsroman.‘ 150.
22Wolt. 'Komplikationen. aber keine Konflikte.“ 142.

23Wolf. 'Probleme des zeitgendsslschen Gesellschaftsroman.‘ 145.
24Wolf. "Komplikationen. aber keine Konflikte.“ 143.

25Woif. "Kann man eigentiich fiber alies schreiben?‘ 11.
26Christa Wolf. Foreword to Wir. unsere Zeit. Gedichte aus zehn

Jahren. ed. Christa Wolf and Gerhard Wolf (Berlin: Aufbau Veriag. 1959).
p. 10.

 

27Christa Wolf. “Deutschland unserer Tage.‘ Neues Deutschland No. 77
(18 March 1961).

 

28Christa Wolf. Discussion at the “Konferenz junger Schriftstelier in
Halie.‘ Neue deutsche Literature 10 (August 1962): 133.

 

29W0lf. Speech at the Second Bitterfeld Conference. p. 233.

30Christa Wolf. "Notwendiges Streitgesprach.’ Bemerkungen zu einem
internationaien Kolloquium.‘ Neue deutsche Literatur 13 (March 1965): 98.

 

3‘Max Walter Schulz. 'Das Neue und das Bieibende in unserer

75

Literatur.‘ in Vi. Deutscher SchriftstelierkormreB. Protokoll (Berlin/Weimar:
Aufbau. 1969). p. 34.

 

32Krogmann. p. 250.
33Wolf. 'Probleme des zeitgenbssischen Gesellschaftsromans.“ 142.

34Witold F. Tulasiewicz. “Socialist Realism in the German Democratic
Republic.’ in Oakland Symposium on Socialist Realism in Literature. ed.
Renate Geruiaitis (Rochester. Michigan: Oakland University. 1975). pp. 22-
23.

 

35Christa Wolf. Foreword to Proben junger Erzahler. ed. Christa Wolf
(Leipzig: Reclam. 1959): p. 4

 

36Wolf. 'Popularltat oder Volkstfimiichkeit?” 123.

37Christa Wolf. “Menschen und Werk.n Neue deutsche Literatur 3
(September 1955). 144.

 

38Christa Wolf. 'Elne Lektion fiber Wahrheit und Objektivitat.‘ Neue
deutsche Literatur 6 (July 1958). 121.

 

39Jtirgen Nieraad. 'Subjektivltat als Thema und Methode realistischer
Schreibweise. Zur gegenwartigen DDR-Literaturdiskussion am Belsplel Christa
Wolf.“ vol. 19: Literaturwissenschaftliches Jahrbuch im Aufme der Gbrres-
Gesellschaft. ed. Hermann Kunisch 19 (Berlin: Duncker and Humblot. 1978).
315. He is quoting from Christa Wolf. 'Subjektlve Authentizitat und
geselischaftliche Wahrheit.“ Auskfinfte (Berlin. 1974). p. 492.

 

 

40Christal Wolf. 'Erziehung der Geffihie?‘ Neue deutsche Literatur 6
(November 1958): 130.

 

“Wolf. ”Land in dem wir leben.‘ 50.

42Christa Wolf. "Ein Erzahler gehon dazu.” Neue deutsche Literatur 9
(October 1961):51.

 

43woli. 'Lesen und Schreiben.“ 208.

“Heinrich Mohr. 'Produktive Sehnsucht. Struktur. Thematik und
politische Reievanz von Christa Woifs ’Nachdenken fiber Christa T.'." Basis 2
(1971): 225.

45Schulz. p. 34.

460ietrich Steinbach. 'Die neuere Literatur der DDR: Probleme.
Tendenzen. Konsteilatlonen.‘ Deutschunterricht 30 (April 1978): 110.

 

4"Mohr. 225.

48Wolf. 'Komplikationen. aber keine Konflikte.” 142.

76

49Wolf. 'Kann man eigentiich fiber alies schreiben?” 12.
50Wolf. "Komplikatlonen. aber kelne Konflikte.” 142.
5‘Wolf. "Notwendiges Streitgespréch.‘ 101.

52Wolf. ‘Warum singt der Vogei nicht?”.

53Christa Wolf. 'Besiegte Schatten?’ Neue deutsche Literatur 3
(September 1955): 138.

 

54Alfred Klein. ‘Potrebnoct’ b séaste.‘ Voprosy literatury 9 (December
1965). p. 33. Translation mine: the original Russian (in transliteration)
reads: 'Nigde ne zamaiéivaetsja. Etc nynesnaja iizn’ imeet i tragiCeskie
momenty i Cto dostignutoe do six por e§6e ne daet povoda dlja
samouspokoenija.‘

 

55Wolf. “Deutschland unserer Tage.‘

5("Christa Wolf. '...wenn man sle durch Arbeit mehrt.‘ Berliner Zeitung.
No. 95 (1961).

 

57Wolf. 'Ein Erzahler gehtirt dazu.‘ 131.

58lbld.. 133.

59Wolf. 'Notwendiges Streitgespréich.‘ 101.

60Christa Wolf. 'Notwendiges Streitgespréich.‘ 101.

61Christa Wolf. Speech at the Seventh Authors’ Congress. Vii.
Schriftstelierkongress der Deutschen Demokratlschen Republik: Protokoli
(Arbeitsgruppen). ed. Schriftstelierverband der Deutschen Demokratlschen
Republik (Berlin: Aufbau-Veriag. 1973). pp. 148. 151.

62Woif. 'Notwendiges Streitgespréich.‘ 99.

63Wolf. ”Menschliche Konflikte in unserer Zelt.‘ 141.

6“Wolf. 'Unsere Melnung.“ 3.

65Wolf. Foreword to Proben junger Erzahier. p. 3.

66Christa Wolf. Foreword to Wir. unsere Zeit. Gedichte aus zehn
Jahren. pp. 9-10.

67Wolf. “Menschen und Werk.” 144.
68Woif, Forword to Proben junger Erzahier, p. 4.

69Wolf. Foreword to Wir. unsere Zeit. Gedichte aus zehn Jahren. p.

77
10.

70Wolf. "Menschen und Werk.“ 147.

71Wolf. 'Popularltat oder Voikstfimilchkeit?“ 121.

72Christa Wolf. “Literatur und Zeitgenossenschaft.“ Neue deutsche
Literatur 7 (March 1959): 9.

 

73Christa Wolf. “Vom erfiiliten Leben.“ Neue deutsche Literatur 7
(February 1959): 140.

 

7“Wolf. “Literatur und Zeitgenossenschaft.“ 11.
75Woif. “Die Literatur der neuen Etappe.“
76Woit. Christa. 'Briefwechsel Gerti Tetzner - Christa Wolf.“ in “Was

zahlt. ist die Wahrheit. Briefe von Schriftsteliern der DDR.“ Neue deutsche
Literatur 23 (August 1975): 123.

 

77Wolf. “Die Literatur der neuen Etappe.“
78Woif. “Notwendiges Streitgespréch.‘ 101-2.

79Horst Nawlewski. “Christa Wolf.“ Deutsch als Fremdsprache 10
(Literarisch—landeskundliches Sonderheft 1973): 90.

 

80Woit. “Menschen und Werk.“ 144.

81Wolf. “Popularitat oder Volkstfimlichkelt?“ 121-22.

82Wolf. “Notwendiges Streitgesprach.“ 103.

83Alexander Abusch. Literatur im Zeitalter des Sozlaiismus. Beltrag_e_

zur Literaturgeschlchte 1921 bis 1966. vol. 2: Schriften (Berlin: Aufbau-
Verlag. 1967). p. 679.

 

 

84Wolfgang Beutin et al.. ed.. Deutsche Literatur Geschichte von den
Anfangen bis zur Gegenwart (Stuttgart: J.B. Metzlersche
Veriagsbuchhandlung. 1979). p. 346.

 

 

850m Gotsche. “Unsere historische Pfiicht.“ in Neuere DDR-Literatur.
Texte und Materiaiien ffir den Deutschunterricht. 2nd ed. (Paderborn: '
Ferdinand Schoningh. 1975). p. 49.

 

 

86Wolt. 'Kann man eigentiich fiber alies schreiben?“ 13.

87von Saiisch. p. 76. He quotes from Christa Wolf. 'Lesen und
Schreiben.“ p. 208.

88Wolf. Christa. “Auf den Grund der Erfahrungen kommen. Eduard Zak
sprach mlt Christa Wolf.“ Sonntag No. 7 (1968): p. 7.

78
8QChHsta Wolf. “Hans Kaufmann. Gesprach mit Christa Wolf.“ Welmarer
Beitrage 20 (June 1974): 112.
90Wolf. “Auf den Grund der Erfahrungen kommen.“ 6
9"Christa Wolf. 'Selbstinterview. in Lesen und Schreiben. Aufsatze und

Prosastficke. 3rd. ed. (Darmstadt: Hermann Luchterhand Veriag. 1978). pp.
77-78.

 

 

92Christa Wolf. “Tagebuch.“ in Lesen und Schreiben. Autsatze und
Prosastficke. 3rd. ed. (Darmstadt: Hermann Luchterhand Veriag. 1978). p.
66. This quotation. originally made by JR. Becher. stands as the motto of
her story Nachdenken fiber Christa T..

 

93Wolt. 'Selbstinterview.‘ p. 80.

94von Saiisch. p. 70.

95'Diskusslon mlt Christa Wolf.“ Sinn und Form 28 (July/August 1976):

 

864.

96Wolf. “Die Literatur der neuen Etappe.“

97Wolt. “Glauben an lrdisches.“ p. 90.

98Wolf. “Land. in dem wir leben.‘ 49.

”Wolf. 'Popularitat oder Volkstiimlichkeit.‘ 115.

100Wolf. “Literatur und Zeltgenossenschaft.“ 11.

10Wolf. 'Komplikationen. aber keine Konflikte.“ 14o.

102Woli. “Menschen und Werk." 149.

1”Wolf. 'Vom erfiiliten Leben.“ 142.

10"Wolf. “Auf den Grund der Erfahrungen kommen.“ p. 7.

105Wolf. Christa. “Anna Seghers fiber lhre eigene Schaffensmethode.
Ein Gesprach.“ in Anna Seghers. Ober Kunstwerk und Wirklichkeit. Vol. ll
Erlebnis und Gestaltung. ed. Sigrid Bock (Berlin: Akademie Veriag. 1971). p.

49.

106Christa Wolf. “’Freiheit‘ oder Autlosung der Persbnlichkeit?“ Neue
deutsche Literatur 5 (April 1957): 142.

 

107Wolt. 'Kompllkationen. aber keine Konflikte.“ 143.

108Wolf. Foreword to Proben junger Erzahler. p. 4.

 

der Kunst“

1974).

1“Wolf.
noWolt.
1”Wolf.

1 12Wolf.

1 13Wolf.
H4Wolt.
1‘5Wolt.
‘ 16Wolt.
H7Woii.
“8W0".

‘ 19Wolt.

79

Foreword to Wir. unsere Zeit. p. 9.

 

“Menschliche Konflikte in unserer Zeit.“ 142.
'Sozlalistische Literatur der Gegenwart.“ 6.

Foreword to Wir. unsere Zeit. Gedichte aus zehn Jahren. p.

 

“Deutschland unserer Tage.“

“Land in dem wir ieben.“ 52.

“Menschliche Konflikte in unserer Zeit.“ 142.
'Besiegte Schatten?“ 141.

“Land. in dem wir leben.“ 61—62.

'Einiges fiber meine Arbeit.“ p. 16.

Foreword to in diesen Jahren. p. 4.

 

12OChrista Wolf. “Vom Standpunkt des Schriftsteliers und von der Form

Neue deutsche Literatur 5 (December 1957): 120.

 

1Z‘Wolt.

Foreword to Wir. unsere Zeit. Gedichte aus zehn Jahren. p.

1“O'QChrista Wolf. 'theraturkrltik ohne Netz." Neues Deutschland (4 April

123Wolt.

 

“Notwendiges Streitgesprach.“ 102.

124“Disitusslon mit Christa Wolf.“ 868-69.

125lpld.. 872.

12‘5llild.. 886.

Chapter Three--The Relationship between the Author and the Work

introduction

This chapter examines Christa Wolfs views on the relationship between
the author and his work. Throughout her theoretical writings. she is
concerned with the dynamics of the interaction between the author and
what he is writing. in her earlier writings. her comments focus on the
works of others. her views of their writing. and the relationship she
perceives to exist between these authors and their work. in her later
theoretical writings. her own experiences as a writer of fiction shape her
views of the author-work relationship. Her earlier comments reflect her
belief that the author has a great responsibility to the society. and her
reviews of authors’ works usually judge them according to how well the
author has understood his task and to what degree he has presented a
view of society which will further the goals of socialism. Concurrent with
her own devei0pment as a writer of fiction. her statements on the author-
work relationship begin to reflect a deepening awareness of the interaction
between the author and his work. as well as of the confrontation of the
author with his own past and present. in her later works she develops
her ideas of the author-work relationship into a theory she calls subjective
authenticity (“subjektlve Authentizitat“). in which the process of writing is no
longer a reflection of reality. but rather a reflection of self. Through
writing. the author confronts his own inner world. rather than the outer
world of societal reality. The author searches for an understanding of
himself and is no longer content just to try to make sense of what he

sees happening outside himself. Thus Christa Wolf moves away from the

80

81
view that the author’s primary responsibility is to the society and toward
the view that the author is primarily responsible to his own inner
development.

This chapter is divided into six sections. The first three sections
deal with topics that concern Christa Wolf from her early theoretical
writings through her later writings: 1) general comments about the author-
work relationship: 2) the role of experience: and 3) the author’s lifestyle.
The second group of sections examines three topics that she discusses
only in her later writings: 4) the authors personal motivation for writing: 5)

the process of remembering: and 6) her theory of subjective authenticity.

A. General Comments on the Author—Work Relationship

Christa Wolf's earliest comments about the author-work relationship
occur within the context of the authors responsibility to depict society in
such a way that the reader is helped to understand his place in society.
To this end the author should show that he has a proper understanding of
the society. and he should depict characters and situations in a realistic
way so that the reader can learn from what he reads. She criticizes the
authors of the 1950’s who did not have a clear perception of how to
create non-stereotypical characters. There is a discrepancy between her
desire for authors to keep in mind that literature Should serve the goals of
society and her desire that they should not create characters who serve
only to espouse certain ideas. Through vital. realistic characters. the
author is supposed to convey certain ideas to the reader. but he must do
so subtly and without appearing dogmatic. This contradiction occurs

because of Christa Wolf’s desire that literature promote the goals of

82
socialism. but she was unwilling even in her early writings to accept a
literary work just because it was ideologically correct. it was important to
her that a work not only arise from the authors genuine belief in the
goals of socialism. but that it should also have inherent literary merit.
Therefore the presence of any given character or situation in a work
should be justifiable according to literary standards and not be included
only to represent certain ideological viewpoints.

She hopes that the author will develop in such a way that he gains
the ability to do justice to the material that society presents for his use:
“Wir dfirfen hoffen. daB diese Wirklichkeit ihm neue. noch grdBere Stoffe
aufdrangen wird und daB er lm Prozess seiner elgenen kfinstlerischen Reife

“1 The author should

die Fahigkeiten ausbiiden wird. sle zu bewaitigen.
have not only the technical competence to depict reality in a socially
acceptable manner. but must really believe in the goals of his society: “Es
handelt sich dabei...ln erster Linie weder um Fragen des Talents noch der
technischen Fertigkeiten dieser Schriftstelier: es ist die Frage nach lhrer
Einsteilung zum Leben. nach der Tiefe und Wahrhaftigkeit ihres
Weltbiides.“2 She believes that no one can force the writer to depict
ideas that he has not resolved. it must be understood by both authors
and critics that no one. not even an authors“ union. can force a writer to
depict ideas in his work that he does not really agree with.3 She repeats
this idea in a different article and further states that this relationship
between the author's world-view and his Choice of material for his work is
one that needs to be discussed further in literary circles.4 She further

believes that the author must ask himself what it is that he wants to

achieve with his work. in addition. he must have sufficiently high

83
aspirations for himself. She criticizes a certain author for having been
satisfied with too little in his work:
Er hatte gar nicht die Absicht gehabt. die revolutionaren
Traditionen der Mansfeld—Arbeiter zu Worte kommen zu lassen:
es hatte ihm genfigt. mdglichst anschaullche
Eiendsschilderungen zu bekommen: er glaubte. mit ihnen am
besten die Legende von der “guten alten Zeit“ zerstdren zu
kbnnen. Er hatte mehr wollen miissen. er hatte sich vor
allem vornehmen soiien. mit seinen Berichten fiber die
Vergangenheit in den gegenwartigen Kampf einzugrelfen.5
it is not sufficient that an author set challenging goals for himself. he must
realize them. She criticizes another author for this discrepancy between
his goal and its realization: “in den bisher vorliegenden Besprechungen
wird allgemein die gute und nfitzliche Absicht des Autors anerkannt: fiber
den Grad der Verwirkilchung dieser Absicht gehen die Anslchten der
Rezensenten auseinander."6
it is in a 1957 article that she mentions the creative process. but
she only advocates the investigation of its peculiarities and difficulties:
'...[es] ware wohl nfitzlich gewesen. den Besonderheiten und Schwierlgkelten
lm SchattensprozeB der Schriftstelier nachzugehen.“7 The fact that she
does not state any of her own ideas concerning the dynamics of this
creative process is certainly understandable in light of the fact that she is
still at an early stage in her theoretical writings and has not yet begun to

write her own fiction. Beginning with an article on Anna Seghers‘ novel

Die Entscheidung. she develops her ideas of what this creative process

 

involves. The importance of writing to the author and the interrelationship
between what he experiences and what he writes gradually becomes clear
to her as she progresses in her own development as a writer. The
following statement about a character in Seghers’ novel reveals her

increasing awareness of the relationship of the author to his work and the

84

significance that writing has for his entire life: “Dann packt es ihn. dann
ist pldtzlich keine Kluft mehr zwischen gelebtem und geschriebenem Leben.
dann hat sein Beruf. das Schreiben. das zugleich seine wichtigste und
ernsteste LebensauBerung ist. auch die anderen LebensauBerungen
nachgezogen.“8

in a later article. entitled “Tagebuch.“ she discusses the relationship
of the author to the diary. She believes that the reading of diaries. as
well as other "factual“ accounts of life such as memoirs and biographies.
is caused by readers’ general distrust of fictional accounts of the lives of
others.9 But she believes that it is only literature. which she contrasts
with factual accounts of life. which can create a synthesis of contemporary
human relationships. which are often hard to explain. She feels that
diaries. although not genuine literature. can serve a useful function for the
author in the creation of his own literary works. Since diaries are not
usually written for publication. the ideas presented in them tend to be
close to actual occurrences in life. and an author can use them as a
source for his characters and situations. A diary can provide ideas for a
literary work. but more is required of a work than the mere presentation
of occurrences. The writer must interact with the material and create a
new reality. the reality of the book: “Erst aus dieser Verquickung [von
“Stoff' und “Autor“] geht eln Drittes hervor. die neue Realitat des Buches.“
(L&S/212) This new reality. the work. is the result of the creative process.
which is the merging of the author and his material.

Her later writings also reveal her idea on the effect which writing has

on the author. She describes the act of writing as enabling the author to

merge with the present:

85
Ffir den [Autor ist] Schreiben das Mittei.... sich mit der Zeit zu
verschmelzen in dem Augenblick. da beide lhre dichteste.
konfliktreichste und schmerzhafteste Annaherung erfahren. Die
Energiemenge. die aufgebracht werden muB. um den
Schmelzpunkt zu erreichen. ist betrachtlich. Nicht weniger als
der voile Einsatz der elgenen moralischen Existenz ist
gefordert. jedesmal neu. Das ist der Ernst hinter dem Spiel
der Kunst
No longer does she view writing in an abstract manner. as an activity that
authors perform for the good of their society. it has become to her an
activity that is integrally connected to the very being of the author. who

must give up something of himself in order to create a work of literature.

B. The Role of Experience

One of the aspects of the relationship between the author and the
work that interests Christa Wolf is the role that the author’s experiences
play in the development of the literary work. Throughout her theoretical
writings. she is concerned about the degree to which experiences shape
the author’s perception of the world. and ultimately his writing. Her
earliest essays express her belief that the author should not attempt to
write about events that he has not personally experienced. whereas in her
later works she is more concerned with how the author interacts with his
experiences through the act of writing. This change in her ideas is in
congruence with the change in her view of the goal of writing from her
early belief that writing should serve the socialist society to her later
emphasis on writing as a personally fulfilling process for the author.

Her concern that the author depict the laws of societal development
is expressed in an early essay. where she states that the author must
have experienced these laws and have thought about the people within the

society. before he can produce a literary work that will serve the goals of

86
the socialist society: “Bevor eln Schriftstelier elne solche Geschichte...
erfinden. solche Gestalten und Konflikte schatfen kann. muB er viei fiber
die Menschen seiner Umgebung nachgedacht und fiber die Gesetze

.11 Because the author

erfahren haben. nach denen sle sich bewegen.
should depict experiences and events that he personally has experienced.
she finds the autobiographical style typical of young writers of the time to
be appropriate to their goals: “Diese weitgehend autobiographischen
Darsteiiungen sind fiir junge Schriftstelier elne naheilegende und natfirliche
Form der Auseinandersetzung mlt der elgenen Vergangenheit!” The
author need not have personally experienced each detail of his story. but
he should deal with material that is within his general realm of experience.
i.e.. events that could logically happen within his society. or characters that
are actually present in the society. Because she perceives the events of
the time to be important to the development of the society. she feels that
authors should portray actual heroes of the society.13 Although she
wishes that all authors had the correct view of the society and wants them
to express that viewpoint in their works. she does not think they should
simply echo the ideas that they hear around them. They should strive to
widen their realm of experience and depict in their literary work beliefs
that they actually hold. not just reflect ideas that they think they should:
“Ein Autor kann sich einen progressiveren als seinen gegenwartigen
Standpunkt wohl wfinschen. aber nicht elnfach aussuchen. er muB ihn
erarbeiten. erfahren. erieben.“14 This places a double burden on the
writer. who must not only process and reflect his own experience. but also
deal with the external forces that say he should depict reality in an

ideologically correct way. Since both the integrity of the author and the

87
idea that the author should try to help the developing society are important
to Christa Wolf. the only way she can resolve the conflict that arises if
the author’s experiences do not to coincide with the correct ideological
viewpoint is to urge all writers to somehow incorporate the correct
viewpoint into their belief system. She praises an author who understands
his role in society and successfully depicts it in his work: “Walter
Kaufmann hat es....erfahren. wohin er gehdrt. Und er fibertragt diese
Grunderfahrung auf den jungen Helden seines Buches.“15 She further
praises other writers for an authenticity in their works which stems from
writing about their own experiences.
Er brauchte keine Milieustudien. Er hatte unter den
Bergarbeitern %elebt. lhre Sprache gesprochen. lhren Kampf
mitgekampft....1
in dem Erzahiungskranz. den er plant. werden sich Erfahrungen
aus dieser Zeit direkt literarisch niederschlagen. ...Was er in
dieser Erzahlung gestaitet und in dem Stfick auf die Bfihne
stellt. die wirre. harte Zeit nach dem letzten Krieg. hat
Heiduczek als Achtzehn-. Neunzehnjahriger erlebt....17
This concern with the role of experience in an author’s work continues
throughout her writings. but it begins to take on a different tone as her
theoretical writing progresses from early to late. in an interview with Anna
Seghers. Christa Wolf asks her about the role that biographical elements
play in her work.
Spielt das Biographische in lhrem Werk sonst keine Rolle oder
nur elne lndlrekte Rolle? Mich lnteressiert das
Biographische. Aber nicht ffir sich allein. sondern lnsofern es
umgesetzt wird in der kfinstlerischen Arbeit: dieser sehr
verwickeite ProezeB. wie sich blographisches eigenes Erlebnis
niederschlagt in Bflchern. zum Belsplel in lhren Bfichern.1
Beginning with this 1965 interview. Christa Wolf's interest turns from the

importance of actual experiences to the authenticity of a work to a

concern about the effect that the process of writing has on the writers

88
perception of his experiences. The interaction of the writer with his
experiences becomes more important than the use of his experiences to
depict a correct ideological standpoint. No longer does she believe that
the author should simply write about his experiences: rather. he should
write about his interactions with his world. it is this desire to come to
terms with his world. and thus with himself. that motivates the author to
write: “'Das ist es. was ihn zum Schreiben drangt. mehr als die
unscheinbaren, fast zufaiiigen Erlebnisse. die ihm auf seiner Wanderschaft
zuteil werden."19 The author should still work from his own experiences.
but she no longer feels that his experiences can be placed directly on the
paper: some change necessarily occurs in the process of writing about
experiences.
The passage of time between an experience and the act of writing
about it also causes subtle changes in the authors perception of his
experiences. The author finds that he cannot simply record his
experiences. even if he wants to depict them exactly as they occurred. but
rather discovers that time has transformed them:
[Der Autor] versucht. schreibend. getreu zu sein. und findet:
Die ffinfundzwanzig Jahre haben nicht nur an ihm. sle haben
auch an jener frfihen Szene gearbeitet. MuB zugeben: Er hat
sie nicht “objektlv‘ erzahlt - das ist nicht mdglich. Es
entmutigt ihn nicht. Er entschiieBt sich. zu erzahlen. das
heiBt: wahrheltsgetreu zu erfinden auf Grund eigener Erfahrung.
(L&S/198-99)

This inherent difficulty for the author in relating his experiences is one

concern of Christa Wolf's. The author wants to understand his own

experiences and come to grips with them through his writing. but the very

act of writing about them destroys his direct connection with them:

Denn es ist schwierig. unverwandt und unbedingt wahrhaftlg von

den elgenen Erfahrungen auszugehen. Dies. manchmal als

89
Gewissensprfifung ffir den Autor hingestellt. ist in Wirklichkeit
blanker Eigennutz: jede Manipulation mit den elgenen
Erfahrungen zerstdrte unverzfigiich den Kontakt zu den
lebendigen Quellen der inspiration und wfirde den Autor
zwingen. Gespenster auszustoBen. MiBgeburten. die mit
verdrehten Augen und faischen Zungen reden.... (L&S/216)
The author must observe life in order to write about it. but if he observes
life with the intent of writing about it. his direct relationship with it is lost.
in answer to the question of whether she herself has a literary relationship
with the present. or whether there are within her various persons who
react in different ways to the present. she states that she tries to react to
life without the intention of writing about everything that she sees:
diejenigen Ereignisse und Vorgange oder Handlungen. in die ich
hlneingezogen werde. die mlch besonders stark berflhren.
[werden von mir] absolut “unilterarisch' eriebt. Das heiBt.
ohne diese Beobachterposition. ohne dieses Geffihi: Ah.
schreibst vieileicht mal drliber; oder: 083 were mal elne Flguri
Das ist absolut weg. Was man “berechnend' eriebt - mit
dem Blick auf literarische Verwertbarkeit -. ist nach meiner
Erfahrung verdorben. unbrauchbares “Material“.

The task of the author to present his own experiences. which she
now believes that he cannot do in a direct manner. is further complicated
by the fact that in trying to present his experiences. he must maintain a
certain distance from his experiences in order to be able to write about
them. He cannot simply transfer his experiences directly onto paper.
because the person that he presently is must necessarily enter into the
writing process. The idea that the author must maintain some distance
from his own experiences and also from his writing is expressed from her
earliest writings onward. in her early writings. though. the writer is
supposed to distance himself from his own personal development in order

to better present topics that will help the society. He is supposed to

depict experiences that he understands. while at the same time paying

90

attention to the overall goal of his writing. He must avoid the danger of
becoming too involved with his own personal development:

[Die Gefahr besteht]. daB der Autor mitten im ProzeB der

elgenen Entwicklung die MaBstabe ffir die Wichtigkelt seiner

ganz personiichen Problematik verliert und sie auf ungeelgnete

. .. 2

Gebiete ubertragt.
The author may want to depict a character who is having difficulty adapting
to his society. but he should not allow himself to be drawn into the
confusion of the character he has created)?3

in her later articles she is concerned with the necesssity of distance

from certain past experiences. Now that she herself is a writer of fiction.
she personally understands that a certain distance is necessary in order to
deal with events or feelings that were painful or not understood at the
time they were experienced: “Der Autor braucht ja elne gewlsse innere

~24

Freihelt einem sehr schwierigen Stoff gegeniiber. in discussing the

creation of her own novel Klndheitsmuster. she states that she needed the

 

distance that thirty years provided in order to be able to deal with the

events in her past.
ich habe hier die Distanz von last dreiBlg Jahren
gebraucht....Die GrOBe. die Lange der Distanz hangt ab von
der Schwere der Betroftenheit in diesem Fall. die Schwere der
Verletztheit. der Verwundung. die man ausdrficken muB.
erlaubte es - wieder in diesem Fall - nicht. frfiher daran zu
rfihren. Daraus erkiart sich die Zeitspanne. die ich gebraucht
habe. bis ich damlt anfing.25

This distance is necessary in order to put past experiences into their

proper perspective. but it means that the earlier events will not be

remembered exactly as they were. The person presently remembering

them and writing about them is obviously a different person from that

person who originally experienced the events. The intervening years have

changed his perspective. and his depiction of earlier events will be

91
tempered by his change in viewpoint.

Christa Wolf’s view of the role of experience. and the necessity of
distance from certain experiences. changes from her early to her later
works. in her early works. she maintains that the author should attempt
to portray his experiences directly in his work for the purpose of helping
the developing society. Later. after she herself has become an author.
she understands the more complicated effects that writings has on the
presentation of actual experiences. She learns that experiences cannot be
placed directly on paper. because the act of writing about them changes
the author’s perspective toward them and time affects the author’s
remembrances of past experiences. She asserts throughout her writings
that the author must maintain a certain distance from his experiences. but
the reason for maintaining this distance changes during the course of her
writings. Her early belief is that the author cannot depict characters and
situations objectively if he becomes too involved in his material. while her
later belief is that distance is a necessary prerequisite to understanding

certain events of the past.

C. The Lifestyle of the Author

Discussion of the author’s lifestyle (“Lebensweise des Schriftsteliers“)
appears in an essay written in 1959. before Christa Wolf herself had
become an author. in this essay she discusses the problem of the
author. who. because of his chosen profession. needs to understand the
events around him in order to adequately portray them in his literary
works. She discusses the contradiction that confronts the author. the

contradiction between the emphasis the society places on collective work

p—n—J-

92
and the individual nature of the act of writing:
wahrend die Vorbiider ffir lhre literarischen Flguren im Leben
in dem MaB typische Helden unserer Zeit werden. in dem sle
sich von individualisten zu bewuBten Mitgiledern eines Kollektivs
entwickeln. zwingt die Hauptarbeit des Schriftsteliers. das
Schreiben. ihn weiterhln zum vereinzeiten. zum individueiien
Schaffen. Die Frage ist. an weichen Punkten des
Schattenprozesses kann und muB der sozialistische
Schriftstelier seine Vereinzelung durchbrechen...und die Hilfe
des Kollektivs in Anspruch nehmen?
At this stage in her theoretical writing. she expects the author to make
every effort to discover how he can reconcile his profession with the
socialist way of life. She feels that the author must search for ways to
change his life to fit the ideals of the society: for example. rather than
working completely on his own. he could join an authors’ group where new
ideas are discussed and works critiqued.
in articles written after she had published several works of fiction.
she continues to be concerned with the lifestyle of the author. but in a
more personal way. For example. in a 1965 interview with Anna Seghers.
she asks about the conditions under which Seghers likes to write. where
and when she writes. and whether she works on a regular basis according

to a specific timetable?7

She is concerned with discovering the specifics
of another authol’s writing habits. perhaps to compare them with her own.
in a later article she discusses her own habit of writing down the minutiae
of life around her so that she can use them later in her works: “Natur.
Landschaftseriebnisse verschwimmen alizu leicht zu Stimmungen und sind
dann nie wieder reproduzierbar. ich brauche elne Stfitze. knappe.
anspruchslose Notizen“?8

The author’s relationship to his own are is emphasized in her

statement that the present time continually demands that the author re-

93

evaluate his profession)?9

The author must constantly examine his role in
society. his lifestyle. and objectives in order to remain relevant to the
times in which he is writing. in discussing her own story. Nachdenken

fiber Christa T.. she states that one of her reasons for writing it was to

 

discover what prevented Christa T. from becoming a writer. She
examines Christa T.’s life in an attempt to discover the internal and
external causes for her failure to become a writer. The question is never
really answered whether it is Christa T.’s own personal inadequacies or the
limitations of her society which prevent her from realizing her goal.
Speaking from her own experience. Christa Wolf discusses the
profession of the author as one which changes the authors relationship to
reality and to himself:
Es ist eine gesteigerte Aufmerksamkeit. eln andauernder
Verantwortungsdruck. eln Dauerengagement. das unheimilch
stark ist und darauf hingeht. daB man. ob man will oder
nicht. dazu da ist. zu beschreiben. was man erfahrt....Elnfach.
daB man weiB. man ist dazu da. es zu beschreiben. verandert
vleles.
Having become an author. she now feels confident to discuss the effects
that the author’s profession has on his life and his perception of reality.
She has become aware of the influence that writing has on one’s life.
The author cannot be content only to watch what others do. he must take
an active part in life. experiencing it to the fullest. Although she views
the author’s profession as offering a private challenge to the individual. she
feels that one of the advantages of her society is that it is both
supportive of and interested in the life of the author. thus preventing him
from becoming isolated from his society. in this respect. her views of the

lifestyle of the author have changed little from her early statement about

the necessity of the author finding his place in society by interacting and

94
exchanging ideas with other people. Her views on the authors lifestyle
have become more personal because of her own experience as a writer.

but they have not changed in content.

D. The Authors Personal Motivation for Writing
One of the topics that Christa Wolf discusses only in her later

theoretical writings is the authors personal motivation for writing. it has
been seen that in her early writings. the author’s motivation for writing is
expressed in terms of his obligation to society. Representative of her
ideas at this stage of her writings is the following comment about the
motivation of the author:

Wir mfissen erreichen. daB mdglichst vieie Schriftstelier gar

nicht anders kbnnen. als unsere Gegenwart in irgendeiner

Form kiinstlerisch zu gestaiten. well kein anderer Stoff sle

derart begeistert. derart packt und brennend lnteressiert. well

sle nichts anderes inneriich so bedréngt.“
This quotation reveals her belief at that time that the author’s desire to
express himself could be molded by the society. and that his primary
obligation should be to present contemporary material that could best aid
the attainment of societys goals. in her later writings. however. she
develops the idea that the author writes to overcome certain problems he
perceives in himself. By overcoming these problems the writer achieves a
better understanding of himself. which in turn leads to an ability to
participate more intensively in life.

The idea of writing in order to overcome problems is developed

from a statement by Anna Seghers: what has become able to be told. has

been overcome (“Was erzahlbar geworden ist. ist fiberwunden“).32 Christa

Wolf believes that the corollary is also true. that what must be overcome

95

should be told (“Was fiberwunden werden muB. soil erzahit werden“).33
This forms the basis of many of her statements about the authors
motivation for writing. She believes that one can only begin to write when
one no longer finds reality understandable: “Zu schreiben kann erst
beginnen. wem die Realitat nicht mehr selbstverstandiich ist.“ (L&S/209)
Only those aspects of life which disturb her are worthy of being written
about: “ich kann nur fiber etwas schreiben. was mich beunruhigt.“34 She

discusses her own realization of this aspect of writing in the following

statement:
ich hatte namlich erfahren - ich kann wohl sagen:
fiberraschend. und gegen meinen elgenen betrachtlichen
Widerstand -. was as bedeutet. erzahlen zu mfissen. um zu

fiberwinden: hatte eriebt. daB der Erzahler...gezwungen sein
kann. das strenge Nacheinander von Leben. “fiberwinden' und
Schreiben aufzugeben und um der inneren Authentizitat willen.
die er anstrebt. den Denk- und LebensprozeB. in dem er
steht. fast ungemildert...im ArbeitsprozeB mlt zur Sprache zu
bflngen.

The author writes in order to overcome certain experiences that have
previously remained unresolved for him. in referring to her motivation for

writing Klndheitsmuster. she refers to this as her reason for writing: 'Mein

 

Zugang zur Literatur. der Zwang zum Schreiben. erglbt sich daraus. daB
ich sehr stark. sehr persbniich betroffen war und bin von der Geschichte.
von der Geschichte unseres Voikes. unseres Staates and von alien
Ereignissen. die ich seit meiner Kindheit bewuBt eriebt habe.“36 Through
the act of writing. the author confronts himself and attains a measure of
self-realization. in trying to understand the death of a friend. which was

her motivation for writing Nachdenken fiber Christa T.. Christa Wolf found

 

that something unexpected happened in the process of writing about her

friend. Rather than the simple confrontation between author and the

96
character that is being created. she found that she was suddenly
confronting herself in her interaction with the literary character who was
evolving:
Da stehe ich auf elnmal mir seibst gegeniiber. das hatte ich
nicht vorhergesehen. Nicht sle und nicht ich sind Gegenstand
der Geschichte. sonderen unsere Beziehungen zueinander. die
Verschiedenheit der Charaktere und ihre Berfihrungspunkte. die
Spannungen zwischen uns und ihre Aufibsung. oder das
Ausbleiben der Aufidsung. Nichts Gegenstandliches. wenn Sie
so wollen. nichts Fotografierbares. Aber etwas ungemein
Wirksames.
This confrontation with self. and the interaction between the author and his
material. form an important part of her literary theory. She feels that this
desire to understand oneself better is one of the primary impulses for
writing:
Ailerdings ist der Wunsch. uns besser kennenzulernen. eln
starker Antrieb zum Schreiben. Wer sich nicht kennt. kannauf
die Dauer nicht handein. Faszinierend aber ist die innere
Spannung von Menschen. die. handelnd. sich seibst
freundlicher und die Welt. in der wir ieben. wohnlicher
machen.

The author writes in order not to miss the opportunity of understanding
himSelf better: “Eine der wichtigsten Voraussetzungen ffir das Entstehen von
Literatur ist aber Sehnsucht nach Seibstverwirkllchung: daher der Zwang des
Aufschreibens. als vieileicht einzige Mbglichkeit des Autors. sich nicht zu
verfehlen.“ (L&S/215) Writing is a process of self-actualizatlon. in which
the author. through confronting problems. is brought face to face with
himself. his life. and desires. “Anschelnend erwartet der Schreibende. daB
seiner Hand. schreibend. elne Kurve gelingt. die intensiver. ieuchtender.
dem wahren. wirklichen Leben naher ist als die mancherlei Abweichungen

ausgesetzte Lebenskurve.“ (L&S/185) The process of writing intensifies the

author’s relationship with himself and the world.

97
Nfitzlicher schelnt es mir. das Schreiben nicht von seinen
Endprodukten her zu sehen. sondern als einen Vorgang. der
das Leben unaufhbrlich begieitet. es mlt bestimmt. zu deuten
sucht: als Mdgiichkeit. lntensiver in der Welt zu sein. als
Stelgerun% und Konzentration von Denken. Sprechen.
Handeln.3
She feels that the act of writing also enables the writer to step out of the
bounds of his own being and experience the world through the eyes of his
literary characters:
Diese Sehnsucht. sich zu verdoppeln. sich ausgedrfickt zu
sehen. mehrere Leben in dieses elne schachteln. auf
mehreren Platzen der Welt gleichzeitig sein zu konnen - das
ist. glaube ich einer der machtigsten und am wenigsten
beachtetsten Antriebe zum Schreiben...4
She states that early in her writing career she realized that writing also
alleviates the pain engendered by the realization that experiences of life
cannot be repeated: “Der Schmerz fiber die Elnmaligkeit und
Unwiederholbarkeit des Lebens iieB sich mildern.“4] This belief that writing
leads to self-actuailzation and can offer the author subjective experiences

that he might otherwise never be exposed to. differs from her earlier belief

that the motivation for writing is to help the society.

E. The Process of Remembering

The belief that one of the reasons for writing is to explore the
process of remembering is found in many of Christa Woifs later writings.
She feels that writing can be a catalyst to remembering the past and that
the author can examine through writing experiences and feelings that he
had earlier in his life and perhaps did not then understand. Remembering
the past. like writing. enables the author to fight against the process of

forgetting: “Sich-Erinnern ist gegen den Strom schwimmen. wie schreiben -

98
gegen den scheinbar natfirlichen Strom des Vergessens. anstrengende
Bewegung.“ (L&S/197-98) By viewing his experiences from his present
position the author may be able to discover connections between events
and feelings that were simply too close to him in the past to allow him to
interpret what was happening:

Ein neues Bedfirfnis laBt sich nicht abweisen: sich frfiherer
Erfahrungen zu versichern. Damit verquickt der Wunsch.
Vergangenes mdge nicht vergangen. nicht tot sein. es mdge
sich nicht ein ffir allemal verfestigen. Das Mittei dagegen ist
die Neuerschafiung der Vergangenheit. die allerdings auch
nicht zu jedem beliebigen Zeltpunkt moglich ist. sondern nur
genau in jenem vergangiichen Moment. da die undurchsichtige
Gegenwart so welt zurfickgetreten ist. um durchslchtig. dem
Erzahler verffigbar zu sein: aber noch nah genug. daB man
nicht damlt “fertig“ ist."2

The interconnectedness of past. present. and future that she expressed in
her earlier works in terms of historical societal development now fascinates
her as one of the results of the process of writing. in discussing her act
of writing a particular article. she describes this interaction of past.
present. and future:

Dies schreibe ich am staubigen Schreibtisch des Hotels
“Rossija‘: im BewuBtseln der Gegenwart - belspielsweise dleses
Fiusses da unten und aller wirklichen und ertraumten
Erlebnisse. die sich mir mlt ihm verbinden - schreibe ich
fiber einen frfiheren Vorgang. wahrend dessen Abiauf ich mich
- elne Kette von Assoziationen entlangtastend - nicht nur an
noch friihere Ereignisse. sondern auch an vergangene
Gedanken und Erinnerungen erinnerte und mir zu allem
fibrlgen noch die Mdgllchkeit aufstieg. das alies kbnnte spater
elnmal. in der Zukunft (die in diesem Moment Gegenwart ist).
auf irgendeine Weise bedeutsam werden. Zum Belsplel. indem
ich es beschreibe. (L&S/184)

She views the process of remembering which occurs while writing as being
as important a part of a literary work as the actual topic. This stream of
remembering (“Strom der Erinnerung“) is as much a reality to her as the

actual events and characters depicted. She believes that this process of

99
remembering can be an integral part of a work. as in her novel

Klndheitsmuster. in order to depict both the events of an earlier time and

 

her process of dealing with the events as a writer. her novel had to

consist of many layers of narration:
ich schreibe ein Buch fiber elne solche Kindheit in dieser Zeit.
Natfirlich habe ich da keineriei Tagebuchmaterial. ich
versuche authentisch zu sein dadurch. daB ich mich auf
meine Erinnerung stiitze und dann diese Erinnerung an
Dokumenten fiberprfife. die mir zuganglich sind. Da mache
ich manchmal iiberraschende Entdeckungen. die auch eln
Beitrag zur Psychologie des Gedachtnisses sein mbgen - so
daB das Buch. um “realistisch' zu sein. mehrere Ebenen
bekommen muB.

The process of remembering fascinates her because she realizes that

although scientists may know a lot about the chemical processes of the

brain. they have yet to discover how or why a particular individual

remembers or forgets certain events. She wonders why certain events

remain in a person’s memory while other seemingly more significant

experiences are no longer remembered. in writing Klndheitsmuster she

 

realized that she would have to include not just the events that she

wanted to remember and understand. but also the process of her

involvement with the material:
...erst nach und nach...habe ich herausgefunden. daB ich zum
Belsplel mlt hineinnehmen muBte. wie das Manuskript entstand.
was ich ungern getan habe. Oder Uberlegungen fiber das
Gedachtnis: Wie erinnert man sich eigentiich. woran erinnert
man sich. warum an manches ja. an manches nicht. Es
wurde dann elne der Aufgaben. die ich mir steilte. das
Erinnern mitzudiskutieren. Und so kam es nach und nach -
drei. vler solcher “Ebenen".44

She views the combined act of remembering and writing down past events

as a way of combatting the disturbing process of forgetting: “immer wieder

bestfirzt es mich. wie schneli und wie vieies man vergiBt. wenn man nicht

alies aufschreibt. Andererseits: Alies festzuhalten ware nicht zu

DO
the

the

The
event.
aCiual

’0 see

100
verwirklichen: man mfil3te authoren zu ieoen.'45
Her discussions about the act of remembering as an integral part of
the writing process all stem from her own experiences with writing. She
has become personally involved in the processes of writing and no longer
views it as an activity that can be determined by external society: rather it

must emanate from the author’s subjective involvement with his experiences

and his attempt to understand the process of remembering.

F. Subjective Authenticity

The involvement of the author with the process of writing and the
possibility for the depiction of this involvement in the work itself is an idea
that Christa Wolf develops in an interview with Hans Kaufmann. it is here
that she first uses the term subjective authenticity ('subjektive Authentizitat“)
to describe the author’s approach to reality in his work.

Die Suche nach einer Methode. dieser Realitat schreibend
gerecht zu werden. mdchte ich vorlaufig “subjektive
Authentizitat“ nennen - und ich kann nur hoffen. deutlich
gemacht zu haben. daB sle die Existenz der objektlven Realitat
nicht nur nicht bestreitet. sondern gerade elne Bemfihung
darstellt. sich mlt ihr produktiv auselnanderzusetzen.

The author cannot simply stand apart from his work and objectively depict
events in his writing. he must become involved with his material and
actually be a part of the work. The process of writing causes the author
to see a different reality than before:

Man sieht elne andere Realitat als zuvor. Pldtzlich hangt alles
mlt allem zusammen und ist in Bewegung: ffir “gegeben'
angenommene Objekte werden aufibsbar und offenbaren die in
ihnen vergegenstandiichen geselischaftlichen Beziehungen (nicht
mehr jenen hierarchlsch geordneten geselischaftlichen Kosmos.
in dem Menschenpartikel auf soziologisch oder ldeologlsch
vorgegebenen Bahnen sich bewegen oder von dieser ewarteten
Bewegung abweichen): es wird viei schwerer “ich“ zu sagen.
und doch zugleich oft unerlaisllch.47

101

Krogmann discusses Christa Woifs concept of inner authenticity and sees it
as a moral category. not a literary or formal category. This view agrees
with Christa Wolf’s own statement that inner authenticity is not a literary
category under which one can subsume such specific aspects of a literary
works as “the positive hero.“ or “conflict.“ or “the comic element.“48
Krogmann states that for Christa Wolf. inner authenticity is the inner
sincerity of the author:
Ffir Christa Wolf ist “innere Authentizitat“ aber die (innere)
Aufrichtlgkeit des Autors. der sich mlt seinem gewahlten Bild
selber darbietet. seine Unmittelbarkelt. faBbar eher lm
Begriffsfeld “Spontaneitéit'. Natfirlich handelt es sich um
Subjektivitat. die hier zum Ausdruck kommt. aber nicht als
Wilikiir einer individualitat. sondern eher in der Form
moralischer integrltat. in der der Autor sich findet. durch die
er vor sich bestehen kann. 9
Another critic views Christa Wolf's concept of subjective authenticity as part
of a trend in recent GDR literature away from the previously imposed
strictures of socialist realism and toward a spontaneity which was thought
to have been lost:
Die Entwicklung des Erzahiers und die Perspektive der
subjektiven Authentizltat haben dann vor allem auch die
Aufgabe. die positivistische Trennung von Autor und Stoff. von
BewuBtsein und Wirklichkeit. von Schreiben und Leben
autzuheben und den Denk- und LebensprozeB im ArbeitsprozeB
mlt zur Sprache zu bringen.

The idea of subjective authenticity. with its emphasis on the
interrelationship of the author with his work. shows just how far Christa
Wolfs ideas on the author and writing have progressed from her earlier
writings. in which the primary goal of the author was to depict society in
a way that helped further socialist goals. The author’s primary commitment

is DOW to himself and his material. even to the extent that his interaction

with the work is a theme in the work itself.

102

Conclusion

Christa Wolfs ideas on the relationship between the author and the
work change considerably from her early to her later writings. Before she
herself began to write fiction. she viewed the relationship from a distance
and was concerned with the idea that the author should be primarily
motivated by a desire to further the goals of socialism. The work was
seen as a tool to be manipulated by the author for a specific purpose.
in her later writings she develops the ideas that the author has an
obligation to himself in writing and that the interaction between the author
and the work is integral to the creative process. Rather than being just a
passive tool for the attainment of society/S goal. the work becomes an
equal partner in the author-work relationship. providing the author with a
means for self—understanding. Each of the categories she discusses in
the general topic of the author-work relationship show some change from
her early to her later writings. Her general comments on the relationship
between the author and the work progress from abstract observations about
the works of others to personal statements regarding the dynamics that
she has discovered to exist in the author-work relationship. Her early
discussions of the function of an authors experiences in the creation of
literature emphasized the direct depiction of experiences as they occurred
in actual life. Later. she realizes the effect that writing has on the
perception of events. Her interest in the author’s lifestyle is a constant
throughout her writing. changing only in the degree to which she
expresses personal interest in the act of writing. The author’s motivation

for writing is seen in her early writings only in terms of his obligation to

103
society. whereas in her later theoretical writings she discusses the author’s
personal motivation. which is to work toward self-fulfillment through writing.
in her later works she deals with the act of remembering. including the
ways in which remembrances of the past are altered both by the act of
writing and by the passage of time. Her discussions of the author-work
relationship culminate in her theory of subjective authenticity. which explains

the integration of the author into the work itself.

 

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Notes-~Chapter Three
1Christa Wolf. “Menschen und Werk.“ Neue deutsche Literatur 3
(September 1955): 146.

2Christa Wolf. “Popularitat oder Volkstfimiichkeit?“ Neue deutsche
Literatur 4 (January 1956): 122.

 

30hrista Wolf. “Warum singt der Vogei nicht?“ Neues Deutschland 27o
(1957x

4Christa Wolf. “Vom Standpunkt des Schriftsteliers und von der Form
der Kunst.“ Neue deutsche Literatur 5 (December 1957): 121.

5Christa Wolf. “Eine Lektion fiber Wahrheit und Objektivitat.“ Neue
deutche Literatur 6 (July 1958): 122.

 

6Christa Wolf. “Erziehung der Gefiihie?" Neue deutsche Literatur 6
(November 1958): 134.

 

7Wolf. “Vom Standpunkt des Schriftsteliers...“ 122.

8Christa Wolf. “Land. in dem wir leben..“ Neue deutsche Literatur 9
(May 1961): 64.

 

9Chrlsta Wolf. “Tagebuch.“ in Leben und Schreiben. Autsatze und
Prosastficke. 3rd. ed. (Darmstadt: Hermann Luchterhand Veriag. 1978). p.
62.

 

10laid. p. 205.

HChrista Wolf. “Menschliche Konflikte in unserer Zeit.“ Neue deutsche
Literatur 3 (July 1955): 141.

 

‘2lpld.. 140.

14Wolf. “Vorn Standpunkt des Schriftsteliers und von der Form der
Kunst“ 122.

15Christa Wolf. “Autobiographie und Roman.“ Neue deutsche Literatur 5
(October 1957): 142.

16Christa Wolf. 'Sozlalistische Literatur der Gegenwart.“ Neue deutsche
Literatur 7 (May 1959): 4.

17Christa Wolf. “Wenn man sle durch Arbeit mehrt.“ Berliner Zeltung
95 (1961).

18Christa Wolf. “Christa Wolf spricht mit Anna Seghers.“ Neue
deutsche Literatur 13 (June 1965): 7-8.

 

104

105

19Christa Wolf. Foreword to Juri Kasakov/s Larifarl und andere
Erzahiungen (Berlin: Kultur und Fortschritt. 1966). p. 10.

 

 

20lbid.. p. 216.

2"Diskussion mlt Christa Wolf.“ Sinn und Form 28 (July/August 1976):

 

882.

22Christa Wolf. 'Probleme des zeitgenossischen Gesellschaftsromans.“
Neue deutsche Literatur 2 (January 1954): 145.

 

23Christa Wolf. “Erzlehung der Geffihie?“ Neue deutsche Literatur 6
(November 1958): 132.

 

24Christa Wolf. “Fragen an Konstantin Simonow.“ Neue deutsche
Literatur 21 (December 1973): 11.

 

25"Diskussion mlt Christa Wolf“: 877.

26Christa Wolf. “Die Literatur der neuen Etappe.“ Neues Deutschland
No. 167 (20 June 1959).

 

27'Chrlsta Wolf spricht mlt Anna Seghers“: 17.
28Woif. “Tagebuch.“ p. 71.

29Wolf. “Glauben an lrdisches.“ in Lesen und Schreiben. 3rd. ed.
(Darmstadt: Hermann Luchterhand Veriag. 1978). p. 90.

 

30'Diskussion mlt Christa Wolf“: 863.

31Wolf. “Warum singt der Vogei nicht?“.
32“Christa Wolf spricht mlt Anna Seghers“: 18.
33Wolf. "Glauben an lrdisches.“ p. 97.

34"Hans Kaufmann. Gesprach mlt Christa Wolf.“ Welmarer Beitragg 6
(1974): 90.

 

35lpld.. 93—94.
36"Diskussion mlt Christa Wolf“: 864.

37Christa Wolf. “Auf den Grund der Erfahrungen kommen.“ Sonntag
No. 7 (1968): 6

38ipld.. p. 7.

39“Hans Kaufmann. Gesprach mlt Christa Wolf“: 95.

SChH

Lnere

Chfls

Tendl

106
40Christa Wolf. ‘Einiges fiber meine Arbeit als Schriftstelier.“ in Junge
Schriftstelier der Deutchen Demokratlschen Republik in Seibstdarsteliungen.
ed. by Wolfgang Paulick (Leipzig: Bibliographisches institut. 1965). p. 12.
41lhld.

42Chrlsta Wolf. “Der Sinn einer neuen Sache.“ in Lesen und
Schreiben. 3rd. ed. (Darmstadt: Hermann Luchterhand Veriag. 1978). p. 57.

43Wolf. “Fragen an Konstantin Simonow“: 10.
44'Diskussion mlt Christa Wolf“: 864.

45Christa Wolf. “Dienstag. der 27. September 1960.“ Neue deutsche
Literatur 22 (July 1974): 12.

46“Hans Kaufmann. Gesprach mit Christa Wolf“: 95.
47lbld.
43lbld.. p. 94.

49Werner Krogmann. “Moralischer Reallsmus - Ein Versuch fiber
Christa Wolf.“ Amsterdamer Beltrage zur neueren Germanistik 7 (1978): 250.

50Dietrich Steinbach. “Die neuere Literatur der DDR: Probleme.
Tendenzen. Konsteliationen.“ Deutschunterricht 30 (1978): 114.

 

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Chapter Four--The Literary Work itself

introduction

in her theoretical writings. Christa Wolf discusses certain specific
attributes of literary works. such as characterization and plot. in terms of
how successful a certain author has been in presenting his ideas in his
work. Her comments on the specific features of a literary work are
usually made in connection with the ideas discussed in the previous
chapters. such as the relationship of the author to the work or the
responsibility of the author towards his society. The emphasis in this
chapter. however. is on just these specific features. viewing them as much
as possible in isolation from the role of the author and the function of the
work in society. Her comments on specific aspects of literary works are
divided into the following groupings: 1) characterization. plot. and structure.
2) personal elements. and 3) the narrative perspective. Because a large
number of early theoretical writings are reviews of the works of others. it
is natural that she would be concerned with specific elements of their
work such as characterization and plot. Later. as she begins to write
more essays and eventually to write her own fiction. her discussions of
specific elements found in literary work diminish and she becomes more
concerned with the interaction of the author with the work. She no longer
views a successful literary work as merely being a combination of well-
depicted characters. a well-motivated plot. and an appropriate structure and
narrator. all fused together by an author who is motivated by a desire to
help the socialist society. She discusses the creation of prose as a

process which involves the integrity of the author. who. through writing.

107

real

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108

reaches a new level of self—awareness.

A. Characterization. Plot. and Structure

One of Christa Wolfs concerns with regard to characterization is the
importance of presenting characters not just as types. but also as
individuals. She believes that it is necessary to depict certain general
stereotypes in order for the reader to be able to identify with them and
learn from them. but these characters should also be depicted as
individuals. in her earliest essay she criticizes a certain work for
presenting characters who are only stereotypes and who do not exhibit a
strong individuality.1 She also criticizes in works of the 1950’s the almost
constant appearance of certain stock figures such as “the party secretary.“
“the mayor.“ or “the leader of the farmers’ collective.“ because they lack

2

any individuality. in a different article. she praises an author for

perceiving and depicting a new type of party functionary. who is shown as

a real human being with specific attributes such as intelligence. patience.

3

and a self—sacrificing attitude. in another article she states that the

presentation of typical literary figures. who nevertheless appear as concrete
figures. requires great skill on the part of the author:

Typlsche literarische Gestalten zu schatfen. setzt elne hohe
Stufe der kfinstlerischen Verailgemelnerungsfahigkeit voraus. der
Fahlgkelt namlich. ganz konkrete individuen zu formen und sle
doch gleichzeitig deutlich als Exponenten lhrer
Gesellschaftsschicht. lhrer Klasse oder eines bestimmten Tells
dieser Klasse zu kennzeichnen.

She criticizes a certain author for presenting only the negative aspects of
the workers’ life. believing that such a presentation of workers is inaccurate
because the characters are not shown exhibiting the characteristic features

5

of their class. in an article on the Third Soviet Authors’ Congress. she

crnn

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praise

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109
criticizes the belief that the only way to activate the reader is to present
characters as types:
Niemand halt es ffir richtig. an Stelle von lebendigen
menschiichen Charakteren unnahbare Standbilder aufzurichten.
Aber mlt allem Ernst wurde gesagt. daB die sozialistische
Literatur lhre groBe Aufgabe. die Menschen zu aktlvieren. nur
erreichen wird. wenn sie groBe Vorbiider schafft. Gestalten.
die den Leser mlt voranreiBen.
Thus for her it is not sufficient that a work depict characters just as types:
they must also be given individual attributes.

She believes that in order for characterization to be effective. the
reader must be presented with a fully-developed character who does not
stand in isolation from his past. The reader must be able to understand
the characters present position with respect to his past activities. She
praises Rudolf Fischer for his successful presentation of his characters
within a historical context:

Sehr geschickt fiihrt Rudolf Fischer im ersten Drittei des
Buches. das in aller Ausffihrlichkeit und atemberaubenden
Genauigkeit den Verlauf des Unglficks schiidert. zwanglos alle
Hauptpersonen in einer gut verzahnten Handlung zusammen.

Er geht den Veranderungen nach. welche lhre Lebensiinie
durch dieses Unglfick erfuhr. und versucht. die Erfahrung
weiterzugeben. daB eln solch schwerer Schlag. den Felnde der
Arbeiterklasse zuffigen. zwar groBen Schaden anrlchten.7

The author should present each character fully. The reader should not be
left to wonder about important facets of the character’s personality. if. for
example. a character is shown being angry about something. the complete
details of his anger should be revealed. The reader should be able to
discover whom or what he is angry at.8 Christa Wolf believes that one of
the secrets of good characterization is that the character’s personality

should be revealed through his actions. rather than just being described by

the author.9 She praises Anna Seghers for her ability to depict characters

"NO

or t

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character
Character:
conflicts i
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110
through their actions and for presenting characters who are not just good
or bad. but who are realistically complicated:

Keinen degradiert sle zur Randfigur. Jeder wird. tritt er auch

selten auf. als ganzer Mensch geachtet.... Eln Netz von
Beziehungen wird um sle geknfipft. aus dem sich ailmahlich
ein Mensch herausschalt - oder vieie Menschen -. meist nicht

nur gut oder bdse. sondern widerspruchsvoll. kompliziert. an
soziale Bedingungen gebunden. doch ffir den Leser anziehend
oder abstoBend nach lhrem Verhalten in den wichtigsten
Proben der Zeit.
Although the character should be revealed more through his actions than
through his speech. accurately depicting dialogue is one of the most
important means of characterization. She criticizes a certain author for
not having used language successfully: “Die Sprache seiner Gestalten ist
ffir den Autor noch nicht zu einem der wichtigsten Charakterisierungsmittel
geworden. Er laB die Menschen flache Dialoge fiihren....“n
Characters should be depicted as experiencing genuine conflicts. The
character develops through such conflicts and by reading about such
Characters the reader can be helped to understand his own life and the
conflicts he faces. Those conflicts which threaten the very being of the
character are especially important because they reveal the most about the
character.
Ein schwerer persbnlicher Konflikt bringt seine inneren
Widerspriiche zum Ausbruch. stelit alles in Frage. was er
gesichert glaubte: Sein gutes Ansehen als lngenieur. sein
Verhaltnls zu den Mitarbeitern fiihrt ihn bis an den Rand des
Zusammenbruchs und schlieBllch. da er auf tragfahlgem Boden
steht. an den Beginn der Genesung. Es geht also nicht um
Kleinlgkeiten. sondern um einen Menschen. um Sein oder
Nichtseln.‘2
Secondary characters should have a genuine function in the work. not

just occur randomly throughout it. She criticizes those works which

present secondary characters whose relationship to the main figure is

unjus‘
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111
(1.13

unjustifie She perceives one author as being capable enough of
presenting interesting characters. but as being too undisciplined to control
their position in the story. She states that the characters come and go
as often as the scenes change.M

Another of her concerns about characterization is that characters be
psychologically plausible. She criticizes Strittmatters presentation of his
main character because he has sacrificed psychological beiievabllity in
order to gain objectivity. Because he chose to present the child’s actions
in an objective manner. he often attributes to the child certain observations
and thoughts which overstep the bounds of what a child would actually

experience.15

She perceives another author as having lost beiievabllity by
depicting a character twice experiencing a similar decision-making process.
Not only does this character lose plausibility. but all of the characters in
the second part of the book often appear exaggerated and their actions
seem artificially motivated.16 Christa Wolf perceives another author to have
improved his characterization from the first part of the work to the second.
in the first part of his work. the characters’ relationships to one another
are forced and stilted. but in the second part. the characters’ actions are
shown as being realistically motivated by their beliefs and feeling.17 it
characters are presented in a psychologically believable manner. the reader
can identify with them and understand their motivations. Enabling the
reader to look into the characters’ minds is important to Christa Wolf:

Wie wichtig. in diese Menschen...hlneinschauen zu dfirfen: Zu
erfahren. was sle antrieb. woher sle lhre Kraft nahmen. aber
auch. was schwer und traurig ffir sle war. Wie nahe kommen
uns dadurch die Gestalten dieses Buches. dem man nur vieie

aufmerksame und aufnahmebereite Leser wfinschen kann.

in referring to the shortcomings of many war books and the contrasting

112
success of Dieter Noll’s war novel. Christa Wolf further emphasizes the
importance of presenting characters whose personalities are justifiable:

Manche unserer Kriegsbficher verieihen ihren Helden auf
Kosten der kfinstlerischen Glaubwfirdigkeit vorzeltig Einsichten.
die sich der groBen Masse der Jungen erst sehr alimahiich
nach dem Krieg auftaten. Diese Autoren sahen sonst keine
Mbgiichkeit. die Perspektive lhrer Figuren anzudeuten. Anders
Noll. der tausend Selten vor sich hat. genfigend Raum ffir die
allmahliche Entwicklung einer literarischen Gestalt. Seine
Konzeption ist bedeutsam. weil sle berficksichtigt. wie wenig
man heute fiber einen Menschen weiB. wenn man seine
Vergangenheit nicht kennt. wie unbefriedigend. ffir unsere
Absichten oft unergiebig Bficher bleiben mfissen. die mit dem
Kriegsende abbrechen. Dieter Noll ist einer der ersten. der
versucht. das literarische Vakuum zwischen Zusammenbruch
und neuem Anfang auszuffillen.1

Unless an author can justify a character’s personality through reference to
the characters background experiences. he will be unsuccessful in creating
a believable character. Such is the problem she perceives in Rudolf
Bartsch’s novel:
Rudolf Bartschs Roman versucht vieie Erklarungen ffir die
Vorgange in der Psyche seiner Heiden. Stimmungen.
Gedanken. Geffihle werden fiber zahlreiche Selten beschrieben.
Und trotzdem wollen sich aus den einzeinen Tellen keine
echten Figuren zusammenfiigen. Trotzdem will as einem
schwerfallen. die immer wieder beteuerte Liebe irenes zu Artur
zu verstehen und zu glauben.

The connection between characterization and plot is obvious. since it
is the actions of the characters which form the plot. in criticizing the
plot of certain works. Christa Wolf mentions in her early writings the
absence of any genuine conflict. She feels that genuine conflicts should
be depicted. not just a series of minor skirmishes and arguments. This
relates to the belief expressed in her early writings that the conflicts which
arise in society should be depicted in literature so that the reader can be

helped to resolve his problems and so that literature can fulfill its goal of

helping the society develop. The author should concentrate on major

113
issues and conflicts and not be content to depict insignificant matters.
She criticizes a certain work for presenting minor complications and thus
steering the reader’s interest away from important issues of the day and

toward what she calls “the private sphere.“2]

She feels that. unfortunately.
even though an author may pick a topic that has the potential of involving
conflict. thus leading to an interesting and relevant plot. he may become
side-tracked in his goal and fill his book with too many unimportant asides:
Der Kern des Romans “Wem die Steine Antwort geben“
ist eine tragfahige Geschichte. die genfigend Konfliktstoff
liefert. um menschiiche Chraktere zu entwickeln. und die Raum
gibt. diese Konflikte auszutragen. Freilich sind die Menschen
nicht recht fiberzeugend geraten. freliich sind manche Konflikte
und Komplikationen etwas krampfhaft zusammengesucht. aber
fiberaii. in der Aniage der Gestalten und der Handlung. gibt
es Ansatze. aus denen sich echte Menschen. elne echte
Fabei wohl hatten entwickeln kdnnen. Alizu viei
Nebensachliches fl'J'iit noch dieses Buch.22
She praises a different author for a plot which is successful because it
stems from basic human wishes and desires.23 She feels that.
unfortunately. the presentation of a plot which is successfully integrated
with other elements of the work is all too uncommon in literary works of
the early 1960’s. She would like to see more works with scenes which
are “symbolkraftlg. prall an Details und vbilig verschmolzen mlt lhrer
geistigen Substanz. wie man sle sonst in unserer jfingeren Literatur lange
suchen kann."24
One of her complaints in regard to the plots of early works is that
they often contain extraneous elements that do not contribute to the
development of the plot. in addition to other criticisms of a certain work.
she makes the following comment about the presence of unrelated

elements in the work: “Daneben gibt es die Beschreibung vieier Ereignisse.

die nicht direkt zur fortlaufenden Handlung gehdren. Sie solien

114
verschiedene Probleme iliustrieren...Nur sind diese Probleme nicht immer
organisch mit der Handlung verbunden.“25 She criticizes another work for
containing unrelated elements and connects the authors failure to present
a cohesive plot with his failure to understand the developmental laws of
the society:
Die echte Handlung wird ersetzt durch elne Kette nacheinander
ablaufender Ereignisse: die echte Spannung. die aus der
aliseitigen Entfaltung der Charaktere in der Handlung
entspringt. muB fehien. Es fehit ihm die innere
Notwendigkeit des Handlungsablaufs. die sich nur aus der

"gereinigten'. gehobenen Widerspiegelung der
Entwicklungsgesetze in der Wirklichkeit seibst ergeben kann.

26
She feels that this author gradually loses complete control of his plot.
allowing unessential elements to obscure his intentions.

Christa Woifs comments on the structure of specific works she
reviews can be divided into negative and positive comments. She either
views the structure of a given work as being cohesive and therefore
praiseworthy. or being non-cohesive and thus worthy only of criticism. in
an early review. she criticizes a certain work for lacking a clear. dramatic
composition: “Elne klare. dramatische Komposition mit auf die Spitze
getriebenen Widerspriichen ist schiechterdings nicht mdglich. well Ehm Weik
sich nicht entschiieBen konnte. die Hauptaktions- und Reaktionskrafte dieser
Revolution als Zentralgestalten in den Mittelpunkt des Romans zu stelien.“27
She questions calling the work of another author a novel because of the
presence of so many disparate elements: “Weder gibt es...einen zentraien
Helden noch gibt es elne durchgehende Fabei. elne “Geschichte“. als Kern
des Ganzen: man kann auch nicht ohne weiteres die ffinf einzeinen

Prosastficke als Fragmente einer grbBeren Einheit ansehen. wie Nossack

sle offenbar aufgefaBt wissen will.“28 The presence of unbelievable and

115
unjustifiable elements in a work causes it to have an incohesive structure.
something which she feels detracts from the overall effectiveness of the
work. The connection between events in the work should also be
justifiable and not just be artificially established.29
it. however. a work has an overall theme which logically connects the
events within the work. then the structure can be cohesive. She praises
Erwin Strittmatter for his work. which contains an overall idea--the
emergence of socialism--which unites all the elements of his novel into a
unified whole:
Sie treibt die Handlung voran. zeigt die Entwicklung der
Charaktere und tragt gleichzeitig den ideelien Gehalt. Die
tiefe gedankliche Durchdringung des Stoffes schileBt
naturalistische Oberflachiichkelt aus und ermbglicht elne dlchte
Komposition. die in lhrer streng auf eln Ziel gerichteten
Auswahl die illusion. echtes. wirkliches Leben vor sich zu
haben. im Leser wach halt.30
His work is unified by the central theme of the development of socialism.
whereas a work by Anna Seghers is made cohesive by the central theme
of “newness“:
Das Buch zieht seine Wahrheitstreue und Oberzeugungskraft
eigentiich aus der kfinstlerischen Beweisfflhrung. daB etwas
Neues begonnen hat....So hangen alle Gestalten des Buches
von diesem zentraien MaBstab ab. Dieser Grundgedanke halt
die verschiedenen Handlungen. die sich manchmal nur lose
und auf nicht leicht fiberschaubare Weise beriihren. im
lnnersten zusammen.
She is quick to praise this work for its cohesive structure because so many
of the works of the 1950’s were lacking in this regard.
in her early writings. Christa Wolf stresses that good characterization
is essential for a successful literary work. and she discusses specific

aspects of characterization. Although the depiction of character types

facilitates the reader’s identification with them. characters should be shown

116
as having individual attributes. Characters should be presented clearly and
should be well-developed. and secondary characters should be shown in
their relationship to the main characters. in order for the characters to
be believable. their thoughts and actions must be psychologically sound
and based on their past experiences. Her later theoretical writings discuss
characterization in terms of the author’s interaction with the literary
characters he has created. in discussing one of her own works.

Nachdenken fiber Christa T.. she mentions what happened as she

 

attempted to create the character of Christa T. from her own
remembrances and from the factual records left behind when Christa T.
died.32 She reports that while interacting with the character she was
creating. she suddenly realized that she was confronting herself. not just
the character of Christa T. Thus she is no longer discussing
characterization as a specific element of a literary work that can be
analyzed by by a Critic: she is concerned with characterization as part of
the process of writing which involves the author in the work. The
importance of a cohesive plot. which includes characters whose actions are
well-motivated and justifiable. is a consistent element in Christa Woifs
theoretical writings up until 1962, at which time her concern gradually
moves away from reviews of specific works and towards the development of
the theory of prose that she presents in “Lesen und Schreiben.“ She
does not discuss plot as an element of literary works after this point.
except in an indirect comment about the Soviet writer Vera inber. in
referring to one of lnber’s works. she makes the following comment: “ich
iiebe Blicher. deren inhalt man nicht erzahlen kann. die sich nicht auf die

simple Mitteilung von Vorgangen und Ereignissen reduzieren iassen. die

117
sich fiberhaupt auf nichts reduzieren lassen als auf sich selbst.“33 Plot is
no longer her concern in the way that it was in her earlier writings. that
is. as a specific element of a work which can be analyzed for its
effectiveness. She prefers those works whose plots cannot be retold in
any manner other than in the way that the author has chosen to depict
them. The plot of a work is no longer something which she views as
being separable from the work as a whole. The reader. as well as the
author. interacts with the entire work and is brought into confrontation with
himself through this interaction. it is this confrontation which concerns
Christa Wolf in her later theoretical writings. not the analysis of individual
aspects of a work. As with her discussions of plot. Christa Woifs
comments on the structure of works diminish as she becomes less and
less involved with reviews of the works of others and begins to write her
own fiction and devote more of her theoretical writngs to explaining her
own interaction with writing. in commenting on her own work.
“Nachdenken fiber Christa T..“ she states that the structure of the work is
determined by the fact that the work results from her remembrances of the
past: “in dem Strom meiner Gedanken schwimmen wie inselchen die
konkreten Episoden - das ist die Struktur der Erzahlung.“34 She views
this work as being united by the overall theme of the act of remembering.

She also discusses the structure of her novel Klndheitsmuster as being

 

determined by the process of remembering and by her interaction with the
act of writing;35 The idea that works are unified by the subjective
interaction of the author with the work differs radically from her earlier
statements about the works of others. which she praised when they were

unified by themes which served the development of the socialist society.

118
Now it is the author’s own interaction with his ideas and thought processes
which concerns her more than the responsibility of the work to further the

goals of society.

B. The Presence of Personal Elements in the Work

Christa Wolfs comments on the presence in a literary work of
elements relating to the inner person progress from the belief in her early
theoretical writings that such personal elements should be kept to a
minimum to the idea in her later works that the depiction of characters’
psychological make-up should be the concern of literature. in an early
article she criticizes an author for depicting a character who attempts to
draw other characters into his own melancholy and who does nothing to
extricate himself from his depressed situation. She feels that this author
should have emphasized the possibilities for recuperation from depression
and not have placed so much emphasis on the character’s emotional

state.36

Another author is criticized for spending too much time on the
depiction of the emotions of an egotistical character who is distanced from
the rest of society.37 in a 1959 article she praises a work which reveals

8 She does not condemn

the intensity of sparingly shown feelings.3
outright the presentation of feelings. but believes that they must be kept
under careful control. in these early writings. she believes that the author
should keep in mind that the purpose of his writing is to present material
which will aid the developing society. She feels that too much emphasis
on emotion and the workings of the mind might detract from the overal

goal of literature. in the same year that she advocates the careful

presentation of feelings in literature. she mentions that at the Third Soviet

119
Writer’s Congress there was discussion of writers incorporating elements

39 From this

relating to the inner realm of experience into their works.
point on she begins to accept the increasingly common presence of
emotion in literary works. as evidenced by her praise of a work which
contains several scenes of great emotional intensity.40 She begins to
realize that the depiction of inner thoughts and feelings need not detract
from a literary work. This realization occurs simultaneously with her
movement away from the belief that literature must be primarily aimed at
promoting the development of socialist society and toward the view that
literature has the goal of depicting the inner man. By 1962. she praises
an author for belonging to those authors for whom the inner world of their
heroes is more important than the mere depiction of events in the
Characters’ lives:
die...wissen. daB die Literatur gerade die unsichtbaren Quellen
menschiicher Handlungen aufzudecken hat....in der
Handlungszeit des Buches sind die groBen Konflikte in den
Heiden gelegt. denn auBeriich geht es ihm. gemessen an den
Schicksaien anderer. recht gut. Es “passiert' ihm nichts.
wenn man vom SchluB. dem Unfall. absieht. Das hat etwas
Wohituendes. vergilchen mlt jener Art von “Handlungsiiteratur'.
die eln Feuerwerk von Ereignissen ffir nichts und wieder
nichts abbrennt. Hier dagegen entzfindet sich seibst an
scheinbar geringen Vorfallen ein Feuerwerk von Gedanken.“

This concern with the inner realm of the personality is continued in

an interview about her work, Nachdenken fiber Christa T. Eduard Zak asks

 

whether she feels that the society has reached the stage where it has
become important for literature to discover more about the inner person.
She replies that that is definitely true and that she herself has become
intensely interested in the inner workings of the mind.42 it is no longer
necessary for a work to be externally dramatic. Rather an author can

concentrate on the inner drama of a character’s personal development.

120

C. The Narrative Perspective
One of the aspects of the literary work itself that concerns Christa
Wolf is the relationship of the narrator to the work. in discussing whether
the work is told in the first or the third person. she mentions the effect
that this choice has on the work. in a work by Erwin Strittmatter. she
views the use of the first person narrator as being successful because it
offers the writer the opportunity to present his information from the
viewpoint of the child who is the main character. in this way the author
offers the reader the chance to view the events in the work from the
“fresh“ perspective of the child. Although this author has chosen the first
person for his narration. he is not content to limit his perspective to that
of the child. and allows his own perspective to show through:
Durch dieses Medium sieht der Leser frischer. gleichsam zum
ersten Mai. trotzdem aber gleichzeitig bewuBter. Trotz dieser
gewollten Beschrankung auf den geistigen Horizont des Jungen
will aber Strittmatter auf elne objektlve. vom Autor gewertete
Darsteiiung der Ereignisse und lhrer Ursachen nicht verzichten:
nach seiner Grundkonzeptlon kann er das auch nicht. Er
behiift sich damlt - und dieser “Behelf' ist mit groBem
Kdnnen gemeistert-. daB er durch die scheinbar naive
Erzahlung des Jungen immer die objektiv richtige Einschatzung
der Vorgange und Handlungen hindurchschlmmern iaBt.
in discussing a different work. she feels that this particular author
should have allowed his viewpoint to enter into the work in order to
present his story more objectively. She feels that the author has allowed
the story to concentrate too much on the personal views of the main
character who is narrating the story in the first person. The author has
abdicated his responsibility to investigate the facts behind the character’s

44

present position. in these two early theoretical writings. she is

concerned that there be a certain amount of objectivity in the depiction of

121
the characters and events. and since the use of the first person tends to
make the work more subjective. this objectivity should be provided by the
intrusion of the author’s views into the work. By the time she refers to
the use of the first person narrative in a later review. she is no longer
concerned about this objectivity and perceives the possibility that the use
of first person has for revealing the character’s inner feelings:

Mir schelnt. die Wahi des Erzahiers ist kein Zufall. Tom
als ich-Figur gab dem Autor die Mbglichkeit. Schattierungen
zu erreichen. die elne objektive Erzahlweise ihm verschlossen
hatte. Vor allem lag ihm daran. einen soichen Menschen wie
Tom von innen her. mlt seinen elgenen Augen zu sehen und
zu entschlfisseln.4

in her early writings the use of the third person is viewed in terms
of its allowing the author to regulate the amount of objectivity in the work.
in discussing a specific work. she comments on the possibility for
objectification that the use of the third person offers the author: “Zwar
erzahlt er in Abhangigkeit von der Hauptfigur. aber doch distanziert. nicht
in der ich-Form. Es ist denkbar und bewlesen. daB diese Methode
Mdglichkeiten laBt. zu objektivieren. soweit es dem Autor notwendig oder

wfinschenswert erscheint."46

She has no clear preference for either the
first or third person. since although the third person automatically provides
objectivity. the author can interject his own objectivity into the work through
authoriai intrusion. even when using the first person.

in a 1970 work which discusses the work of Anna Seghers. Christa
Wolfs discussion of the narrator focuses on the subjectivity that is inherent
in Seghers’ work. She comments that the relationships between the inner
life of the characters and the external circumstances make the work of the

narrator difficult and yet alluring. The presence of the narrator in the

work is revealed through the basic viewpoint shown. as well as the tone of

122
the work. The non-fictional narrator. the author. is an element of the
work. and as such determines the choice of the material. making the
author’s creation a unique expression of himself:
Der Eindruck. hier werde in filmischem Stii erzahlt. tauscht. so
stark auch die optische Phantasie des Lesers angeregt wird.
Die Prosa der Anna Seghers laBt sich schwer verfilmen.
Noch in der Scheinbar objektivsten Beschreibung ist der
Erzahier anwesend. verrat er sich durch die Grundhaitung. den
Ton und durch einzelne pldtzlich aufieuchtende Setze.
Eigentlich durch jeden Satz. in dem das BewuBtsein des
Autors und sein Stoff zu einer neuen Realitat verschmelzen.
der Realitat der Literatur.
So entsteht neben den drei fiktiven Koordinaten der
erfundenen Figuren die vierte. unflktive. des “wirklichen“
Erzahlers. Es ist die Koordinate der Tiefe. der
Zeitgenossenschaft. des unvermeidllchen Engagements. die
nicht nur die Wahi des Stoffes. sondern auch seine Farbung
bestimmt. Die Vision. von der eln Autor lebt. verwandelt das
Material. das ja nicht nur ihm bekannt und zuganglich ist. in
Dichtung. die nur er machen konnte. Eln sehr merkwfirdiger.
nicht genug bestaunter Vorgang.4
in her 1974 discussion with Hans Kaufmann. Christa Wolf again discusses
her view of both the author’s position in the literary work and of the
process of writing as a merging of the author with his material.48 Now
being concerned with the authors interaction with his material. she states
that the term narrator is no longer applicable because the work is actually
the reflection of the author’s interaction with the creative process. Unlike
her earlier writings. in which she discusses the author as one who has
the option of interjecting his own views into a work for the purpose of
objectifying it. her later view is that the author’s interaction with the work

is now an integral part of the work itself.

Conclusion
Christa Woifs views on specific elements of a literary work encompass

three basic categories: characterization. plot. and structure: the presence of

123
personal elements in the work: and the narrative perspective. in her early
discussions of characterization she believes that characters. even when
presented as stereotypes. should be given individual attributes. Characters
should be revealed through actions which are justifiable on the basis of
the characters’ past experiences. in addition. characters’ personalities
should be psychologically plausible. in her later writings. characterization
is of interest to her in terms of the author’s interaction with the characters
he creates. an interaction which leads to a confrontation of the author with
himself. Her early views on plot reveal her belief that a plot should be
realistic in presenting conflicts and that actions should be well-motivated.
Elements extraneous to the plot should be eliminated from a work. Her
early ideas on the success of a given plot are not found in her later
works. giving way instead to a discussion of the work as a whole. which
is related to her preference for works which are not simply a sum of
easily divisible elements. in her early writings. she is primarily concerned
with whether a given work exhibits a cohesive structure which stems from
the presence of a tenable theme relating to the development of socialism.
in her later writings. she discusses the structure of her own works. which
are unified by the theme of remembering as well as by her interaction
with the work. Her views on the presence of personal elements in a work
change from her early works. where she stresses the sublimation of the
character’s inner life to the responsibility of the work to help society attain
its goals. to her later works. where she praises works whose main
emphasis is on the inner realm of man. When discussing the perspective
of the narrator in her early works. she is mainly concerned with the use

of the first or third person narrator and the concomitant possibilities of

124
objectification by the author. She is later concerned with the direct
presence of the narrator/author in the work and with the overall effect of
the interaction between the author and the work. a process which leads to

the author’s increased self-awareness.

Notes--Chapter Four

1Christa Wolf. “Um den neuen Unterhaitungsroman.“ Neues
Deutschland No. 169 (20 July 1952).

 

2Christa Wolf. “Komplikationen. aber keine Konflikte.“ Neue deutsche
Literatur 2 (February 1954): 142.

 

30hrista Wolf. “Menschliche Konflikte in unserer Zeit.“ Neue deutsche
Literatur 3 (July 1955): 143.

4Christa Wolf. “Menschen und Werk.“ Neue deutsche Literatur 3
(September 1955): 147.

 

5Christa Wolf. “Elne Lektion fiber Wahrheit und Objektivitét.“ Neue
deutsche Literatur 6 (July 1958): 122.

 

6Christa Wolf. “Die Literatur der neuen Etappe. Gedanken zum ill.
Sowjetischen SchriftstelierkongreB.“ Neues Deutschland No. 167 (20 June
1959).

 

7Wolf. “Menschen und Werk.“ 145.

8Christa Wolf. “Kann man eigentiich fiber alles schreiben?“ Neue
deutsche Literatur 6 (June 1958): 8.

 

9Christa Wolf. “Probleme des zeitgenoBssischen Gesellschaftsromans.
Bemerkungen zu dem Roman ’lm Morgennebel’ von Ehm Weik.“ Neue
deutsche Literatur 2 (January 1954): 147.

 

1°Christa Wolf. “Land. in dem wir ieben. Die deutsche Frage in dem
Roman ’Die Entscheidung‘ von Anna Seghers.“ Neue deutsche Literatur 9
(May 1961): 58.

 

”Wolf. “Komplikationen. aber keine Konflikte.“ 144.

12Christa Wolf. “Eln Erzahler gehdrt dazu.“ Neue deutsche Literatur 9
(October 1961): 130.

 

13lbid.. 132: Christa Wolf. “Erziehung der Geffihle?“ Neue deutsche
Literatur 6 (November 1958): 130.

 

14Christa Wolf. Review of Dieter Noil’s “Die Abenteuer des Werner
Holt.“ Sonntag No. 46 (1960).

15Wolf. “Menschliche Konflikte.“ 144.
16Wolf. “Menschen und Werk.“ 146-7.

17Christa Wolf. “Vom erfiiliten Leben.“ Neue deutsche Literatur 7

 

125

126
(February 1959): 141.
‘Blbid.. 142.
19Wolf. Review of Dieter Noli’s “Die Abenteuer....“
20Wolf. “Erziehung der Geffihle?“ 132.
21Wolf. “Probleme des zeitgendsslschen Gesellschaftsromans.“ 141.
22Woif. 'Besiegte Schatten?“ 138.

23Christa Wolf. “Schicksal einer deutschen Kriegsgeneration.“ Sonntag
No. 50 (1962).

24lbid.

25Wolf. “Um den neuen Unterhaitungsroman.“

26Wolf. “Probleme des zeitgendssischen Gesellschaftsromans.“ 148.
27Wolf. “Probleme des zeitgenoBssichen Gesellschaftsromans.“ 147.

28Christa Wolf. “’Freiheit’ oder Aufiosung der Persdnlichkeit?“ Neue
deutsche Literatur 5 (April 1957): 137.

 

29Wolf. 'Erziehung der Geffihle?“ 130.
30Wolf. “Menschliche Konflikte in unserer Zeit.“ 141-42.

3‘Wolt. “Deutschland unserer Tage.“ Neues Deutschland No. 77 (l8
March 1961).

32Christa Wolf. “Auf den Grund der Erfahrungen kommen. Eduard Zak
sprach mit Christa Wolf.“ Sonntag 7 (1968): 6.

33Christa Wolf. “Der Sinn einer neuen Sache.“ in Lesen und
Schreiben. Aufsatze und Prosastficke. 3rd. ed. (Darmstadt: Hermann
Luchterhand Veriag. 1978). p. 58.

 

34Christa Wolf. “Seibstinterview.“ in Lesen und Schreiben. Aufsatze und
Prosastficke. 3rd. ed. (Darmstadt: Hermann Luchterhand Veriag. 1978). p.
76.

 

35Christa Wolf. “Diskussion mlt Christa Wolf.“ Sinn und Form 28
(1976): 863-64.

 

36Wolf. “Karin man eigentiich fiber alles schreiben?“ 10.

37Woit. 'Erziehung der Geffihle?“ 130.

127

3BChrista Wolf, 'Sozialistische Literatur der Gegenwart.“ Neue deutsche
Literatur 7 (May 1959): 6.

 

39Wolf. 'Die Literatur der neuen Etappe.“
4OWOIi, ‘Vom erfiiliten Leben.‘ 141.
4‘Woit. 'Schicksal einer deutschen Kriegsgeneration.‘

42Christa Wolf. 'Aut den Grund der Erfahrungen kommen. Eduard Zak
sprach mit Christa Wolf.“ Sonntag 7 (1968): 6.

43Wolf. 'Menschiiche Konflikte in unserer Zeit." 143.

44Wolf. 'Kann man eigentiich Liner alles schreiben?‘ 9.

“Wolf. 'Ein Erzamer gehdrt dazu.“ 129.

46Wow. Review or Dieter Noll’s 'Die Abenteuer....'

47Christa Wolt. 'Anmerkungen zu Geschichten.‘ in Anna Seghers

Aufstellen eines Maschinenegewehrs im Wohnzimmer der Frau Kamptschik
(Neuwied: Luchterhand. 1970). pp. 161-62.

 

48"Hans Kaufmann. Gesprach mit Christa Wolf.“ Welmarer Beitrag_e_ 6
(1974): 95.

 

Chapter Five--The Relationship of Moskauer Novelie and Klndheitsmuster to
the Theoretical Writings of Christa Wolf

 

 

introduction

The purpose of this chapter is to investigate the extent to which the
ideas developed by Christa Wolf in her theoretical writings are present in
her own fiction. She states in an interview with Hans Kaufmann that the
ideas she expresses in her prose and essays are not basically different
and that their common root is experience with life.

lnsofern unterschelden sich bei mir die einander abidsenden
(oder einander durchdringenden) prosaistischen und
essayistischen AuBerungen nicht grundsatziich voneinander.
lhre gemeinsame Wurzel ist Erfahrung. die zu bewaitigen ist:
Erfahrung mit dem ’Leben' - also der unvermitteiten Realitat
einer bestimmten Zeit und einer bestimmten Gesellschaft -.
mlt mir seibst. mit dem Schreiben - das ein wichtiger Tell
meines Lebens ist -. mlt anderer Literatur und Kunst.

Several critics concur with her statement that her theoretical and fictional

2

writings express similar ideas. In order to discover whether these

statements are justified. her earliest piece of fiction. Moskauer Novelie

 

(1961). and a recent novel. Klndheitsmuster (1976). will be analyzed in

 

terms of the concepts she discusses in her theoretical writings. if it is
true that the ideas she expresses in her theoretical writings are basically
no different than those that she expresses in her fiction. it should be

found that Moskauer Novelie contains the elements that she found

 

important in her early theoretical writings. and Klndheitsmuster should

 

reflect the ideas that she develops in her later theoretical writings. it will
be seen that for the most part. the concepts expressed in her theoretical

writings are indeed present in the two fictional works examined.

128

129

A. The Relationship of Moskauer Novelie to the ideas Expressed in her
Early Theoretical Writings

 

i. The interaction of Author. Reader. and Society

in her early writings. Christa Wolf is concerned with the responsibility
of the author to society. The author should depict reality in such a way
that the reader can gain an understanding of his role in the developing
society. A contemporary subject should be chosen in order to best aid
the reader in identifying with the material. The author should not be
ashamed of the fact that he is presenting reality seen from his particular.

socialist perspective. Moskauer Novelie fulfills these prerequisites and is

 

thus a worthwhile work of literature that can serve the function of aiding
the developing socialist society. it is the story of a doctor. Vera Brauer.
who travels with a delegation to Moscow in 1959 and discovers that Pawei
Koschkln. the Soviet translator for the group. is the same man with whom
she had fallen in love in 1945. At that time he was a Lieutenant in the
Red Army. and she discovers during the course of her stay in Moscow
that through her own actions in 1945 he suffered an injury which
prevented him from fulfilling his desire to become a surgeon. Christa Wolf
has chosen a subject from the present time and depicts the main
character’s experiences in such a way that her belief in the potential of
her socialist society is revealed. By presenting the story of a GDR citizen
who travels to Moscow and interacts with Soviet citizens. she has chosen
a theme relevant to the time in which she was writing. the interrelationship
between the GDR and Soviet peoples. Kahler states that in depicting this
relationship. Christa Wolf has chosen an important theme relevant to the

times: 'ln der ’Moskauer Novelle’ schreibt Christa Wolf bereits tiber eines

 

der grdBten zeitgeschichtlichen Themen: das Verhaltnis zwischen deutschen

130

und sowjetischen Menschen.'3

By chosing a theme with which the reader
could identify. and by showing the main character interracting constructively
with the Soviets. Christa Wolf demonstrates her belief that the author has
a responsibility to the society and the reader.

Within the realm of presenting historical truthfulness and depicting
the development of the society. she expresses the idea that the reader

should be led to see that he can take an active part in the development

of society. in Moskauer Novelie. Vera and Pawei are contrasted in terms

 

of their ability to take control of their lives. Vera is depicted as
constantly striving to understand her own life. and in her job as a doctor
she actively partakes in life. helping society by being involved in her work.
Pawei. on the other hand. is resigned to his job as a translator and fears
any Change:
Er hat Angst. Er fiirchtet das. was da unverhofft in sein
Leben tritt. Er hatte sich doch schon abgefunden. ersatzweise
zu leben. hatte sich eingerlchtet. hatte seine Anspriiche an
sich nach und nach gesenkt. Hatte den Schmerz Uberwunden.
daB er nicht Arzt werden konnte. die Verzweifiung in
Resignation verwandelt. das Leben am Rande der Medizin
geiebt. nicht mehr gehofft. eln hdheres Ziel zu verwlrkiichen.
Staub auf sich fallen iassen. Jahr zu Jahr.4
Although he is indeed physically unable to be a surgeon. he is unwilling
even to discuss moving to a new city with his wife where he could get a
more challenging job. one which offers him the possibility of self-
deveiopment. His passivity contrasts with one of the desires expressed by
Walter. an old friend of Vera’s who is also a member of the delegation
from the GDR. "Lange und sinnvoll ieben’. sagte Walter. 'Das ist der
Grund fUr alles. was wlr tun." Another member of the group says that

unfortunately one often forgets that life should be lived to its fullest. and

that there are all too many who live life on the outskirts: 'Der gabe sich

131
seibst auf. springe ab. suche sich ein Piatzchen am Rande oder auf der
anderen Selte. Wie vieie solcher Menschenhflllen treffe man noch auf
Schritt und Trltti' (MN/lei) Although Pawei is not mentioned as being
among those who do not partake in life to the fullest. he is depicted as
such. He is not the only character described as not taking control of his
life. however. One of the secondary characters complains about his
present job as an editor. not understanding that he could take control of
his own life and change his profession if he wanted to:
Tagsiiber...hockte er...in einem winzigen Zlmmer hinter seinem
Schreibtisch. trank nachtschwarzen Kaffee. ziindete elne
Zigarette an der anderen an und wiitete verbissen in
Manuskripten. wobel er Verwunschungen ausstieB und
versicherte. eln Redakteur sel das gepiagteste Wesen unter
der Sonne. Fragte ihn aber jemand. ob er ihm elne andere
Beschaftlgung verschaffen solie. blickte Heinz ihn nur
verstandnisios an. (MN/155)
Such characters represent the antithesis of the ideal socialist citizen. Vera.
who exhibits a curiosity for life and a desire to take an active part in life.
represents the type of person from whom the reader should learn. She is
shown as actively participating in life: 'Sie lief und schaute und lernte und
redete und lachte und bewegte sich und drehte an einem slrrenden Rad.
das nicht stiiistehen solite.‘ (MN/159)

Not only is Vera an active participant in her own life. she is also
interested in helping Pawei to take control of his life. Despite the fact
that by encouraging him to take a position in a distant city she virtually
insures that she will never see him again. she urges him to 90. By
overcoming her own possessive feelings of love for him she is able to
encourage him to take action toward bettering his life. Her desire to help

him realize his potential correlates with the belief expressed by Christa

Wolf in her theoretical writings that literature should help people realize

132
their potential.
The idea that past and present are integrally related is another
aspect of historical truthfulness that concerns Christa Wolf in her early
theoretical writings. The connection between Vera’s past and her present

experiences is a constant theme in Moskauer Novelie. Vera must come to

 

terms with the fact that it was a past action of hers that led to the injury
which prevented Pawei from becoming a surgeon. There are repeated
flashbacks to her first meeting with him in 1945. and the relationship that
developed between them influences the way in which they interact in the
present. Until Vera finds the courage to discuss with Pawei her guilt
about what happened when they first knew each other. she is unable to
openly discuss their present relationship. Until she resolves her feelings
about her earlier experiences. she cannot adequately deal with her present
situation. in his article on Christa Wolf. Gugisch discusses the necessity
of Vera resolving her feelings about her earlier experiences before she can
cope with the present:

Die Novelle...geht von einer Situation aus. in der
gegenwartigen Entscheidung und kritische Selbstverstandlgung
tiber die Vergangenheit einander bedingen. Erst als Vera den
Mut findet. mlt Pawei Uber lhre Schuld zu reden (von der er
iibrigens iangst welB). gewinnt sle die innere Freihelt. mlt ihm
ohne Vorbehalt (iber ihr gegenwartiges Verhaltnls zu sprechen.

Vera muB mlt lhrem friiheren Erieben fertig werden. wenn
sle der gegenwartigen Situation gentigen will.

The relationship between past and present is expressed not only in
Vera’s relationship with Pawei but also in the context of the war. During a
tour of the city. Vera catches sight of her friend Walter and views his
present appearance in terms of what she knows about his past:

Waiter Kernten war eines der ersten Mitgileder des

Spartakusbundes: in den zwanziger Jahren trug er die graue
Uniform des Roten Frontkampfers: die Faschisten jagten ihn

133

und flngen ihn ein. Hochverrat. Sieben Jahre Zuchthaus.

K2. in den letzten Kriegsjahren Zwangsarbeit in der Rilstung.

illegale Arbeit unter den Augen der Gestapo. in

Demonstrationen. Aufstanden. Verhdren und Zuchthausjahren

war ihm das unbewegliche Gesicht gewachsen. das er heute

noch trug. (MN/158)
Later. when she and the other members of the delegation visit a rural
hospital. they are given a tour of the modern building and told by the
director that the German troops had come there during the war: ”’Das
Haus hatten sie besetzt und zerstdrten es zuietzt. Tausend Meter weiter
lag unser Schiltzengraben." (MN/160) Greif believes that in Moskauer
Novelie Christa Wolf is generally unsuccessful in her attempt to overcome

the recent past because of her constant attempt to depict a rosy future

for her society. and that it is not until Klndheitsmuster that she is

 

successful in depicting a thorough confrontation with the past.

Zwischen Vera und Pawei. russische Freunde oder auch
Zufallsbekanntschaften auf einem Kolchos. schiebt sich die
jiingste Vergangenheit Deutschlands. die zwar betrauert. aber
letzten Endes verdrangt wird um des Traumes willen: Die
Geiegenheit ftir elne tiefgehende Auseinandersetzung mit der
faschlstlschen Jugendzelt wird fiir Christa Wolf erst sechzehn
Jahre nach ihrer ersten Verdffentlichung kommen —
Klndheitsmuster aber wird frei sein von naivem Zukunftsgiauben
und sich mlt dem auseindersetzen. was die Basis fiir elne
nicht naher beschriebene Zukunft ist: Vergangenes und
Gegenwartlges.

 

Even if Christa Woifs presentation of an attempt to overcome the past is

not as well developed in Moskauer Novelie as in Klndheitsmuster. the work

 

 

does serve to show the relationship of the past with the present and thus
corresponds to the desire expressed in her early theoretical writings that
literature should present the interrelationship of past and present.

Another Idea expressed in her theoretical writings is that the author
has an obligation to depict the problems and conflicts of life in order to

help the reader adjust to his society and come to some understanding of

134

how he might handle his own problems. Both Vera and Pawei face a
conflict between their love for one another and the relationships that they
have already established with their spouses. Pawei becomes increasingly
uncomfortable in Vera's presence and seems incapable of handling his
feelings for her. Vera tries to keep her emotions under control and
spends the evenings writing long letters to her husband at home. but one
evening. after a phone call from Pawei. her feelings overcome her and
she tears up the letter she had been writing to her husband and realizes
that her feelings for Pawei are stronger than she had thought:

Vera wuBte. wie er sich jetzt iiber das Gesicht strich und mlt

unsicheren Bewegungen elne Zigarette anziindete. Sie zerriB

den Brief an ihren Mann. Er wollte mich nicht anrufen und

muBte es doch tun. ich will nicht an ihn denken und muB

und muB. Es ist starker. Was soil ich machen? (MN/T75)
She decides that if she cannot control her emotions. she will have to learn
to hide them. Her conflict between her feelings for Pawei and her life at
home is resolved only when she discusses with Pawei the guilt she feels
for what happened in 1945 and when she decides to help Pawei take
control of his life. The thought processes which occur in this decision
are not clearly depicted in the work. and the ending is too simplistic and
idealistic to be completely effective. The end of the work shows Pawei
and his wife taking Vera to the aiport. where Vera discusses openly with
Pawel’s wife. Sina. the path that her relationship with Pawei has travelled
since they first met in 1945. She tells Slna that she is glad of finally
having had the chance to catch up on all the news since she and Pawei
had last seen each other. The women hug each other. Pawei squeezes

Vera’s hands. and she kisses him on the forehead before walking out to

her plane. After the emotional turbulence that they had suffered in each

135

others presence. the placid friendship they exhibit at the end of the work
is rather difficult to believe. The change in their relationship. if it could
be believed. would show the reader that the conflicts of life can be
resolved for the betterment of all involved. but when their relationship is
resolved in such a simplistic manner it is doubtful whether the reader
could accept the message being presented.

The idea that literature should depict the newness of life and evoke
in the reader a feeling for the depth and meaning of life is another
concern of Christa Wolf in her early theoretical writings. Greif believes

that she shows the importance of newness in Moskauer Novelie when she

 

shows several of the characters discussing the future of the socialist state:
"Neues soil da geschaffen werden nach der Hitlerara. Platz fiir neue ldeen

'7 Vera’s interest in the

ist ja nach der t0talen Desiliusion geniigend da.
city and the peOple around her also substantiate Christa Woifs desire to
have literature promote an interest in the new way of life. One night
when wandering around Moscow. Vera’s curiosity and interest in the
newness of life around her. represented by the novelty of Moscow. become
apparent to her:
Pidtzlich wuchs das Gefiihl in ihr. auf das sle den
ganzen Tag gewartet hatte: Lebenslust. Neugier und elne
starke Freude.
W0 jeder Stein. jeder Mensch. ja die Luft und seibst der
Himmel einem neu sind. schelnt es leicht. das ganze Leben
neu zu machen. Vera sehnte sich auf elnmal danach. und es
kam ihr unaufschlebbar vor. (MN/152)
Related to the concept of newness is the depiction in literature of the
humanization of man. One of the responsibilities of literature according to

Christa Wolf is to depict the growth and development of new human

relationships in the society. in Moskauer Novelie these new human

 

remno
remflo
reiatlo
keepir
reiatio
both a
Pawei

help r

deveio
enCOUI
When

greete
other

Germa
'AHe i
auf die
0'0 lril
COIlemi

and Rl

The de

136
relationships are shown through the development of Pawei and Vera’s
relationship from an amorous love relationship into a platonic and caring
relationship that is supportive of their respective marriages. and thus in
keeping with society/s morals. Had Vera decided to pursue her love
relationship with Pawei. she would have had to abdicate her responsibilities
both at home and at work. instead. the friendship that she evinces for
Pawei is consistent with the idea that those in a socialist society should
help each other make the most of their lives.

The possibility for new human relationships. especially for the
development of German/Soviet relations. is also represented by the
encounters between the GDR delegation and different groups of Soviets.
When Vera and her group visit a rural Soviet hospital they are heartily
greeted. shown around. and then treated to a meal and drinks. At the
other end of the table from Vera. the people begin singing in Russian and
German. They all drink to friendship. to the guests. and to the hosts:
'Alle tranken: auf lhre Freundschaft. auf Moskau. auf Berlin. auf Sibirien.
auf die Gaste. auf die Gastgeber...‘ (MN/162) On another occasion. an
old friend of Pawei’s invites the entire group to a celebration at his
collective farm. Greif views this particular interaction between Germans
and Russians as being 'kitschy' and rather hard to believe:

Besucht sle [Vera] einen Kolchos. wird sie in Operettenmanier
gielch von einem barenstarken bartigen Russen in Empfang
genommen. der sle prompt zu einem Fest einladt. wie es
kaum kitschiger in einem Propagandafiim fiber Giiick und
Frieden und gemiitllches Beisammenseln und kaum 'zufalliger’
inszeniert sein kdnnte. Vera wird als Schwester im
Soziaiismus gefeiert. elne Melkerinnenbrlgade nimmt sle in die
Mitte. die Madchen steiien 'ihr in miihsamen Deutschen

Fragen iiber Fragen“. bis sie 'eine von ihnen' ist.

The description of this rural festival is certainly idyllic. and serves only to

add it

relatior
the vie
She Sh
reality

man w:
prOVlde;
COmpar
general
lhatthe
the ’WOS
Concrete
Whh the

father. 1

They all

137
add to the incredibillty of this interaction between peoples:

Weleeschiirzte Frauen schieppten Kessei mlt dampfender.
wiirzig duftender Suppe herbei und steilten Schalen mlt
eisgekiihlter sauerer Sahne auf die Tische. Spater reichte
man fetttrlefende Fieischstiicke herum und aB Brot und Lauch
dazu.

Dann spielte die Kapelle zum Tanz. Die Schatten der
Baume wurden langer. aber die Hitze hleit an. Die Manner
zogen ihre Jacken aus und iegten sle hinter sich ins Gras.
die Frauen wedelten sich mlt buntbestickten Taschentlichern
Kiihiung zu. Kinder quiriten iiberali zwischen den Tischen
umher. Nicht das winzigste welkchen zeigte sich am Himmel.
und die Blatter der Baume blieben unbewegt. (MN/191)

The Optimistic perspective on the possibilities for new human
relationships that is presented in Moskauer Novelie is not inconsistent with
the views Christa Wolf expresses in her early theoretical writings. in them.
she states her belief that a pessimistic perspective of life contradicts
reality because her developing socialist society offers a future in which

man will be able to fulfill himself. in Moskauer Novelie. a train ride

 

provides the setting for a discussion about what each of the people in the
compartment imagines he will be like the future. as well as what people in
general will be like in the future. This emphasizes Christa Wolfs belief
that the 'historicai' future is contained within each person. Pawei gives
the most detailed view of his conception of future man. listing all the
concrete accomplishments he will be capable of. concluding his description
with the idea that the person of the future will not be a perfect robot. but
rather. finally. a person in his own right:
Bel aildem aber wird er - und das wird seine grdBte Lelstung
sein - kein Roboter werden. kein perfektionlertes Ungetiim.
sondern endiich: Mensch. Er wird aufrecht liber die Erde
gehen. lange und intensiv leben. giiickilch sein und wird
wissen. daB dies seine Bestimmung ist. (MN/182-83)

They all agree that the person of the future will be ever-questioning. ever-

searching for more knowledge of the people and the world around him.

138
Vera herself already displays this attribute. which Pawei tells her is her
most appealing trait: ”WeiBt du. was mir an dir so gefailt? DaB du nie
fertig wlrst. DaB du nle auf alle Fragen elne Antwort weiBt. DaB du nle
aufhbrst zu wachsen." (MN/200)
The ideas that Christa Wolf presents in her early theoretical writings
concerning the relationship between author. society. and reader are found

in her earliest fictional work. Moskauer Novelie. She has presented a

 

story which clearly has the goal of helping the reader understand the
present society. including its conflicts and problems. Through Vera. the
reader is shown that. in order to aid the developing society. his own
emotions may have to demure to societYs goals. The relationship of past
and present are presented through Vera’s interaction with her own past and
there is an attempt to come to terms with the war. The new life that
Moscow represents for Vera represents the new life that is offered to the
GDR Citizen with its possibilities for self-fulfillment as well as for new
human relationships. Although Christa Wolfs attempts to present her views
on Soviet/German relations may seem overly-idealistic to the present-day
reader. they are consistent with the belief in the optimistic view of human

relationships stated in her early theoretical writings.

2. The Relationship between the Author and the Work

The ideas that Christa Wolf expresses in her early theoretical writings
about the relationship between the author and the work primarily center
around the authors responsibility to society. and she views the work
primarily as a tool for furthering the development of society. She does.

however. also discuss the role of experience in the author’s relationship

139

with the work. She states in her early writings that the author should
depict situations that he has experienced. or that are at least within his
possible realm of experience. The work should be concerned with the
presentation of these experiences. which contrasts with the view expressed
in her later writings that the act of writing enables the author to confront
his perception of his experiences. Greif discusses the extent to which
Moskauer Novelie presents experiences and interests that correlate with
Christa Wolf’s own experiences and interests. He points out that both Vera
and Christa Wolf were born in 1929. and that Christa Well. like Vera. is
interested in medicine. psychology. and genetics. He cites her article “Eln

Besuch' in Lesen und Schreiben. in which she discusses a visit with a

 

geneticist. as substantiation of her interest in genetics. He states that
Christa Wolf. like Vera. regrets having burned her diary. A more general
correlation between Vera and Christa Wolf's own realm of experience is
their shared interest in understanding the people around them: "immer
wieder werden Beweise fiir das lnteresse Veras an den Menschen geliefert.
Sie versucht. dem Einzelnen auf den Grund zu kommen und seinen

.9

Wiinschen und Traumen nachzugehen.

At one point in Moskauer Novelie Vera comments to Pawei that she

 

finds it curious how much one forgets in life and how difficult it is to
remember certain past events and feelings:

Merkwiirdig sel es doch. sagte sle elnmal zu Pawei. wie
vieies man im Leben vergesse. mlt Absicht vergesse. wenn
man so sagen diirfe. Und wie anstrengend es sel. fiigte sle
mlt miihsamen Lechein hinzu. sich zu erinnern. (MN/165)

Vera is described as being unused to thinking about her own past:
Selten nur dachte sle iiber sich nach. Sie ging ganz in lhrem

Leben auf. Versunken und vergessen war das sechzehnjahrlge
Madchen. das. verstdrt. in Fanatlsmus verrannt. als Fiiichtling

Later,
learnt
that a
them,

them

with

140
vor den sowjetlschen Truppen vom auBersten Osten des
damaligen "Deutschen Reiches' bis nach Fanselow gekommen
war und dort auf den sowjetlschen Leutnant Pawei Koschkin
traf. den sle haBte. noch ehe sle ihn sah. Als sie sich nach
einem halben Jahr trennen muBten. begann sle. der Mensch
zu werden. der sle heute war. Und fragte nicht mehr. wie
alles so gekommen. was daran Zufall. was Verdienst und
wessen Verdienst es gewesen war. (MN/165)
Later. in a conversation with Pawei. she mentions that the songs she
learned during the war are the hardest thing to forget. She remembers
that although she had written them all down so that she would not forget
them. now. after having burned her diary. she finds that she cannot forget
them even though she wants to. These various instances in Moskauer
Novelie where the process of remembering and forgetting is mentioned are
a foreshadowing of the concern that Christa Wolf expresses in her later
theoretical writings about the process of remembering. She does not
discuss this idea in her theoretical writings until after writing Moskauer
Novelie. The presence of the concept of remembering in Moskauer

Novelie serves both to define the main character’s conflict and to connect

the past and the present. unlike Klndheitsmuster where the author’s process

 

of remembering becomes thematic.
The ideas that Christa Wolf discusses in her early theoretical writings
with regard to the relationship of the author to the work are present in

Moskauer Novelie. She is primarily motivated by a desire to help society

 

through presenting a work which helps the reader understand his place in
society. The work contains autobiographical elements and thus corresponds
in this regard to her belief that a work should relate experiences that

stem from the author’s own sphere of experience. Mention of remembering
and forgetting occur in the work and these processes are a foreshadowing

of the detailed discussions of the process which appear in her later

theoretic

3. The
8. Cha

ir
theoretic
Characte
be just
Mm
great 0.
they 8C
Pawei E

around

with hlr

”30 Cl
their al
WOLIid .

141

theoretical writings and works of fiction.

3. The Work itself
a. Characterization. Plot. and Structure

in discussing desirable characteristics of the actual work in her
theoretical writings. Christa Wolf states that the personalities of the
characters in the work should be revealed through their actions. and not
be just described by the author. Although the characters in Moskauer
Novelie are to some extent developed through their actions. there exists a
great deal of description of them. The reader is often simply told how
they act. rather than being shown. For example. after a meeting between
Pawei and Vera we are told that from this point. on he acts differently
around her and that she has to watch her actions carefully when she is
with him:

Seit der Rast lm Blrkenwaidchen sah Pawei Vera anders
an. sprach anders mlt ihr als vorher und wurde unruhlg in
lhrer Nahe. Sie panzerte sich mlt Nichtsehen. Nichthdren und
Nichtdarandenken. Sie bewachte sich scharf. wenn sle mlt
ihm zusammen war. (MN/166)

Had Christa Wolf followed her own advice about depicting characters through
their actions. rather than just telling about them. these two characters
would have been clearly shown acting differently with one another. rather
than just being described as doing so.

in her early theoretical writings she also states that characters should

not be just types. but should have fully-developed. individual characters.

Greif states that the characters in Moskauer Novelie are not fully-developed

 

human beings. but are primarily types who espouse certain viewpoints: “Der

Leser hat elne merkwiirdig schemenhafte Vorstellung von Akteuren. die sich

angnu
Soheuk
regard
in the
person
passive
depkne
work l'
lnterac
10 a r
Charac
the WC
wnh P

‘0 hei

Anhou
iheh

the m
Seen

Chara
writing
throUS

the(3n

142
ailgemein kaum als 'Menschen' vorstellen. vieimehr ideentrager mlt

Scheuklappen sind."10

Especially because Vera’s change of heart with
regard to Pawei seems psychologically unjustifiable. she seems to appear
in the work only to present the reader with a certain view of life. Pawel's
personality also remains somewhat unclear. and he serves to represent the
passive person in society who will not take control of his own life. He is
depicted only in terms of his reactions to Vera. and at the end of the
work it is unclear whether he has actually changed because of his
interactions with Vera. We do not know whether he will go with his wife
to a new job or whether he will remain where he is. The secondary
characters also remain undeveloped. Walter appears only at times during
the work when Vera is experiencing mental conflict over her relationship
with Pawei. Walter is presented as an older. experienced person who tries
to help Vera by pointing out her obligation to Pawei:
Waiter [ist] eln alter kampferprobter Genosse. eln erfahrener
reifer Mensch. dem Vera vertraut. der die MaBstabe ihres
Handeins und Denkens bestimmt. Walter weist Vera den
Weg. den sle in lhrer Unsicherheit annimmt: Pawei miisse zu
einem neuen Selbstvertrauen. zu einer neuen Aufgabe gehoifen
werden: er brauche Veras Beistand in einem tieferen Sinne:
das Wagnis des Lebens. die groBe Aufgabe. die Umwandlung
noch elnmal zu beginnen.
Although the secondary characters are not fully-developed human beings.
their presence in the work is justifiable in terms of their relationship to
the main character Vera. Their influence on Vera is clear, and she is
seen interacting with them. in this respect the depiction of the secondary
characters follows the advice that Christa Wolf sets forth in her theoretical
writings. There are no extraneous characters who simply appear randomly

throughout the work. something which she cautions against in her

theoretical writings.

have Ct
UnreSOi‘
present
in com
to Shae

foHow

and ur

Kahler
lOrmaj
geraoj
agen(
Struml
‘0 sh.
SiruCt
are a
which
trans,

teChn

143
in her early theoretical writings. Christa Wolf states that works should
have cohesive plots. There should be no loose ends which remain

unresolved in the story. The plot of Moskauer Novelie is cohesive in its

 

presentation of Vera’s conflict. which she resolves by the end of the work:
in contrast. Pawel’s conflict between his feelings for Vera and his marriage
to Sina is not clearly resolved. and it remains uncertain whether he will
follow Vera’s advice to move away and get a better job.
Gugisch describes the over-all structure of the work as being linear
and uncomplicated when compared to the structure of her later works:
Die Beziehung zwischen Vergangenheit und Gegenwart.
das poetische Verbundsystem zwischen der realen und der
reflektierten Geschichte ist in der Moskauer Novelie -

gemessen an den spateren Werken - noch vergieichsweise
linear und unkompliziert.

 

Kahler also views her use of past and present time as being in its

formative stages in Moskauer Novelie: 'Das Motiv. aus einem alizu

 

geradlinig vorgezeichneten Lebensweg auszubrechen. um das Gefiihl der
elgenen Mitformung des Lebens zu gewlnnen. klingt erst an."13 The
structure of the work is determined by the use of flashbacks which serve
to show the relationship between the Vera's past and the present. but the
structure remains simple because the transitions between present and past
are always very obvious and there is no doubt in any given episode as to
which time is being described. One example of the very apparent
transition from present to past is typical of the use of the flashback
technique:
Sle ging iangsam und sah sich jeden Menschen genau
an. der ihr entgegenkam. Wenn er mich jetzt tragen wiirde.
dachte sle nach einer Weiie. wie Moskau rlecht - er brachte

es fertig. das zu fragen -. dann wiirde ich ihm antworten:
Nach Puder riecht es und nach Feuchtigkeit.

Not 0nl
pamafi
there i:
present
transitlc
the thlr
always

Detson.

The on
aGVQCa1
10%
being i
Dieser]<
generai
WOrk is

144

Mag es ruhlg eln bchhen regnen. Damais hat es auch
geregnet. als ich ihn zum erstenmai traf. (MN/151)

Not only is the transition to the past apparent from the use of the word
'damals.’ and the use of double-spacing between the two paragraphs. but
there is also a switch from the use of the third person when describing
present events to the first person when describing past events. The
transition to the present is indicated by a new paragraph and a return to
the third person. Although the transition from one time to the other is
always apparent. it is not always accompanied by a switch in narrative
person. An example of this is found in the following excerpt:

Sie schioB die Augen und sah vor sich. was sle noch
niemand erzahlt hatte. Walter nicht und nicht lhrem Mann. und
woriiber sle auch mlt Pawei nicht sprach.

Juli 1945. Das sowjetlsche Magazin vor dem Dorf Fanselow
brennt llchterloh wie elne Fackei vor dem abendiich schwarzen
Wald. Vera stdBt durch die Menge der Neugierigen und der
ibschenden und absperrenden sowjetlschen Soidaten vor bis
zum Scheunentor - das Magazin war elne ehemalige Scheune
- und ruft mlt schriller Stimme den Name ihres Bruders.
(MN/177)
The criteria for good plot. structure. and characterization which Christa Wolf
advocates in her theoretical writings are not consistently found in Moskauer
Novelie. Her characters‘ personalities are often described. rather than
being revealed through their actions. but she is successful in justifying the
presence of characters through their relevance to the plot. Her plot is
generally cohesive. with a few exceptions. The overall structure of the

work is uncomplicated and the use of the flashback technique is not

problematical.

145
b. The Presence of Personal Elements
in her early theoretical writings. Christa Wolf asserts that authors
should control the presence of personal elements in their work so that its
overall goal is not overwhelmed by the subjective introspection of its
characters. The balance between personal feelings and a responsibility to

the goals of society occurs on two levels in Moskauer Novelie. it is the

 

main conflict for Vera. and the author struggles to maintain a balance
between the depiction of Vera's personal feelings and other. more objective
elements. such as the description of Vera’s surroundings in Moscow.

Vera’s conflict is between the personal feelings she has for Pawei and
the responsibility she feels for her society. represented by her work and
her stable home life. Throughout the story she struggles to overcome her
feelings for Pawei. To this end she spends many evenings writing letters
to her husband at home. The more she realizes that her love for Pawei
is overwhelming her. the more she tries to cover up her feelings and act
naturally with the people in her group. Eventually. after she confronts her
guilt about her past. she convinces herself that she must change her
feelings of love for Pawei into a comradeiy friendship. Upon realizing that
her obligation is to her job and her family at home. she changes from
being inwardly oriented and becomes concerned with how the others in her
group view her:

ihr Blick war schon zu lange nach innen gerichtet
gewesen. Nun nahm sie pldtziich lhre Umweit neu wahr. ln
kraftlgen. prallen Farben. Zum ersten Mal versuchte sle
sich und Pawei mit den Augen der anderen zu sehen. und as
war ihr nicht mehr gleichgiiitlg. was man tiber sle dachte.
(MN/208)

The message for the reader is obvious: subjugatlng one’s personal feelings

is sometimes necessary for the good of the devel0ping society. Only when

one it.

goam

found
whh3h
descru
Mosc0*
too ob
'report

MOSCOl

The hr
curSCiry

present

oeSCtlpj
SUCCeSS
wnh he
wOrk CC
balanCe

f“fiction

146
one turns one's glance from inner concerns to external concerns can the
goals of society be realized.

The contrast between Vera’s inner realm of feelings and her new-
found perspective on the external world is mirrored in the work itself.
which manages to balance the description of Vera’s feelings with
descriptions of her surroundings. The interspersing of descriptions of
Moscow serves to de-emphasize Vera’s feelings. but the descriptions are
too obviously inserted into the text and tend to be what Kahler calls
'reportagehafte Beschreibungen.‘ As an example of the descriptions of

Moscow found in Moskauer Novelie. he cites the following:

 

Moskau ist eine auf sleben Hiigel gebaute. weitlauflge
Stadt. die sich iibergangslos aus dem unendlich hingebrelteten
Land erhebt. Von der neuen Universltat aus hat man sle zu
FiiBen liegen. summend vor Lebensfreude und Schaffensdrang.
von spitzttirmigen Kirchen. Zwiebeikuppeln. bunten Kidstern und
den machtigen weiBen Hochhausern liberragt. Vera bekam
nicht genug von dieser Stadt. Sle lief durch die StraBen.
setzte sich in den Parks auf Banke. fuhr unter und fiber der
Erde kreuz und quer bis in die entlegensten Stadtteile.14
The first part of this description sounds like it was taken from a guide book
of Moscow.15 The second part at least mentions Vera. but only in
cursory fashion. as a picture of her dashing madly about in the city is
presented.

Personal elements in the work are balanced with objective
descriptions. although the objective descriptions are not handled in a very
successful manner. The main character changes from being concerned
with her own inward feelings to a concern for her external world. This
work conforms to Christa Woifs early theoretical views that works should

balance the presence of personal elements with a concern that the work

function to help the society.

c. The lvl
VVhe
0t first-per
third-perso
M is

nanahve.

because th.

ills hue t
Contrast to
the authOr
does aDDea
howeVer
Russia in I,

one afternw

Vera than S

QSnera, COrr

 

147

c. The Narrative Perspective

When in her early theoretical writings Christa Wolf discusses the use
of first-person narrative versus third-person narrative. she describes the
third-person narrative as lending works a certain objectivity. Moskauer
Novelie is written mostly in the third person. with some use of first-person
narrative. Kahler claims that this work differs from her later works
because the presence of the author is not felt:

Die Erzahiweise dieser Novelie unterscheldet sich
wesentlich von der spatter von Christa Wolf verwandeten. Das
dichterische ich tritt vdliig zuriick. Die Erzahlung schelnt sich
ganz durch die handeinden Personen realisieren zu wollen.
0hne die “Einmlschung' einer erzahlenden Subjktlvitat.

it is true that the presence of the author is not often felt in this work. in

contrast to later works such as Klndheitsmuster where the interaction of

 

the author with the work is an integral part of the structure. The author
does appear at times to know more about Vera than she herself does.
however. For example. after Vera tells Pawei that whenever she thinks of
Russia in the future she will think of the birch grove where they rested
one afternoon. the following statement is made:
Und dich werde ich sehen. wenn ich an RuBland denke. hatte
sle zu Pawei sagen kdnnen. und es ware die Wahrheit
gewesen. Aber sie wuBte es la noch nicht. (MN/164)
This statement could only be made by a narrator who knows more about
Vera than she herself knows. The following paragraph is an example of a
general comment interjected by the author:

Jeder welB. daB man in den Sekunden. die man braucht.
um aufzustehen. jemandem die Hande zu reichen und sle fest
zu driicken -- daB man in diesen vieileicht fiinf Sekunden
auBerdem rot und biaB werden. Tranen in die Augen

bekommen und ungiaublich vieie Blider vor dem inneren Blick
vorbeljagen sehen kann. So ist der Mensch elngerichtet. und

inter
to 9:

cans

is St
earlit
delln
reme
not r
when

Quota

The 1

Whhm

The u
emphe

Wade

148

mit der Fahigkeit. sein Leben inelnanderzuschachteln. hilft er
sich fiber die Klirze dleses Lebens hlnweg. (MN/147)

lnterjections by the author are interspersed throughout the work and serve
to express a view beyond that of the characters themselves. thus lending a
certain objectivity to the work.

Although the work is for the most part told in the third person. there
is some use of the first person. most notably in flashbacks to Vera’s
earlier life. The use of the first person at such times serves not only to
delineate the flashback. but also to emphasize the personal effect that
remembrances of the past have on Vera. The use of the first person is
not restricted to flashbacks. however: it also occurs in the present time
when Vera is experiencing emotional turmoil. For example. in the following
quotation there is an abrupt transition from third person to first person:

Sie zerrlB den Brief an ihren Mann. Er wollte mich nicht
anrufen und muBte es doch tun. ich will nicht an ihn
denken und muB und muB. Es ist starker. Was soil ich
machen? (MN/175)
The following example shows the use of the first person as an interjection
within passages of third person narration:

Der Asphalt gianzte feucht lm Lichtkreis der Lampen.
Feiner Regen sprfihte ihr ins Gesicht. Sie steilte den
Mantelkragen hoch. vergrub die Hande in den Taschen und
schob sich iangsam auf der immer noch belebten StraBe
vorwarts. Menschen mlt vollen Einkaufsnetzen kamen ihr
entgegen. urn Mitternacht.

DaB ich nicht mehr an ihn gedacht habe!

Pldtzllch wuchs das Geffihl in ihr. auf das sie den
ganzen Tag gewartet hatte: Lebenslust. Neugier und elne
starke Freude. Hast recht. Pawei. ich freu mich doch nochi
(MN/152)

The use of the first person in times of emotional stress serves to

emphasize the personal aspect of her feelings. Significantly. once she has

made the decision to turn from her inwardly-directed thoughts to a

COR

first

cone
with
the

in at

the l

in Ch
the to
that t
i”Cree
hne’ai

””Oen

149
concern for her environment. there are no more instances in which the
first person is used.

The use of the first and third-person narrative in Moskauer Novelie is

 

consistent with the views expressed by Christa Wolf in her early theoretical
writings. The third person lands an air of objectivity to the work. whereas
the use of the first person emphasizes the personal aspects of the work.

in addition. the author’s interjections augment the information available from

the characters themselves.

B. The Relationship of Klndheitsmuster to the ideas Expressed in her Later
Theoretical Writings

 

For the purpose of comparison. this section of the chapter will

present a brief exposition of Klndheitsmuster in terms of the separate

 

elements discussed in the previous section. Since what were previously
separate notions on specific aspects of literature coalesce in her later
theoretical writings into a unified theory of prose. an additional section will
discuss the interrelationship of the separate elements as they appear in

Klndheitsmuster.

 

1. The interaction of Author. Reader. and Society

Within the category of the interaction of author. reader. and society
in Christa Wolfs theoretical writings. there is a general development from
the idea that the authors primary responsibility is to society to the idea
that the authors primary responsibility is to himself. She becomes
increasingly concerned with the subjectivity of the author and how his
interaction with the work helps him confront himself and gain a greater

understanding of the workings of his mind. The theme of Klndheitsmuster

 

150
is the exploration of the author’s process of coming to terms with both her
childhood self as well and the adult person that she has become. This
exploration is done through the act of writing. and the author’s thoughts as
she is writing the novel are also contained within the work. This
involvement of the author with her past and present person. and with the
act of writing itself. is consistent with the ideas expressed in her later
theoretical writings. Although the basic theme of the work reflects Christa
Wolf's increasing concern with the subjective aspects of writing. especially
the possibilities that writing offers the author for confronting his past

experiences and feelings. there are elements of Klndheitsmuster which

 

correspond to some of the specific topics in her earlier theoretical writings
within the general category of the relationship of the author. the reader.
and society.

Choosing a subject from the present time is one of the elements of
a successful work mentioned in Christa Wolfs early theoretical writings.

Although the main theme of Klndheitsmuster is the confrontation of the

 

narrator with her past. her daughter Lenka represents the younger
generation in the GDR. According to Hille in her review of

Klndheitsmuster, Lenka’s view of present—day life reflects the concerns and

 

Opinions of the generation which has grown up in the socialist society:

Mit der Flgur der Lenka - Tochter der Erzahlerin -
geilngt der Autorln am fiberzeugendsten die Gestaltung
gegenwartlg reaier Wirklichkeit. im Denken und Fiihlen. im
Sagen und Verschweigen der Lenka ist DDR-Wirklichkeit
prasent. Worflber Lenka sich freut oder argert. woriiber
sle nachdenkt und phllosophiert sind Anmeldungen der heute
jungen Generation. sind Ansprfiche derer. die under den
Bedlngungen der sozialistischen Entwicklung geboren und
aufgewachsen sind.

Lenka’s reaction to the war and her inability to understand how the people

of ti
Wear
daut
past
ab0t
the

rhon

expl.

Lenk
t0 u
out
r95p
War

then

151
of that time. her mothers generation. could have let such events occur is
viewed as being typical of the post-war generation. in trying to make her
daughter understand that period. the narrator is forced to confront her
past and her daughter’s questioning: her daughter’s reaction to information
about the war prevents the narrator from too easily coming to terms with
the events of that time. When Lenka finds the biology book that her
mother used in school. her reaction shows that she will not easily accept
explanations about the past:
Erinnerst du dich. was Lenka sagte. nachdem sle die Selten im
Biologiebuch der zehnten Klasse betrachtet hatte. auf denen
Vertreter niederer Rassen - semitlscher. ostischer - abgebiidet
sind? Sie sagte nichts. Sie gab dir wortlos das Buch zuriick.
das sle heimlich genommen hatte. und auBerte kein
Verlangen. es noch elnmal zu haben. Dir kam es vor. als
betrachte sle dich an diesem Tag anders als sonst.18
Lenka’s questioning of how people could have allowed the events of the war
to transpire prompts the narrator to delve into her past in order to find
out when she first began to lose her own feeling of responsibility. in
response to her mother’s telling her that her own father wondered what the
war had done to them. Lenka wonders how people could have divorced
themselves from any feeling of responsibility:
Lenka sagt: Das versteht sie nicht. solche Séltze. Von Leuten.
die die ganze Zeit dabeigewesen sind. Sle will nicht - noch
nicht - erklart haben. wie man zugleich anwesend und nicht
dabeigewesen sein kann. das schaueriiche Gehelmnls der
Menschen dleses Jahrhunderts. Sie setzt Erklarung noch mlt
Entschuldigung gleich und lehnt sle ab. Sie sagt. man mfisse
konsequent sein. und melnt: rigoros. Du. sehr bekannt mlt
diesem Verlangen. fragst dich. wann der Schwund der
unbedingten Strenge bei dir begonnen hat. (KM/42)
Another concern in Christa Wolfs early theoretical writings was the

responsibility of the author to depict people and situations in such a way

that the reader could identify with the characters and discover from them

 

vanous v
iorthm lj
inerahue
flme figgg
where 0*
whhng.

longer ne
presentau
“9'0 met:

believes j

ime chhc

 

The most
oiSCUSSGS
beneve th
no DieasU
When the
‘0 beneve

The narra‘

152
various ways of conducting his own life. In her early writings. the reason
for this concern was that the society was in a state of transition. and
literature had the goal of helping people adapt to the new society. By the

time Klndheitsmuster was written. the society had developed to the point

 

where Christa Wolf could be concerned with more subjective reasons for
writing. The reader. however. is not forgotten. and although it is no
longer necessary to help him adjust to his fluctuating society. the
presentation of problems of the present-day GDR society in the work can
help motivate the reader to take an active part in his society. Hille

believes that presenting contemporary problems in Klndheitsmuster is not

 

idle criticism. but is an attempt to motivate the reader:
[Die Autorln] fiberzeugt...immer wieder mlt genau beobachteten
und kritisches Denken herausfordernden Details aus unserer
Wirklichkeit. Dabei ist nicht - so melne ich - kontemplatlve
Krlttelei die Zleirichtung. sondern das Betroftenmachen des
Lesers. um ihn zu moblilsleren fiir elne verantwortliche
Teilnahme am geselischaftlichen Prozel3.1
The most blatant criticism of present-day GDR society occurs when Lenka
discusses her job working on an assembly line. finding it difficult to
believe that anyone should have to work at a job from which they derive
no pleasure. (KM/252-53) There is also implied criticism of the society
when the modern generation is depicted. through Lenka. as being unable
to believe that it would allow the past to repeat itself. in reference to
past events. Lenka says:
DaB wir das alles verstehen solien. ich jedenfalls. sagte
Lenka. ich versteh es nicht.
Und bei euch. ich mains. in deiner Generation. kdnnte nichts
Ahnliches . .
Bei uns? Das? (KM/169)

The narrator is painfully aware that as a child she was ignorant of many

war-time events:

The

“Mr

mal

the

rerr

An

seir

niej

Con

153
Auf Seite 107 in Lenkas Schuibuch lm Format 14 x 9 elne
'Karte der faschlstlschen Konzentrationslager in Europa
wahrend des zweiten Weltkrieges'....Du spiirtest kdrperllch. wie
Lenka zum erstenmai begreift. in welcher Landschaft lhre
Mutter lhre Kindheit verbracht hat. Die geographlsche Lage
der Vernichtungsiager Chelmno. Trebiinka. vieileicht auch
Majdanek. macht die Annahme wahrscheiniich. daB Transporte
mlt Menschen. die ffir diese Lager bestimmt waren. auch fiber
L. geleitet wurden. das ja an der Ostbahnstrecke
iag....Niemals hat Nelly von einem lhrer Landsleute hierfiber
eln Wort gehdrt. wahrend des Kriegs nicht und auch nicht
danach. (KM/219)
The narrator wants to make sure that the present generation is aware of
world events and does not simply repose in ignorance. To this end she
makes repeated reference to the uprisings in Chile and to America’s role
in the Vietnam War.

Because the narrator discusses her own confrontation with the past.
the reader is helped to confront his own past. in addition. the process of
remembering is an integral feature of the work and is explicitly discussed.
An example of this is when the narrator asks: 'Warum vergiBt dieses Kind
seine frfihesten Jahre. um elne einzige Szene zu behalten. die ihm
niemand je glauben wird." (KM/37) The reader is given the opportunity to
confront his own process of remembering and perhaps also try to

overcome certain events of his past. Bock relates this aspect of

Klndheitsmuster to the idea Christa Wolf expresses in 'Lesen und

 

Schreiben' that prose should not attempt to define the experiences of the
reader. but should give him the courage to confront his own experiences.
Through this process the reader is helped to interact with the work. and
the barriers between the producer of a work and its “consumers' are

demolished.2o it is interesting that both Bock and Hille mention the effect

 

that Klndheitsmuster has on the reader. and that Bock relates the effect of

Klndheitsmuster to Christa Wolrs ideas in 'Lesen und Schreiben." When

 

154

Christa Wolf herself discusses the creation of Klndheitsmuster. she

 

maintains that. although she wrote it differently than had she been writing
in her diary. she created the work with the material in mind. rather than
the reader. Her concern was her own confrontation with the work. not the
effect on the reader. although she does state that. once the work was
finished. she hoped that some of what she said might be relevant to the
reader?1
The idea expressed in her theoretical writings that a work should

depict the interrelationship of past and present is represented in

Klndheitsmuster by the narrator’s attempt to come to terms with her past.

 

in traveling to her birthplace. once in Germany but now a part of Poland.
memories of her past are triggered by the places that she sees. From
an adult standpoint. and using the information that she has learned
through the years about the war. she tries to make sense of the
experiences she had as a child. There is a continual shifting back and
forth betweeen the present and the past. For example. she recalls a
meeting that Nelly (the child) attended. and in the middle of the
description she interjects a comment that Lenka makes during their trip.
(KM/179-80). The relationship between the child that she was and the adult
that she is now is bi-directional: because of her childhood experiences she
has developed into the person that she is today. and the present—day
person that she is influences the memories of her past and structures
them according to her present understanding of past events. Bock points
out that the impossibility of separating past from present has already been
mentioned by Christa Wolf in her 1974 interview with Hans Kaufmann:

Schon 1974 hatte Christa Wolf lm interview mlt Hans Kaufmann
auf die Unmdglichkeit einer sauberilchen Trennung von

155

Vergangenheit und Gegenwart hingewiesen und damlt die
persdnlichen Bedlngungen ihres Schreibens so genau
gekennzeichnet. daB es kein Zufall ist. gerade diese Gedanken
des interviews auf dem Kiappentext des Romans wiederzuflnden:
‘Aber kein Mensch kann den Wirkungen entgehen oder sich
von den Einflfissen trennen. die von seiner Kindhelt und
Jugend her in sein spateres Leben drlngen - auch und
gerade. wenn diese Kindhelt unter Einfliissen stand und
Verhaltenswelsen in ihm erzeugt hat. die er am llebsten
vergessen und ieugnen mdchte. zuerst vor sich selbst."22

BOCk further points out that present desire to overcome the past

.23,

("Bewaitigung der Vergangenheit in der Gegenwart is the force behind

Christa Woirs desire to write.

2. The Relationship between the Author and the Work

The idea expressed in 'Lesen und Schreiben' that the creative
process consists of the author interacting with his material to create a
third reallty—-—the reality of the work ltseif—-forms one of the narrative

levels of Klndheitsmuster. The problems encountered by the author during

 

the act of writing are presented in the work and form an integral part of
the structure. Near the very end of the work she questions whether she
has succeeded in coming to terms with the child that she once was:

.16 naher uns jemand steht. um so schwieriger schelnt es
zu sein. AbschiieBendes fiber ihn zu sagen. das ist bekannt.
Das Kind. das in mir verkrochen war - ist es
hervorgekommen? Oder hat es sich. aufgescheucht. eln
tieferes. unzugangllcheres Versteck gesucht? Hat das
Gedachtnis seine Schuidigkeit getan? Oder hat es sich dazu
hergegeben. durch lrrefiihrung zu bewelsen. daB es unmdglich
ist. der Todsfinde dieser Zeit zu entgehen. die da heiBt: sich
nicht kennenzulernen zu wollen? Und die Vergangenheit... -
ist lhre Vormacht gebrochen? Werden die Stimmungen sich
beruhigen? (KM/377)

Although the work contains autobiographical elements. it is the author’s
perception of actual experiences that is thematic. rather than the

experiences themselves. This correlates with the change in Christa Wolf’s

156
view of the role of experiences from her early to her later theoretical
writings. in Klndheitsmuster the narrator tries to understand the essence
of her earlier experiences but realizes that she cannot relive her
experiences. nor even present them exactly as they happened: her
perception of them is affected both by the time that has elapsed since
their occurrence and by the person that she has become:
Die Beschreibung der Vergangenheit - was immer das sein
mag. dieser noch anwachsende Haufen von Erinnerungen - in
objektlvem Stll wird nicht gellngen. Der Doppelsinn des
Wortes "vermitteln'. Schreibend zwischen der Gegenwart und
der Vergangenheit vermitteln. sich ins Mittei legen....Der
heutigen Person die Begegnung mlt jener vergangenen mbglich
machen. vermittels geschriebener Zellen? (KM/153-54)
Ester comments on the effect of present consciousness on the narrator’s

memories:

Das BewuBtsein wlrft seinen Schatten auf die Landschaft der
Erinnerung. Die Erzahlerln kann den Schatten zwar nicht
verschwlnden iassen. wohl aber bewuBt machen?

The concept of remembering fascinates the narrator. as shown by her

detailed description of Salvador Dali’s painting “The Persistence of Memory“.

only part of which is cited here:
Es zeigt. was man nicht fiir mdglich halten wfirde: Die
Landschaft der Erinnerung. Die klare. doch unwlrkiichen
Farben. Die inseln. die sich aus dem Meer erheben. Das
direkte. heiie. doch unheimilche Licht. dessen Quelle nicht
preisgegeben wird. Die anhaitende Bedrohung durch das
Dunkel. Zwischen beidem die unscharfe Grenze. Totale Stille
und Bewegungslosigkeit. (KM/239)

The mention of islands which rise out of the sea is reminiscent of her

description of the structure of Nachdenken fiber Christa T. The narrator’s

 

fascination with remembering is consistent with Christa Wolf's later
theoretical writings. in which she states that one of her impulses for

writing is to investigate the process of remembering.

157

3. The Work itself
a. Characterization and Plot
Since the narrator is attempting to gain an understanding of the child
that she once was. the depiction of her childhood constitutes a large part
of the novel. Nelly Jordan. the child. born in 1929. is shown growing up
in a middle-class family. Her development is traced through various
experiences. and she is shown absorbing the views of her family and
learning not to question things that were happening in the society around
her. As Kane points out. the narrators relentless probing into her own
childhood reveals the unpleasant attributes that she acquired from her
family and society. attributes such as bigotry and the belief that ignorance
is better than knowing the unpleasant truth: ‘Was ich nicht weiB. macht
mich nicht heiB.‘ (KM/141) As a child. she considers herself and her
family lucky because they are free of any suspect elements and they are
good at ignoring or forgetting anything unpleasant:
Obrigens hatten sle Glfick. Kelne jfidische oder kommunistlsche
Verwandt- und Freundschaft. keine Erb- und Geisteskranken in
der Famllle.... keine Auslandsbezlehungen. keine nennenswerten
Kenntnisse in irgendeiner Fremdsprache. fiberhaupt keinen
Hang zu zersetzenden Gedanken oder gar zu entarteter und
anderer Kunst. Festgelegt durch das. was sle nicht waren.
wurde ihnen nur abveriangt. nichts zu bleiben. Und das
schelnt uns leichtzufailen. Uberhdren. iibersehen.
vernachlasslgen. verieugnen. verlernen. verschwitzen. vergessen.
(KM/141)
Kane refers to a particular scene from the narrator’s childhood which he
describes as being "a gaunt and hideous memory not because she had
not dared to offer these wretched women some of her own food. but

because the Nazi designation of them as Untermenschen had become such

a part of her own thinking that it never even remotely occurred to her to

do so“:

25

158

im Herbst 1943 hockte Nelly in einer Reihe mlt Ukrainerinnen
beim Kartoffellesen auf den Feidern der Domane....Hat sle sich
Gedanken gemacht fiber die Suppe. die aus einem besonderen
Kfibei fiir die ukrainischen Madchen geschdpft wurde? ware ihr
die ldee gekommen. aufzustehen. fiber den Abgrund von
dreiBig Schritten zu den Ostarbeiterinnen zu gehen. die am
gleichen Feldrand saBen. und einer von ihnen den elgenen
Essennapf zu geben. in dem Fleisch schwamm?

Das schaueriiche Gehelmnls: Nicht. daB es nicht gewagt.
sondern daB es gar nicht gedacht wurde. (KM/232)

The characterization of Nelly. if taken out of the context of the work. could

be described as being complete-—the reader is given a clear picture of

the child and its development within the society at that time:

Howeve

f’,

Von dem Kinde Nelly wird in plastischen Farben erzahit: eln
Madchen in der Fiilie des Daselns entsteht vor den Augen
des Lesers: er erfahrt von Kinderspielen und Schwierlgkelten
mlt dem jfingeren Bruder. von Marchen. Schuleriebnissen.
Angsten und Freuden: vom Mitmachen in der faschlstlschen
Jugendorganlsatlon. den Tatigkeiten wahrend des Krieges. dem
Verlassen der Heimat und dem Leben in einem kieinen
meckienburgischen Dorf.26

within the context of the entire novel. her characterization is

problematical because the narrator continually points out that she cannot

be sure that she is depicting her earlier experiences accurately because

they are being viewed from her present standpoint:

[Das Kind] bewegt sich. geht. liegt. sitzt. iBt. schlaft. trinkt.
Es kann lachen und weinen. Sandkuten bauen. Marchen
anhbren. mlt Puppen spielen. sich flirchten. gifickllch sein.
Mama und Papa sagen. iieben und hassen und zum ileben
Gott beten. Und das alles tauschend echt. Bis ihm eln
falscher Zungenschlag unterliefe. elne aitkluge Bemerkung.
weniger noch: eln Gedanke. elne Geste. und die Nachahmung
entlarvt ware. auf die du dich beinahe eingeiassen hattest.
Well es schwerfaiit zuzugeben. das jenes Kind da...dir
unerreichbar ist. Nicht nur trennen dich von ihm die vlerzig
Jahre: nicht nur vehlndert dich die Unzuverlassigkeit deines
Gedachtnlsses. das nach dem lnselprinzip arbeitet und dessen
Auftrag lautet: Vergessenl Verfalscheni Das Kind ist ja auch
von dir verlassen worden. (KM/12)

At the end of the work she wonders if she has succeeded in approaching

159
an understanding of the child that she once was. So. although Nelly may
appear to be depicted accurately. appearing as a fully-developed character.
the reader cannot be confident of his perception of her. since he is
constantly warned by the narrator that the portrayal of Nelly may be
inaccurate.

The plot of Klndheitsmuster reminds one of Christa Wolf's statement

 

about the work of the Soviet writer Vera lnber: 'ich iiebe Blicher. deren
inhalt man nicht erzahien kann. die sich nicht auf die simple Mitteilung
von Vorgangen und Ereignissen reduzieren iassen. die sich fiberhaupt auf

nichts reduzieren lassen als auf sich selbst.'27

Although one could retell
News story by describing her experiences as revealed in the novel. it is
difficult to reduce the essence of the work to a simple retelling of events

because the interaction of the narrator with her memories and with the act

of writing about them form an integral part of the work.

b. Structure and Narrative Perspective

The overall structure of Klndheitsmuster is integrally related to the

 

various levels of narration in the work. Bock devotes most of her article

on Klndheitsmuster to a discussion of the three narrative levels in the

 

work. She points out that although Christa Wolfs earlier works of fiction
employ the flashback technique to connect past and present time. the

structure of Klndheitsmuster is more complicated than any of her earlier

 

works. Bock relates the various structural/time levels in the work to
different types of narration.28 The first level of narration. the description
of the child Nelly. is carried out in the third person. The use of the

third person to describe the child is necessary because the narrator is

160

confronting the child that she used to be: she is no longer the same
person as that child:

Allmahilch. fiber Monate hin. steilte sich das Dilemma heraus:

sprachios bleiben oder in der dritten Person leben. das

schelnt zur Wahi zu stehen. (KM/9)
She wants to understand the child but realizes that she can approach the
past only from her present perspective and thus employs the third person
to gain the necessary distance from her subject)?9 Bock describes the
second level of narration. the trip that the narrator. her husband. and her
teenage daughter take to her birthplace. as functioning to contrast and
compare societal problems of the past and the present. The third level of
narration. in which the narrator addresses herself as "du.“ is the level of
self—reflecrlon by the narrator:

Die dritte Textebene wird von der Seibstrefiexlon. dem Monolog
der Erzahierflgur beherrscht. Alles Vorgeffihrte und
Besprochene. die Ereignisse der Klndheitsgeschichte. die
Vorfalle der Reise und die Melnungen der Reisepartner.
werden noch elnmal der gedanklichen Oberprlifung ausgesetzt.
kommentlert. erganzt und kritisiert. vor allem aber befragt
nach den Mbglichkeiten einer Umwandlung des
Eriebnismaterials in Gestaltungsmateriais.3

The self-reflection of the narrator relates to Christa Wolf’s idea of subjective
authenticity. in which the author has the opportunity to be a part of the
work he creates. Moreover. the inclusion of the author in the work can
actually be thematic. in her conversation with Hans Kaufmann. Christa

Wolf defines subjective authenticity as the author’s search for a method of
approaching reality in a literary work. She further states that subjective
authenticity not only argues against the existence of an objective reality in

literature. but offers a way for the author to productively confront reality.31

This definition is directly applicable to Klndheitsmuster. where the narrator

 

disputes the possibility of objectively presenting a picture of her childhood.

161
but writes about her past in order to confront it. From this confrontation.
which forms the basis of the creative process. stems the third reality
Christa Wolf speaks about. the reality of the work itself.

There is a fourth level of narration not mentioned by Bock. the use
of 'ich' which is found at the end of the work. The possibility that the
first person might be formed through a synthesis of the second and third
person is mentioned earlier in the work: 'SchlleBlich kann man eln Spiel
mlt sich um sich beginnen. Eln Spiel in und mit der zweiten und dritten
Person. zum Zwecke lhrer Vereinigung.‘ (KM/149) Bilke discusses this
fourth level of narration as a reflection of the narrator’s belief that
present-day events have the possibility of being as devastating as those of
the past

Ffir die aktuelle Situation am wichtigsten...ist das 17. Kapitel.
als “Eln Kapitel Angst“ fiberschrieben, well hier die vierte.
bisher ausgesparte Erzahiebene. die der nachtlichen
Angsttraiime und unbewaltigten Erlebnisse. dem Leser am
eindringlichsten nahegebracht wird. Dieses Angste sind noch

immer gegenwartig. well die Vorfalle. auf die sle bezogen
sind. bis heute nicht ausdiskutiert sind.32

c. The interrelatedness of Features in Klndheitsmuster

 

in the same way that the separate features of literary works as
discussed in Christa Woifs early theoretical writings merge in her later
theoretical writings into a cohesive theory of literature which she calls

subjective authenticity. Klndheitsmuster exhibits an interconnectedness of

 

various features. The description of past and present time. the structure.
the narrative levels. the confrontation of the narrator with the material. and
the process of remembering are all integrally connected. The description

of several different time levels influences the structure of the work and is

162

thematic: ‘Die verschiedene Zeitebenen. lm 'Kindheitsmuster’...zur literarischen
Struktur verdlchtet. sind immer gegenwéirtig."33 The various time levels
correspond to the narrative levels. which in turn represent various modes
of the narrator’s interaction with her material. in the first level of
narration labelled by Bock. the narrator describes her childhood in a
seemingly objective manner. The second level of narration. the trip to her
birthplace. provides a means of relating problems of the past and the
present. thereby showing that although society may think that it has
overcome the past. the process of dealing with the past will never end.
The third level of narration. in which the narrator reflects upon the first
two levels. offers her the opportunity to discuss the problems and
possibilities of transforming experiences into a literary work. as well as to
investigate the process of remembering. The depiction of the process of
remembering relates in turn to the presentation of various time levels and
the desire of the narrator to confront her past. The interrelationship of all
of these aspects of the work represent in fictional form the theory of
subjective authenticity which Christa Wolf proposes:

Die Entwicklung des Erzahiers und die Perspektive der

subjektiven Authentizltat haben dann vor allem die Aufgabe. die

positivistische Trennung von Autor und Stoff. von BewuBtsein

und Wirklichkeit. von Schreiben und Leben aufzuheben und

den Denk- und LebensprozeB im ArbeitsprozeB mlt zur

Sprache zu bringen.
Conclusion

Within the category of the author. the reader. and society. both

Moskauer Novelie and Klndheitsmuster correspond to the ideas presented in

Christa Woifs theoretical writings. Her early writings advocate the

representation of reality for the purpose of helping the reader adjust to his

163

developing socialist society. and in Moskauer Novelie she has presented

 

her topic in such a way that the reader can identify with the material and
learn from it how to adapt to his society. A specific view Of reality. an

Optimistic perspective toward the future of the GDR society. is presented in
the work. which corresponds to what she advocates in her early theoretical

writings. Both works. Klndheitsmuster and Moskauer Novelie. present the

 

 

topic of present-day society. and the reader can apply what he learns
from the work to his own life. The difference between both her early and
later theoretical writings and her early and late pieces Of fiction lies in
the orientation of the author’s responsibliity--in her early works. the author
is admonished to be Oriented primarily toward helping the society by
helping the reader adapt to society. in her later works. however. she is
concerned with the author’s responsibility tO his material and to himself.
and with the use of the act of writing tO gain an understanding of his
own feelings and thoughts.

Both works present a view of the interrelationship of past and

present. with Moskauer Novelie depicting an optimistic view Of the future.

 

Appropriate to the time in which it was written. it encouraged people tO
look to the future of their society and encourage them to work towards

that future. in Moskauer Novelie the depiction of past and present is

 

fairly simplistic. with the changes between times very obvious. whereas in

Klndheitsmuster the interconnection of past and present is more complex.

 

Within the realm of the author and the work. both fictional pieces

reflect the author’s concern With the topic 01 experience. Moskauer NOVGHG

 

reflecting her belief that a work could depict experiences. and

Klndheitsmuster thematlzlng the authors perception Of experiences. Again.

 

 

164
in this area. there is a Change from an orientation towards society in the
earlier work to a concern in the later work with the author’s confrontation
with herself and the material. The interrelationship of author and work
culminates in the development of her theory Of subjective authenticity.

which can be applied to Klndheitsmuster.

 

Specific attributes of the work itself. including plot. structure.
characterization. and narrative perspective. develop from the relatively
simplistic plot and structure and non—fully developed characters of

Moskauer Novelie 10 the fully-developed characterization and complex

 

interaction of plot. structure and narrative levels in Klndheitsmuster.

 

The basic transition in her theoretical writings from the early view
that the author present a societally-Orlented work to the later concern with
the author’s interrelationship with the work for his personal development

and growth is thus reflected in the two fictional works examined.

Notes--Chapter Five

1"Hans Kaufmann. Gesprach mlt Christa Wolf.' Welmarer Beitrage 6
(1974): 91.

 

2Helnrich Mohr. 'Produktive Sehnsucht: Struktur. Thematlk und
politische Relevanz von Christa Wolfs Nachdenken fiber Christa T.." Basis 2
(1971): 230: Jiirgen Nieraad. 'Subjektivitat als Thema und Methode
realistischer Schreibweise.’ Literaturwissenschaftllches Jahrbuch 19 (1978):
292.

 

 

3Hermann Kahler. 'Christa Wolf erzéhit.‘ in Weggenossen. Ffinfzehn
Erzahier der DDR. ed. lnstitut ffir Gesellschaftsroman beim Zentralkommittee
der SED. ist ed. (Leipzig: Veriag Philipp Reclam. 1975). p. 218.

 

 

4Christa Wolf. “Moskauer Novelle.' in An den Tag_gebracht: Prosa
ginger Menschen (Halie/Saaie: Mitteldeutscher Verlag. 1961). p. 207. Further
citations from this work will be indicated directly in the text using the
abbreviation MN followed by the page number.

 

 

 

5Peter Guglsch. “Christa Wolf.' in Literatur der DDR in
Einzeldarsteilungen. ed. Hans inrgen Geerdts (Stuttgart: Krdner Verlag.
1972). p. 401.

 

 

6Hans--inrgen Greif. Christa Wolf: 'Wie sind wir so geworden wie wir
heute sind?“ (No. 1: Europalsche Hochschulschriften). vol 237: Deutsche
Literatur und Germanistik (Bern: Peter Lang. 1978). p. 36.

 

 

 

7ibid.. p. 34.
8|bld.. p. 37.

91bid. p. 33. His statements in regard to the similarities between Vera
and Christa Wolf are on pp. 32-33.

lolbld” p. 37. He is quoting from p. 98 of Christa Wolfs conversation
with Hans Kaufmann.

nitathler. p. 220.
12Guglsch. p. 401.
13Kahler. p. 221.

14ktthier. p. 219. The excerpt he quotes is found on p. 159 of the
1961 edition referenced above.

15 Christa Wolf admits that she did not know much about Moscow at
the time that she wrote Moskauer Novelie. Christa Wolf. “fiber Sinn und
Unsinn von Naivitéit.‘ in Erdffungen. Schriftstelier fiber ihr Erstlingswerk. ed.

 

 

165

166
Gerhard Schneider (Berlin: Aufbau Verlag. 1974): 167.
16itahier. p. 219.

17Ursula Hille. Review of Klndheitsmuster. Arbeiten zur deutschen
Philologie 12 (1978): 147.

 

18Christa Wolf. Klndheitsmuster (Darmstadt: Hermann Luchterhand
Verlag. 1979). p. 13. Further citations from this work will be indicated
directly in the text using the abbreviation KM followed by the page number.

 

19Hille. 147.

2‘OSigrld Bock. “Christa Wolf: Klndheitsmuster.“ Welmarer Beltrage 23
(1977): 128.

 

 

21'Diskussion mit Christa Wolf.' Sinn und Form 28 (July/August 1976):

 

868:69.

”Book. 108. She is quoting from Christa Wolfs conversation with
Hans Kaufmann. p. 98.

23Bock. 108. She is again quoting from Christa Wolf’s conversation
with Hans Kaufmann. p. 103.

24Hans Ester. Review of Klndheitsmuster. Deutsche Biicher 7 (1977):

 

201.

258M. Kane. “in Search or the Past: Christa Wolfs Klndheitsmuster.‘
Modern Languages 59 (March 1978): 21-22.

 

 

2680Ck. 104.

”Christa Wolf. “Der Sinn einer neuen Sache.‘ in Lesen und
Schreiben. Aufsatze und Prosastficke. 3rd. ed. (Darmstadt: Hermann
Luchterhand Verlag. 1978). p. 58.

”Book. 104-105.

29Jbrg Bernhard Bilke. Review of Klndheitsmuster. Neue deutsche
Hefte 24 (1977): 375.

 

3°Bock. 105.
31-Hans Kaufmann. Gesprach mlt Christa Wolf.‘ 95.

328iike. Review Of Klndheitsmuster. 376.

 

33Werner Krogmann. ‘Moralischer Reallsmus - Eln Versuch fiber
Christa Wolf.' Amsterdamer Beltrage zur neueren Germanistik 7 (1978): 244.

Conclusion

The examination of Christa Wolfs theoretical writings has revealed that
in each of the four main topics discussed there is a change in her views
of literature from her early to her late writings. in Chapter One it was
revealed that her views on the development of GDR literature change in
tone. becoming more personal. as Christa Wolf progressed from a young
literary critic to a more mature critic as well as a writer of fiction. The
various topics pertaining to the development of GDR literature. such as a
concern with naturalism. also change through time because her society.
and its literature. change. the society becoming more stable and thus
more capable of accepting criticism.

Her views on the interaction of author. reader. and society. the topic
of Chapter Two. were also shown to exhibit a change in orientation. Her
view shifts from her early belief that the author’s primary responsibility is
to the society to a later belief that the author is responsible to his inner
self. from which he should draw the material for his writing. This shift is
evinced in the sub-topics within the general category of the author’s
responsibility. such as the representation of reality. the difficulty of the
author’s task. and the humanization of man. Her views on the reader
change from her early idea that literature should help the reader adapt tO
his society to her later idea that the writer need not write with the reader
in mind. but rather concentrate on his own self-development. if the
reader happens to benefit from the work he will not necessarily learn how
to adjust to the society. but he might learn how to come to terms with

his Own past.

167

168

Chapter Three revealed her views on the relationship between the
author and the work. The topics which appear in both her early and late
writings exhibit a change in viewpoint. For example. she believes in her
early writings that the author can directly reflect his Own realm of
experience in his work. whereas in her later writings she discusses the
effect that both a lapse of time and the act Of writing have on the
perception and depiction of experiences. There are three topics within her
discussion of the author—work relationship which appear only in her later
theoretical writings: the author’s personal motivation for writing. the process
of remembering. and subjective authenticity. They reflect her increasing
concern with the author’s subjective involvement with the act Of writing.

Chapter Four discussed the comments that Christa Wolf makes about
the literary work itself. Plot. structure. and characterization are viewed as
specific elements of works in her early writings and are judged by their
effectiveness in promoting the goals of socialism. in her later works she
views these three elements in terms of the author’s interaction with the
work as a whole. Her view on the inclusion Of personal elements in a
literary work changes from the early belief that such elements should be
kept to a minimum so as not to detract from the overall goal of the work
to the belief that the examination of the inner workings Of the mind is one
of the most important themes Of literature. in early writings she is
concerned with narrative perspective only in terms Of the amount Of
objectivity allowed by the use of first or third person narration. in later
writings the authors direct interaction with the work. and the depiction of

that interaction thematically. is of primary concern.

Chapter Five examined her earliest fictional work. Moskauer Novelie.

 

 

169

and a recent novel. Klndheitsmuster. in light of the topics discussed in

 

Chapters One through Four. it was discovered that Moskauer Novelie

 

correlates with the views expressed in her early theoretical writings. i.e..
that literature should represent reality in such a way that the reader can
learn from the work how to adapt to his socialist society. The
interrelationship Of past and present were depicted within the simple

structure of the work. Klndheitsmuster was shown to correspond to the

 

theory of prose expressed in her later theoretical writings. The complex
structure of the work. incorporating four levels of narration. indicates that
the work was not aimed at the general reader and Christa Wolf admits
that she wrote mainly with her own interaction with the material in mind.
Both the narrators attempt to come to terms with her past and the
interaction of the author with the act of writing are thematic in the work.

Thus. the Overall progression from Christa Wolf's early to later writings
is from a view of literature which emphasizes the objective responsibility of
the author to promote society/s goals to a view Of literature as reflecting
the author’s subjective interaction with the act Of writing. This interaction.
which can be thematic in the literary works. leads to the author’s
increased self-awareness.

This examination of the chronological development Of the ideas in
Christa Wolfs theoretical writings provides the foundation for further work
on Christa Wolfs writing. as well as on GDR literature in general. For
example. the extent to which the works of other GDR authors reflect
Christa Wolfs idea of subjective authenticity could be examined. An

investigation could be made into the official response to Christa Wolf's

170
interest in the subjective aspects of writing. Her 1980 novel. Kein Ort.
Nirgends. could be examined in an attempt tO discover whether it
correponds to the idea of epic prose that Christa Wolf proposes in 'Lesen
und Schreiben.“ Studies of her most recent theoretical writings could be
made in Order to discover whether they augment her ideas on the

subjectivity of the creative process.

APPENDICES

APPENDIX A--SOCia|lst Realism

At the Second Party Congress in 1952. socialist realism was
introduced as the favored literary theory in the GDR. The congress
established as the basic responsibility of literature the presentation of
reality in such a way that it would reflect the development of a socialist
consciousness. Depending on the source consulted. the specific elements
of socialist realism vary. The following is a compilation Of the different
aspects of socialist realism listed in several sources.1

Socialist realism should depict present-day reality. but a reality viewed
from a socialist perspective rather than an objective perspective. This
implies the presentation of the social class struggle in its historical
perspective. The work world. not the private sphere. should be its
concern: this prevents the inclusion of psychological and erotic elements
which might detract from the desired view of reality.2 A positive hero
should be presented not as an actual. every—day person. but as a
respresentative of the ideal socialist. The author. through this hero.
should take an obvious stand on the desirability of socialism. The basic
view of life presented should be optimistic and future-oriented. The author
should not present his material in such a way that he alone can
understand it: rather the work should be understandable by the every-day
reader. in order to reach the greatest number of readers and to enable
those readers to emotionally identify with the material presented. a socialist
realist work should employ clear and simple language. and the form should
also be simple and non—experimental. Socialist realism should separate

socialist literature from bourgeois-decadent literature. Only those works

171

172
considered progressive by the party are allowed to be included as part of
the literary heritage of socialist realism. A socialist realist work should
agree with the principles of the party ideology. and the author should

accept the party/s role in establishing acceptable literary practice.

Notes--Appendix A

1a) Bathrick. 'GeschichtsbewuBtsein als SeibstbewuBtsein. Die Literatur der
DDR.‘ in Literatur nach 1945. l. Politische und regionaie Aspekte. by Jost
Hermand. Vol. 21 of Neues Handbuch der Literaturwissenschaft. ed. Klaus
von See (Wiesbaden: Akademlsche Veriagsgeseilschaft Athenaion. 1979). p.
274:

b) Christine Cosentino. 'Elne Untersuchung des sozialistischen Reallsmus lm
Werke Christa Wolfs.‘ German Quarterly 2 (1974): 246—247. Cosentino
discusses the relationship of socialist realism to Christa Wolfs Der geteilte
Himmel and Nachdenken fiber Christa T..

c) DDR Handbuch. ed. Bundesmlnisterium ffir innerdeutsche Beziehungen
(Cologne: Veriag Wissenschaft und Poiitik. 1975). p. 526:

d) Witold F. Tulasiewicz. “Socialist Realism in the German Democratic
Republic.‘ in Oakland Symposium on Socialist Realism in Literature. ed.
Renate Geruiaitis (Rochester. Michigan: Oakland University. 1975). pp. 30-
31. Tulasiewicz discusses the implications of socialist realism for GDR
literature in general.

6) Gem von Wilpert. Sachwdrterbuch der Literatur. 4th. ed. (Stuttgart: Alfred
Krdner Verlag. 1964). pp. 657-58.

 

 

 

 

2This contrasts with the perception of socialist realism expressed at
the Second Bitterfeld Conference where it was stated that literature should
also recognize 'die Entwicklung der Vielfalt des ganzen Schaffens. Denkens
und Ffihlens der Menschen.” (Protokoli der von der ldeologlschen
Kommission beim Politbfiro des ZK der SED und dem Ministerium ffir Kultur
am 24. und 25. April im Kulturpalast des Elektrochemischen Komblnats
Bitterfeld abgehaitenen Konferenz (Berlin: Dietz Verlag. 1964). p. 125.

 

173

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SELECTED BIBLIOGRAPHY

ii

SELECTED BIBLIOGRAPHY

I. Primary Works by Christa Woif
A. Theoretical Writings (Essays. Reviews. interviews)

'Abgebrochene Romane.‘ In Situation 66 - 20 Jahre Mitteldeutscher Veriag.
Halle: Mitteldeutscher Verlag. 1966. pp. 156—59.

 

'Achtung. Flauschgiithandel.‘ Neue deutsche Literatur 3 (February 1955):
136-40.

 

 

Aiterword to Erzahlungen. by Anna Seghers. Berlin: Luchterhand, 1970.

Atterword to Das siebte Kreuz. by Anna Seghers. Leipzig: Reciam Veriag.
1971. pp. 411-22.

 

'Anmerkungen zu Geschichten.‘ In Autstelien eines Maschinengewehrs im
Wohnzimmer der Frau Kamptschik. by Anna Seghers.
Neuwied: Luchterhand. 1970. pp. 157-64.

 

 

'Anna Seghers Uber lhre Schaffensmethode. Eln Gespriaich.‘ in Ober
Kunstwerk und Wirklichkeit. by Anna Seghers. Vol. II: Erlebnis
und Gestaltung. ed. Sigrid Bock. Berlin: Akademie Verlag.
1971. pp. 24—29.

 

 

"Aui den Grund der Erfahrungen kommen. Eduard Zak sprach mit Christa
Wolf.' Sonntag 7 (1968): pp. 6-7.

”Auf den Spuren der Zeit.“ Neue deutsche Literatur 7 (June 1960): 126-9.

 

'Autobiographie und Roman.“ Neue deutsche Literatur 5 (October 1957):
142—3.

 

"Autoren-Werkstatt: Christa Wolf. Gesprach mit Joachim Walther." Qi_e
Weitbijhne (9 January 1973): pp. 51-55.

'Bei Anna Seghers.” In Lesen und Schreiben. Autsatze und Prosastficke.
by Christa Wolf. 3rd ed. Darmstadt: Hermann Luchterhand
Veriag. 1978. pp. 112-18.

'Beispiele ohne Nutzanwendung.‘ Moderna Sprak No. 72 (1978): 265-69.

 

'Besiegte Schatten?“ Neue deutsche Literatur 3 (September 1955): 137—41.

 

”Eln Besuch.‘ in Lesen und Schreiben. Aufsatze und Prosastficke. by

 

181

182

Christa Wolf. 3rd ed. Darmstadt: Hermann Luchterhand
Verlag. 1978. pp. 149-180.

‘Bibliotheca Unlversalis.‘ In Das Beclam Buch. Mitteilungen des Veriages
Philipp Reclam jun.. Sonderheft Nr. 52. Leipzig: Veriag Philipp
Reclam jun. 1978.

 

'Botschaft wider die Passivitét.‘ Neue deutsche Literatur 6 (February 1958):
144-45.

'Brecht und andere.“ ln Lesen und Schreiben. Autsatze und Prosastficke.
by Christa Wolf. 3rd ed. Darmstadt: Hermann Luchterhand
Verlag. 1978. pp. 54—56.

'Briefwechsel Gertl Tetzner - Christa Wolf.' In "Was zahlt. ist die Wahrheit.
Briefe von Schriftsteliern der DDR.“ Neue deutsche Literatur
22 (August 1975): 121-28.

 

“Christa Wolf spricht mit Anna Seghers." Neue deutsche Literatur 12 (June
1965): 7-18.

 

Contribution to “Thomas Mann - Wirkung und Gegenwart.‘ In AnIaB des
hundertsten Geburtstages. Frankfurt: S. Fischer Verlag. 1975.
pp. 63-64.

 

'Dankrede nach der Verieihung des Bremer Literaturprelses am Donnerstag
[26.1.1978]. 12 Uhr. im Bremer Bathaus.’ ln Mitteilungen der
Pressestelie des Senats der Freien Hansestadt Bremen.
Bremen. 1978. pp. 1-6.

 

 

'Das wird man bel uns anders verstehen. UZ-Gesprach mit der bekannten
DDR—Autorln Christa Wolf.' Unsere Zeit (2 November 1974).

 

'Deutschland unserer Tage.‘ Neues Deutschland No. 77 (18 March 1961).

 

“Deutsch sprechen.‘ In Lesen und Schreiben. Aufsatze und Prosastficke. by
Christa Wolf. 3rd ed. Darmstadt: Hermann Luchterhand
Verlag. 1978. pp. 9-18.

“Diese Lektion wollen wir griindlich Iernen.‘ In 'Chile - Gesang und
Bericht. Beltrage von Alejo Carpentier. Julio Cortazar. Christa
Wolf, Stephan Hermlln. Inge und Eduard Klein.‘ Neue
deutsche Literatur 22 (February 1975): 53.

 

Discussion at the “Konferenz junger Schriftstelier In Halle. Neue deutsche
Literatur 9 (August 1962): 132-35.

'Diskussion mit Christa Wolf.' Sinn und Form 28 (1976): 861-88.

 

'Einiges Liber meine Arbeit als Schriftstelier.‘ In Junge Schriftstelier der
Deutschen Demokratlschen Republik in Seibstdarsteliungen. ed.
Wolfgang Paulick. Leipzig: Bibliographisches Institut. 1965). pp.

 

183
11-16.

'Ein Erzahler gehbrt dazu.‘ Neue deutsche Literatur 8 (October 1961): 129-
33.

 

'Erziehung der Geffihle?” Neue deutsche Literatur 6 (November 1958): 129-
35.

Foreword to In diesen Jahren: deutsche Erzahler der Gegenwart. ed.
Christa Wolf. Leipzig: Veriag Philipp Reclam jun.. 1956. pp.
3-4.

 

Foreword to Guten Morgen. du Schdne. Frauen in der DDR. by Maxie
Wander. Darmstadt: Hermann Luchterhand Verlag. 1978.

 

Foreword to Larifarl und andere Erzahiungen. by Juri Kasakow. Berlin:
Kultur und Fortschritt. 1966. pp. 5-11.

 

Foreword to Proben junger Erzahler. ed. Christa Wolt. Leipzig: Reclam
Veriag. 1959. pp. 3-4.

 

Foreword to Wir. unsere Zeit. Gedichte aus zehn Jahren, ed. Christa and
Gerhard Wolf. Berlin: Aufbau Veriag. 1959. pp. 9-12.

 

Foreword to Wir. unsere Zeit. Prosa aus zehn Jahren. ed. Christa and
Gerhard Wolf. Berlin: Aufbau Verlag. 1959. pp. 11-13.

 

'Fortgesetzter Versuch.‘ In Ober Anna Seghers. Ein Almanach zum 75.
Geburtstag. ed. Kurt Blatt. Berlin: Aufbau. 1975, pp. 19-25.

 

“Fragen an Konstantin Simonow.‘ Neue deutsche Literatur 20 (December
1973): 5-20.

 

’Freiheit’ oder Aufidsung der Persdnlichkeit?‘ Neue deutsche Literatur 5
(April 1957): 135-42.

 

'Fiiniundzwanzlg Jahre.” ln Lesen und Schreiben. Aufsatze und
Prosastficke. by Christa Wolf. 3rd ed. Darmstadt: Hermann
Luchterhand Verlag. 1978. pp. 23-25.

 

 

"Gedachtnis und Gedanken - Fred Wander.“ In Lesen und Schreiben.
Autsatze und Prosastficke. by Christa Woli. 3rd ed.
Darmstadt: Hermann Luchterhand Verlag. 1978. pp. 135-146.

 

 

"Gegenwart und Zukunft.“ In 'Schrlftsteller Uber Erfahrungen. Plane und
Probleme: Gegenwart und Zukunft.“ Neue deutsche Literatur
18 (January 1971): 68-70.

'Glauben an IrdIsches.' in Lesen und Schreiben. Aufsatze und
Prosastficke. by Christa Wolf. 3rd ed. Darmstadt: Hermann
Luchterhand Veriag. 1978. pp. 83—111.

 

 

 

184

'Gute Bacher - und was weiter?‘ Neues Deutschland (December 19. 1965).

 

“Hans Kaufmann. Gesprach mit Christa Wolf.' Welmarer Beitrage 6 (1974):
90-112.

'K sovetskomu citateljuf ln Raskolotoe nebo. Moscow: Xudoiestvennaja
literatura. 1964.

 

'Kann man eigentiich iiber alles schreiben?” Neue deutsche Literatur 6
(June 1958): 3-16.

”Komplikationen. aber keine Konflikte.‘ Neue deutsche Literatur 2 (June
1954): 140-45.

 

'Krista WoI‘t beseduet so studentami.‘ International’naja literature 9 (1964):
pp. 280-81.

“Land. in dem wir leben. Die deutsche Frage in dem Roman 'Dle
Entscheidung’ von Anna Seghers.’ Neue deutsche Literatur 8
(May 1961): 49-65.

'Eine Lektion Uber Wahrheit und Objektivitét.’ Neue deutsche Literatur 6
(July 1958): 120-23.

 

 

'Die Literatur der neuen Etappe. Gedanken zum III. Sowjetlshen
SchriftstelierkongreB.’ Neues Deutschland. No. 167 (20 June
1959).

“Literatur und Zeitgenossenschaft.” Neue deutsche Literatur 7 (March 1959):
7-11.

 

'Literaturkritik ohne Netz.“ Neues Deutschland (4 April 1964).

 

"Die Literaturtheorie findet zur literarischen Praxis.“ Neue deutsche Literatur
3 (November 1955): 159-60.

 

“Max Frisch. beim wiederlesen oder: Vom Schreiben In Ich-Form.‘ Text und
Kritik 47/48 (1975): 7-12.

“Menschen und Werk.‘ Neue deutsche Literatur 3 (September 1955): 143-49.

 

'Menschiiche Konflikte ln unserer Zeit.” Neue deutsche Literatur 3 (July
1955): 139-44.

 

”Notwendiges Streitgesprach.‘ Bemerkungen zu einem internationaien
Kolloquium.‘ Neue deutsche Literatur 12 (March 1965): 97-
104.

 

"Nun iai Das nachste Leben geht aber heute an.“ Sinn und Form 32
(1980): 392-418.

‘Nur die Lbsung: Soziallsmus.‘ Neues Deutschland (4 September 1968).

185

'Poéemu ja pléu.“ international’naja Iiteratura No. 2 (1964): 232—33.

 

‘Popuiarltat oder Volksflimlichkeit?‘ Neue deutsche Literatur 4 (January
1956): 115-24.

”Probe Vietnam.‘ In Lesen und Schreiben. Aufsatze und Prosastficke. by
Christa Wolf. 3rd ed. Darmstadt: Hermann Luchterhand
Verlag. 1978. pp. 26-28.

'Probleme des zeitgendssischen Gesellschaftsromans. Bemerkungen zu dem
Roman ‘Im Morgennebei’ von Ehm Welk.‘ Neue deutsche
Literatur 2 (January 1954): 142—50.

'Der Realitaten Kraft zerbricht des Klischees. Schriftstelierln Christa Wolf
iiber die Lesungen von DDR-Autoren In West-Berlin.“ Neue
Zeit (22 August 1964).

'Eine Rede.‘ In Lesen und Schreiben. Aufsatze und Prosastficke. by
Christa Wolf. 3rd ed. Darmstadt: Hermann Luchterhand
Verlag. 1978. pp. 19—22.

Review of Dieter NoII’s "Die Abenteuer des Werner Holt.‘ Sonntag No. 46
(1960).

'Schicksal einer deutschen Kriegsgeneration.‘ Sonntag No. 50 (1962).

"Die schwarzweiBrote Flagge." Neue deutsche Literatur 3 (March 1955):
148-52.

 

'Selbstinterview.‘ In Lesen und Schreiben. Aufsatze und Prosastficke. by
Christa Wolf. 3rd ed. Darmstadt: Hermann Luchterhand
Verlag. 1978. pp. 76—80.

“Der Sinn einer neuen Sacha - Vera inber.“ In Lesen und Schreiben.
Aufsatze und Prosastficke. by Christa Wolf. 3rd ed.
Darmstadt: Hermann Luchterhand Verlag. 1978. pp. 57-60.

'Sozlalistische Literatur der Gegenwart.“ Neue deutsche Literatur 7 (May
1959): 3-7.

Speech at the Second Bitterfeld Conference. Protokoli der von der
ldeologlschen Kommission beim Politbfiro des ZK der SED und
dem Ministerium fiir Kultur am 24. und 25. April Im
Kulturpalast des Elektrochemischen Komblnats Bitterfeld
abgehaitenen Konferenz. Berlin: Dietz Verlag. 1964. pp. 224-
34.

 

Speech at the Seventh Authors’ Congress. VII. SchriftstelierkongreB der
Deutschen Demokratischen Republik. Protokoli (Arbeltsgruppen).
ed. Schriftstelierverband der Deutschen Demokratischen
Republik. Berlin: Aufbau-Veriag. 1973. pp. 147-52.

186

”Suche nach dem Menschen. Christa Wolf iiber lhren neuen Roman Im
Gesprach mit Heinz Ludwig Arnold.“ Vorwarts (3 February
1977).

'Tagebuch - Arbeitsmittel und Gedéchtnis.‘ In Lesen und Schreiben.
Aufsatze und Prosastficke. by Christa Wolf. 3rd ed.
Darmstadt: Hermann Luchterhand Verlag. 1978. pp. 61-75.

 

 

‘Ober Sinn und Unsinn von Naivitét.‘ In Erbffnungen. Schriftstelier Uber Ihr
Erstlingswerk. ed. Gerhard Schneider. Berlin: Aufbau-Verlag.
1974. pp. 167-74.

 

 

'Um den neuen Unterhaitungsroman.‘ Neues Deutschland No. 169 (20 July
1952): 6.

 

'Unsere Melnung.“ Neue deutsche Literatur 6 (January 1958): 4-6.

 

'Vom erfiiliten Leben.‘ Neue deutsche Literatur 7 (February 1959): 140-42.

 

'Vom Standpunkt des Schriftsteliers und von der Form der Kunst.” Neue
deutsche Literatur 5 (December 1957): 119-24.

 

'Warum singt der Vogei nicht? Fortsetzung einer bffentlichen Diskussion In
der ’Schwarzen Pumpe’ Uber Gegenwartsllteratur.’ Neues
Deutschland No. 270 (14 November 1957).

 

'...wenn man sle durch Arbeit mehrt.‘ Berliner Zeitung No. 95 (1961).

 

"Zu einem Datum.‘ In Lesen und Schreiben. Aufsatze und Prosastficke. by
Christa Wolf. 3rd ed. Darmstadt: Hermann Luchterhand
Verlag. 1978. pp. 181-220.

 

“Die zumutbare Wahrheit - Ingeborg Bachmann.’ In Lesen und Schreiben.
Aufsatze und Prosastficke. by Christa Wolf. 3rd ed.
Darmstadt: Hermann Luchterhand Verlag. 1978. pp. 121-134.

 

8. Fiction

'Blickwechsel.‘ In Gesammelte Erzahiungen. by Christa Wolf. 2nd ed.
Darmstadt: Hermann Luchterhand Verlag. 1980. pp. 5-23.

 

'Dienstag. der 27. September." In Gesammelte Erzahlungen. by Christa Wolf.
2nd ed. Darmstadt: Hermann Luchterhand Verlag. 1980. pp.
24-40.

 

Der geteilte Himmel. Halle: Mittldeutscher Verlag. 1963.

 

'Juninachmittag.' In Fahrt mit der S-Bahn. Erzahier der DDR. ed. Lutz-W.
Wolff. Munich: Deutscher Taschenbuchveriag. 1971. pp. 229-
46.

 

 

187

Kein Ort. Nirgends. 4th ed. Darmstadt: Hermann Luchterhand Verlag.
1980.

 

Klndheitsmuster. Darmstadt: Hermann Luchterhand Verlag. 1979.

 

'KIeIner Ausflug nach H.’ In Gesammelte Erzahlungen. by Christa Wolf.
2nd ed. Darmstadt: Hermann Luchterhand Verlag. 1980.

 

Moskauer Novelie. In An den Tag__gebracht. Prosa Junger Menschen.
Halle: Mitteldeutscher Verlag. 1961. pp. 145-222.

 

 

 

Nachdenken Uber Christa T. Berlin: Luchterhand. 1969.

 

'Neue Lebensansichten eines Katers.‘ In Gesammelte Erzahlungen. by
Christa Wolf. 4th ed. Berlin: Hermann Luchterhand Verlag.
1980.

 

“Selbstversuch‘ In Gesammelte Erzahlungen. by Christa Wolf. 2nd ed.
Darmstadt: Hermann Luchterhand Verlag. 1980.

 

'Unter den Linden.“ In Gesammelte Erzahlungen. by Christa Wolf. 2nd ed.
Darmstadt: Hermann Luchterhand Verlag. 1980.

 

C. Couecuons

Gesammelte Erzahlungen. 2nd ed. Darmstadt: Luchterhand Verlag. 1980.

 

Lesen und Schreiben. Aufsatze und Prosastficke. 3rd ed. Darmstadt:
Hermann Luchterhand Verlag. 1978.

 

Unter den Linden. DreI unwahrscheinliche Geschichten. Darmstadt:
Hermann Luchterhand Verlag. 1974.

 

Il. Secondary Material
A. On Specific Works by Christa Wolf

Arnold. Heinz Ludwig. “Web-Muster einer KIndheit.‘ Deutsches Ailgemeines
Sonntagsblatt (2 January 1977).

 

 

Auer. Annemarie. 'Gegenerinnerung.' Sinn und Form. 29 (July-August
1977): 847-78.

 

-------- . 'Gegliickte Versuche." Neue deutsche Literatur 21 (February
1973): 118-25.

 

Autorenkoliektiv. “Gestaltung der Perspektive Im Menschenblld. Zu Christa
Wolf: ’Der geteilte Himmei' (1963).' Literatur im Blickpunkt.
Zum Menschenblid In der Literatur beider deutscher Staaten.

 

 

188

2nd ed. Edited by Arno Hochmuth. Berlin: Dietz Verlag.
1967. 193-211.

Bauer. Alexander. 'Langst schweigen die heIIen Fanfaren.‘ In dpa-
Buchbrief. No. 705 (August 2. 1977).

Beckeimann. JUrgen. “Der Versuch. man seibst zu sein.” Siiddeutsche
Zeitung 26/27 (1969).

Bilke. JOrg Bernhard. Review of Klndheitsmuster. Neue deutsche Hefte 24
(1977): 373-77.

 

-------- . "Zumutbare Wahrheiten7: Christa Wolfs Essayband Lesen und
Schreiben.‘ Basis 4 (1973): 192-200.

Bock. Sigrid. "Christa Wolf: Kein Ort. Nirgends.‘ Weimarer Beitrage 26
(1980): 145-57.

 

 

-------- . “Christa Wolf: Klndheitsmuster.“ Weimarer Beitrage 23 (1977):
102-130.

 

 

Bohrer. K.H. Review of Nachdenken iiber Christa T.. Monat 21 (1969).

 

Bonk. Jiirgen. “Christa Wolf: 'Der geteilte Himmel’.‘ in Willi BredeI/Jiirgen
Bonk. Junge Prosa der DDR. by L. Bock. Berlin: Volk und
Wissen Verlag. 1964.

 

 

Brandt. Sabine. “Annahrung an die moderne Literatur?" Frankfurter
AIIgemeine Zeitung 8 (1963).

 

 

Bunge. Hans. 'Im poiltischen Drehpunkt.‘ Alternative 35 (1964): 13-15.

“Christa Wolf iiber eln Kapitel deutscher Geschichte. W0 habt ihr bloss alle
gelebt? Fritz l. Raddatz iiber den neuen Roman
'Kindheltsmuster." Die Zeit. No. 11 (11 March 1977).

Cirker. Wilikle K. "The Socialist Education of Rita Seldel: The Dialectlcs of
Humanism and Authoritarianism In Christa Wolfs Der Geteilte
Himmel.“ University of Dayton Review 13: 105-11.

 

 

Corino. Kari. 'Die Todsiinde dieser Zeit.“ Deutsche Zeituqu 25 (1977).

 

Cosentino. Christine. 'Eine Untersuchung des sozialistischen Realismus Im
Werke Christa Wolfs.‘ German Quarterly 47 (1974): 245-61.

 

Cwojdrak. G. 'Nachdenken fiber Prosa.“ Sinn und Form 24 (December
1972): 1293-9.

 

Dahike. Giinther. 'Geteilte Himmel und GeteIIte Kritik. Ober die DlaIektik
von Gliick und Ungliick und elnige andere Fragen.“ Sinn und
Form 16 (1964): 307-317.

189

de Bruyn. GUnther. ”Christa Wolf. ’Rita und die Freiheit’.‘ In Maskeraden.

 

Parodien. by GUnther de Bruyn. Halle (Mitteldeutscher Veriag)
1966: pp. 9-13.

'Der geteilte Himmel” und seine Kritlker. Dokumentationen. Edited by
Martin Reso. Halle: Mitteldeutscher Verlag. 1965.

 

Dittmann. G. 'Auselnandersetzung mit der Gegenwart. 'Der geteilte Himmel'
Im Literaturunterricht.‘ Deutschunterricht (DDR) 6 (1966).

 

Ester. Hans. Review of Kindheitsmuster. Deutsche BUcher 7 (1977): 200-
202.

 

 

Franke. Konrad. "lhrer Generation voraus.“ Frankfurter Hefte 7 (1970):
524-5.

 

Funke. C. “Wiedersehen nach 15 Jahren." Der Morgen. No. 254 (1961).

Geisthardt. Hans-Jiirgen. “Gestaltung der Perspektive im Menschenbild.“ In
Literatur im Blickpunkt. 2nd ed. (Berlin: Dietz Verlag. 1965).
pp. 167-85.

 

Geisthardt. Hans-JUrgen. "Weltanschauung und Romanaufbau.‘ In Konturen
und Perspektiven. Zum Menschenbild In der
figenwartsllteratur der Sowjetunion und der Deutschen
Demokratischen Republik (Berlin: Akademie Verlag. 1969). pp.
167-89.

 

 

 

Giesecke. Almut. 'Zum Leistungsvermdgen einer Prosaform: Analysen zu Der
Schmied von Kosewalk von Sarah Kirsch und Junlnachmlttag
von Christa Wolf.“ Weimarer Beitrage 23 (1977): 110-39.

 

 

 

Greif. Hans-Jargen. Christa Wolf: 'Wie sind wir so geworden wie wir heute
sInd?". (No. 1: Europaische Hochschulschriften.) Vol. 237:
Deutsche Literatur und Germanistik. Bern: Peter Lang. 1978.

 

 

'Giiitiges Zeugnis.‘ Neue Ziiricher ZeItung (1 April 1977).

 

Gumtau. Helmut. 'Forschungsreise In die Vergangenheit.“ Der Tagesspieg_e_l
(3 April 1977).

 

Haase. Horst. ‘Nachdenken iiber ein Buch.“ Neue deutsche Literatur 17
(April 1969): 174-85.

 

Hamm. Peter. “Der Blick in die westdeutsche Ferne. ZweI DDR-Autoren
beschreiben Repubilkfliichtiinge und solche. die as werden
wollen.‘ Zeit (27 March 1964).

Hammer. Jean-Pierre. 'L’Individu dans la société socialiste (Christa T.).'
Allemagne daumurd'hul 21 (1970).

 

Hammerschmidt. Volker and Uwe Naumann. '...das Vergessen schwieriger

190
machen.“ Die Tat (17 June 1977).

Heimberger. B. "Sprache in der Verantwortung.‘ Neue Zeit. No. 105
(1972).

Heise. Rosemarie. “Der groBe Thema. Christa Wolf ’Der Getellte Himmei.”
Neue deutsche Literatur 21 (June 1973).

 

Helmecke. Monica. ”Klndheitsmuster.“ Sinn und Form 29 (May/June 1977):
678—81.

 

Hille. Ursula. Review of Kindheitsmuster. Arbeiten zur deutschen Philologig
12 (1978): 141-49.

 

 

Hirdina. Karin. 'Genau. zupackend. verénderiich.‘ Sonntag 34 (1972).

Hblsken. Hans-Georg. 'Zwei Romane: Christa Wolf 'Der geteilte Himmel’ und
Herrmann Kant Die Aula’.‘ Deutschunterricht (BRD) 5 (1969):
61-99.

 

Hollis. Andrew. 'Tlmelessness and the Game: Christa Wolfs 'Junlnachmlttag’
and Joachim Waither’s Wochenende im Griinen.‘ New German
Studies 7 (1979): 145-67.

 

"Istorija Kristy T.“ LIteraturnangazeta (14 May 1969): 15.

 

J.. B. “Getellter Himmel.‘ Frankfurter Allgemeine Zeitung (24 November
1964).

 

Jackson. Neil and Barbara Saunders. "Christa Wolfs Klndheitsmuster: An
East German Experiment in Political Autobiography.” German
Life and Letters 33 (1980): 319-29.

 

 

Kahier. Hermann. “Christa Wolfs EIegie.‘ Sinn und Form 21 (1969): 251-
61.

 

Kane. B.M. "In Search oi the Past: Christa Wolf’s Klndheitsmuster. Modern
Languages 59 (1978): 19-23.

 

Kant. Hermann. Review of Kindheitsmuster. Sonntag. No. 14 (1965).

 

Kari. Giinther. ”Experiment In Streitgesprach.' Neues Deutschland (5
September 1965).

 

Kersten. Heinz. ”Christa Wolfs ’Nachdenken iiber Christa T.’. Zu einem
literarischen und einem kulturpoiitischen Ereignis.” Frankfurter
Rundschau (21 June 1969).

 

Kloehn. Ekkehard. “Christa Wolf: 'Der geteilte HImmeI.’ Roman zwischen
sozialistischen Realismus und kritischem Reallsmus.'
Deutschunterricht (BRD) 20 (1968): 43-56.

 

191

Konjetzky. Klaus. “Der Versuch einer Bewéitigung.’ Deutsche Volkszeitung
(10 March 1977).

 

Krattli. Anton. 'Unwahrscheinliche Geschichten’ aus der DDR.‘ Neue
ZUricher Zeitung (29 November 1974).

 

Krenzlin. Leonore. “Unter den Linden." Sonntag (19 January 1975).

Kunert. Giinter. 'Von der Schwierlgkeit des Schreibens.’ Text und Kritik 46
(1975): 11-13.

 

Lamse. Mary Jane. 'Kindheitsmuster In Context: The Achievement of Christa
Wolf.' Paper presented at the 33rd Annual Kentucky Foreign
Language Conference. The University of Kentucky. Lexington.
Kentucky. April 1980.

 

Liebing. JUrgen. “Man muB aufhbren zu schweigen.‘ Vorwarts (3 February
1977).

Linn. Marie-Luise. 'Doppelte Kindhelt: Zur Interpretation von Christa Wolfs
Klndheitsmuster." Deutschunterricht (BRD) 30 (1978): 52-66.

 

Manger. PhIIIip. 'Auf der Suche nach dem ungelebten Leben: Christa Wolf
- Unter den Linden." In Wissen aus Erfahrungen. Werkbeggfl
und Interpretation heute. Festschrift (Ur Herman Meyer zum
65. Geburtstag. by Alexander von Bormann. Karl Robert
Mandelkow and Antonius H. Touber. Tiiblngen: Niemeljer
Verlag. 1968. pp. 903-16.

 

Mayer. Hans. “Christa Wolf/Nachdenken Uber Christa T.“ Neue Rundschau.
No. 1 (1970): 180-86.

 

Melchert. Rulo. Review of Unter den Linden. Sinn und Form 27 (1975):
439-46.

 

 

Meyer. Frauke. 'Zur Rezeption von C.W.‘s Nachdenken fiber Christa T..”
Alternative 18 (1975): 26-31.

 

Michaeiis. Rolf. 'Der doppelte Himmel. Christa Wolfs zweites Buch:
'Nachdenken iiber Christa T.‘/Der umstrlttene Roman aus der
'DDR.‘ Frankfurter AiLqemeine Zeitung (28 May 1969).

-------- . 'Recht auf Trauer.‘ Zeit (27 December 1974).

Mieth. G. “Komposition. Erzahlperspektive. Gattungsproblematlk.‘
Deutschunterricht (DDR) 4 (1966).

 

Mohr. Heinrich. 'Produktive Sehnsucht: Struktur. Thematik und politische
Relevanz von Christa Wolfs Nachdenken iiber Christa T. Basis
2 (1971): 191-233.

Neumann. Oskar. 'WIeviel Zukunft ist in der Gegenwart?" Unsere Zeit (17

 

192
March 1977).
Nolte. Jost. “Die schmerzhaften Erfahrungen der Christa T.“ In

Grenzgange. Berichte iiber Literatur. by Jost Nolte. Vienna:
Europaveriag. 1972. pp. 176-81.

 

Parkes. K.S. “An All—German Dilemma: Some Notes on the Presentation of
the Theme of the Individual and Society In Martin Walser’s
Halbzeit and Christa Wolf's Nachdenken iiber Christa T.“
German Life and Letters 28 (1974-75): 58-64.

 

 

Pawei. Ernst. “The Quest for Christa T.“ New York Times Book Review (31
January 1971).

 

Plavius. Heinz. “Gewissensforschung: Christa Wolf. Klndheitsmuster.“ Neue
deutsche Literatur 25 (January 1977): 139-51.

 

 

-------- . “MutmaBungsmut.“ Neue deutsche Literatur 22 (October 1974):
154-7.

 

“The Problem of Purity.“ Times Literature Supplement (13 July 1971).

 

Probst. Gerhard F. 'Thematization of Alterlty In Christa Wolfs Nachdenken
Uber Christa T.“ University of Dayton Review 13 (February
1978): 25-35.

 

 

 

Raddatz. Fritz J. “Vom Lesen und Schreiben - driiben.“ Siiddeutsche
Zeitung (24/25 February 1973): p. 137.

 

Reinig. Christa. “Der ungeteilte Himmei.“ Sgiegel No. 3 (1965): pp. 70-71.
Reitschert. Gerhard. “Die neuen Mythen.“ Alternative 35 (1964): 11-13.

Reschke. Renate. “Asthetik-Wissenschaft vom Schdnen?“ Weimarer Beltragg
22 (July 1976): 56-96.

 

Richter. Hans. Review of Klndheitsmuster. Sinn und Form 29 (May/June
1977): 667-78.

 

 

Sachs. Heinz. “Verieger sein heiBt ldeologlsch kampfen.“ Neues
Deutschland (14 May 1969).

 

Sander. Hans-Dietrich. “Die Gesellschaft und Sie.“ Deutschland-Archlv 6
(1969): 599-603.

Sander. Volkmar. “Erinnerungen an die Zukunft: Christa Wolfs Nachdenken
iiber Christa T.“ In Perspectives and Personalities: Studies In
Modern German Literature Honoring Claude Hill. ed. Ralph Ley.
Maria Wagner. Joanna M. Ratych and Kenneth Hughes.
Heidelberg: Carl Winter Universitatsverlag. 1978. pp. 320-29.

 

 

 

Schlenstedt. Dieter. “Motive und Symbole In Christa Wolfs Erzahlung Der

193

geteilte Himmei.“ Weimarar Beitragg 10 (1964): 77-104.

 

 

Schmitz. Wolfgang. “Tauchen in Vergangenheit.“ Vorwarts (2 February
1978).

Schoeller. Wilfried F. “Nachdenken Uber Christa W.“ Weltwoche (27 April
1977).

Schonauer. Franz. “Selbstseln und Soziaiismus.“ Stuttgarter Zeitung (22
November 1969).

 

Schultz. Gerda. “Eln fiberraschender Erstling.“ Neue deutsche Literatur 9
(July 1961): 128-31.

 

Simon. Horst. “Zur Erflndung dessen. den man Ileben kann.“ Neues
Deutschland (October 1974).

 

Spender. Stephen. Review of A Model Childhood. by Christa Wolf. translated
by Ursula Molinaro and Hedwig Rappolt. The New York Times
Book Review (12 October 1980): pp. 11. 34.

 

 

 

Spinner. Kaspar H. 'Prosaanalysen: Aus Christa Wolf. Nachdenken tiber
Christa T.“ Literatur und Kritik 90 (1975): 614-21.

 

 

Stephan. Alexander. Review of Klndheitsmuster. Translated by Biddy Martin.
New German Critique. No. 11 (1977): pp. 178-82.

 

Stephan. Alexander. Review of Unter den Linden. Neue deutsche Hefte 22
(1975): 144-47.

 

 

Stolt. Birgit. “Empfehienswerte Lektiire: Zweimal Reise In die Vergangenheit.“
Moderna Sprék 71 (1978): 239—41.

 

Wallmann. Jiirgen P. “Christa Wolf: 'Lesen und Schreiben’.“ Neue deutsche
Hefte 20 (January 1973): 164-67.

 

-------- . “Christa Wolf: 'Nachdenken ()ber Christa T.’.“ Neue deutsche
Hefte 16 (April 1969): 149-55.

 

-------- . “Erwiinschte Legende.“ Deutschland Archiv 8 12 (August 1979):
879-80.

 

-------- . “Nach Landsberg.“ Rheinischer Merkur (4 March 1977).

 

-------- . “Uber die Schwierlgkeit. Ich zu sagen.“ Die Tat. No. 179 (1
August 1970).

Warner. Hans-Georg. “’Unter den Linden“ von Christa Wolf.“ In Erworbene
Tradition: StudIen zu Werken der sozialistischen deutschen
Literatur. Edited by Gilnter Hartung, Thomas Hdhle. and
Hans-George Werner. Berlin: Aufbau-Verlag. 1977. pp. 256-298.

194

-------- . “Zum Traditionsbezug der Erzahiungen In Christa Wolfs Unter den
Linden. Weimarer Beitrage 22 (April 1976): 36-64.

 

Whitley. John. “’Quest for Christa T." Sunday Times (16 May 1971).

 

Wiegenstein. Roland. “Verweigerung der Zustimmung?“ Merkur 23 (August
1969): 779-82.

Wirkungsgeschlchte von Christa Wolfs “Nachdenken fiber Christa T..“ Edited
by Manfred Behn. Kdnigstein/Ts.: Athenaeum 1978.

Zehm. Gfinter. “Nachdenken fiber Christa W.“ Welt der Literatur (27 March
1969).

 

-------- . “Rfickzug ins private Glfick Im Winkel.“ Welt der Literatur (3
July 1969).

 

-------- . “Well as uns schiecht geht. sind er datfir.“ Die Welt (20 July
1963).

B. On Christa Wolf and GDR Literature

Abusch. Alexander. Literatur Im Zeitalter des Sozialismus. Beitrage zur
Literaturgeschichte 1921 bis 1966. Vol. 2: Schriften. Berlin:
Aufbau-Veriag. 1967.

Albrecht. Gfinter. Schriftstelier der DDR. 2nd ed. Leipzig:
Bibliographisches Institut. 1975.

Bathrick. David. “GeschichtsbewuBtsein als SelbstbewuBtsein. Die Literatur
der DDR.“ In Literatur nach 1945.. I. Politische und regionale
Asgekte. by Jost Hermand. Vol. 21: Neues Handbuch der
Literaturwissenschaft. ed. Klaus von See. Wiesbaden:
Akademische Veriagsgeseilschaft Athenaion. 1979.

 

Beckermann. Thomas. “Das Abenteuer einer menschenfreundllchen Prosa:
Gedanken fiber den Tod In der sozialistischen Literatur.“ Text
und Kritik 46 (1975): 25-32.

Behn. Manfred. DDR-Literatur In der Bundesrepublik Deutschland: die
Rezeption der epischen DDR-Literatur In der BRD 1961-1975.
Melsenheim am Gian: A. Hain Verlag. 1977.

Beutin. Wolfgang. et al. Deutsche Literatur Geschichte von den Anffingen
bis zur Gegenwart. Stuttgart: J.B. Metzlersche Veriags-
buchhandlung. 1979.

Blumensath. Heinz and Christel Uebach. Einffihrung In dIe Literatur-
geschichte der DDR: Ein Unterrichtsmodell. In Zur Praxis des
Deutschunterrichts 5. Stuttgart: J.B. Metzlerscher Verlag. 1975.

 

 

 

Brettschneider. Werner. “Christa Wolf.“ In Zwischen literarischer Autonomle

195

und Staatsdienst. Die Literatur In der DDR. by Werner
Brettschneider. Berlin: Erich Schmidt Verlag. 1972.

 

Claudius. Eduard. Ruhelose Jahre - Erinnerungen. Halle: Mitteldeutscher
Verlag. 1968.

 

“Christa Wolf lehnt Raabe-Prels nach Jahresfriest endgfiltlg ab.“ Frankfurter
Rundschau (11 January 1974): p. 7.

Christa Wolf. Materiaiienbuch. Edited by Klaus Sauer. Darmstadt: Hermann
Luchterhand Verlag. 1979.

 

DDR Handbuch. Edited by the Bundesmlnisterium ffir lnnerdeutsche
Beziehungen. Cologne: Veriag Wissenschaft und Polltlk. 1975.

 

de Bruyn. Gfinter. “Gfinter de Bruyn fiber Christa Wolf. Fragment eines
Frauenportrats.“ In Liebes- und andere Erklarurmen.
Schriftstelier fiber Schriftstelier. Edited by Annie Voigtlander.
Berlin: Aufbau-Veriag. 1972. pp. 410-16.

 

 

Delarue-Gozlan. Martine. “Rencontre avec Christa Wolf.“ Revue d'AlIemagne
6 (1974): 115-24.

 

Deutsche Literatur selt 1945 In Einzeldarstellungen. Edited by Dietrich
Weber. Stuttgart: Alfred Krfiner Verlag. 1968.

 

Dokumente zur Kunst—. Literatur- und Kulturpolltlk der SED. Compiled by
Elimar Schubbe. Stuttgart: Seewaid Verlag. 1972.

 

Durzak. Manfred. “Ein exemplarisches Gegenbeispiel. Die Romane von
Christa Wolf.“ In Der deutsche Roman der Gegenwart. by
Manfred Durzak. Stuttgart: Kohlhammer Verlag. 1971. pp. 250-
273.

 

Eifler. Margret. Dlaiektische Dynamik: Kulturpolltlk und Asthetlk Im
Gegenwartsroman der DDR. Bonn: Bouvier Veriag Herbert
Grundmann. 1976.

 

 

Einffihrung in Theorie. Geschichte und Funktion der DDR-Literatur. Edited
by Hans-Jfirgen Schmitt. Stuttgart: J.B. Metzlerscher Verlag.
1975.

 

Einhorn. Barbara. Der Roman In der DDR 1949-1969: Die Gestaltung des
Verhaltnisses von Individuum und Gesellschaft: Elne Analyse
der Erzahlstruktur. Kronberg: Scriptor Verlag. 1978.

 

 

Feitknecht. Thomas. “Das Problem der Seibstverwirkllchung.“ In 9I_e
sozialistische Heimat. Zum Selbstverstandnls neuerer DDR-
Romane. Bern: Lang. 1971. pp. 71-80.

 

Franke. Konrad. Die Literatur der Deutschen Demokratischen Republik.
Munich: Kindler Verlag. 197i.

196

Ffirnberg. Louis. “Brief an Christa Wolf.“ In Ffirnbeg. Eln Lesebuch ffir
unsere Zeit. Berlin: Aufbau-Verlag. 1974. pp. 420-21.

 

 

Gebhardt. Charlotte. “Bitterfeld and the GDR Novel.“ Ph.D. dissertation.
Stanford University. 1976.

Geerdts. Hans Jfirgen. Literatur der DDR in Einzeldarstellungen. Stuttgart:
Alfred Krdner Verlag. 1972.

 

Geisthardt. Hans Jfirgen. 'Das Thema der Nation und zwei Literaturen.“
Neue Deutsche Literatur 14 (June 1966): 48-69.

 

Geschichte der Literatur der Deutschen Demokratischen Republik (Von einem
Autorenkoliektiv unter Leitung von Horst Haase und Hans
Jfirgen Geerdts. Erich Kfihne. Walter Palius). Vol. 11:
Geschichte der deutschen Literatur von den Anfangen bis zur
Gegenwart. ed. Hans-Gfinther Thalheim et ai. Berlin: Volk und
Wissen Voikseigener Verlag. 1977.

 

 

Gotsche. Otto. “Unsere historische Pfiicht.“ In Neuere DDR—Literatur. Texte
und Materialien ffir den Deutschunterricht. 2nd ed.
Paderborn: Ferdinand Schdningh. 1975.

 

 

Greiner. Bernhard. Von der Ailegorle zur Idylle: Die Literatur der Arbeitswelt
in der DDR. Heidelberg: Quelle und Meyer. 1974.

 

 

Guglsch. Peter. “Christa Wolf.“ In Literatur der DDR In Einzeldarstellungen.
ed. Hans Jfirgen Geerdts. Stuttgart: Alfred Krdner Verlag.
1972. pp. 395-415.

 

Huebener. Theodore. The Literature of East Germany. New York: Frederick
Ungar Publishing 00.. 1970.

 

Hutchinson. Peter. Literary presentations of a divided Germany: the
development of a central theme In East German fiction. 1945-
1970. Cambridge. New York: Cambridge University Press. 1977.

 

 

Jager. Manfred. “Auf dem langen Weg zur Wahrheit. Fragen. Antworten und
neue Fragen In den Erzahlungen. Aufsatzen und Reden Christa
Wolfs.“ In Sozialliteraten. Funktion und Selbstverstandnls der
Schriftstelier in der DDR by Manfred Jager. vol. 14: Literatur
In der Gesellschaft. ed. Klaus Gfinther. Leo Krutzer and
Jochen Vogt. Dfisseldorf: Bertelsmann Verlag. 1973. pp. 11-
101.

 

 

 

-------- . “Die Literaturkritikerin Christa Wolf.“ Text und Kritik 46 (1975):
42-49.

 

Jarmatz. Klaus. Forschungsfeld Reallsmus: Theorie. Geschichte. Gegenwart.
Berlin: Aufbau-Verlag. 1975.

 

197

Kahler. Hermann. “Christa Wolf erzahlt.“ In Weggenossen. Ffinfzehn
Erzahler der DDR. Leipzig: Veriag Philipp Reclam jun.. 1975.

 

 

Kaufmann. Eva and Hans. ErwartunLund Angebot. Studien zum
ggqenwartigen Verhaltnis von Literatur und Gesellschaft in der
DDR. Berlin: Akademie Verlag. 1976.

 

 

Kaufmann. Hans. Positionen der DDR-Literaturwissenschaft. Auswahl aus
den Weimarer Beitragen. Kronberg: Scriptor Verlag. 1974.

 

 

-------- . “Zu Christa Wolfs poetischem Prinzip: Nachbemerkungen zum
Gesprach.“ Weimarer Beltrage 20 (June 1974): 113-25.

 

Klawohn. Lothar. “Kollektives BewuBtsein und Literatur In der DDR.“
Beitrage zum wissenschaftllchen Sozialismus. No. 1 (1978): pp.
235-46.

 

Klein. Alfred. “Potrebnoct’ b soast’e.“ Voprosy literatury 9 (December 1965):
30-39.

 

Kfihn. Lothar. “Erinnerung und Erfahrung. Christa Wolfs Begrfindung der
Literatur.“ Text und Kritik 46 (1975): 14-24.

 

Konturen und Perspektiven. Zum Menschenbild In der Gegenwartsiiteratur
der Sowjetunion und der Deutschen Demokratischen Republik.
Edited by the Arbeitsgruppe Sowjetische Gegenwartsiiteratur am
Institut ffir Slawlstik der Deutschen Akademie der
Wissenschaften zu Berlin. Berlin: Akademie-Verlag. 1969.

 

 

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