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NEW SUBJECTIVITY AND PROSE FORMS OF ALIENATION:

PETER HANDKE AND BOTHO STRAUB

BY

Linda DeMeritt Lindsay

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

1982

Copyright by
LINDA DEMERITT LINDSAY
1982

©

ABSTRACT

NEW SUBJECTIVITY AND PROSE FORMS OF ALIENATION:
PETER HANDKE AND BOTHO STRAUB

By

Linda DeMeritt Lindsay

German literature of the past decade has earned the label New
Subjectivity ('Neue Subjektivltat') due to a shift of emphasis from political
persuasion to the personal feelings of the individual. New subjective
literature focuses on the subject as both the object and method of
portrayal. This dissertation examines in depth this most recent and
controversial trend. The first chapter defines the term and places it within
an historical literary framework. Chapters Two through Four discuss the
themes and forms of a wide range of new subjective prose works. The
final two chapters are devoted specifically to the prose of Peter Handke
and Botho StrauB as important representatives of New Subjectivity.

Central both thematically and formally to New Subjectivity is the
experience of alienation. The subject undergoes some type of personal
catastrophy which invalidates his or her own natural seeming and given
context. Alienation is a destructive process plunging the individual into
isolation and often eliciting a process of dissolution which ends in death.
But within this destruction lies a positive and socially relevant potential.
Freed from the paralyzing systems of society the individual has the chance
to rediscover the self and the world. This potential remains unrealized for
many new subjective protagonists. but the author. by means of a
questioning and fragmented form. burdens the reader with the responsibility

of rediscovery and change.

The works of Handke and StrauB exemplify the themes and forms of
New Subjectivity. Whereas the protagonist of Die Angst des Tormanns

beim Eifmeter portrays extreme and absolute alienation. Keuschnig in Die

 

Stunde der wahren Empfindungen overcomes his alienation in fleeting

 

moments of true feeling. and the narrator protagonist of Die Lehre der

 

Saint-Victolre learns how to lengthen these moments into refound union and

 

harmony. Alienation in StrauB’ three works Marlenes Schwester. Die

 

Widmung. and Humor. is motivated by separation from someone loved. The
'protagonists' attempt to re-estabiish contact reveals. especially in the latter
two works. a harsh and disconnected society. The void surrounding the
abandoned individual becomes a forum for self-confrontation and

exploration.

To my parents

and to my husband Brian

ACKNOWLEDGEMENTS

i would like to express my appreciation and gratitude to the chairman
of my committee Professor Kurt W. Schild for his constant encouragement.
guidance. and above all inspiration during the preparation of this
dissertation. in addition. i wish to thank the other members of my thesis
committee for their assistance and support: Professor Heinz J. Dill.

Professor Thomas H. Faik. and Professor Mark O. Kistier.

TABLE OF CONTENTS

lNTRODUCTiON ................................ 1

Chapter One--What is New Subjectivity? .................. 8

Introduction ................................ 8

A. A Definition of the Term ....................... 8

B. New Subjectivity as a Reaction .................... 12

C. Continuity between the Sixties and Seventies ............. 18

D. New Subjectivity as a Return ..................... 21

Conclusion ................................. 3i

Notes--Chapter One ........................... 33
Chapter Two--The Themes of New Subjectivity:

The Destructive Experience of Alienation ................ 38

introduction ................................ 38

A. The Loss of Context .......................... 39

B. lrratlonaiism .............................. 42

l. Skepticism and Doubt ........................ 42

2. The Emotions of the Individual ................... 45

3. Private Egocentrlcity and Triviality ................. 51

C. The Portrayai of the Subject ..................... 54

i. The Dissolution of the Self ..................... 54

2. Poweriessness and Lack of Resistance .............. 59

D. The Perception of Reality ....................... 62

i. The Protagonists Warped Perspective ............... 62

2. The Loss of a Political and Historical Moment .......... 67

E. The 'Sociai Greatness“ of the individual ............... 69

Conclusion ................................. 7i

Notes-~Chapter Two ........................... 74

Chapter Three--The Themes of New Subjectivity:

The Positive Potential of the Experience of Alienation ......... 78
introduction ................................ 78
A. The Experience of Self ........................ 79
i. The Leveling Power of Society ................... 79
2. Subjective Freedom and Autonomy ................. 82
3. The Autobiography as a Search for identity ............ 84
8. The Experience of World ....................... 89
i. The Loss of immediacy ....................... 89
2. The Search for Authentic Reality .................. 91

C. What is Life? ..............................
l. The Living Dead ...........................
2. A New Life .............................

a. Potential for Change .......................
b. The Confrontation with Death ..................
Conclusion................................;
Notes--Chapter Three ..........................

Chapter Four--The Forms of New Subjectivity ...............

introduction ................................
A. The Reader. the Text. and Engagement ...............
B. Realism and Alienation ........................
C. Alienation as Literary Form ......................
1.Language ..............................
2. Fragmentation ............................
3. Thematlzatlon of the Writing Process ...............
4. The Narrator ............................
5. Structural Openness .........................
Conclusion .................................
Notes--Chapter Four ...........................

Chapter Flve--Fear and Happiness in the Works of Peter Handke

 

 

 

 

 

introduction ................................
A. The Subjectivity of Peter Handke ...................
‘i. The inhabitant of the ivory Tower .................
2. The Revelation of Artificiallty ....................
3. 'Der fremde Blick' of Alienation ..................
4. Fear and Happiness ........................
B. Alienation in Die Angst des Tormanns beim Elfmeter ........
C. Sudden Change in Die Stunde der wahren Empfindung .......
1. 'Auf einmal gehdrte er nicht mehr dazu" .............
2. “Herbeigezauberte Nahe" ......................
3. A Seesawing Rhythm ........................
D. Orientation in Die Lehre der Salnte-Victolre .............
Conclusion .................................
Notes--Chapter Five ...........................
Chapter Six—~The Love Stories of Botho StrauB ..............
introduction ................................
A. Separation as Alienation in Marlenes Schwester ...........
B. A Search for Connection in Die Widmugg ..............
C. Love and Hate in Rumor .......................
Conclusion .................................
Notes--Chapter Six ............................
Conclusion ..................................

vi

APPENDIX—Abbreviations for Primary Literature ..............

SELECTED BIBLIOGRAPHY ..........................

A. Primary Works .

8. Secondary Works

vii

lNTRODUCTION

New Subjectivity is the literary term used to describe the past ten
years of German literature. it marks a shift in emphasis. which can be
traced within the political and intellectual scene as well. from an
engagement intending societal revolution to an interest in the subject and
his or her own personal problems. The authors of the seventies suddenly
begin to produce a literature which deals with topics considered banal and
trivial just a short time before. Love. emotions. marriage and divorce.
death or illness. and personal crisis are central themes of stories which
take place within the apartments. offices. and daily routines of the
individual. Accompanying the emergence of subjective themes is the
sudden popularity of literary forms best suited for personal expression.
such as poetry in general and the autobiography and diary within prose.

New Subjectivity is documented by a steady stream of secondary
works which do not lack in volume but rather scope and depth. On the
one hand. New Subjectivity is treated too often solely as a reaction to the
sixties and a return to the broken literary tradition of the fifties. Although
an understanding of the literature preceding New Subjectivity is necessary
in order to place it within an historical background. such a comparison
should be the starting point only of an investigation. On the other hand.
too many articles exhaust themselves in noting and listing new subjective

1

characteristics. Although helpful and correct as far as they go. these

articles become monotonous and remain on the surface. Such a

2
compilation of typical new subjective traits dead ends before asking the
significance and intent of these characteristics and. in addition. seldom
does justice to the work being analyzed.

Secondary literature has been involved in a long-winded battle over
the validity of New Subjectivity. Representatives of the left automatically
oppose a literature concentrating on the subject instead of society. The
problems and suffering of an individual are legitimate only if they point to
the conditions of a bourgeois and capitalist society as their cause. New
Subjectivity is sometimes seen as a retreat from political involvement to an
esoteric realm of inwardness having little to do with reality. and sometimes
as a forum where private problems are laid bare in a type of
exhibitionism.2 Still others denounce New Subjectivity as a plot on the
part of the book market in order to increase business.3 For much of the
left New Subjectivity is trivial literature concerned only with the author’s
personal problems. in contrast. opponents of the left and of literature
supportive of a political ideology in general laud the return of a
subjectively oriented and a more traditional literary tendency. With an
almost audible sigh of relief they welcome New Subjectivity. and more than
one article is devoted to relating all the examples of authors who turned
away from politically engaged literature to pursue more personal themes.4

The most important single consideration lacking in the discussions
concerning New Subjectivity and its relevance is the communicative aspect
of all art. A literary work is a process of interaction in which the author
desires to communicate an aesthetic experience to his reader through the
form of the piece of literature. Research completed to date on New

Subjectivity is a one-way street. whereby the critic analyzes only what the

3
text says and does not consider how the work affects the reader. The
critic's energies are directed away from himself as reader and exhausted
by the message of the text. Secondary literature witnesses an
overabundance of new subjective themes. and very few serious articles
about its forms.

This dissertation attempts to provide a much needed in depth
examination of new subjective literature. Besides noting characteristics
common to New Subjectivity. this study investigates the significance and
implications behind these themes. it strives to approach the subject matter
free of prejudice. recognizing both the dangers of a subjective literature
and its potential relevance for society. The forms of New Subjectivity are
discussed extensively in addition to the effect of these forms upon the
reader. it should be noted that the breadth of this analysis is limited to
prose. This is a decision made in order to focus the present study and
lend it unity. especially in the chapter concerning forms. and is not meant
to imply that subjectivity characterizes German prose exclusively. Similarly. it
should be recognized that the authors and works chosen for this
discussion represent the most prominent. but certainly not the only.
examples of New Subjectivity.

The definition of New Subjectivity formulated within the present work
comprises both its themes and forms: the subject serves as both the
object and means of portrayal. Subjectivity implies a prerequisite
experience of alienation which jolts the individual out of a natural seeming
and generally accepted--hence objective-~context. Alienation is the
common denominator of much of New Subjectivity and serves as the focal

p0int and framework for the dissertation. This is an aspect which has

4
been neglected thus far by secondary literature. and yet one which offers
many insights into and a context for the many themes and forms of New
Subjectivity.

The method utilized for the analysis of primary works discussed in
this dissertation attempts to reconstruct the intent of the author by means
of an analysis of the form.5 Through registering the text’s measurable
elements (such as language and content). and then deducing that which is
meant (as evidenced in the works form and structure). one can
aesthetically experience the literary work as intended by the author. The
text is divided into three levels to be analyzed: first its language. then its
outer form. and finally its inner form. The level of language includes
such elements as phonetics. semantics. grammar. and style. The outer
form. or poetical reality of the work. consists of time and place.
metaphors. characters. and the story line. Finally. the inner form.
reflecting the intent of the author. includes the causality or consequence of
the action and of the ideas or themes presented. These elements are
objectively measurable. but together. as a whole. they lead to a subjective
experience of the work. The reader becomes a partner in a dialogue with
the literary work and its author through the form. This analysis is guided
by the questions: Why is the author writing?. and What does the reader
experience during the act of reading?. it is based upon the belief that
literature. as the manifestation of the author’s state of consciousness.
structures the consciousness of its reader.

This method of analysis is particularly well-suited to an examination of
{New Subjectivity due to the emphasis of both on a subjective experience of

reality. The function of new subjective literature is not to persuade the

5
reader or impart information. instead. the author attempts to present an
individual experience and to provoke a similar experience within the reader.
This provocation is realized by means of the form. The effect of a piece
of literature on its reader is relevant to the much debated question
concerning the societal validity of New Subjectivity. The literature of the
seventies burdens the reader with the uncertainty and questions of the
protagonist and places the responsibility for change in his hands.

The first chapter of this dissertation discusses in detail the definition
of New Subjectivity and includes the most frequently listed chatacteristlcs of
this trend. in addition. it places new subjective literature within a broader
literary framework and compares it to the literature of the sixties. as well
as to other notably subjective literary periods. especially Expressionism. of
the past. The first chapter attempts to answer two questions concerning
New Subjectivity: first. What is New Subjectivity7. and secondly. What is
new about it?.

The following three chapters discuss the themes and forms of the
new subjective experience of alienation with examples extracted from a
large body of primary literature. Chapter Two investigates the
destructiveness of this experience. in addition. it recognizes the dangers
implicit in a literature devoted to the person and documents the
vehemently negative reaction to New Subjectivity in general. Chapter Three
delves into the significance and implications of destruction and posits for
much of New Subjectivity a positive potential within the experience of
alienation. The fourth chapter examines specific anti-realistic forms of
alienation.

The final two chapters of this dissertation are devoted to two

6
important new subjective representatives. Peter Handke and Botho StrauB.
Peter Handke was chosen on the basis of his consistent and extreme
subjectivity. His literary production must be considered both as a
predecessor to and a radicaiization of New Subjectivity. Botho StrauB is
far less known and acclaimed more for his dramatic contributions than
prose. but these prose works witness a sensitivity and humanity which

deserves recognition.

Notes--introduction

1See for example the articles by Heinrich Vormweg (1973-1977) and
Hans J. Frdhlich (1977-1980) in Jahresrlng.

28ee for example Adolf Muschg. "Bericht von elner falschen Front
oder: Der Schein triigt nicht.‘ in Literaturmagazin 5: Das Vergehen von
Hdren und Sehen: Aspekte der Kulturvernichtung. ed. Peter Piwitt and Peter
Rilhmkorf (Reinbek bei Hamburg: Row0hit Taschenbuch Veriag. 1976). p. 30.

 

3See for example Delf Schmidt. 'Gegen die Placebo-Literatur: Eine
Vorbemerkung.‘ in Literaturmagazin ll: Schreiben oder Literatur. ed. Nicolas
Born at al. (Reinbek bei Hamburg: Row0hit Taschenbuch Veriag. 1979). p.
i2.

 

4See for example Michael Radtke. "Jetzt dichten sie wieder.’ in Stern.
Oct. 1974.

5This method at analysis was developed by Dr. Kurt w. Schild at
Michigan State University.

Chapter One-~What is New Subjectivity?

introduction

Before proceeding into an in depth discussion of new subjective
themes and forms. it is helpful and indeed necessary to define the literary
term: 'Neue Subjektivitét.‘ This chapter presents such a definition and
approaches the question: What is New Subjectivity? from several different
viewpoints. The first section offers the definition of the term which will be
used throughout this dissertation: New Subjectivity is a literature in which
the subject functions as both content and form. in the second section the
question is seen within a limited historical perspective. New Subjectivity is
discussed as a reaction to the political literature of the sixties. The
juxtaposition of the seventies to the sixties should not. however. be
considered absolute. for even the sixties offer more than one example of a
literature committed to an investigation of the subject. Finally. the
perspective is broadened even further. and the new subjective literature of
the seventies is placed within the continuum of subjective literature in
general. This section. while briefly mentioning similarities between the
seventies and other literary periods noted for their subjectivity. then focuses

in on parallels between New Subjectivity and Expressionism.

A. A Definition of the Term

New Subjectivity is the term used to characterize a decade of German
literature devoted to the subject. Marcel Reich-Ranicki was one of the
first to proclaim the discovery of the individual as the dominant trait of the

seventies: 'Das. in der Tat. ist die groBe Dominante der deutschen

9

Literatur dieser Jahre: das lndividuum.”

The subject is of primary
importance. for it is both the means and object of portrayal:
Kein Zweifel: An elner Reihe von neueren literarischen Arbeiten
falit auf. daB in einer intensiveren Weise die Wirkiichkelt
subjektiv erfahren. erlebt. rezipiert und dargestelit wird. ja. daB
sich das Subjekt als Medium und zentraler inhalt literarischer
Gestaltung ganz in den Vordergrund drangt.
The subjects own unique and sometimes very personal world is depicted as
seen and experienced through the subject’s eyes. Such is the essence of
this most recent literary period: subjectivity as content and form.

The author of the seventies depicts ordinary individuals. such as
housewives or businessmen. within typical settings. such as the home or at
the office. However. the new subjective protagonist is an alienated
individual. He is someone for whom the patterns. routines. and
conventions of society are no longer valid. Accordingly. he stands alone
and isolated. no longer part of the smoothly functioning whole which
continues without interruption around him. Alienation is often precipitated
by the experience of a personal catastrophe. The frequency of some type
of personal trauma within new subjective works has led Michael Rutschky
to postulate a literature of catastrophles as the newest trend of the
seventies: 'Katastrophen-Literatur - die neueste Tendenz'?"3 New subjective
traumas include death. sickness. abandonment. betrayal. and separation.
Such traumas destroy the seeming security of the individuals everyday
world. The subject is confronted with something inexplicable and
meaningless which invalidates his previous manner of life. Everything
which previously was taken for granted becomes questionable and

uncertain. The alienated individual no longer believes in a meaningful and

comprehensive totality which orders and explains the world and his own

lO
existence.

The alienated state of the new subjective protagonist is manifest in a
general distrust of any ail-encompassing concept or order. The New
Subjectivists express within their works a wariness of societal institutions. a
negation of political and scientific opinion. and an uneasiness concerning
systems of thought claiming truth. Klaus R. Scherpe and Hans-Ulricht
Treichel note 'unbestimmte Negation aller verdffentiichten wissenschaftiichen
und polltlschen Meinungen liber dieses Leben. insbesondere auch das
Unbehagen iiber die Erklarungssysteme zu seiner Veréinderung....'4 The
seventies are a time of skepticism. The works produced during this
decade portray uncertalnlty and fear. The reader is not offered a solution
or theory. but rather confronted with the confusion and doubt of a
protagonist. for whom the validity of all objective precepts and assumptions
has been undermined.

The new subjective experience or state of alienation leaves the
individual in a void. The alienated individual has been stripped of his
societal garb. i.e.. of his role. of his self-definition. of the meaning of his
life. and of the accepted models or patterns of thought and behavior.
Robbed of the guidelines and structure of an outwardly imposed system.
the subject comes face to face with himself. for if outer and objective
reality can no longer order life and provide answers. the individual is
forced to turn to himself for these answers. The individual subject
occupies the center of attention and becomes the object of investigation.
The direction of New Subjectivity is inward. and it presents a questioning
of and a search for one’s self: 'Selbstbeobachtung. Selbsterfahrung.

Selbstdarstellung - das ist es. was als dominlerendes Kennzeichen Lyrik

ll
und Prosa der siebziger Jahre miteinander verbindet."5 it is the
confrontation of the subject with himself as subject which constitutes the
central experience of New Subjectivity. in the void of alienation the
individual engages in an existential search for his self and a personally
meaningful reality.

This dissertation defines New Subjectivity as a literature in which the
subject determines both content and form. The New Subjectivists portray
within their works reality as experienced and as perceived by the
protagonist. The subjective experience of reality constitutes the content of
new subjective works: "Damit ist nicht zuletzt wleder das Erlebnis in den
Vordergrund geriickt. das lndividueile. ja private Erlebnis. das eigene und

das anderer."6

in addition. the subjective perception of reality determines
the M of the text. The reader is not offered a reliable account of
events. but rather a distorted and subjective view of the protagonists world.
He is burdened with the same lack of insight. doubt. and question which
plagues the protagonist. The premise for such a definition is the loss of
belief in an independently existing reality which functions according to
predetermined laws and remains stable. predictable. and trustworthy. Only
upon the invalidation of objective reality--only through the experience of
allenation--is the individual plunged into the process of subjective

questioning which becomes a search for and a confrontation with one‘s

self.

12
B. New Subjectivity as a Reaction
Secondary literature commonly describes New Subjectivity in terms of
a reaction against the sixties. Within the titles themselves of articles

concerning this trend one hears of such a reaction: ‘Jetzt dichten sie

.7 I8

wleder. 'Rllckkehr zur schdnen Literatur. "Abschied von den
Protokoiien.'9 To arrive then at an understanding of New Subjectivity one
must first briefly discuss the literary scene of the sixties. The following
discussion should not be viewed as comprehensive. for it will dwell on
those aspects most important for New Subjectivity.

Politics pervaded every aspect of life in the sixties. Hans Dieter
Schafer describes this decade as one of rationalistic and socialist thought
emphasizing the group. as compared to the postwar emphasis of the
melancholy lndivldai and his existential feeling for life:

Soziologisches Denken. Rationalismus. und vor allem elne

Abkehr von existentialistlschem Lebensgefiihi der Nachkriegszeit

fiihrten zu elner Umorientierung. An die Steiie der

Restauration. des Einsamkeltskultes und der Melancholie

riickten nun [mitte der sechzlger Jahrej neue Projektionen wle

Demokratislerung. Gruppendenken. Optimismus und Sachtreue.1
Literature was burdened with a political function during the sixties. The
writer was to directly effect a Change in society through his work. No
longer did he feel justified in talking about himself. for he was supposed
to portray the problems and realities of the surrounding community.

Due to an inability to bring about real societal change literature was
eventually denounced as having nothing to do with reality. The antinomy
felt between life and literature culminated in the literary crisis of 1968.
Hans Magnus Enzensberger. in his illustrious essay of 1968 entitled

'Gemelnplatze. die Neueste theratur betreffend.‘ states that there exists no

revolutionary literature in West Germany. Literature. he says. has no

13
societal relevance. which means that an author who continues to write
does so at his own risk. Literary production. and the artist himself. can
no longer be justified:
lch fasse zusammen: Eine revolutionare Literatur existiert nicht.
as were denn in einem voliig phrasenhaften Slnn des Wortes.
Das hat objektlve GriJnde. die aus der Welt zu schaffen nicht
in der Macht von Schriftsteilern ilegt. Ftlr literarische
Kunstwerke laBt sich elne wesentliche geselischaftliche Funktlon
in unserer Lage nicht angeben.... Wer Literatur als Kunst
macht. ist damit nicht wideriegt. er kann aber auch nicht
mehr gerechtfertigt werden.
The death of literature. based upon its societal irrelevance. was
proclaimed.”

Enzensberger posited as the new societal function for literature the
political education of Germany ('dle politische Alphabetlslerung
Deutschiands'). and cited as models to be followed Bdrne. Rosa
Luxemburg. Glinter Wallraffs documentaries. Ulrike Meinhoff. and Georg
Alshelmel’s report concerning Viet Nam.13 The demand for politically
engaged literature was a demand for literary forms which related and
prompted revolutionary actions in the streets and factories. The debate
centered around the death of literature went beyond the acceptance of
llterature’s irrelevance and posed the question of how. through what means.
could the emancipatory ideals of literature best be realized.

For many authors documentary literature appeared to be the answer
to this question. it was viewed as a means to overcome the discrepancy
between literary ideals and societal reality. Writers used a documentary
piece as a forum for an analysis of society. The author wanted to

communicate his analysis to as broad a public as possible. persuade his

audience. and ideally provoke them to take a stand on the issue and act.

 

Erika Runge explains the intent of her Bottlmer Protokolle (1968). a

14

classic example of documentary literature. as 'dlrected enlightenment":
Die Abfolge der Protokolle zeigt also elne kompositorlsche
Absicht: es ging nicht allein um Dokumentatlon. sondern um
gezielte Aufklarung durch sie. lch habe ein Mosaik
zusammengestellt. das die persdnlichen Aspekte in elnem
neuen aufheben und den Leser anregen soilte. die historische
und polltlsche Situation noch einmal zu durchdenken und
Entscheidungen zu erwagen. die fiber die Mdgiichkeiten der
Einwohner von Bottrop hinausgehen. in der Krltik wurde
daraufhingewiesen: “Dies ist ein politisches Lehrstiick neuer
Art.”

The success of documentary literature to persuade depends upon its
authenticity. which derives from its documents. Fact is the basis of the
work. not a fictional story. and the hero is historically founded. not
invented. Authenticity supercedes the imagination in an attempt to
approach reality. The smallest structural unit is that of the quote. These
quotes are placed side by side in a montage resembling. to use Erika
Runge’s terminology of above. a “mosaic.“ Segments of reality have been
lifted out of their context and transposed and rearranged. The segments
are often connected with the authors commentary and interpretation of the
events presented. The language. again in order to persuade. is clear.
straight-forward. and in general avoids poetic metaphors or ambiguity:

lmmerhin fiihrt der Zweifel an der Wirkung von noch so
kritischer oder satirischer chhtung auch nach ernsthafter
Selbstpriifung Autoren lmmer wleder dahin. der poetisch—
vleldeutlgen Schreibweise zu entsagen zugunsten elner
mdglichst unmitteibaren Dokumentation sozialer Realltaten und
damit zur Betatlgung elnes direkten. polltlschen. sozlaien.
humanen Engagements.

Documentary literature reached its zenith during the late sixties and
early seventies only to crash into disrepute. The reasons behind the
sudden turn to a subjective literature are many. Some are due to the
shifting political climate in much of Western Europe. The optimism of the

sixties was replaced by disappointment and resignation due to the lack of

15
real societal change which had been envisioned. in West Germany the
government reacted to the demands for change with the 'RadikalenerlaB' of
1972 and stricter censorship guidelines. With the advent of Helmut
Schmidt the mood of the government and entire country was one of
pragmatism. due in part to the economic recession felt throughout the
Western world. The student movement lost momentum and eventually
dispersed. as did the APO ('AuBerparlementarlsche Opposition”). One of
their primary rallying points. the Viet Nam war. had been defused in the
meantime:
Mlt dem Ende des Vietnamkriegs entfiel eln machtiges
moralisches Motiv ftir Ubernatlonales Engagement.
lnnerstaatllche Reformlmpulse kollidlerten mit tiberlegenen
Reaktlonen auf die dkonomische Rezession. Der Pragmatismus
der 'Macher’ erhielt erhdhtes Ansehen in der dffentlichen
Melnung. Theorle‘ begann suspekt zu werden: eine neue
Entfremdung zwischen der Macht und den intellektueilen bahnte
sich an. Der Bildungsexpansion wurden Grenzen gesetzt. Die
staatllchen Administrationen erhielten mehr Macht an den
Universitaten. Der Numerus ciausus und der Stellenmangel lm
bffentllchen Dienst wie in der privaten Wirtschaft veranderten
sukzessive das Lehr- und Lernkllma an Schuien und
Hochschuien. Linke Literatur verlor einen Tell lhres Marktes.16
There were also important literary reasons. The question arises as
to the aesthetic value of documentary literature. Proponents argue that the
arrangement of the segments provides room for both imagination and
artistic form. and this is true to varying degrees. But Marcel Reich-
Ranlckl points out that documentary authors themselves described their
primary goal to be political impact. not art: 'lm Mltteipunkt des lnteresses.
zumal der jlingeren Leser. stand in jenen Jahren elne als neuartlg
empfundene Literatur. deren Autoren programmatlsch erklarten. daB sle es

nicht auf Kunst. sondern auf polltlsch-erzieherlsche Wirkung abgesehen

l'liltten."17 The basis of literary evaluation was usefulness (’Gebrauchswert'

16
according to Enzensberger). not aesthetic value. thereby realizing the
criteria of Walter Boehlich:

'Kdnnen wlr keine Kritik haben. die den fadenschelnlg
gewordenen Kunstwerk-Begriff iiber Bord wlrft und endlich die
geselischaftliche Funktlon jeglicher Literatur als das
Entscheidende versteht und damit die kilnstierische Funktlon
als elne bellauflge erkennt?

KOnnen wlr keine Kritik haben. die nicht vom Uberzeitlichen
Charakter des Kunstwerks ausgeht. sondern vom jewells
zeitiichen Charakter. die Literatur nicht langer als das begreift.
was sle angeblich ist. sondern als das. wozu sle dient und
was mit ihr geschieht?

Diese Kritik ware lebendig....']8

New Subjectivity is above all a reaction to the fact that much of the
literature of the late sixties portrayed factual and political objectivlties at
the expense of the development of the individual: '...diese Vernachlassigung
[der persdnlichen Entwicklung] fangt an. sich zu rachen."19 in the ieft’s
attempt to abolish the distinction traditionally made between a political and
private existence--'hie Politik. hie lndividuum'20--it totally ignored the
private and very real needs of the person. in its attempt to educate the
individual as to his societal responsibility and group identity. the individual
disappeared. for he was to serve the interests of the group:

Und zu dieser traurlgen Erfahrung. daB die Koliektlve wie die
lndividuelle Entfaltung der Subjekte. die elnen Moment
einswerden zu kbnnen schien. wieder reduziert war. gehbrte
auch - und zeitilch vielleicht noch vorher - die Entdeckung.
daB vieie der geselischaftskritischen Einsichten und Paroien
etwas schlecht Objektives. etwas Abstraktes hatten. daB sle
nicht nur nicht eingeldst wurden. sondern daB sle elne ilber
den Kopf und das Leben des einzelnen hlnweggehende
Aligemeinheit hatten. unter die das konkrete Subjekt nur in
einem schlechten Slnn subsumlert wurde. Die Wendung zum
elgenen Subjekt. zu seiner verelnzelten Konkrethelt und seinem
Alltag erfoigte nicht aus freien Stilcken. sondern mangeis
elnes Besseren....

New Subjectivity is a rebellion against the ideological yoke placed

upon literature. The function of literature is again seen in its freedom

L3

ill

17
and a refusal to serve any system. as evidenced in the New Subjectivists’
distrust of political truisms. The evaluative criteria proclaimed by
Enzensberger and Boehlich--literature’s usefulness--have been replaced by
a new concern for form. The primacy of rational and ordered thought
gives way to an irrational tendency and to the emphasis on individual
experience. The sudden appearance of New Subjectivity around 1973
represents a pendulum swing away from political activism of the sixties to
more private. personal concerns. Gabriele Wohmann’s poem 'So ist die
Lage' testifies to the necessity of this swing:

Bel melnem Versuch nach etwas Belangvoliem Ausschau zu
halten

Mich den wahren Sorgen der Menschheit zuzuwenden

und von mlr abzusehen

Bin ich sofort auf die Brandopfer. auf die Bombardierten.
auf die Verhungernden und auf euch gestoBen

ich woilte das neue Jahr einmal nicht mit lnnenaufnahmen
von mlr beginnen

Jetzt kann ich losiegen lnmltten der Ereignlsse

Aileln meine denkbaren Oberschriften fiillen elnen Notizblock
Bin ich aber stark genug in Anspruch genommen von den
Fangngen

aus den Untlefen des Weitgeschehens

Bin ich betroffen vom Mltschnitt der Katastrophen

Habe ich todernst gefrl‘ihstiickt ansasslg unterwegs in
Mltieidenschaft gezogen

Halt den Mund. muB ich dem Sprecher in melnem Kopf zurufen
Denn diese Uberaus wichtige Klelnigkeit zwischen dlr und drei
oder vier anderen Personen

LaBt auBer euch kelnen aufhorchen und alles beim alten
Mehr Ausgeglichenhelt und Wohlbeflnden

damit die groBen Themen elne Chance bei dlr haben
SchiuB mit den privaten Obsessionen und inneren Anlassen
im neuen Jahr werden die Fliegengewichte
lndividualistlscher Schwierlgkeiten

Beim Namen genommen und niedergeboxt

Das Elend gibt es namllch wirkllch. Leiden ist anders. es wird
gestorben

Aber wie kommt es daB mlch die Fernsehbilder jetzt
Wenlger angreifen als deln Tonfail vorhln

DaB es mlch beschaftlgt wie wir uns GUTE NACHT sagen
wahrend die Erdbebengeschadigten kelne Schlafstatte haben
Wie kommt es daB ich fiber die Freundilchkeit nachdenke
fiber das Abendessen. fiber unsere kommenden Setze.

18

fiber das Unbeendbare zwischen uns

wahrend ich dem Massentod zuschaue

Trotz ausreichender Bildqualitat eln Gahnen unterdriickend
Jederzeit doch fijr den Einzeitod zustandig gegen deinen Tod
zum Belspiei lmmer auf den Barrikaden

Beim Versuch nach etwas Belangvoliem Ausschau zu halten
und von mir abzusehen

Mitten im Material filr den Rohschnltt

Verirrt und verhakt in den Trilmmern und den Grimassen
und in den letzten lnfuslonen

Zwischen den Toten und denen die tot sein werden

im Gedrange der Wdrter fiber die Lage die so ernst ist wie
lmmer

DermaBen also eingeschlossen in iiberregionaiem Entsetzen
Und von allem was mich auch betrifft. auch mich. wirkllch
durchaus

Beim Versuch von mir abzusehen

Bin ich auf mich gestoBen.22

C. Continuity between the Sixties and Seventies
New Subjectivity is a literary term and a crutch used by literary

critics to neatly and efficiently categorize a movement. The juxtaposition of
New Subjectivity of the seventies with the political literature of the sixties is
not absolute and only serves to outline in general the most striking trends.
The late sixties. in particular documentary literature. are used as a literary
foil to better perceive the contours of New Subjectivity. There are
certainly examples of subjectivity in the sixties. and some authors of the
seventies continue to write in the name of a political ideology. if one
looks for continuity within literary development instead of evidence of the
abrupt pendulum swing. there are two obvious examples: literary feminism
and poetics:

Der literarische Feminismus. der auf die polltlsche Dimension

des Subjektiven besonderen Wert legen muBte. um die Frau

aus den Schranken des nur Privaten zu befreien. und die

Autorenpoetlk. die den Wandel in der Funktlonsbestlmmung der

Literatur kommentiert und rechtfertigt. sind die slchtbarsten
Bekenntnisse zu solch fragiich gewordener Kontlnultat.23

19

Literary feminism even in the sixties attempted to combine the private
and political. it wanted to communicate to individual women. who had
always been perceived within their traditionally private role as mother and
homekeeper. a sense of their political and public self. ideally this was
not to become merely a role change. but should offer women a wider
range of possibilities and a broader area of exploration in which to realize
themselves. Christa Wolfs novel Nachdenken fiber Christa T.. published in
1968. provides a good example of a search for oneself: 'Was ist das:
Dieses Zu-sich-selber-Kommen des Menschen?."24 and can be considered
a forerunner of New Subjectivity.

Continuity can also be found in the poetics of several prominent
authors. Their theoretical writings of the sixties concerning the societal
function of literature concentrate on the subjective nature of all literature.
Gflnter Herburger states in 1967 that he himself is the main character of
all his writings: ‘Wenn ich schrelbe. schrelbe ich lm Grunde nur von mlr.
Alles was vorgestellt wird. slnd melne Projektionen. ich bin die

Hauptperson."25

Peter Handke offers perhaps the most dramatic example
in his essay “ich bin eln Bewohner des Elfenbelnturms.‘ written in 1967 at
the height of political activism: 'lch habe kelne Themen. tiber die ich
schrelben mechte. ich habe nur eln Thema: Uber mich seibst klar. klarer

zu werden...."26

in his essay of 1966 entitled "Dle Literatur ist
romantisch.’ Handke finds that 'engaged' and 'ilterature' are mutually
exclusive: 'Elne engaglerte Literatur gibt es nicht. Der Begrlff ist eln
Widerspruch in slch.'27

Dieter Wellershoff is another important author who already in the

sixties warned against the total lack of the personal sphere in literature.

20
The portrayal of the subject crippled by reality burdens contemporary
society with responsibility toward this individual and indicates the necessity
for change. Hinrich Seeba states that Wellershoff dialecticaiiy unites the
political and private spheres through attributing a societal function to the
writer’s task of portraying the individual: "Erst die persdnliche
Konkretlsierung verschafft dem kritischen Potential der Literatur die
giaubwllrdlge Wirkung. die dem abstrakten Engagement abgingf“?8 This
presages the solution which many writers of the seventies will find to
overcome the discrepancy between the autonomy and engagement of art
and to justify their writing. in addition. Wellershoffs New Realism. a
statement of method and intent. portends in many ways the trends of the
seventies?9 As early as 1967 Wellershoff discusses a subjective narrative
perspective. whereby objective reality is seen slightly askew. By means of
this skewed perspective the everyday world will appear not so everyday and
the reader will be able to experience it anew. The connection between
Wellershoff and much of New Subjectivity lies in the authors attempt to
free himself and his reader from preconceptions and established meanings
in order to experience more fully a wider range of reality.

This connection is also to be found between 'sprachreflektlerende
Literatur' (literature reflecting upon itself) and New Subjectivity. Based in
part on Ludwig Wittgensteln‘s theory of language and related to the
skepticism toward language displayed especially during the postwar years.
the representatives of this movement--HeiBenbllttel. Mon. and Bense being
the most lmportant--understand the manipulative power of language and its
structures. Language is a carrier of implied meanings which distort our

perception of reality. 'Sprachreflektierende Literatur' attempts to destroy

21
the clichés which determine the way we see. think. and speak. and to
escape the meanings traditionally burdening all language. The reader is
confronted with antistructures. which do not correspond to traditional
patterns of syntax and do not lend themselves to traditional interpretation.
thereby springing paralyzed language models and draining metaphors of
meaning. This destructive process should broaden the individuals capacity
to think and speak: “ich nenne Helmut HeiBenbiittel stellvertretend ffir'eine
grocere Anzahl von Schriftsteilern. die elne Veranderung der Sprachfahigkeit
und also die Erweiterung des Denk- und Sprechvermdgens sich zur
Aufgabe gesetzt haben.'30 Although considerably more abstract and
experimental. justification for the inclusion of this type of literature here
lies in the personal freedom it strives to attain through destroying societal
preformuiations and preconceptions.

Finally. as evidence of literary continuity Marcel Reich-Ranlckl makes
note of several authors who continued to write seemingly uninfluenced by
the political upheaval around them: 'ln der Tat: Vlele Autoren - von Maria
Luisa Kaschnitz bis Gabriele Wohmann. von Hans Erich Nossack bis Peter
Handke - veruchten das lhrige weiterzumachen und iieBen sich von den

Demonstrationen im Lande kaum beirren.'31

D. New Subjectivity as a Return

The phenomenon of literary subjectivity is certainly not unique to the
seventies. but rather part of a long tradition which first emerged with the
appearance of the bourgeois novel itself.” The older epic or epos.
according to Hegel. still portrayed a complete picture of the world and

man’s place within the whole: it presented "dle Totailtat elner Weit- und

22

Lebensanschauung."33

The "moderne bilrgerliche Epopoe" originates from
a tradition of totality. but eventually emancipates itself more and more from
this predetermined. fixed. and objective reality in a process of subjective
questioning and doubt. which ultimately arrives at the subject as the
central axis of the novel: 'lm Unterschied zum Epos problematlsierte und
entthronislerte er [der Roman] die Offentlichen Rangordnungen und Werte
und entdeckte als selnen eigenen Gegenstand den Menschen schlechthln.
das menschllche lndividuum und dessen Subjektivltat....'34

The historical development of the novel traces the dialectic relation
between objectivity and subjectivity. The pendulum swings back and forth
between the two extremes. never totally disregarding either pole. but
emphasizing one or the other in what Zsuzsa Széll calls 'Akzent-

verschlebungen."35

Storm and Stress is one period characterized by
subjectivity and the autonomy of the artist--the 'Genie'-—to create and
phantasy new literary contents and forms beyond those already formulated
and existant in reality. The motifs of madness. wonder. and ecstasy in
works during the Storm and Stress and the Romantic periods parallel the
tendency toward the irrational and inexplicable. the dark and fearful. and
toward the mystical apparent in many new subjective works.36 Another
correlation between these literary periods is the supremacy of feelings. and
the role attributed to these feelings of freeing the individual from the
partlcularization and functionality of society: 'Schon in Werthers
Leldensgeschichte ist die Unbedlngthelt des Gefiihls Ausdruck elnes

Emanzipatlonsanspruches des ganzen Menschen...."37

Supportive of the
analogy drawn between Romanticism and New Subjectivity is the frequency

with which Romantic writers are quoted or mentioned within the works of

23
the seventies.

The swing back around 1830 to objectivity as evidenced in literary
Realism. and then its intensification in Naturalism at the turn of the
century. serve to spotlight the crisis of the individual at the beginning of
the twentieth century. Underlining the seesawing movement of previous
centuries was the gradual movement toward the negation of any type of
totality or all-encompassing meaningful reality. The process of questioning
ultimately leads to the experience of Nietzsche’s 'Bruch': a break with
tradition. with societal institutions. with systems based on truth.
Expressionism is a reaction to the experience of the loss of meaning in
the world. whereby the individual is thrown back upon himself and his own
subjective experience of reality. There are many similarities between New
Subjectivity and Expressionism. which will be highlighted in the following
discussion. An in depth analysis and comparison of these two literary
movements and their individual representatives would be extremely
enlightening and interesting. but goes beyond the scope of this dissertation.

Both New Subjectivity and Expressionism are reactions to the
overwhelmingly objective perception of the world characterizing the literary
periods immediately preceding them. those of the political sixties and of
Naturalism. The decade of the sixties can be viewed as a movement
toward contemporary society. The authors no longer wanted their works to
merely simulate life. but to be life: 'Man wollte nicht nur Lebensnahe.

38 Naturalism strove to 'photograph' the

sondern das Leben seibst..."
world: the Naturalists wanted to present a segment of life as true to
reality as possible. Hans Dieter Schafer establishes the connection

between Naturalism and the decade of the sixties. which borrowed and

24

expanded upon the experimental forms of its predecessors;39 For both
literary periods reality was something firm and solid under the feet and
represented a supralndlvldual societal system which determined the
individual.

in contrast. the totality of reality furnishing a meaningful connection
between isolated parts has dissolved for the Expressionists. Hugo von
Hofmannsthal’s 'Ein Brief' (1901). the single most important document
signaling the advent of the expressionist experience. testifies to the
unsuccessful search for meaning and reference points in traditional systems
proclaiming truth: “An dieser Harmonie begrenzter und geordneter Begrlffe
hoffte ich zu gesunden. Aber ich konnte nicht zu lhnen hinilber.‘4o The
narrator’s reality disintegrates into smaller and smaller segments. which
cannot be reunited under the generality of some concept: “Es zerfiel mlr
alles in Teiie. die Teile wieder in Teiie. und nichts mehr lieB sich mit
einem Begrlff umspannen' (13). The experience of a reality which is no
longer perceived as solid ground is thematic in Franz Kafka’s early short
story "Gesprach mit dem Betar.‘ in which the narrator describes this
condition as one of sea sickness on land: 'ich habe Erfahrung und es ist
nicht scherzend gemelnt. wenn ich sage. daB es elne Seekrankheit auf

festem Lande gibt.“4]

A similar experience can be found in many new subjective works.“
There is a scorn shown toward any answers which pretend to be certain

and true. The narrator of Nicolas Born’s novel Die erdabgewandte Seite

 

der Geschichte states: 'ich hatte kelne Antworten auf bestlmmte Fragen der
Geschlchte. konnte alle Antworten. je seibstgewlsser und gerechter sie

klangen. nur noch verachten."43 This is connected to the negation of any

25
political ideology or societal institution and is a reaffirmation of Nietzsche’s
'Bruch' after the positivism of the sixties. Typical for the new subjective
hero is a sudden feeling of displacement and lack of context. The hero

of Peter Handke’s novel Die Stunde der wahren Empfindung. Gregor

 

Keuschnig. suddenly feels as if he no longer belongs: 'Auf einmal gehdrte
er nicht mehr dazu."44
The experience of the collapse of a meaningful reality exterior to the
subject results in the thematizatlon of the narrative perspective. The
objects of reality are no longer of primary importance. but rather the
subject who perceives and experiences them. The reader is not presented
an objective and trustworthy picture of the world. but rather a protocol of
the narrating subject’s consciousness. The narrator of Robert Musil‘s short
story ‘Tonka' (1924) says that it is necessary to believe in the objects of
the world before they exist: 'Es waren die Dinge. Von lhnen gait. daB der
Glaube an sle friiher da sein muBte als sle seibst...."45 What Fritz Martini
states concerning Expressionism is equally true of New Subjectivity:
Die Perspektlve verdichtet sich auf eln ich als Mitteipunktsfigur
- 'ich: Abenteuer der seeilschen Elnsamkeit' (Max Kreii) -. sie
faBt elnen Lebensaugenbiick. elnen Lebensabschnltt zusammen.
Dieses ich erzahlt sich gleichsam monologisch seibst. oder
aber der Erzahler erzéhlt. mit einem Gestus der Objektivierung.
aus lhm heraus. Das Subjektive und das Objektive rinnen
ineinander: die AuBenwelt veriiert ihre eigene. abstandige
Wirkiichkelt. sle wird zur Projektion des innern. nur aus den
Prozessen. die in ihm ablaufen. gesichtet und gedeutet.46
The same existential isolation of the subject due to the dissolution of an
exterior objective reality will be noted for the new subjective protagonist.
Reality serves as an impetus for subjective reflection. memory. or

imagination: in short. for subjective experience.

Because the perception of reality will change from person to person

26
and will even differ for the same subject. the world of objects is in a
state of constant flux: ”Die Dinge riickten sehr heran. wurden probiematisch
und enthiillten sich aus der Nahe als endiose Bewegungen in sich. Sie
noch in statischem Obereinander zu reproduzieren. war fiirderhin unmbgiich.
Das Problem. sie in ihrem Schwingen darzusteiien. wurde brennendf'“
The boundary between subject and object often becomes fuzzy or
disappears entirely. in the works of Rainer Maria Riike and Peter Handke
outer and inner world flow into each other without ‘warning. in Rilke’s _D_i_§

Aufzeichnungen des Maite Laurids Briggs (1910) the narrator feels the

 

outside penetrate his own room: ’Eiektrische Bahnen rasen iautend durch
melne Stube. Automobile gehen Uber mich rim-48 Handke’s Die Stunde

der wahren Empiindung is structured upon a seesaw back and forth

 

between. objective and subjective reality. with the reader never fully able to
determine the contours of either. The prOtagonist of Dieter Weilershoff’s

novel Die Schdnheit des Schimpansen undergoes a similar experience.

 

Klaus Jung can no longer distinguish between outer and inner world. so

daB innen und auBen iangsam ineinander iibergingen...."“‘9

Moments of an almost mystical unity between subject and object can
be found in both new subjective and expressionist works. Lord Chandos.
the narrator of Hofmannsthal’s 'Ein Brief.‘ experiences the eternal essence
of being through a watering can. whereby the narrator feels himself flowing
into external objects and is overcome by a sympathy or participation in the
fluid of life and death. He tries to describe his experience: 'Es war viei
mehr und vlei weniger als Mltieid: eln ungeheures Anteiinehmen. ein

HiniiberfiieBen in jene Geschdpfe oder eln Fiihlen. daB ein Fiuidum des

Lebens und Todes. des Traumes und Wachens fiir elnen Augenblick in sle

27
hiniibergeflossen ist...“ (15). Lord Chandos’ experience of eternity
(“Gegenwart des Unendlichen'). caused by the accidental composition of
insignificant objects ('diese Zusammensetzung von Nichtlgkeiten“). is echoed

in Peter Handke’s works. The narrator of Der kurze Brief zum iangen

 

Abschied experiences this unity as the swaying of a cypress tree he is
watching gradually penetrates and takes over his breathing: '...mit einem
wiiieniosen Wohigefu‘hi spiirte ich. wie die Bewegung der Zypresse die
Funktlon des Atemzentrums iibernahm. mich in sich mitschwanken "63...."50
Another Handke hero. Gregor Keuschnig. feels a helpless attachment and
oneness with the world upon viewing three wonderful objects lying in the
sand: a chestnut leaf. a mirror splinter. and a barrette:
Bel dem bastarkenden Anbiick der drei wunderbaren Dinge lm
Sand erlebte er eine hilfiose Zuneigung zu allen.... Das
Kastanienbiatt. die Speigeischerbe und die Zopfspange schienen
noch enger zusammenzuriicken - und mit lhnen rilckte auch
das andere zusammen . . . bis es nichts anderes mehr gab.
Herbeigezauberte Nahei (SE.82-83).

Common to many new subjective and expressionist authors is a
tendency toward the irrational and the anti-intellectual. Civilization’s highly
developed reason ls seen as an obstacle to the attainment of unity and
totality. Martini states of the Expressionists: 'lm Eiementaren giaubte man
elner Totalitat des Seins habhaft zu werden)“ in Gottfried Benn’s 'ithaka'
(1914) the students rebel against the intellectual acrobatics ('lnteiiekt-
akrobatik") and unquestionable. absolute power of the logical. systematic
brain. They seek an original state of being in the warmth of the sea and
the blood of motherhood: 'Wir sind das Blut: aus den warmen Meeren. den
Miittern. die das Leben gaben. Sie sind eln kieiner Gang vom Meer.

Kommen Sie helm. ich rufe Sie.'52 Reason as apparent at the beginning

of the piece is overcome at the end and replaced with ecstasy: 'Wir

28
wollen den Traum. Wir wolien den Rausch. er rufen Dionysos und
ithakai -" (100). Stephan Reinhardt discusses within contemporary feminist
works the cult of motherhood and blood as the sign of life and fertility.
He quotes Karin Struck’s Die Mutter: "Es ist wahr. das Blut ist Zeichen des
Lebens. der Fruchtbarkelt. und die Angst vor dem Blut lst faisch. Das

Blut ist dick und leuchtend.”53 The rejection of the rule of reason is not

limited to feminists. The narrator of Nicolas Born’s Die erdabgewandte

 

Seite der Geschichte laments that the world is a victim of rationality: 'Die
Erde wird letzten Endes der Vernunft geopfert' (86.151).

As expression and reflection of subjective consciousness the forms of
new subjective and expressionist works resemble each other in certain
ways. Both literary styles break with Realism and instead display a style
of fragmentation. There‘ often exists no logical development. no sequential
order. no causality imposed from the outside. Time and space are difficult
to determine. The story line follows the reflections. the associations. the
imagination. and the memories of the subject. Typical for New Subjectivity
and Expressionism is the destruction rather than construction of symbols.

A symbol requires a system of prearranged meaning within a given and
natural context. As has been shown. however. these two literary
movements lack such a context. Again. what Martini asserts concerning
Expressionism can be applied to much of New Subjectivity:
Unverkennbar ist...die Entfernung von elnem symboilschen
Erzehlen. Es konnte kilnstierlsch nur mdgllch sein. wo an
dem BewuBtseln elnes sinngebenden Weitzusammenhangs. an
elner Kolnzidenz des Konkret-Einzelnen mit dem Allgemeln-
Bedeutenden unter dem Aspekt reziproker Sinnerheliung
festgehalten wurde. Wenn es hingegen gerade um die
Verstbrung des Zusammenhangs ging. dieser als elne Ltige der
Harmonie gait. wenn Erzahlthema und Erzahlformen gerade das

Fragmentarische. lsoilerte. Offene zu akzentuieren hatten. so
muBten dem Verelnzelten seine eigene Absoluthelt mltgetellt

t 29

werden - elne Absoluthelt zur Nihiiitat oder zum
Unendilchen.5‘4

Due to its antisymbolic nature. Kurt w. Schild has characterized
Expressionism as 'Parabolkunst.‘ or parabolic art. a term which aptly
describes much of New Subjectivity as well.55 The literary work presents
pictures and images which defy recognition and meaningful interpretation.
in Wassily Kandinsky/s "Der gelbe Kiang' (1912) the observer is confronted
with a moving stage composition (“BUhnenkomposition'). There are no
characters but rather 'Mitwirkende‘ (contributors) who. as carriers of form
and color. arrange themselves in six different pictures. Neither the words
nor the action impart a meaning but rather an impression.56 Peter
Handke also strips objects of everything but their form and color in his

novel Die Lehre der Sainte-Victoire.57

The questions directed by the
reader at the work of literature remain unanswered and are accordingly
reflected back upon the questioning reader. This process of reflection
constitutes the parabolic nature of Expressionism and of many new
subjective works. important is the works effect on the reader. The author
wants not only to impart the loss of totality and meaning in the world to
the reader. but ideally to draw him into a similar experience. The energy
of the piece of literature is not exhausted by what it means. but rather.
through parabolic reflection. burdens and provokes the reader with his own
questions. feelings. and experience.

As a consequence of the dissolution of a meaningful reference
system. language itself as a labeling and categorizing system becomes
problematic. in some cases this leads to a rebellion of the objects

against their predetermined and limiting categorization. as evidenced in

“Lydia und Maxcllem (1906) by Alfred Ddblln.58 But more often it results

30

in a speechlessness which is common to both Expressionism and New
Subjectivity. Words simply disintegrate in the mouth of Lord Chandos 'wie
modrige Plize.‘ He can no longer speak of anything within a general
context. and it has become impossible for him to use concepts: "...nichts
mehr lieB sich mit einem Begrlff umspannen. Die einzelnen Worte
schwammen um mich...“ (13). The main character of Botho StrauB’jnovel
M91. Bekker. gradually loses his ability to speak due to an inability to
answer any question definitively: I

Der Vater wlegt immerzu den Kopf lelcht hln und her. als sel

er unschiiissig der einzig richtigen Antwort. Aber es kommt

Uberhaupt kelne. So verebben Grits Fragen allmahiich vor

dem griindlichen Schwelger. der mit dem Kopf wackelt und

kurz vor dem ersten Ton elner Erwlderung es sich lmmer

noch einmal anders iiberlegt.5
These examples manifest the connection between the loss of a meaningful
context and speechlessness. Concepts and names for objects are rejected
or destroyed because they help structure and categorize the objects of
reality. Without these artificial categories the experience mentioned before
of objective instability is intensified. as is the case with Wellershoffs
protagonist. Klaus Jung: "...er hatte aufgehbrt. seinem Leben oder der Welt.
die ungetrennt durch lhn hindurchfiossen. Namen zu geben. mit denen er
sle festhalten konnte” (88.26).

Finally. it is interesting to note that both New Subjectivity and
Expressionism have unleashed a controversy concerning their validity and
function for society. in 1937 and 1938 the so-calied Expressionism debate
argued for and against its aesthetic value. and pondered whether or not
Expressionism should be used as a basis for antlfascist literature.

Opponents stated that because Expressionism portrays the isolation.

alienation. and meaninglessness of human life as an existential reality.

31

instead of pointing to society as the cause of this alienation and showing
the masses the path of revolutionary change. it has no societal merit or
relevance. Such arguments are the forerunners of reproaches leveled at
New Subjectivity today. as will be discussed in detail in later chapters.

There are also several important and striking differences to be noted
between Expressionism and New Subjectivity. The most important of these
is that New Subjectivity is a much more accessible literature than was
Expressionism. Heinrich Vormweg characterizes the literature at the
beginning of what can be considered the new subjective movement as an
invitation to aii--borrowed from Dieter Weilershoffs novel entitled thusiy--to
read.60 Above all. the accessibility is due to the concreteness of many
new subjective works. The themes are recognizable and extracted from
everyday life with typical characters. The setting and departure point for
the action to come are familiar. in general. the forms of New Subjectivity
are less radical than those of Expressionism. in contrast to its
predecessor. New Subjectivity often unfolds a story and develops
characters. it frequently presents a return to a more traditional narrative
form. The biography and autobiography can. for example. offer the
framework for a sequential time and place and for a logical progression

from beginning 10 and.

Conclusion

in this first chapter the term New Subjectivity. as it will be used
throughout this dissertation. has been defined. The term has also been
placed within its historical framework. not in an attempt to present a

literary history. but to provide a more thorough understanding of the term.

32
Juxtaposed to the documentary literature of the late sixties. New Subjectivity
appears to be a radical. abrupt. and totally new literary direction. But
within a broader frame. within a tradition of subjective literature especially
apparent during the early twentieth century. New Subjectivity no longer
seems as new as the furor upon its advent led the reader to believe.
What is new then about New Subjectivity? New Subjectivity is new first of
all because it is a very definite reaction to and rejection of the
objectivities of the sixties. More importantly. even though it evolved from a
subjective tradition. the themes and forms used to express the experience
of the loss of a firm. objective reality will be unique to and reflections of
the past decade of German life: both personal and societal. The following

chapters Will document these themes and forms in greater detail.

Notes--Chapter One

1Marcel Reich-Ranickl. 'Rl’ickkehr zur schbnen Literatur: Eine Bilanz
aus AnlaB der Frankfurter Buchmesse.‘ Frankfurter Allgemeine Zeitung. 8
Oct. 1975. p. 21.

2Roman Ritter. ‘Dle ’Neue lnnerllchkelt’ - von innen und aussen
betrachtet: (Karin Struck. Peter Handke. Rolf Dieter Brinkmann).' in Kontext
l: Literatur und Wirkiichkelt. ed. Uwe Tlmm and Gerd Fuchs (Miinchen:
Bertelsmann. 1976). p. 238.

3Michael Rutschky. “Katastrophen-Literatur - die neueste Tendenz?.'
Neue Rundschau. ’88 (1977). 619.

4Klaus R. Scherpe and Hans-Ulrich Treichel. "Vom OberdruB leben:
Sensibllltat und lntellektuailtat als Ereignis bei Handke. Born und StrauB.‘
Monatshefte. 73 (1981). 187.

 

5Marcel Reich-Ranickl. 'Anmerkungen zur deutschen Literatur der
siebziger Jahre.‘ Merkur. 33 (1979). 176.

6Heinrich Vormweg. 'Elnladung an alle: Prosaneuerscheinungen Herbst
1972 und Friihjahr 1973." ahresring. 1973/74. p. 247.

7Michael Radtke. 'Jetzt dichten sle wieder.“ Stern. Oct. 1974.
8Reich-Ranickl. ‘RUCkkehr.' p. 21.

9Erika Runge. 'Abschled von den Protokollen: Oberlegungen zur
Dokumentarliteratur.‘ Frankfurter Allgemeine Zeitung. 17 Aug. 1976. p. 19.

mHans Dieter Schafer. 'Stlmmungen wie im Sammetherzen.‘ Die Welt.
12 Aug. 1976. p. 21.

nHans Magnus Enzensberger. 'Gemeinplatze. die Neueste Literatur
betreffend.‘ Kursbuch. 15 (1968). 195.

12it has been noted that Enzensberger himself did not. as is
commonly thought. proclaim the death of literature. in an interview with
Alfred Andersch Enzensberger states: 'Sie [die Kritiker] behaupten
hartnackig. ich hatte darln den Tod der Literatur verkiindet oder gar
verlangt. in Wirkiichkelt habe ich festgestelit. was elgentiich jeder
theraturstudent wissen miiBte - nur bis zu den deutschen Kritikern hat es
sich offenbar lmmer noch nicht herumgesprochen -. namlich daB der ’Tod
der Literatur seiber eine literarische Metapher von ehrwlirdigem Alter ist.
und ich habe mich fiber diese Rhetorik des Absterbens iustig gemecht.’
in Nach dem Protest: Literatur lm Umbruch. ed. Martin W. Lildke (Frankfurt
am Main: Suhrkamp. 1979). p. 92.

13Enzensberger. 196-97.

33

34

”Runge. p. 19.

15Eberhard Lammert. 'Dber die bffentliche Verantwortung des
Schriftsteilers.‘ in Poesie und Politik: Zur Situation der Literatur in
Deutschland. ed. Wolfgang Kuttenkeuler (Stuttgart: Kohlhammer. 1973). p. 55.

16Helmut Kreuzer. 'Zur Literatur der siebziger Jahre in der
Bundesrepubilk Deutschland.“ Basis. 8 (1978). 10.

WReich-Ranickl. "Anmerkungen.’ 172.

18Quoted according to Heinz Ludwig Arnold. “Ober die Vergangenheit
der alten und die Notwendigkeit elner neuen theraturkritik.' in Brauchen wlr
noch die Literatur? Zur literarischen Situation in der Bundesrepubilk
(Diisseldorf: Bertelsmann Universltatsverlag. 1972). p. 35.

 

19Hazel E. Hazel. “Die alle und die neue Sensibllllat: Erfahrungen mit
dem Subjekt. das zwischen die Kulturen gefallen ist.“ in Literaturmagazin 4:
Die Literatur nach dem Tod der Literatur: Bilanz der Politislerung. ed. Hans
Christoph Buch (Reinbek bei Hamburg: Row0hit Taschenbuch Veriag. 1975).
p. 131.

 

20Hazel. p. 130.

21Jdrg brews. "Selbsterfahrung und Neue Subjektlvitat in der Lyrik." in
Akzente. 24 (1977). 90.

2zGabrieie Wohmann. "So ist die Lage.“ Tintenfisch. 8 (1975). 35-36.

23l-llnrlcll c. Seeba. 'Persdnliches Engagement: Zur Autorenpoetik der
siebziger Jahre.’ Monatshefte. 73 (1981). 141.

 

“Opening quote by Johannes R. Becher in Christa Wolf. Nachdenken
ilber Christ T.. special ed. of the Sammlung Luchterhand (DDR. 1968: rpt.
Berlin: Luchterhand. 1971).

 

szuoted according to Walter Hinderer. "Kommi ins Offene. Freundi’:
Tendenzen der westdeutschen Lyrik nach 1965.‘ in Deutsche Literatur in
der Bundesrepubilk seit 1965: Untersuchungen und Berichte. ed. Paul
Michael Liitzeler and Egon Schwarz (Kbnigstein: Athenaum. 1980). p. 19.
Original quote in Herburger. 'Dogmatisches ilber Gedichte.‘ in Was alles
hat Platz in einem Gedicht7. ed. Hans Bender and Michael Kroger
(Milnchen. 1977). p. 76.

 

26Peter Handke. 'ich bin eln Bewohner des Elfenbeinturms.‘ in l_c_i_i
bin eln Bewohner des Eifenbeinturms (Frankfurt am Main: Suhrkamp. 1972).
p. 26.

27Peter Handke. 'Die Literatur ist romantisch.‘ ln ich bin eln
Bewohner des Eifenbeinturms (Frankfurt am Main: Suhrkamp. 1972). p. 43.

 

35
28Seeba. 148-49.

”Dieter Wellershoff. 'Wlederherstellung der Fremdhelt.‘ in
Grenzverschiebung: Neue Tendenzen in der deutschen Literatur. ed. Renate
Matthaei (Kbln: Kiepenheuer & Witsch. 1970). pp. 9—15 of "Theorie und
Programm.‘

30Lalmmert. p. 52.
31Reich-Ranickl. 'Anmerkungen.‘ 171.

32For an excellent and comprehensive treatment of literary subjectivity
see Edgar Plei. Der Schrecken der 'wahren’ Wirkiichkelt: Das Problem der
Subjektlvltat in der modernen Literatur (Manchen: Beck. 1978).

33Hegel is quoted and discussed here by Bodo Heimann.
Experimenteile Prosa der Gegenwart (Miinchen: Oldenbourg. 1978). pp. 11-
12. Original qu0te in Georg Wilhelm Friedrich Hegel. samtliche Werke.
Jubilaumsausgabe in zwanzig Bdn.. XlV. pp. 340ff.

 

34Heimann. pp. 11—12.

35Zsuzsa Széll. 'Subjektlve Prosa?" Welmarer Beltragg. 25. No. 12
(1979). 137.

 

36This parallel is discussed in Peter M. Stephan. 'Schlecht getréumt:
Ober Gefilhle. Sinniichkeit. Vernunft und andere Absurditaten in der
Literatur.“ in Literaturmagazin 9: Der neue lrratlonaiismus. ed. Nicolas Born
at al. (Reinbek bei Hamburg: Row0hit Taschenbuch Veriag. 1978). pp. 171-
72.

37Scherpe and Treichel. 193.

388cnaler. p. 21.

398chafer. p. 21.

40Hugo von Hofmannsthal. 'Ein Brief." in Gesammeite Werke in

Einzelausgaben: Prosa ll. ed. Herbert Steiner (Frankfurt am Main: Fischer.
1951). p. 13. Hereafter cited in the text with page number only.

 

41Franz Kafka. 'Gesprach mit dem Beter.‘ in Prosa des
Expressionismus. ed. Fritz Martini (Stuttgart: Philipp Reclam. 1970). p. 63.

”The new subjective experience of alienation will be discussed in
detail in the following chapters.

43Nicolas Born. Die erdaflewandte Seite der Geschichte (Reinbek bei
Hamburg: Row0hit. 1976). p. 97. Hereafter cited in the text with (86) and
page number only. For a complete list of all primary works cited in the
text and their abbreviations see the Appendix.

36

44Peter Handke. Die Stunde der wahren Empflndung (Frankfurt am
Main: Suhrkamp. 1975). p. 8. Hereafter cited in the text with (SE) and the
page number only.

 

45Robert Musli. 'Tonka.‘ in Prosa und Stilcke. Vol. Vi of Gesammeite
Werke. ed. Adolf Frisé (Reinbek bei Hamburg: Row0hit. 1978). p. 298.

 

 

46Fritz Martini. ed.. Prosa des Expressionismus (Stuttgart: Philipp
Reclam. 1970). p. 9.

47Martini. p. 7. Martini quotes Carlo Mierendorff. 'Wortkunst / Von
der Novelle zum Roman.“ in Zur Asthetik und Poetik. Vol. l of Literatur—
Revolution 1910-1925: Dokumente. Manifeste. Programme. ed. Paul Pdrtner
(1920: rpt. Neuwied: Luchterhand. 1960). pp. 307-13.

 

48Rainer Maria Rilke. Die Aufzelchnungen des Malte Laurids Briggg. in
Semtliche Werke (Frankfurt am Main: lnsel. 1966). Vi. 710.

49Dieter Wellershoff. Die Schbnheit des Schimpansen (Kdln:
Kiepenheuer 8. Witsch. 1977). p. 26. Hereafter cited in the text with (88)
and page number only.

 

50Peter Handke. Der kurze Brief zum laggen Abschied (Frankfurt am
Main: Suhrkamp. 1972). p. 95. Hereafter cited in the text with (BA) and
page number only.

5‘Mertint. p. 7.

5QGottfried Benn. 'lthaka.' in Einakter und kieine Dramen des
Expressionismus. ed. Horst Denkier (Stuttgart: Philipp Reclam. 1968). p. 97.
Hereafter cited in the text with page number only.

 

53Stephan Reinhardt. ”Nach innen filhrt der geheimnlsvolle Weg. aber
er iiihrt auch wieder heraus’: Unvoiistandige Anmerkungen zum neuen
lrratlonaiismus in der Literatur.’ in Nach dem Protest: Literatur im
Umbruch. ed. Martin W. Liidke (Frankfurt am Main: Suhrkamp. 1979). p.
167.

54Martlnl. p. 11.

55The discussion of Expressionism and above all the definition of
'Paraboikunst' are based upon a seminar concerning Expressionism
conducted by Professor Kurt W. Schild in the Winter of 1980 at the
Michigan State University. East Lansing. Michigan.

56Wassily Kandinsky. 'Der gelbe Klang.‘ in Einakter und kieine
Dramen des Expressionismus. ed. Horst Denkier (Stuttgart: Philipp Reclam.
1968). pp. 54-64.

 

57Peter Handke. Die Lehre der Sainte-Victolre (Frankfurt am Main:
Suhrkamp. 1980). Hereafter cited in the text with (LS-V) and page number
only.

37

58Alfred Dbblln. "Lydia und Maxchen.' in Einakter und kieine Dramen
des Expressionismus. ed. Horst Denkier (Stuttgart: Philipp Reclam. 1968).
pp. 22-46.

 

59Botno StrauB. Rumor (Milnchen: Carl Hanser. 1990). pp. 213-14.
Hereafter cited in the text with (R) and page number only.

 

60Vormweg. p. 247.

Chapter Two--The Themes of New Subjectivity:
The Destructive Experience of Alienation

introduction

For the twentieth century. totality has become untrustworthy. and its
denial characterizes the modern experience as portrayed in general in the
tradition of the novel. and specifically in New Subjectivity: 'Der f."
Totalitatsverlust. zentraler Topos moderner BewuBtseinserfahrung und
Romantradition. der ’abendiandische Generalschmerz (Reinhard Baumgart)
iiberhaupt. ist auch die zentraie Erfahrung der Helden der neuen
Sensibilitat."1 Prerequisite to a subjective llteraturegls exactly such a loss
of validity of the outer. objective world or systematic order. which initiates
an experience of extreme alienation and isolation. This chapter discusses
in detail the experience of alienation and its ramifications for the new
subjective protagonist. After establishing a type of contextual loss as the
departure point or axis of most new subjective works. the phenomenon of
skepticism is examined. The loss of unquestionable truth results in distrust
of answers and pat explanations. instead of systematic reasoning one
finds a desire to express personal feelings. and many protagonists embark.
upon a journey to rediscover themselves. in the absence of an objectively
trustworthy reality the subject must question the role used to define
himself. This questioning can lead to the total diss‘eflutlon of the subject.
which is treated in the third section of this chapter. Out of context. the
protagonists perspective of reality is slightly warped. and he finds himself
an outsider looking in upon a society functioning without him. The world
previously taken for granted suddenly appears new and frightening in its

unfamiliarity.

38

39

This chapter focuses primarily on the destructive and negative aspects
of New Subjectivity. The fear. isolation. confusion. and doubt of an
alienated protagonist are portrayed. in addition. this chapter presents the
criticism which has been aimed at New Subjectivity. Each of the three
central sections closes with frequently heard reproaches of this literature. it
is the destruction of New Subjectivity which prompts so many commentators
to discredit this most recent literary trend. Critics complain that the New
Subjectivists negate for the sake of negation. There is no direction or
reason for the destruction. and the protagonists lack hope and the will to
change. Commentators fault the lack of a realistically portrayed society and
fear that the subject wallows in narcissism. in short. critics question the
relevance of New Subjectivity: When does subjectivity become trivial and
more exhibitionism? To pose such a question is legitimate. But the
response of commentators as presented in this chapter is far too
shortsigted. Those critics who demand the portrayal of an objective.
historical. and political reality misunderstand the very nature of New

Subjectivity and the experience of alienation.

A. The Loss of Context
At the outset of Dieter Wellershoffs novel Die Schdnheit des

Schimpansen one finds a description of the experience of alienation:

 

Das kunstvoiie Gleichgewicht. in dem eln Mensch lebt. ist
manchmal nichts anderes als der angehaltene Moment vor
seinem unvermeldlichen Sturz. Tag fiir Tag iebt er dahin.
scheinbar in geslcherten Bahnen. und er seibst mag sich fiir
jemanden halten. der sein Leben nach klugen und
iiberlegenen Grundsatzen fiihrt. bis er. aufgestbrt durch elne
wlnzlge Veranderung. vor der verdunkelten Seite seiner Welt
steht. Das. was er nun sieht. hat or elgentiich lmmer schon
gewuBt. doch ohne den Schrecken. der. wie eln verspAtet
nachhallendes Echo. lhn erst jetzt erreicht und lhn taumeln

40
item. Nichts ist passiert. sagt die Vernunft. Die Welt steht in
ihren alten Formen da. es ist das Bild von gestern und
vorgestern. nur um elne Wlnzigkeit verriickt. Doch dieser
Unterschied hat den Dingen elnen scharfen Rand gegeben. als
stiinden sle vor einem falschen Hintergrund. Und zwischen
heute und morgen ist eine Schwelie. liber die die Gedanken
nicht mehr hlnwegkommen. Wenn du dich morgen slehst. bist
du es schon nicht mehr (88.4).
Wellershoff describes a very fragile and delicately balanced state of
equilibrium which the subject strives in vain to maintain in the face of an
unavoidable fail. This fall is caused by a slight shift in perspective. which
renders reality frightening and dark. The experience of alienation. which
occurs in spite of the principles guiding the individual’s life. cannot be
comprehended and is in fact denied by reason. But the individual is left
staggering upon loss of a secure context. and is no longer the person he

was the day before.

in Martin Walset’s works Jenseits der Liebe2 and Sin fliehendes

 

 

Pferd3 the loss of familiarity is gradual but none the less threatening. in
the latter the main character. Helmut Halms. is confronted with his old
school buddy. Klaus Buch. who leads a radically different life than Helmut.
The novella is structured upon the juxtaposition of these two styles of
living. and the contradiction between them serves to place each in
question. During the course of the novella Helmut feels increasingly
threatened. and the safety and security of his normal routine or habitual
life are corroded:
Er. Helmut. kann sich fast nlrgends mehr festhalten. Aber der
Wasserschwali laBt einfach nicht nach. Es ist kelne Frage
mehr. wie das ausgehen wird. Trotzdem kralit und kralit er
sich fest. Und verlangert so. da der Ausgang gewiB ist. nur
die Quai des Kampfes (fP.92).

Franz Horn. the protagonist of Jenseits der Liebe. expresses his experience

of alienation in very similar terminology: "Er hatte das Gefiihl. er sel

41
ausgerutscht und kenne sich einfach nlrgends mehr festhalten‘ (JL.162).
Horn experiences himself sliding down a mountain of sand: 'Und wie zum
Hohn auf selnen Warnruf. sah er sich jetzt elnen riesigen Sandberg
herunterrutschen' (JL.158). This metaphor. similar to that of the waterfall.
expresses the eiusiveness of any kind of foothold to prevent the loss of a
familiar context.

There are additional examples of a sudden or gradual loss of
familiarity in other new subjective works. The strangeness of the world
and an accompanying dizziness afflict Lenz of Peter Schneidel’s novel
£33354 He feels as if he has fallen out of the world: '...er habe das
Gefiihl. aus der Welt herausgefallen zu sein“ (L48). and wants to feel
asphalt under his feet. The static and quiet contentment portrayed in the

opening pages of Hans J. Frdhiich’s im Garten der Gefl‘Jhles is burst with

 

the arrival of the first summer guests. The disturbing element which the
constant stream of guests represents is manifest in the sudden and

unusual headaches which will plague the narrator throughout the summer’s
events. Gabriele Wohmann. who in her novel Frilhherbst ln Badenweiier6

parodies the new subjective experience. nevertheless testifies to the

 

frequency of some type of underlying trauma for New Subjectivity. The
main character. Hubert Frey. retires to a rest home to impatiently but
futilely await his nervous breakdown.

Thomas Bernhard's autobiographical works Die Ursache: Eine

 

Andeutung (1975). Der Keller: Eine Entziehung (1976). Der Atem: Eine

 

Entscheidung (1978). and Die Kalte: Eine isolation (1981).7 have been
described as chains of catastrophies. usually sickness or death. in which

the narrator experiences not a meaningful development. but rather a

42
senseless sequence of crises: 'Er [Bernhard] beschreibt: Katastrophen.
Krisen. das Leben als Dauerkrise. die,Lebensgeschichte als elnen
Krisenzusammenhang."8 Bernhard can be considered an extreme example
Of what is typical for contemporary literature in general. The presentation
of out of the ordinary actions. of disturbance and deviation from the norm.
is. according to Horst Albert Glaser. the dominant theme of modern
German literature: \
Die Simulation abweichenden und gestdrten Verhaitens - in der
zeitgendssischen deutschsprachigen Literatur von Thomas
Bernhard am entschiedensten vorangetrieben his in Zustande
geistiger Zerrt'ittung - ist in der Tat das dominante Thema der
Moderne geworden. Sie ist die extreme Form elnes
Subjektivismus. der die Entfremdung des Subjekts von fremd
gewordener Objektivitat bis in die Verstbrung der Schizophrenie
verfoigt.
The departure point for a new subjective work is the experience of the
objective reality as unknown and strange. Central to the concept of

subjectivity is the experience of alienation.

B. lrratlonaiism
1. Skepticism and Doubt

The irrational. according to Peter M. Stephan. has overwhelmed the
twentieth century and contemporary society: 'Das lrratlonale. um einmal
heuristisch alle unbewaitigten Tendenzen darln zusammenzufassen. zieht sich
wie eln breiter Strom aus der Vergangenheit in das 20. Jahrhundert und in

die Gegenwart hinein."10

This trend is clearly discernible in the
skepticism shown toward any unequivocal statement. The seventies distrust
systematization and explanations. and this wariness is reflected in a
literature which rejects traditional definitions of mankind. The New

Subjectivists are not interested in scientific or political theories which claim

’1'

43

to be able to rationally explain the condition of the individual man:

Die Forderung nach elner radlkal subjektivlstischen Literatur und

die nach elner autonomen Literatur werden bezeichnenderweise

begleitet von der Absage an Wissenschaft und Theorie: 'Was

die Biologie behauptet. was die Psychologie behauptet. wie der

Marxismus mich definiert. das ist mlr mit Lelb und Seele

gieichgiiltig“. sagt Peter Handke der ‘Zeit'....n
They are not interested in merely identifying themselves within some
preexisting formula. Recognition in fact gives rise to feelings of disgust or
aversion: “Erkenntnis. die Ekei bereltet."12 it is a time of question. not
assertion. Today/s literary climate is most aptly summarized as one of
doubt. Fritz J. Raddatz asserts that Peter Riihmkorfs lyrical position "ist
nicht mehr die von Behauptung. sondern elne von Befragung. gar Zweifel....
Ein Stichwort ist damit gefallen. das fast den Wendepunkt markiert lm
literarischen Blick auf unsere Welt: Zweifel."13 History is discredited.
because it presents a linear succession of cause and effect events at a
time when any type of contextual integration is viewed with suspicion:
”Geschichte wird eher in Frage gestelit als befragt."14

One of the best examples of the rejection of explanations can be

found in Nicolas Born’s Die erdabgewandte Seite der Geschichte:-'Das
Vertrauen. durch sinnvollen Gebrauch von Verstand und Vernunft die
Weitverhaltnisse schlieBiich erkiaren zu kdnnen. ist auch bei Nicolas Born
nicht mehr vorhanden."15 The first person narrator in this story yearns
for the ability to explain away the world to his daughter Ursel. but at the
same time fears the fact that the truth implicit in explanations does not
actually exist: 'Nun wollte ich Ursel nur elnholen. um lhr etwas zu
erklaren. Es war so eln Satz da wie: lCH KANN DiR ALLES ERKLARENl

Und elne geheime Angst. ich kdnne doch nicht alles erklaren' (SG.68).

He realizes that he does not have any explanations or answers to offer.

44
and indeed scorns them: 'ich hatte kelne Antworten auf bestimmte Fragen
der Geschichte. konnte alle Antworten. je seibstgewisser und gerechter sle
klangen. nur noch verachten" (SG.97).

The narrator protagonist rebels against two systems. that of love and
that of political ideology. The entire story relates his attempt to break off
the relationship with his girlfriend. Marla. who is a contrast figure in that
she demands an explanation for everything. She believes that such a
thing as truth exists and reproaches the narrator: 'Du willst nicht reden.
du willst mlr nicht erklaren warum. ...nur ilber nichts reden. es kdnnte sich
ja was herausstellen dabel. Was denn. fragte ich. Die Wahrheit zum
Belspiei. sagte sie' (SG.112). The narrator rejects the system of love
represented by Maria: 'Ein System hast du in dir getragen. in dem ich
mitspieien soilte. elne gutorganisierte Liebeswelt. wie sle in vielen anderen
langst versunken war' (SG.149).

The rebellion against a political ideology attempting to define and order
the world is apparent as a subplot in Born’s novel. Born has situated his
characters in Berlin during the heyday of political agitation. Although the
narrator accompanies his friends to the demonstration against the Shah.
the whole incident appears unreal. distant. and even somehow funny
('komlsch') to him. He simply cannot believe in the reality of the political
demonstration: 'ich giaub’s einfach nicht. Diese Wirkiichkelt kommt mlr
lacherlich vor...‘ (SG.52). The narrator defines political involvement as a
process of prepackaging information to counter any doubt: “Vlele unserer
Bekannten wurden schneil lmmer polltlscher. das hieB erst einmal. daB sle
prlnzipieii wurden und gewisse Verstandigungen abkapselten gegen jeden

Zweifel...‘ ($6.46). His inability to believe in a reality stifling all doubt is

45
consistant with his scorn and distrust of explanations.

A similar rebellion forms the central theme of Peter Schneider’s _L_e_n_z.
Situated in Northern Germany immediately after the height of student
activism. the protagonist Lenz is dissatisfied with the .student groups to
which he belongs. He rejects their ready made answers and notices that
their opinions have all been 'publlshed‘ previously: 'Den Argumenten des
Gdnners merkte Lenz an. daB sie alle schon irgendwo verdffentlicht waren'
(L.25). Lenz has the urge to contradict such Opinions: 'Es stbrte Lenz.
daB er nicht in alien Punkten gegensatzlicher Meinung war wie sein
frl'iherer Gdnner. Unwiiikiirlich hatte Lenz dfter genlckt. Trotzdem fiihite er
sich gereizt. in allem und jedem zu widersprechen' (L.25). The
protagonists rebellion against reasonable explanations manifests itself in a
distrust of language. Lenz rejects the concepts used by his student
friends to explain and order the world: 'Lenz haBt die ’fertigen Satze'. den
’Singsang‘ der 'ritueilen Setze’. dieses ’Blabia’. mit dem seine polltlschen

Freunde lmmer schon elne Antwort bereitrlalten....'16

2. The Emotions of the individual
New Subjectivity rejects an objective and rational definition of man
seen within a societal context to turn to the irrationality of the lndividuai’s

feelings. The title of Hans J. Frbhiich’s novel im Garten der Gefiihle is

 

an apt characterization of the literature of the seventies:

Das. in der Tat. ist die Entdeckung und die Dominante der
neuesten deutschen Literatur: das individuum. der ieldende
Mensch. Man lnteresslert sich wieder for das Private. filr das
lntime. Der Titei elnes Romans von Hans J. Frdhiich ist
Symptom und Programm zugleich: ‘lm Garten der Gefiihie'
(1975).]7

Thematic for New Subjectivity are personal and even intimate feelings.

46
Thematic is the suffering individual. The reader is no longer interested in
solving the conflicts of society. but rather in experiencing himself as an
individual and private being: "Nicht wie man die Gesellschaft umbauen und
die Menschheit eribsen kdnnte. mdchte der Leser von den Autoren wissen.
Vielmehr woilen sle etwas iiber sich seibst erfahren. Man lnteresslert sich
also itir Privates und lncilvlcluelles."18
The importance of emotion is obvious in Peter Schneider’s Lenz.

where the protagonists rebellion against a society dictated by ideological
concepts and jargon is accompanied with a yearning for the expression of
human emotion. The success of this work can be attributed to its demand
for personal feelings and concrete experience at a time (1973) when
marxist dogma still controlled the lives and thoughts of the politically
engaged. Lenz has become disillusioned with his student groups. He
wants to be seen as an individual. which means that he exists separately
from the group. and as a whole person. which means inclusion of his
personal fears. desires. and needs. He wants to be able to experience
his student friends as people with the same type of wishes and personal
lives:

Es kam Lenz lm Moment so komisch vor. daB alle diese

Genossen mit ihren heimiichen Wilnschen. mit ihren

schwlerlgen und aufregenden Lebensgeschichten. mit ihren

energischen Arschen nichts weiter von einander wissen wollten

als diese sauberen Setze von Mao Tse-Tung. das kann doch

nicht wahr sein. dachte Lenz. Woliten sle etwa nicht auch

einfach zusammen sein. ihre Geniisse und Schwierlgkeiten

miteinander austauschen. einfach aufhbren. aileln zu sein?

(L.28).
The world seems unreal to Lenz because it is so cold and devoid of

personal contacts. He rejects his friends abstract proposals and demands

his feelings: "Und du mit deinen Ratschiagen’. rlef Lenz erregt. ’sage mir

47
endlich. was dir gefalit. was du liebst" (L.49). Lenz finally flees his group
in Germany. where personal needs are considered as impediments to
production and personal lives as crimes (L.28).

Other works of New Subjectivity testify to the significance of personal
feelings by portraying scenes of intimacy which were previously considered
taboo. or at least inappropriate for anything but trivial literature. This
pertains most obviously to recent feminist works. and the most extreme
example is undoubtedly Verena Stefan’s Hautungen. in which the author
wants to write “fiber empfindungen. erlebnisse. erotik unter frauen...."19 its
central theme is sexuality. and experiences such as defloratlon. obtaining
contraceptives. and bisexuality are described in detail with total frankness.
Again one finds the opposition between objective. reasonable concepts and
personal sensitivity. between group solidarity and the isolated individual.
The narrator feels the limits which explanations place upon her own
personal development: 'ich wollte anders denkend und anders lebend
vorwarts preschen. ohne gebremst zu werden durch rechtfertlgungen.
erklarungen. tibersetzungsversuche' (H.57).

Karin Struck is another female author who expresses the sensual and
erotic needs of her protagonists within her works: 'Auch Karin Strucks

erster Roman. Kiassenliebe. driickt die gemeinsamen. nach Sensibilitat und

 

Sinniichkeit drangenden Bedtirfnlsse vieler aus: der Frauen und Studenten

aus den Unterschichten."20 Klassenliebe gained immediate notoriety due to

 

its frank treatment of intimate. private. and previously taboo questions.
Strucks protagonists strive for absolute openness and lay bare their
feelings and experiences for the reader: 'Dem Leser soil auch nicht die

geheimste Falte des schrelbenden lch verborgenblelben. auch nicht die

48
leiseste Regung des zuckenden Herzens soil lhm unterschlagen werden."2]

Struck herself thematlcizes her intent of openness in Kiassenliebe through

 

the incorporation of a Kafka quote within her diary entries: ”Schreiben bei
vblliger Offnung des Leibes und der Seele . . .'22
Erika Runge’s departure from documentary literature is almost as well—

known as her documented book Bottroper Protokolle (1968). She turns

 

away from the objective record of others‘ words which characterized her
documentary works to express herself and her own needs and problems.
Pondering why she wrote works which had so little to do with herself
personally. she admits that she was afraid to speak of her own individual
needs. wishes. and difficulties:

...warum habe ich dann nicht melne Erlebnisse und
Erkenntnisse. melne Phantasle und melne Sprache
elngebracht?

ich war dazu nicht imstande. obgleich ich das Bediirfnis hatte.
ich wollte schrelben. aber mlr fehiten die Worte. ich wollte
von mir. meinen Wiinschen. und meinen Schwierlgkeiten
sprechen. aber ich hatte Angst. mich bioBzusteilen.23

Runge’s desire to express herself in her literature is symptomatic of the

contemporary German literary scene in general?4

Max Frisch’s story Montauk is an obvious example of an author
relating his own personal story?5 in the prologue. quoted from
Montaigne. the narrator warns his reader that this book is devoted to
himself. He is the content of his story:

Dies ist ein aufrlchtiges Buch. Leser. es warnt dich schon beim
Eintritt. dass ich mlr darln kein anderes Ende vorgesetzt habe
als eln hausllches und privates . . . ich habe es dem
persbnlichen Gebrauch melner Freunde und Angehbrigen
gewidmet. auf dass sle. wenn sle mich verloren haben. darln
einige Ziige melner Lebensart und melner Gemiltsverfassung
wiederflnden . . . denn ich bin es. den ich darstelie. Meine
Fehler wird man hler finden. so wie sle sind. und meln
unbefangenes Wesen. so welt es nur die bffentliche
Schicklichkelt erlaubt . . . So bin ich seiber. Leser. der

49

einzlge inhalt meines Buches: es ist nicht biliig. dass du

deine Musse auf elnen so eitlen und gerlngfiigigen

Gegenstand verwendest. / Mlt Gott denn. zu Montaigne. am

ersten Marz 1580.
True to his word. the first person narrator portrays himself. He
concentrates on a weekend spent with a young American woman at
Montauk. but this short moment of his present story unleashes memories
and past experiences. so that the reader is presented the narrators life as
a man. it is this thought--"My life as a man'--which runs throughout the
book as a refrain. Frisch renounces his own stance of 1958 claiming

26 and confesses that he writes for himself.

society as his writing partner
in order to express himself:

Verantwortung des Schriftsteilers gegeniiber der Gesellschaft und
das ganze Gerede. die Wahrheit ist. daB ich schrelbe. um

mich auszudriicken. ich schrelbe filr mich. Offentiichkeit
als Partner? ich finde giaubwilrdigere Partner. lm
Grunde schrelbe ich aber filr mich seibst . . . (M.28-29).

The emphasis on individual feelings in new subjective works has led
to the thematizatlon of interpersonal relationships. in Frisch’s Montauk the
narrator states that literature can always deal with the topic of love
between man and woman. Because the relation between the sexes
continually changes. new love stories will constantly appear:
(Ober Liebe. als Beziehung zwischen den Geschiechtern. gebe
es nichts Neues mehr zu berichten. das habe die Literatur
dargestelit in alien Varianten eln filr aliemal. das sel ftir die
Literatur. sofern sle diesen Namen verdient. kein Thema mehr
- solche Veriautbarungen sind zu lesen: sle verkennen. daB das
Verhaitnis zwischen den Geschiechtern sich andert. daB andere
Liebesgeschichten stattflnden werden) (M.89).

The relationship portrayed is a modern day variation of the traditional love

story. One finds a man and woman mutually consenting to spend a

weekend together and then to separate. The rapidity with which the

relationship is established. its momentariness. the absence of emotional

50
ties. and the friendly but unemotional separation all reflect changing
patterns of societal intercourse.

More often than not the interpersonal relationship of new subjective
works is viewed in its dissolution: 'Die Literatur seit 1975 steht im Zeichen
der Trennungen und Abschiede."27 Martin Waiser’s protagonist Franz Horn
lives divorced from his wife and family in self-imposed isolation.
unreachable and "jenseits der Liebe.“ in Karin Strucks novel Trennun928
the protagonist is involved in a never-ending process of separation.
including divorce from her husband and then dropping one boyfriend for
another. for another. The narrator of Born’s Die erdabgewandte Seite der
Geschichte relates the drawn out attempt to free himself from his girlfriend.
The instability apparent here is a reflection of the turbulent state of
marriage and divorce and the dissolution of the family common to
contemporary society.

To substitute for the rejected rational and ordered systems or
explanations of society used to understand the world and define the
individuals place within it. New Subjectivity posits personal emotions and
feelings. in some works then. the institution of marriage is replaced by a
constant movement or agitation as determined by attractions between

peOpie. This is most obvious in Hans J. Frdhlich’s lm Garten der Gefiihle.

 

who introduces his work with a quote from Goethe’s Die Wahlverwand-
schaflen:

in diesem Fahreniassen und Ergrelfen.
in diesem Fliehen und Suchen giaubt man wirkllch
elne hbhere Bestlmmung zu sehen:
man traut soichen Wesen elne Art von
Wolien und wahien zu und halt das Kunstwort
'Wahiverwandschaften'
fiir volikommen gerechtfertlgt.

51
These natural affinities between a man and woman dictate the action of the
story. which consists of the forming and breaking of relationships. The
characters throughout seek 'Kontakte zu wahlverwandten Menschen'
(GG.219). Even the narrator. exempt at firstfrom such irresistible
attractions and seemingly stabile in his marriage with Dorothee. succumbs
to the attraction or pull of Kathrin: "Es gab da elnen unterirdlschen Strom.
der uns verband. elne wechselseitige Anziehungskraft" (66.169). The placid
surface of the narrator and his story becomes increasingly agitated as the
summer progresses. The tempo of guests coming and going and of
changing interpersonal constellations accelerates and ultimately culminates
in Dorothee’s birthday party. At this point all control. all limitations as
defined in traditional man-woman relationships cede to the power of natural

affinities. and the party dissolves into an orgy of lust and incest.

3. Private Egocentrlcity and Triviality
The loss of belief in rationality and the distrust of explanatory systems
have led many to question the validity of New Subjectivity. The opposition
between objective society and the sensitive individual is suspect. Due to
the radicalizatlon of intimate feelings in general many critics fear that New
Subjectivity suffers from a private and therefore trivial egocentricity. it is
for these reasons that Heinrich Vormweg criticizes Frisch’s Montauk and
Wohmann’s Schbnes Gehegg. among other autobiographical works:
Wie aber schon das Belspiei von Max Frischs Erzahlung
"Montauk" zeigt. dient autobiographisches Erzahien...weiterhin
auch dem gewohnteren Zweck der Ergrilndung und Stllisierung
des Privaten. Manchen Autoren war die autobiographische
Welle geradezu Alibi fiir erweiterte individuallstische Egozentrik.
und hier vor allem wird sle fragwilrdig. Jiingstes Belspiei: der

Romangg'Schbnes Gehege' von Gabriele Wohmann (Luchterhand
1975).

52

Hans Christoph Buch is afraid that the new found sensitivity for the
person and his feelings is being applied solely to the author. Although
such sensitivity should be a prerequisite for solidarity and for meaningful
interaction between people. it has become its negation. in concentrating
on one’s person the authors have become insensitive to the problems of
others:
...ich habe den Verdacht. daB unsere sensiblen Schriftsteiler
ihre Sensibilitat einzig und ausschlieBllch auf die eigene
Person anwenden und gleichzeitig lmmer unempfindilcher
werden fiir die Probleme anderer. Die Sensibilitat wird so zur
Negation der Solidaratat. obwohl sle doch elgentiich deren
Voraussetzung sein soilte.

'NarziBmus.’ according to Buch. is not only apparent in today/s literature.

but can be considered the sickness of contemporary Western society in

general.

Lenz flees the impersonal objectivity of student groups in Germany for
Rome. where he finds the exact opposite. The people he meets here are
so totally entrapped in their own subjectivity that they display no interest
for the events of the world except as points of comparison for their own
personal problems. All conflicts. no matter how distant and objective. are
reduced to the private level:

FUhrten jene [die polltlschen Gruppen] jeden Konfiikt. auch
noch den privatesten. auf den Widerspruch zwischen Kapitai
und Arbelt zurUck. so verstelften sich diese [die Freunde in
Rom] darauf. jeden Konfiikt. auch noch den geselischaftlichsten.
aus der Familiensltuatlon abzuieiten (L.71).
Lenz rejection of a subjectivity which has become absolute. which
extinguishes all objective outside world. is indicative of much of the

criticism leveled at New Subjectivity.

Marcel Reich-Ranicki accuses contemporary authors of supporting

53

'eine neue lnnerilchkeit' rather than “die neue Subjektivitét.‘ New
Subjectivity is the necessary inclusion of the subject in literature.
Hermann Hesse’s “lnnerilchkeit' on the other hand is evasion of the
pressing current events of the world. Reich-Ranicki poses the question
which disturbs so many critics of New Subjectivity: 'Haben wir es gar mit
Fluchtbewegungen von Enttauschten und Resignierten zu tun'f'31 He
answers by stating that too many contemporary authors write as if they
were living on another planet:

Das sind Fragen. die uns alle nun schon seit Jahren

bedrangen. Wo ist lhr Echo in der deutschen Literatur?

GewlB. wenn wir lange genug suchen. werden wir auf diese

oder jene kieine Arbeit verwelsen kbnnen. Aber insgesamt ist

das Echo so diirftlg und kllmmeriich. als lebten unsere

Erzahier oder Dramatiker auf einem anderen Planeten. Sle

welgern sich. die Herausforderungen unserer Epoche

anzunehmen.
Reich-Ranicki fears that the subjective trend of the seventies offers an
asylum for authors disappointed in the political activism of the late sixties
and a retreat for the politically resigned.

in one of the harshest criticisms of New Subjectivity to date Renate

and Rolf Wiggershaus describe a subject which spreads itself out ('sich
breit machen"). engulfing all political or societal experiences in its own
egoism and suffering: 'Das Subjektive ist nicht Seismograph geseli-
schaftlicher Erfahrungen. sondern Schauplatz elnes egolstischen.
wehleldlgen. sich sprelzenden und deshaib letzlich tauben lchs."33 To
exemplify their contentions the Wiggershaus pair quote from Jlirgen
Theobaldy. Peter Handke. and Nicolas Born:

WO legt Theobaldy “die slnnllch erfahrenen the offen'? in

dem erwahnten Gedichtband ['Blaue Flecken'] heiBt es:

'Meine Jugend war nicht ohne Kampfe / ich hatte Verse im

Kopf / und ’harte Eiei’ in der Hose“ Alltagilche the? 'ich
bffne den Klihlschrank. blicke / hlneln. er ist kalt und leeri'

54
Sinniich erfahrene the? Ahnliche Hbchstleistungen der
Sensibilitat finden sich auch bei anderen Vertretern der neuen
Subjektivitat. So heiBt es in einem Gedicht ‘von Handke: “Und
daB der Schnittlauch den ich kaufte / mit einem Gummlband
zusammengehalten / wurde / hat mich fast zu Tranen geriihrt.‘
Und dem Schriftsteilerhelden von Nicolas Borns Roman “Die

erdabgewandte Seite der Geschichte'...wird fiber dem Anbiick
elner rissig getrockneten Seife 'fiau“.

The extreme exaggeration of such cr'iticlsm serves perhaps in and by
itself to best refute the critics. These commentators fault the lack of a
societal portrayal as a matter of course and have not seriously asked
themselves about the significance of this lack. The rejection of societal
systems and the turn to individual irrationality cannot be denied. New
Subjectivity portrays a confrontation of the self. stripped of societal
conventions. with one’s own self. The individual must come to terms with
the question of identity. But this confrontation need not bean and point. it
need not mean the exclusion of all else to wallow in narcissism. it could

be a necessary starting point from which to better understand oneself. the

world. and others.

C. The Portrayai of the Subject
1. The Dissolution of the Self

As long as an encompassing system remains intact. the individual is
assured his meaningful place within the whole. But any questioning of the
precepts used to understand one’s world. which is. as already seen.
thematic for New Subjectivity. will necessarily lead to self-question. The
turn to the individual as noted in the previous section does not usually
mean a triumphal acciamation of his power and the supremacy and truth
of feelings. The individual presented is an uncertain one. a weakened and

groping one. The loss of belief in a rationally ordered and meaningful

55
world must necessarily shake the individual’s own definition of himself. The
doubt of the world reflects back upon the individual doubting himself and
the role he plays within society. Elvira Hdgemann-Ledwohn characterizes
New Subjectivity with a loss of secure identity due to the lack of individual
control over the world. and to the individual’s desire to find himself
through concrete experience rather than within some conceptual definition:
lm Biickpunkt steht die lch-Suche nicht mehr ganz junger
Helden. ihre ich—Schwache und Verunsicherung. Seine
identitat zu finden. schelnt heute filr elnen Angehbrigen der
Mittelschicht schwlerlger denn je. Der Mangei an
Beherrschbarkeit und Gestaltbarkeit von Welt. der Verlust an
sozialer Tadition [sic] spielen da elne Rolle. auch der
Wunsch. das Eigene in der erfahrbaren Welt. nicht im Jenseits
elner hoheren ldee zu finden.35
New subjective literature presents an examination. not a static picture of the

L36

sel and instead of proclaiming 'wir sind wieder wer.‘ asks 'wer sind

wir wieder."37
The motif of a weakened self-identity appears above all in the works
of Waiser and Wellershoff. The protagonists of these two authors suffer
under the realization that the life they lead is one of outward appearance
only. All peOple wear masks. for a role is necessary in order to function
within a society built upon roles. it serves as a direction in that it
prescribes one’s actions. reactions. and interactions. The loss of the f»
ability to take one’s mask for granted and to agree with it without
question. has a crippling effect on the new subjective protagonist.
Typically these characters fail in business or at whatever profession they
undertake. and in love and marriage. They can offer no resistance to the
forces exerted upon them from outside and observe their own dissolution

passively.

in Martin Walsel’s Ein fliehendes Pferd the main character. Helmut

 

56
Halms. consciously. intentionally. and necessarily wears a mask. Although
he feels disgust ('Ekel") at the realization that all life consists of outward
appearances. he understands that they make life bearable: 'Wle soilten
denn die Leute das Leben aushaiten. ohne Schein!“ (fP.69). in order to
function with ease and comfortably as a member of society one must
conform to the dominion of appearances. Helmuts desire to remain
'inkognito' motivates a flight away from recognition or definition of himself.
He wants to learn how to agree with misconceptions and false pictures of
himself. Helmut warns Klaus Buch from the outset that he wants neither
to learn nor to communicate anything about himself: 'Und wisse: ich bin
nicht lnteresslert. etwas fiber mich zu erfahren. geschweige denn. etwas
liber mich zu sagen. Deshalb soilten wlr uns nicht noch einmal sehen.
Ja. ich fliehe. WelB ich. Wer sich mlr in den Weg stellt. wird...“ (fP.37).
The direction of Helmut’s flight is toward a nothingness. a heaviness.
forgetfulness. toward death itself: 'Schon jetzt wollte er vergangen sein.
Das war seine Richtung' (fP.30). He approaches this state in his favorite
mood. called ”biutlge Tragheit':
Zu Hause aber wiirde er sich gehen lassen. Er hatte den
Zustand. in den or darln gelangte. schon getauft: biutlge
Traghelt. Das war seine Lieblingsstimmung. Da empfand er
seine ganze Schwere. aber mit Zustimmung. Diese Schwere.
eln bchhen schwltzend. Mlt Zustimmung. Schwer und
schwltzend und biaB. Auch die Farbe empfand er mit
Zustimmung. Leichenfarbe. Mit Zustimmung. Er. elne
schwere. schwltzende Lelche. das war seine Lieblingsstimmung.
biutlge Tragheit (fP.69-70).
Confronted with the threat of Klaus Buch. who unwittingly positions himself in
the pathway of flight. Helmuts resistance takes place within his thoughts

only.

Walser’s Jenseits der Liebe presents a protagonist similar to Helmut

57
Halms in his passivity and lack of a firm self-identity. Franz Horn finds
himself in a classic business triangle. where a younger colleague gradually
takes over the position of second in command. Horn has undergone a
process of degradation and deformation. which is above all apparent in his
clamped together jaws. He feels increasingly useless and without purpose.
But he does not fight back. Nor can he resist the power of his boss
Thiele. instead he is caught in a vicious circle whereby he hastens his
own fail. in one of his many monologues he realizes that he must
escape the power of Thiele: "Du muBt weg. Beziehungswelse fort. Thiele
beherrscht alles. Thiele zerquetscht dich“ (JL.149). Although Horn realizes
he must get away from Thiele. he does not know where to go: 'Aber
wohin denn. bitte. wohin?“ (JL.149). The energy which should propel the
blow against Thiele turns inward instead. and Horn self destructs: 'Oder
wendete sich alle Energie. well er nie zurilckschlagen konnte. gegen lhn
seibst?" (JL.158). The steps he takes to keep up with and indeed hasten
his own unavoidable ruin include his decision to support a Communist
candidate for town councillor. his divorce and self-imposed isolation. the
fact that he is overweight. and his intended suicide.
The protagonist of Wellershoffs Die Schbnheit des Schimpansen. Klaus
Jung. has lost his own inner core. which should define his contours and
distinguish him from his surroundings:
Er wuBte nicht. was as war. nur daB er von den anderen
getrennt war durch das Gefilhl elnes verborgenen Mangels.
Sie alle hatten etwas. was or nur vortauschte. elnen Kern
innen. elne Kraft. die die Welt zu lhnen in Beziehung setzte
und lhr drohendes Naherrlicken verhlnderte. Er konnte auf
kelnem Platz der Welt bleiben. ohne nach elner Weile zu
filhlen. daB er erdriickt oder verschlungen wurde. liberail

verschwand er wieder... (83.97).

Without this inner core Jung experiences the gradual dissolution of his

58
person. Wellershoff characterizes him with indifference and torpidity
(88.62). compiaisance (88.95). absent—mlndedness (88.95). and stupefaction
(SS.97). Forgetfulness. heaviness. and an inability to recognize his own
reflection are typical. Jung realizes that behind the mask of the world
there exists a nothingness. which becomes his personal goal and direction
(88.198).

in the face of nothingness. the mask Jung wears is necessary for
survival. Klaus Jung has in fact become the role he portrays: "Er war
dieser wortkarge. iangsam gehende. gravitatlsche Marin. den er darstellte'
(88.163). in order to prevent his own disappearance he subjugates himself
to the appearance expected of him. He fulfills the tasks. answers the
questions. and accepts others’ ideas. plans. and suggestions. with patience
and passivity. in order to see himself he needs the artificial contours of
a structured working day: "Er brauchte Plane. Termlne. er muBte lmmer
etwas aufbieten. um sich noch sehen zu kdnnen. morgen und ilbermorgen'
(SS.201). Jung artificially maintains his balance and ability to function
within the world through the routine of his business day. and his final loss
of context occurs when he is unexpectedly confronted with a Friday free of
business appointments. Without an outwardly imposed plan of action for
the day he must face the emptiness of his life: 'Gleich...begann elne Zelt
ohne Anhaltspunkte. leer und gestaltlos...‘ (SS.212-13).

Klaus Jung does not control the course and direction of his life. but
rather seems to be bound to a thread of destiny pulling him on to its
inescapable end:

Es war elne Welt ohne Anhaltspunkt und Ausweg. durch die er
sich bewegte. wie jemand. der an einem gespannten Sell

entlanggeht. das die einzige fiir lhn gangbare Fahrte
bezelchnet. und manchmai konnte man auch glauben. dais er

59

an das Sell gefesselt war und nicht zu dem Zlei vorzudringen
versuchte. sondern von lhm gezogen wurde (88.231).

For example. a strange woman’s telephone number--his last reference
point--dictates to him what he must do: 'Jetzt war lhm vorgeschrieben. was
er tun muBte' (SS.239). Jung's suicide is marked with the same absence
of resistance. The narrator points out how easily Jung could have opened
the car door at any time. '[ajber er saB ohne eln Zeichen von Kampf.
den Kopf gegen das Seitenfenster gelehnt. auf seinem welt zuriickgekippten
Sitz' (88.310). '
in ‘the works just discussed the protagonists react to the experience
of alienation with an attempt to forget it. The direction of these novels is
toward peace and quiet. The protagonists strive to regain their lost inner
peace and hope to find reconciliation with themselves and the world.
Klaus Jung. for example. commits suicide in an attempt to find peace
('Friede) and reconciliation ('Versbhnung') (88.309). As he prepares the
car for his suicide. he is compared to a child building a hide-away.
where he hopes to discover whatever it is he has lost:
Er arbeitete...mlt dem Eifer elnes Kindes. das sich elne Hiitte
baut. elnen Unterschlupf. eln Versteck. in dem niemand es
entdecken wird und wo es etwas zu finden hofft. was as
irgendwann verioren hat. or kbnnte nicht sagen. was es ist
(88.309).
Typical of all three protagonists is their heaviness and a desire to sink into

a state of calm and agreement by offering no resistance to what is

happening to them.

2. Poweriessness and Lack of Resistance

New Subjectivity is often criticized because of the subject’s lack of

courage. his passiveness. and the unavoidable dissolution of his personality:

60
“Sle [neue Subjektivitat] schelnt mlr gekennzeichnet durch ich-Schwache.
Mutloslgkeit. seismographisches Gespiir fiir Ohnmacht und deren
asthetizistisches Auskosten. elne Art lnnerilcher Naturalismus unserer
Fiautenzeit.'38 The individual suffers under the experience of alienation
and does nothing to resist the deformation undergone. The subject is
portrayed in his powerlessness and impotence.

Elvira Hdgemann-Ledwohn raises such complaints specifically
concerning Walsef’s novel Ein fliehendes Pferd. and in general concerning
most other contemporary works dealing with the question of identity. She
misses an ability to act in the protagonists. the willingness to fight back
and actively resist what is happening to them. She finds it strange. 'daB
der Zusammenhang von identitatsprobiematlk und lebensnotwendigem
Widerstand in den heute geschrlebenen Biichern reiativ seiten miteinander

verklammert auftauchtfa9

HOgemann-Ledwohn demands individual suffering
in combination with resistance ("Leiden und Widerstand") as two equally
important aspects of the identity question. One finds a willingness and
even inclination to accept and conform to present conditions. where
opposition to such over-powering conditions is called forf"0
The experience of alienation too often ends in passive acceptance

and aimless melancholy“

rather than in the will to confront and perhaps
change the destruction implicit in such an experience: 'Fraglich. ob
zeitgenbssische Literatur nicht...eine masochistlsche Lust an diesen
Zerstdrungen empfindet und ihrer Wirkung eher das Moment lnnewohnt. sle
als Faktum hlnzunehmen. denn ihre reaie Veranderung zu versuchen."42
The individual may be overcome by the nihilism of the experience and be

reduced to despair. in the protagonists paralyzed state his pathway

61
appears too absolute and determined. The implication is that no other
alternative is possible. Stephan Reinhardt does not fault the portrayal of
deformation itself. but fears that the experience of alienation is sometimes.

for example in Born’s Die erdabgewandte Seite der Geschichte. presented

43

 

as eternal and unchangeable.
The demand for active resistance on the part of the new subjective
protagonist is usually coupled with a call for the origin of the individual’s
suffering. Only if the cause of the deformation is known can the
individual rebel and attempt to change it. Roman Ritter attacks a suffering
not specifically directed against repressive societal conditions:
Brinkmann. Handke und Struck wurden angefiihrt als
Paradebeispiele ftir elne Spielart der biirgerllchen Literatur.
Bilrgerlich schon deshaib. well das Leiden an der Wirkiichkelt
nicht begrlffen wird als das Resultat des Konfiikts zwischen
dem nach Selbstverwirkiichung drangenden individuum und
repressiven geselischaftlichen Verhaltnissen. sondern als Leiden
am Leben seibst. Der Elnzelne hat zum Gegner nicht elne
bestimmte Gesellschaftsordnung. namllch eben die blirgerilch-
kapitalistische. die lhm erst das BewuBtsein der Verelnzelung
eingibt. sondern die Gesellschaft ’als soiche’. elne abstrakte
Formation von Massen.
Ritter criticizes a general and abstract portrayal of a society lacking its
historical context. instead of protesting against a bourgeois class
structure. contemporary “lnnerilchkeit‘ is directed against society as such
and expects only the individual to change: ”Veranderung wird auf das
metaphysisch verklarte Subjekt beschrankt. Diese Sorte von ’neuef
lnnerilchkeit laBt in der Gesellschaft alles beim alten.‘45
To demand active resistance to a specific cause of suffering is an
attempt to recast the new subjective protagonist as a revolutionary

heroically battling the evils of a bourgeois society. Such demands totally

negate the new subjective experience of alienation. The realization of these

62
demands would lead the protagonist away from his inner conflict. With a
sigh of relief he could be distracted from the intense questioning of
himself and place responsibility for the state of today/s society on the
shoulders of an impersonal institution. The New Subjectivists have not given
up hope for change. but see the origin of change as lying within the

individual.

D. The Perception of Reality
1. The Protagonists Warped Perspective
Dieter Wellershoff in his essay 'Wlederherstellung der Fremdheit'
defines a subjective perspective. According to him. concretization of
distortion and dissolution of normal patterns of perception or understanding.
which comprise his 'Neuer Realismus.’ are actually merely a form of
subjectivity:
Fortschreitende Konkretlsierung der Verzerrung und Aufldsung
der Schemata ist also die Tendenz der realistischen
Schreibweise. Man muB. vielleicht iiberraschend. organzen.
daB das haufig elne Subjektivierung ist. Ein besonderer Bilck
setzt sich gegen allgemeln gewordene. zu scheinbarer
Objektivitat verfestlgte Sehweisen durch. eln neuer Standpunkt
wird gewahit. der naher. lntimer und spezieiler als der
gewohnte ist.
Wellershoff defines his subjective (and realistic) point of view as one which
moves. thereby switching back and forth between distance and close up.
totality and detail. sharpness and fuzzlness. and movement and stillstand.
The perception of time can be lengthened or shortened at will. inner
world and outer world blend into each other without warning:
Realistisch...ware elne bewegte. subjektive Optik. die durch
Zeltdehnung und Zeltraffung und den Wechsel zwischen Totaie
und Detail. Nahe und Ferne. Scharfe und Verschwommenhelt

des Blickfeides. Bewegung und Stilistand. langer und kurzer
Elnsteilung und den Wechsel von lnnen- und AuBenwelt die

63

konventionelie Ansicht elnes bekannten Vorgangs und elner
bekannten Situation...aufldst und verandert....

Wellershoffs 'Neuer Realism“ is an attempt to win back the strangeness of
the world and to take away the unquestioning acceptance of what is.

The main points of Wellershoffs definition can be applied to the new
subjective protagonists perception of the world. in the absence of a
societal context and personal role usually taken for granted. he must also
do without the normal and commonly accepted standpoint from which to
view the world. The new subjective protagonist stands outside the
framework of time and space which encompasses all others. He has a
special ("besonderer“) point of view. which contrasts to the accepted and
therefore objective one. His highly individual way of seeing prevails over
the seemingly fixed perception modes of society. Reality has lost its
concrete firmness and stability to flow and change according to the
protagonists subjective interpretation of it.

As is to be expected. in Weilershoff’s own novel Die Schbnheit des

 

Schimpansen the protagonists view of the world is slightly askew: “Die Welt
steht in ihren alten Formen da. es ist das Bild von gestern und
vorgestern. nur um elne Winzigkelt verriickt" (88.7). Jung looks at an
object. and although nothing visible is different than before. it appears
strange and distanced:
Es war niChts. was er sehen konnte. Wenn er seine
Aufmerksamkeit auf elnen Gegenstand richtete. war nichts
Auffallendes an lhm. Es war aber trotzdem da als elne
Fremdhelt und starre Entriickthelt der Welt. die lhm von
liberall her nur elns sagte: Du kannst nicht hinelngeiangen
(SS.230—31).

The distance he feels here between the world and himself alternates with a

perceived closeness at other times:

64
...sekundenlang schien die Meeresflache zu schrumpfen und zog
den Horizont heran. und wie mit einem Schlag standen die
staubigen Paimwedel dort an der StraBe unabwelsbar vor
selnen Augen. Es war elne lautlose Veranderung. die
begleitet wurde von dem kdrperlosen Wind. der durch lhn
hindurch ging und seine Beziehung zum Raum verwirrte. denn
an alien Gegenstanden nahm er elne falsche Nahe und elne
falsche Ferne wahr. Dann verging das. als habe sich der
Wind geiegt. und die Welt blieb in einer ausdrucksiosen Stilie
zuriick. Alles war an seinem Platz. Er wuBte nicht mehr.
was as gewesen war ($8.97).

Similar to the subjective perspective switching from close to far away
and back again are the confusion between inner and outer world and the
movement between the sharpness of observed objects and their fuzzlness.
On Jung's walks through the city he perceives people and objects in a
seemingly endless and meaningless film. the duration of which depends
solely upon the length of his own walk. For Jung there no longer exists
an objective and independently functioning realm outside of himself. At
other times details and small occurrences within reality stand out sharply:
'Manchmai allerdings sah er Einzelheiten. scharfumrissene Dinge oder
kieine Geschehnlsse. die lhm wie geheimnlsvolle Zeichen erschienen. die er
nicht Verstand: Elnmal elne gebrauchte Raslerkllnge auf einem Waschtlsch
elner bffentlichen Toilette' (88.27). Jung's tendency to focus in on
seemingly unimportant details is typical of other new subjective protagonists.
as is the fact that he feels the objects contain a message or meaning for
him personally. but one which remains incomprehensible.

The tendency to perceive details has been noted for Martin Walsel’s
characters. Details in the earlier works of Waiser possess a twofold
function:

Das Detail fungiert so nach zwei Richtungen: Es widersetzt sich
einerseits der vorschnellen ldeologisierung. die es fiir sich in

Anspruch nehmen mdchte. es protestlert gegen den
Ordnungsanspruch elner Gesellschaft. die nicht in Ordnung ist.

65

und es wird andererseits gerade zum Ausdruck dieser
Unordnung. zum Signal filr deformlertes BewuBtsein.4

On the one hand. the detail contradicts the tendency of society to order
details into a meaningful system or ideology. on the other hand the
perception of details signals the presence of a consciousness no longer

capable of such ordering. This is true of Franz Horn in Jenseits der

 

Liebe. who. while walking through the streets of London. registers
insignificant components of the world he goes through and imposes no
order on their sequence:
Eine riesige geschminkte Metzgerln reglos in dem engen
Metzgerladen. Als sel sle geschlachtet. Sein Darm meldete
sich. Auch kein Laden breiter als 3m. Offer eln
Schaufenster voiier Rolien wildgemusterter TeppichfuBbdden.
Da sahe man kelnen Brandflecken drin. Diesem gitlcklichen
Knaben iauft ein silbernes Haiskettchen mitten durch den
violetten fiinfmarkstiickgroBen Saugflecken am Haisansatz
(JL.54).
What he sees is interspersed with his interpretations or opinions. and the
boundary between outside objective occurrence and subjectivity becomes
confused. Later. upon seeing a man running from bus stop to bus stop.
he concludes: 'Entweder rannte der zur Beerdigung seiner Mutter oder floh
vor Horn" (JL.65).

Scherpe and Treichei point out how the subjective perspective serves
to reorganize the objects of reality in an antihierarchy. i.e. in a structure
different than that imposed by society and the values of that society: 'Sie
[die Akte der gestelgerten subjektiven Wahrnehmung] zeichnen sich dadurch
aus. daB sle um- bzw. neustrukturiert sind und sich den Objekten der
Realitat anti-hierarchisch. das heiBt unterschieden von den tibiichen

.49

sozialen Wertzuweisungen nahern. Nicolas Born’s novel offers an

excellent example where the detail as an expression of a subjective point

66
of view undermines the objective and commonly accepted perception model.
The narrator finds himself at a political demonstration against the visit of
the Shah and describes it thusly:
in melner Angst sah ich lauter ganz kieine. gestochen scharfe
Momente.... Es gab nichts Ganzes mehr. Barte rutschten
durch Gesichter. Schultern flogen gegen Ohren. Ein
Schlagertrupp setzte fiber die Absperrung in elne dfinn
gewordene Stelle hinein. Jetzt dachte ich schon wieder an
eln Ballett (86.49).
The narrator does not attempt to present a true account of the political
scene. but rather describes his subjective perception of it. This leads to
the concentration on seemingly insignificant details. the lack of an
intentional order. and the switch back and forth between objective incident
and subjective interpretation noted for New Subjectivity in general.

In the above examples the alienated subject serves as the medium
through which reality is perceived. The subject does not transmit the
picture of a meaningful. ordered. stabile whole. but rather insignificant
details lacking integration. the flow and inconstancy of objects. and a
personal interpretation of reality. Realism. not in the sense of Wellershoff
but as the traditional presentation of an objective world. is only possible
for an author at peace with himself and his times. The portrayal of
reality in New Subjectivity is actually the portrayal of the subject. and such
a portrayal reflects the loss of peace--the experience of allenation--whlch
plagues the neurotic subject of contemporary society:

Wenn wlr uns heute elner objektlven Realitat bewuBt waren. so
kdnnte sle in die Literatur als Realismus nur dann eingehen.
wenn der Autor zumindest mit seiner eigenen Seele in Frieden
lebte. Aber der Neurotiker schrelbt. bewuBt oder unbewuBt.
fiber sich seibst. Er nahrt sich von Affekten. kann daher

seine Realltat nicht als objektiv anbleten. sondern nur sein
Bildnis...."50

67

2. The Loss of a Political and Historical Moment

Critics of the portrayal of a subjectively experienced and perceived
reality miss the political and historical dimension. Their most common
fear concerns the lack of an objective reality which should serve the
individual as a societal background. Manfred Durzak asks if the
contemporary German novel is not indeed a very unreliable account of the
historical development and political life in West Germany during the past
few decades: 'ist nicht der zeitgenbssische deutsche Roman tatsachlich eln
sehr unzuverlassiges Protokoll der geschichtlichen Ablaufe. die in den
letzten Jahrzehnten das polltlsche Leben dieser Bundesrepubilk Deutschland
- um nur davon zu sprechen - bestimmt haben?'51 He complains that in
recent works by such authors as Hildesheimer. Nossack. Handke. and
Frisch. reality. no longer a meaningful or recognizable system. becomes
increasingly peripheral until ultimately the inner world of the protagonist
completely replaces it.

The fear that New Subjectivity presents an individual in a vacuum also
troubles Stephan Reinhardt. He faults Gfinter Steffens for an 'lnneriichkelt‘
excluding all political reality and states that Steffens finds the real world
only within oneself. instead of reality. feelings are portrayed: 'Steffens
findet das. was er als die 'wirkilchste' Welt bezelchnet. ailein in sich
seibst... Gefilhlszustande werden tlber die Realltat gestUipt.'52 There is a
total lack of the objective societal pole: reality is registered through the
individual for the sole purpose of elucidating the protagonists inner state.
Reinhardt demands a connection between the subject and the social object:
"Ohne Blndung an soziale Objekte ist die Subjektivitat leer. sle mag mit

sich in Kontakt sein. solange sle will.'53

68
The lack of an historical and political consciousness is the main

criterion used by Scherpe and Treichei to fault the New Subjectivity of
Peter Handke. Nicolas Born. and Botho StrauB: 'Sowohl Handkes Keuschnig
als auch die Helden von StrauB und Born erleiden in jewells spezifischer
Weise lhr Schicksal jenseits der Geschichte."54 in fact. the only
historicism present in such works is its intentional absence. Scherpe und
Treichei scold the narrator protagonist in Die erdabgewandte Seite der
Geschichte for his portrayal of the political demonstration against the Shah
cited earlier in this Chapter. instead of presenting a true and reliable
account of the political event. the narrator depicts aestheticized and
abstract chains of perceptions and associations. The treatment of this
scene is typical. according to these two critics. of the tendency in both
Handke’s and Born’s works to concentrate on insignificant and peripheral
phenomena. instead of political reality New Subjectivity expresses the
difficulty in intellectually understanding this reality. One finds the
radicalizatlon of the lndividual’s perception of a banal reality:

Zur Sprache kommt weniger die geselischaftliche Wirkiichkelt als

die Schwierlgkeit der intellektueilen Verstandlgung fiber diese

Wirkiichkelt. Die Autoren der neuen Sensibilltat tragen schwer

am eigenen Anspruch der Politislerung. mit dem kein

bfirgerliches Heidenleben zu gewinnen war. ihre neuen

Romanhelden sind darum nicht weniger militant und radikal.

Sie leben von der Radikalisierung der eigenen lndividueilen

Wahrnehmungsweise gegenflber der banaien Wirkiichkelt.
For this reason new subjective literature. according to Scherpe and Treichel.
is assured lmpotency and powerlessness: 'Dle neue Subjektlvltat versichert
sich von vornherein ihrer Ohnmacht."56

Such criticism is so busy looking for a worker within the pages of

the new subjective text that no energy remains to investigate the meaning

of what is in fact to be found in the work. Again it cannot be denied that

69
the protagonists world is portrayed as seen and experienced by this same
protagonist. A realisiticaliy portrayed world situated within an historical and
societal context is lacking. But what does this lack ensure New Subjectivity
societal irrelevance and triviality. or does the perceived lack in fact intend
to broaden and deepen the lndividual’s perception. experience. and

understanding of reality?

E. The “Social Greatness“ of the individual

New Subjectivity has long been embroiled in a controversy concerning
its validity and societal relevance. When does the turn inward become
narcissism and result in an egotistical disregard for others? How does
one distinguish between the autonomy of the individual against the leveling
norms of society and his autonomy as a retreat from society? What is
the fine line between personal and private affairs? What is the difference
between “alte innerilchkeit“ and “neue Subjektivitat“?

For many critics the answer to such questions lies in a literature
which includes the subject. but portrays it within its social context. While
recognizing the danger of New Subjectivity in general. they suggest that
certain authors avoid these dangers through placing the individual within an
historical and societal moment. Bernhard Zimmermann finds that Peter
Hartling’s novel of 1976 entitled Hdiderlin avoids the loss of an historical
dimension and overcomes the exhibitionism inherent in New Subjectivity by
portraying and understanding individual problems within a societal context.
Political constellations and conflicts are made concrete through the

57

individual case. individual problems are understood and portrayed within

their societal context. Rainer Nagele. in positing a threatening or painful

70
departure point for Martin Waisers works. recognizes its danger: "Er [ein
soicher Ausgangspunkt] kann im Aiierweitschmerz verharren.‘58 To counter
this Nagele demands and discovers within Waisers works a direction for
the threat or pain. and a localization of its origin within society.
Gerhard vom Hofe and Peter Pfaff state that the turn to the individual
need not dead end in political irrelevancy:

Die Wendung zum Einzeinen. gar zur Autobiographie. muB aber
nicht in poiitisch unverbindiicher Privatheit enden. Die
Leidens-. ja Krankengeschlchten Waisers und Vespers. Steffens’.
Muschgs oder auch des Mannes. der sich programmatisch
Zorn nannte. werden vorgetragen im Gestus des ecce homo.
der das Elend der Welt tragt. Der Kdnigsweg in den Tod ist
immer noch bffentiich. fiihrt immer noch durch die Stadt. iiber
den Markt. verkiagt den. der seine Hande. wie vornehm auch
lmmer. in Unschuid wascht.

 

Hofe and Pfaff justify New Subjectivity in much the same manner as the
examples already mentioned. The individual must be seen within his
societal context and the origin of his pain and suffering must be
determined. The individual should function as a measure and
exemplification of a contradictory society: 'Das individuum...wird wieder zum
MaB auch der geselischaftlichen Widerspriiche.‘6o
Jilrgen Theobaldy has coined a phrase often used to justify a
literature concentrating on the subject. in his discussion of new subjective
poetry he posits a subject portrayed in its social greatness. or 'soziale
GrbBe.‘ The individual and his life cannot be isolated from the political
history of the times. The subject of the seventies is permeated by the
contradictions and conflicts of society. and this condition distinguishes him
from a subject who has tied into his own private world of 'innerilchkelt':
Es geht namiich heute um ein Subjekt als elner sozialen
GrbBe. durchdrungen von geselischaftlichen Widersprtichen....

Dies aber steiit eine der Leistungen der neueren Lyrik dar.
das Subjekt und sein Leben nicht von der polltlschen

7i

Geschichte abzutrennenn. und genau dies unterscheidet sie
auch von jeder Art von inneriichkeit....6]

Theobaldy differentiates private from personal by stating that personal
concerns and experiences are those shared by a certain class. group. or
generation. He cites the subject in Rolf Dieter Brinkmann’s poems as an
example of “soziale GrbBe.‘ because its alienation is expiainabie only
through the West German capitalist society. and because the personal
deformation portrayed is an experience shared by many. For Theobaldy
New Subjectivity is a step forward because it unites the personal with the
political. He views it not as a retreat. but rather as a process of
sensitization toward societal contradictions. The 'Wendung zum eigenen
ich' is a 'Schritt nach vorn. durch den die geselischaftlichen Widersprt‘iche
sowohi als polltlsche wie auch als persbniiche erlebt werden.'62

The questions posed by commentators of New Subjectivity are
legitimate and indeed necessary. However. the above responses to these
questions are inadequate. They exemplify the same shortsightedness and
misunderstanding as were displayed by the critics discussed previously. The
criterion used to judge relevancy is societal integration. On the one hand
there are those authors who cling to the old bourgeois concept of the
autonomous subject. and on the other there are the 'true' New
Subjectivists who portray the subject in its 'soziaie GrbBe.‘63 it is.
however. exactly the negation of any all-encompassing context which

initiates the new subjective experience of alienation.

Conclusion
This chapter has examined the experience of alienation in new

subjective works. it has accordingly outlined a process of destruction in

72
which all things rational. secure. meaningful. and ordered are questioned.
The doubt applies to the subject’s own definition of himself. and the
individual has been seen in increasing isolation. increasingly thrown back
upon himself and his own feelings as outer orientation is withdrawn. The
protagonists perception of reality is askew. so that he no longer registers
the objective. never-changing reality seen by all others. instead. the outer
world is in a state of flux and has dissolved into unintegrated details.
The protagonists portrayal of reality is actually a portrayal of his own
personal interpretation and experience of that reality.

This chapter has also reviewed the criticism most commonly leveled
at New Subjectivity. The questions raised by such criticism are valid.
Does the turn to the individual and his suffering end in narcissism? is
New Subjectivity merely a place of retreat for the politically disappointed
and resigned? is a literature portraying the individual subject socially
relevant? Do the New Subjectivists negate solely for the sake of negation?
However. the response to such questions goes far beyond the answers
offered by most critics. To demand a societal context for the individual is
to contradict the very nature of alienation through providing a hide-away
for the disoriented or displaced. To demand the localization of the
individual’s deformation within society is to offer an explanation and provide
a scapegoat for an experience which is inexplicable and traceable only to
one’s self. To demand an actively resisting subject is to see that subject
set upon himself. for the conflict occurs within. if to be valid the individal
must illuminate the contradictions of society. then the new subjective works
chosen for this investigation. above all those of Botho StrauB and Peter

Handke. must indeed be dismissed as bourgeois and irrelevant. Critics

73
who make such demands misunderstand the nature of the new subjective
experience of alienation. Those who deny new subjective literature
relevance and positive direction have not delved into the intent of the
author. Nor have they investigated the effect of the work on the reader
through literary form. This chapter has attempted to review the criticism
of New Subjectivity. A response to this criticism and to the question of

relevancy forms the substance of Chapters Three and Four.

Notes--Chapter Two

1Klaus R. Scherpe and Hans-Ulrich Treichel. "Vom UberdruB leben:
Sensibilitat und intellektualitat als Ereignis bei Handke. Born und StrauB.’
Monatshefte. 73 (1981). 200.

 

2Martln Waiser. Jenseits der Liebe (Frankfurt am Main: Suhrkamp.
1976). Hereafter cited in the text with (JL) and page number only.

3Martin Waiser. Eln fliehendes Pferd (Frankfurt am Main: Suhrkamp.
1978). Hereafter cited in the text with (fP) and page number only.

 

4Peier Schneider. Lenz (Berlin: Rotbuch. 1973). Hereafter cited in the
text with (L) and page number only.

5Hans J. Frdhlich. im Garten der Gefiihie (Miinchen: Cari Hanser.
1975). Hereafter cited in the text with (GG) and page number only.

6Gabriele Wohmann. Frlihherbst in Badenwelier (1978: rpt. Frankfurt
am Main: Fischer Taschenbuch. 1980). Hereafter cited in the text with
(F8) and page number only.

7The only Bernhard work discussed at length within this dissertation
will be Der Atem (Wien: Residenz. 1978). Hereafter cited in the text with
(A) and page number only.

8Martin W. Lildke. 'Ein ’ich’ in der Bewegung: stiiigestellt: Wegmarken
der Bernhardschen Autobiographie.“ Merkur. 35 (1981). 1178.

9Horst Albert Glaser. 'Formen 'des Engagements: Eln Beltrag zur
gegenwartigen Diskussion.’ in Tendenzen der deutschen Literatur seit 1945.
ed. Thomas Koebner (Stuttgart: Krbner. 1971). p. 150.

10Peter M. Stephan. 'Schlecht getraumt: Ober Gefiihie. Sinniichkeit.
Vernunft und andere Absurditaten in der Literatur.“ in Literaturmagazin 9:
Der neue lrratlonaiismus. ed. Nicolas Born et al. (Reinbek bei Hamburg:
Row0hit Taschenbuch Veriag. 1978). p. 169.

 

HUwe Timm. '(Jber den Dogmatismus in der theratur.' in Kontext l:
Literatur und Wirkiichkelt. ed. Uwe Timm and Gerd Fuchs (Manchen:
Bertelsmann. 1976). p. 28.

12Fritz J. Raddatz. 'Zweifel meiken: Gedanken. die neueste deutsche
Literatur betreffend.’ Frankfurter Hefte. 31. No. 4 (1976). 138.

 

”Raddatz. 138.
”Raddatz. 137.
15Stephen Reinhardt. ”Nach innen fiihrt der geheimnlsvolle Weg. aber

74

75

er fiihrt auch wieder heraus’: Unvolistandige Anmerkungen zum neuen
lrratlonaiismus in der Literatur.” in Nach dem Protest: Literatur lm
Umbruch. ed. Martin W. Liidke (Frankfurt am Main: Suhrkamp. 1979). p.
159.

 

16Reinhardt. p. 165.

17Marcel Reich-Ranlcki. 'Anmerkungen zur deutschen Literatur der
siebziger Jahre.” Merkur. 33 (1979). 173.

18Marcel Reich—Ranicki. "RUckkehr zur schbnen Literatur: Eine Bilanz
aus AnlaB der Frankfurter Buchmesse.‘ Frankfurter Aligemeine Zeltung. 8
Oct. 1975. p. 21.

19Verena Stefan. Hautungen (Miinchen: Frauenoffensive. 1975). p. 4.
Hereafter cited in the text with (H) and page number only.

20Relnhardt. p. 166.

”Elisabeth Schmid. 'Frauenieben und -iiebe: Zu den Romanen von
Karin Struck.‘ in Aufbrilche: Abschiede: Studien zur deutschen Literatur seit
1968. ed. Michael Zelier (Stuttgart: Klett. 1979). p. 85.

22Karin Struck. Kiassenliebe (Frankfurt am Main: Suhrkamp. 1973). p.
53. Hereafter cited in the text with (K) and page number only. Note
here also the spaced periods. A series of spaced periods (. . .) applies
to the original text. whereas unspaced periods (...) indicates this author’s
own omissions. it is essential for the reader to be able to make this
distinction. because a series of periods is an important stylistic device of
the New Subjectivists. which will be discussed in the chapter on forms.

 

23Erika Runge. “Abschied von den Protokollen: Oberlegungen zur
Dokumentariiteratur.‘ Frankfurter Allgemelne Zeiturg. 17 Aug. 1976. p. 19.

 

24Marcel Reich-Ranicki. "Erika Runges Schwieflgkeiten.’ Frankfurter
Allgemeine Zeitung. 17 Aug. 1976. p. 19.

 

25Max Frisch. Montauk (Frankfurt am Main: Suhrkamp. 1975).
Hereafter cited in the text with (M) and page number only.

26Max Frisch. 'Offentlichkeit als Partner.” in Offentllchkeit als Partner
(Frankfurt am Main: Suhrkamp. 1967). pp. 56-67.

 

”Michael Zelier. 'Einieitung: Versuch. zehn Jahre westdeutscher
Literatur in den Blick zu nehmen.“ in Auferche: Abschiede: Studien zur
deutschen Literatur seit 1968 (Stuttgart: Klett. 1979). p. 12.

 

 

28Karin Struck. Trennung (Frankfurt am Main: Suhrkamp. 1978).
Hereafter cited in the text with (T) and page number only.

29Heinrich Vormweg. 'Noch kein neuer Morgen: Literarische
Neuerscheinungen Herbst 1975 und Frtihjahr 1976.” ahresring. 1976/77.

76
p. 243.
30Hans Christoph Buch. 'Piadoyer fiir eln historisches Gedachtnis:

Gedanken iiber Sensibilitat und Solidaritdt.‘ Frankfurter Allgemeine Zeitung.
13 Nov. 1976. p. 25.

 

3‘Marcel Reich-Ranicki. 'Schrlftsteiler am stillen Herd.‘ Frankfurter
Allgemeine Zeitung. 18 Oct. 1975. p. 1.

 

32Reich-Ranicki. 'Schriftsteiler.‘ p. 1.

33Renate and Rolf Wiggershaus. “Literatur des Verdrangten:
Erwartungen. Hoffnungen und Beftirchtungen angesichts der gegenwartigen
westdeutschen Literatur.’ Frankfurter Hefte. 32. No. 2 (1977). 64.

 

34nggershaus. 64.

35Eivira Hdgemann-Ledwohn. “Von ich. Welt und ‘neuer Subjektivitét."
KUrblskern. No. 4 (1978). p. 118.

36Raddatz. 138.

37eaddatz. 148.

38Georg Jappe. ”Ende der Avantgarde? Nein danke: Eln Gemisch aus
eigenen und belegbaren Gedanken zu Kunst und Dichtung.‘ Merkur. 35
(1981). 350.

39Hdgemann-Ledwohn. p. 120.

4oHtigemann-Ledwohn. p. 120.

4".ibrg Drews. ‘Selbsterfahrung und Neue Subjektlvltat in der Lyrik.”
Akzente. 24 (1977). 94.

420laser. p. 151.

43Relnhardt. p. 174.

44Roman Ritter. “Die 'Neue lnnerilchkeit’ - von innen und aussen
betrachtet: (Karin Struck. Peter Handke. Rolf Dieter Brinkmann)." in Kontext

l: Literatur und Wirkiichkelt. ed. Uwe Timm and Gerd Fuchs (Manchen:
Bertelsmann. 1976). p. 255.

 

45Ritter. p. 255.

46Dieter Wellershoff. 'Wiederhersteliung der Fremdhelt.“ in
GernzverschlebunLNeue Tendenzen in der deutschen Literatur. ed. Renate
Matthaei (Kbin: Kiepenheuer 8. Witsch. 1970). pp. 12-13 in 'Theorie und
Programm'.

47Wellershoff. pp. 11-12.

77

48Rainer Nageie. 'Martln Waiser. Die Gesellschaft im Splegei des
Subjekts.“ in Zeitkritische Romane des 20. Jahrhunderts. ed. Hans Wagener
(Stuttgart: Philipp Reclam. 1975). p. 333.

49Scherpe and Treichel. 201.

50Wolfgang Hildesheimer. 'The End of Fiction.‘ Merkur. so (1976). 68.

5‘Manfred Durzak. 'Zur Situation des aktueilen deutschen Romans.‘ in
Rezeption der deutschen Gegenwartsiiteratur im Ausiand: internationaie

Forschungen zur neueren deutschen Literatur. ed. Dietrich Papenfuss and
Jijrgen Sbring (Stuttgart: Kohlhammer. 1976). pp. 415-16.

 

52Reinhardt. p. 171.

53Reinhardt quotes Ulrich Pothast here. p. 181.

“Scheme and Treichei. 199.

55Scherpe and Treichei. 187-88.

56Scherpe and Treichei. 187.

57Bernhard Zimmermann. 'Dichterfiguren in der biografischen Literatur
der siebziger Jahre.' in Deutsche Literatur in der Bundesrepubilk seit 1965:

Untersuchungen und Berichte. ed. Paul Michael Liitzeler and Egon Schwarz
(Kbnigstein: Athenaum. 1980). pp. 219—20.

 

 

58Nageie. p. 318.

ngerhard vom Hofe and Peter Pfaff. Das Elend des Polyphem: Zum
Thema der Subjektivitat bei Thomas Bernhard. Peter Handke. Wolfgang
Koeppen und Botho StrauB (Kbnigstein: Athenaum. 1980). p. 1.

 

 

60vom Hofe and Pfaff. p. 1.

61Jiirgen Theobaldy. 'Literaturkritik. astrologisch: Zu Jdrg Drews’
Aufsatz Ober Selbsterfahrung und Neue Subjektivltat in der Lyrik.” Akzente.
24 (1977). 189.

62Theobaldy. 190.

63Theobaidy. 189.

Chapter Three--The Themes of New Subjectivity:
The Positive Potential of the Experience of Alienation

introduction
The new subjective experience of alienation abandons the individual to
a frightening world lacking security. meaning. and order. As such it is a
destructive and negative process. Yet there exists a very positive potential
in this experience. which has too often been overlooked by critics of New
Subjectivity:
Es gehdrt zu den Versaumnissen der neuen Linken. daB sie
sich blind machte filr das systemt‘iberwlndende Potential im
Charakter der "schbnen' Kilnste: daB sle diesen Charakter der
Fiuchthiiie verdachtigte und ilber die treibende Kraft. die in
der ”privaten” Wurzei dieser Klinste steckte. hinwegsah.1
This chapter is devoted to 'das systemiiberwindende Potential" and ”die
treibende Kraft” of new subjective literature: i.e.. it examines the potential
discovery to be attained after the destruction of context which was detailed
in Chapter Two. This chapter then can be viewed as a response to
criticism of New Subjectivity. and it addresses the question of societal
relevance. A literature portraying the denial of societal roles. the
questioning of ideology and systems. and a distrust of truth and
encompassing concepts presents an experience of freedom. in which the
individual has the opportunity to explore and determine himself. in the
confrontation of the known with the unknown the subject finds himself in a
position to experience anew a world which was taken for granted in its
familiarity. These two discoveries. that of self and of world. comprise the
first two discussions of this chapter. in the final section the existentialiy
relevant question concerning the meaning of life is examined as an

important theme of New Subjectivity.

78

79

A. The Experience of Sell
1. The Leveling Power of Society
For many New Subjectivists society is perceived as a burocratic
system more interested in a functional whole than in its individual
components. This system will thwart individual uniqueness for the sake of
an abstract. objective norm. it will subjugate and standardize the subject
to the point that he disappears. The shell left behind no longer seems
real or tangible. People have become not only lifeless mannequins. but in
fact mere reproductions of such storefront dummies:
...wie wirkiiche. wirkllch gewordene Gespenster hielten sle [die
Schaufensterpuppen] lnne in ihrem Leben. in einer Phase ihrer
Bewegung. lhres Gehens. ihrer unheimiich verbindiichen
Abwesenheit. Gielchzeitig schienen sle aber wirkllcher und
faBbarer zu sein als ihre Kopien. die sich an den Fassaden
entlangdrt’ickten. um Hauserecken gingen und sich und alien
auch die Verlassenheit verschwiegen ($6.33).

At least the mannequins express their isolation and desolation. which remain

silent within the people walking by.

Political society. according to Nicolas Born’s narrator. drains the
individual. So divided is he between various groups. cooperatives. and
organizations that his identity is diluted. Within the group. individuals
become less and less important and gradually sacrifice their own
individuality: “Vlele unserer Bekannten wurden schneil immer polltlscher. daB
hleB. ...daB sle lmmer weniger geiten lieBen. auch immer weniger
Menschen geiten lieBen und nach und nach ihre Eigenschaften aufgaben"
(86.46). in the absence of personal contact all that is left are "die

unwelgeriichen. immer neu benannten Gemeinsamkeiten. Obereinstlmmungen.

die elngeheizten Gemelnschaftsprogramme...‘ (SG.150—51). The narrator

80
speaks of love in similar terms. His girlfriend appears to him as an
unyielding mistress who has engulfed him to the point that he should feel
and see as she does (SG.113). He tries to escape her dominion and
controlling power in order to be able to recognize his own personal view:
'ich fiihite mich einfach immer wohl. wenn ich den Blick aus dem
Zugfenster als meinen erkannte' (86.150).
Born depicts contemporary society. epitomized in the systems of
politics and love. as an impersonal machine which destroys the individual’s
sense of his own identity. The narrator vaguely remembers that as a
child he had feelings and personal thoughts. But the process of growing
up overloads the subject with informational objectivities which do not
accomodate the individual:
Die aiJ'Bere Fillie der Erschelnungen. das Tages- und
Jahrespensum. der unbewaltlgte Wissensstoff vertrugen mich
nicht ais etwas Besonderes. lCH hatte kelne Geltung. und als
ich mich spatter zuriickforderte. waren mein interesse.
Anspruch und Gefiihi ganz krank vor lauter Bedeutung. ganz
peiniich und ganz verachtenswert (SG.124-25).

Later. attempting to recall one’s awareness of self. the subject finds only

interests and feelings contaminated through the meanings assigned to them

by the various interpretive systems of society.

Thematic in Peter O. Chotjewltz novel Die Herren des Morgengrauensz

 

is the absolute control exercised by the state over the lives of its citizens.
The protagonist. Fritz Buchonla. suffers from the fear that he is under
constant surveillance by 'die Herren des Morgengrauens.‘ the agents of the
government. and everywhere he finds evidence that his paranoia is justified.
He is subjected to an incomprehensible maze called the justice system and
to repeated demands at border crossings to verify his state identity.

Buchonia describes a country in which all sources of information are

81

controlled by one source. namely the state. This alleviates problems which
could be caused through differing opinions. At a less ironic moment he
expresses the desire to live in a country where state positions and
regulations have not become so firmly implanted in its citizens’ heads as
to make such ironic distance impossible:

Er wilnschte sich. in einer Gesellschaft zu leben. die sich den

Staat und seine Glaubenssatze nicht dermaBen zu eigen

gemacht hat wie die iiberwiegende Mehrheit der Bundesbiirger.

in einem Land. in dem die Menschen den Staat noch nicht

im Kopf haben und iieber auf lronische Distanz zu lhm gehen.

statt lhn angstvoii zu umarmen (HM.66).

in order to function most efficiently society needs a neat

categorization of its citizens. which it accomplishes through the assignment

of roles. The thematizatlon of roles is widespread in New Subjectivity.

Hubert Frey in Wohmann’s Friihherbst in Badenwelier is revealed as a

 

piagiarist. The music he composes expresses not his own moods and
personal feelings but what others expect from him. and as such is a
betrayal of himself (FB.12). The protagonist of Frisch’s Montauk describes
his public profession of author with all its commitments and obligations as
a life within quotation marks (M.103). Even during his weekend trip to
Montauk. it is impossible to leave behind or forget his role: 'Er vergiBt
nicht seine Rolle. nicht die nachsten Verpfilchtungen. die sich ergeben aus
dieser Roile...’ (M.103). The significance and necessity of roles for the
protagonists in Waisers and Weilerhoffs works have already been
mentioned.

Even for those who withstand the pressures to conform. or are
destroyed by them. there exists a category. Society labels them crazy and
places them in an insane asylum. The narrator in Karin Strucks novel

Kiassenliebe reverses the values normally assigned to the states of health

 

82

and insanity. To be healthy is to conform. whereas the insane are those

individuals who cannot or will not fit in and whose actions. motivated by

spontaneity and characterized by a lack of inhibition. are abnormal:
Wahnsinnig werden kennen. Aber die wiirden elnen hier schon
fertigmachen. wenn man mitten an elnem Wintertag auf den
Dachern der Stadt nackt spazierenginge. Die wiirden elnen
auch kaputtmachen. wenn man auf dem K0pf gehen wollte.
Menschen kommen sehr oft gerade dann in die psychiatrische
Anstait. wenn sle gesund werden (K.10-11).

The protagonist yearns for the ability to become ”insane.” but realizes

societal normality would not allow for such deviation.

2. Subjective Freedom and Autonomy

The destruction of societal roles and the rejection of rational.
objective definitions of the individual leave him in a frightening void. but
within this vacuum lies the chance for self-autonomy and realization.
Through springing the norms. rules. and controls which order the
individuals life and make it. if not impossible. at least unnecessary to think
for oneself. New Subjectivity allows the individual to become aware of the
forces manipulating him. The opposition between individual and society.
subjective feelings and objective norms. and irrationality and reason as
discussed in the previous chapter need not be a retreat from society. but
a confrontation. in which the subjective pole is used to topple. or at least
shake. an hierarchy which squelches individuality. in the absence of
societal definitions the individual has the chance to define himself and in
the absence of objective constraints the subject can perhaps assert
himself.

Wolfram Schlitte calls the rediscovery of the individual the attempt to

develop and maintain an ability to resist the control of an objective.

83
impersonal technocracy so as to find one’s identity and to realize oneself
autonomously:
Das. was als die Wiederentdeckung des Subjekts in der Neuen
Linken oft erleichtert-bt‘irgerlich als Reprivatislerung
mtierstanden und dementsprechend lauthals gefelert wurde. ist
nichts anderes denn der Versuch. wider die Verfiigungsgewait
elner Technokratie der auBengesteuerten Sinne. eln
Widerstandspotential zu erhalten und zu entwlckeln. in dem wlr
unsere identitat finden und. wie schwleri auch immer.
autonome Selbstbestimmung verwirkiichen.
Schlitte’s proclamation should not be interpreted as the attainment of self-
autonomy and assertion. but as a search. The accent lies on the word
attempt ('Versuch'). New Subjectivity presents the attempt to find oneself.
in the works of Waiser and Wellershoff discussed previously the
destruction of the protagonists’ roles led to a dissolution of personality and
to the revelation of. not self-identity. but nothingness. However. even
these protagonists. faulted for their passivity and lack of self. do at one
isolated moment during their progressive disintegration assert themselves.
The acts of self-assertion are feeble. grotesquely misdirected. and
motivated by a defense gesture. but they nevertheless represent the attempt
to break out from under the control of the not only conforming but also
deforming pressures of society. and to live as oneself. At least there is a
realization that the effort to delve beyond societal conformity and
appearances must be undertaken.

Martin Waisers protagonist Franz Horn attempts suicide as a blow
against the authority of his boss Thiele and in the hopes of realizing
himself without the confines of a role. An imaginary Thiele reproaches
Horn: 'Ganz klar. Franz. kelne Frage. Franz. was Sle da tun. ist gedacht

als eln Schlag gegen mich. ln unserer Gesellschaft kann sich jeder

verwirkiichen. Und wenn Sie glauben. Sle kbnnten sich durch diese Tat

84
am besten verwirkiichen. so dart lch...Sie nicht hindern" (JL.165-66). The
significance of Horn’s act lies in the direction it points. namely away from
the role forced upon him and away from Thiele. During the moment on
the stormy Bodensee where Helmut Halms of Waisers Ein fliehendes Pferd
causes Klaus Buch to fail overboard Helmut lives without hiding behind
appearance. in an act of self-defense against the assurance and threat
of Klaus. Helmut’s mask is destroyed and he really lives: ”...du hast eben
gelebt in diesem Augenblick. du bist aus dir herausgegangen. Ha-Ha. eine
Sekunde lang hast du den Schein nicht geschafft...“ (fP.129). Finally. even
in the extreme example of Weilershoffs protagonist Klaus Jung. the passivity
and dissolution are interrupted for one climactic moment. Jung murders
the strange woman with whom he is spending the weekend in an act of
self-protection and affirmation. similar to the motives of Helmut Halms.
Jung feels defenseless before the will of the stranger. He feels the need
to protect his own weak identity against the firmness. certainty. and

assurance of the woman (88.271).

3. The Autobiography as a Search for identity

Arnulf Conradi notes the increase of autobiographical or diary—like
works for the seventies. These texts relate the extremely personal and
subjective experiences undergone by the protagonist. which are often
extracted from the author’s own life. Authenticity is. however. not
necessarily based upon the correlation between the fictional story and its
factual background. but rather upon the identity between experience and
the expression of that experience:

Wenn ich aufgefordert ware. in der deutschen Romanliteratur
des letzten Jahrzehnts elne Entwlcklungstendenz zu bezelchnen.

85

wiirde ich die auffailende Zunahme sehr subjektiver.
personiicher Texte nennen. Es sind Biicher. deren
autobiographischer Bezug greifbar ist. die sich im Gehalt an
einem Lebensabschnitt des Verfassers orientieren. lhn oft
geradezu tagebuchartig referieren. Die Romane wirken wie
Protokolle von Erfahrungen. Alie diese 'Blicher' haben elnes
gemeinsam: die Ausstrahlung elner Authentizitat. die auf der
identitat von Erfahrung und Ausdruck beruht.

in this definition one can. as Conradi does. include varied works. such as

Verena Stefan’s Hautungen. Karin Strucks Kiassenliebe. Helga M. Novaks

 

Die Eisheiligen. Nicolas Born’s Die erdabgewandte Seite der Geschichte.

 

 

and Botho StrauB’ Die Wldmung.

 

The autobiograths sudden popularity has been attributed to two main
causes. First of all. in a world characterized with doubt and insecurity.
the subject attends increasingly to himself in order to establish a type of
stability or foothold. in a world so complex that it is no longer
comprehensible to any one individual. the subject turns to himself and his
own past as something understandable and recognizable: 'Wo es kelne
absolute Wahrheit geben kann. herrscht lndividueiies Wissen. Wo alle
Kenntnis reiativ bieiben muB. bieibt die identitat des individuums die einzig
erfahrbare Wirkiichkelt."5 Secondly. the autobiography has become so
common due to the perceived disappearance of the subject within societal
objectivities. The diary is considered an asylum for subjectivity and. at the
same time. a forum for self-analysis and search.

Thematicaliy central to modern diaries. according to Manfred
Jurgensen. is an existential suffering. which is expressed in the works
through the subjects sickness and fear. Diaries basically depict individual
crises elicited by the one most important question of all diary-like
literature: the ignorance concerning one’s own identity:

Als kompiementares Begrlffspaar der modernen Tagebuchllteratur

86

erwelsen sich Krankheit und Ang_s_t. Sie umfassen ein durchaus
zentrales Thema des diarischen ich: das Leiden an der
Existenz. im Tagebuch identifiziert sich eln krankhaftes ich.
es registriert die individueiie “Krankheit zum Tode'. im
Grunde seines Wesens ist das Tagebuch stets eln Krisenbuch.
. Das Leiden an sich seibst wird als Leiden an der Existenz
tiberhaupt erfahren.... immer aber iiegt solchen Leiden an der
Existenz das eine groBe Thema aller Tagebuchllteratur
zugrunde: ich well} nicht. wer ich bin.

 

 

The existential suffering and crisis discussed here by Jurgensen essentially
constitute the experience of alienation. The diary or autobiography is both
expression of and therapy for this experience: 'Das Roman-Schreiben
erscheint als Ausdruck und zugleich Therapie der eigenen Zerrissenhelt...."7
The subject embarks upon a journey to discover his lost identity: "Die
Autobiographie ist von der Suche nach der geistigen ldentltat geprtigt.”8

in some works this journey leads into the individual’s past. in order
to understand what one is today. it is necessary to explore and confront
one’s origins. Accordingly. the subject often brings back and relives his

childhood. The protagonist of Helga M. Novaks Die Eisheiligen recounts

 

her childhood and adolescent years spent under the control of brutal and

unioving adaptive parents. The narrator in Peter Hartling's Nachgetragene

 

M9 recalls his early years so as to better understand and to learn to
love a father he had always considered cowardly. The process of
reflection. in addition to the emotions reawakened by this process. allow
the protagonist not only to approach his father. but also himself: ‘ich bin
zehn. ich schrelbe: ich bin zehn. was auch bedeutet. daB ich mich mlr
nahere. daB ich splire. wie zwei Erinnerungen. zwei Kbrper sich
ineinanderschleben. ich nahere mich mlr und bin sechsunddreiBig Jahre
von mir entfernt' (NL.109). The acts of remembering and reflecting serve

as a type of self-analysis. The narrator had always felt guilt concerning

87

his father’s death and also because of the distance which had existed
between father and son. His literary confrontation with this guilt has
resulted in a better understanding of himself.

Stephan Reinhardt compares the autobiographical trend in recent years
to psychoanalysis: 'in der Erinnerung an Vergangenheit und im
momentanen Eriebnisprotokoli wird Literatur zu elner Art von Psycho-
analyse."° The relationship between diary-like literature and
psychoanalysis is evident in their similar contexts. Both use dreams.
phantasy. and memories in an attempt to find and define the subject: ‘Das
heiBt. das ’Materiai’. der Stoff der Literatur ahnelt dem. den die
Psychoanalyse zu Tage fdrdert: Tagtraume. Traume. Kindhelts- und
Jugenderinnerungen. Schiiisseierlebnisse. Selbstvergewisserung an Beispielen

der eigenen Erfahrung."n

The function of recent autobiographies is
confirmation of the self (”lch—Verglwissering'). David Bronsen states that
autobiographical memory divides the subject. who becomes both the
observer and the object being observed. in the confrontation of the self
with his self. the literary process helps lead to subjective identity.
Bronsen quotes lngeb0rg Bachmann: ”Man 'wirft das Netz Erinnerung aus.
wlrft es iiber sich und zieht sich seibst. Erbeuter und Beute in einem.
iiber die Zeitschweiie. die Ortsschwelle. urn zu sehen. wer man war und
wer man geworden ist."12
in addition to serving the subject as a medium for self-analysis. the
autobiography often offers the individual the opportunity to determine
himself autonomously. it is seen by many as the last chance to preserve

one’s own subjectivity in face of the annihilating pressures of society: 'Wir

kdnnen hier durchaus von elner Fiucht ins Tagebuch sprechen: es bietet

 

88
lhm [dem Diaristen] die letzte Gelegenheit zur Selbstbewahrungfl'ls The
portrayal of the feeling. irrational subject is a type of resistance against
the coercion exerted by society to conform. it is an attempt at
independence. The diarists fictionalized self-portrait acts as an example of
opposition to the role society tries to impose upon the subject: 'Als
verseibstandigte literarische Gestalt besitzt das fiktionale ich somit elnen
musterhaft oppositionelien Charakter: es wehrt sich gegen das von auBen
auferiegte geselischaftliche Eiildnis.“M

The pr0tagonist narrator in Nicolas Born’s novel Die erdabgewandte

 

Seite der Geschichte tells the story of his relationship with Maria. it is
the attempt to break out of her controlling. dictatorial. and impersonal
system of love. under which the narrator’s own identity has been subsumed
and weakened to the point of disappearance. He tries to recapture his
original sense of self through the expression of his intimate feelings.
thoughts. and fears. He defends himself against the leveling forces of
society. epitomized in Maria’s love. through the literary reflection upon and
reawakening of his personal and concrete experience of their relationship.
He writes this story in order to find an appropriate and for it. He finally
observes a scene which seems suitable--"Das kbnnte eln Ende sein.
dachte ich nur' (SG.250)--and lays down his pen. The process of writing
traces the process of freeing himself from Maria in an attempt to redefine

and reexperience himself independently.

89
B. The Experience of World
1. The Loss of immediacy

New Subjectivity in general is distinguished with distrust of the reality
of one’s perceived world. There exists doubt as to whether this reality is
indeed real: 'Es ist ein neuerwachtes MiBtrauen gegen die Wirkiichkelt der
Realitat. die das Schreiben deutscher Zunge mehr und intensiver durchzieht
als irgend anderswo."15 The subject feels as though there must exist a
more authentic reality behind the everyday objects of the world. which is
however unattainable and intangible. He feels he no longer stands in
immediate contact with reality. as if some kind of veil separates the
subjective from the objective. The contours of objects can be recognized
through the veil. but the subject cannot experience reality directly and
personally.

Such a loss of immediacy is attributed to societal patterns of
perception through which the individual traditionally views and understands
his world: "...auf der Suche nach sich seibst und nach unmitteibarer
Erfahrung. stoBen die Menschen auf geselischaftliche Vermittiungen und
vorgegebene Muster. die sle hindern. sich seibst und ihre Welt authentisch

zu erleben."16

Just as societal roles prevent the individual from
discovering himself autonomously. societal definitions and explanations of
the world bias the subject’s perception of his surrounding. The numerous
mediations between subject and object contained in today’s industrialized
world direct the subject’s eyes to see only certain aspects of reality. and
prejudice his interpretation of what is observed. so as to hinder an

authentic registration: '...die Suche nach dem Unmitteibaren steht den

vieifaitigen Vermittiungen durch die moderne industrlegesellschaft

90

gegeniiber.'17

Nicolas Born‘s protagonist suffers under the realization of the
fraudulence of what is commonly perceived to be reality ('Reaiitats-
schwindel: 86.148). Authentic reality has disappeared behind society/s
explanations and meanings for it. As soon as an object is logically and
systematically described it is replaced by its description. in this manner
the entire world has been emptied of its colors and forms. in its place
one finds a film endlessly filming itself. which goes by the name of reality:

Stadte abgeschrieben. hohl. Landschaften weg. Die Welt war
leer. Farben und Formen waren nur noch Reflexe der
Bibliotheken und Museen. Von denen und in denen lebten
wir. eln Film- oder Konservenieben. So verschwand auch das
Soziaie und machte der Lehre vom Sozialen Platz: so
peinigten uns nicht Krankheiten mehr. aber die Medizln: und
so verioren wir schlieBiich unsere Kbrper an die Physiologie
und die Psychiatrie: schlieBiich war Gott untergegangen. die
Theologie auferstanden. Filmleben. das sich auch schon
wieder in verfilmbare Wirkiichkelt verwandeite. Hohler kommen
wir uns entgegen und kommen uns lmmer hohler noch
entgegen. wenn wir nur noch Erinnerungen sind. Und das
Gras wird verschwunden sein. wegerklart mit den Wurzein.
Und es wird immer schwlerlger. neue Tauschungen zu
erfinden. an denen elne Wirkiichkelt Halt finden kann (SG.56).

The narrator is no longer able to believe in the deceptions commonly
labelled reality. For him real objects have become unrealistic: 'Aber in
Wirkiichkelt. was meinst du dazu. ist das Reaie unrealistisch' (86.25).

in Peter Handke’s Der kurze Brief zum langen Abschied an extreme

 

example of the loss of immediacy is evident in the perception of Claire’s
young daughter. Benedictine. This child has been raised within a
civilization based upon symbols and pictures once removed from reality.
This distance is perhaps most adequately illustrated through the television.
Benedictine accordingly no longer perceives nature. but takes society/s

signs for it as the objects of nature itself: 'Es war eigenartig. daB

91
Benedictine die Natur fast nicht mehr wahrnahm. sondern die kilnstlichen
Zeichen und Gegenstande der Ziviiisation schon als Natur erlebte. ...das
Nachbild hatte es [das Vorbiid] fiir immer ersetzt" (BA.117-18). Similarly.
an American couple sees behind every landscape not the real objects of
nature but an historical and symbolic moment: 'i...so sehen wlr auch die
Landschaften nicht als Natur. sondern als die Taten derjenigen. die sle fu'r

Amerika in Besltz genommen haben..." (BA.120).

2. The Search for Authentic Reality

New Subjectivity is an attempt to confront and perhaps overcome the
loss of immediacy: "Dieser Verlust der Unmitteibarkeit wird konfrontiert mit
Dichtung und Theorie der ’Neuen Subjektivltéit’....'18 The destruction of
explanations or systems and irrationality in general acquire a positive
aspect. They can liberate the individual’s interpretation and perception of
the world from logical and systematic preestabiished models and meanings:
'Abldsung des Rationaien durch elne neu aufgereizte Sensibilitat. Welt
nicht mehr begrlffen im Monopolysplel globaler Loglk-Strategien. sondern
ergriffen im Brennspiegei der kieinen Einheit individuum."19 Freed from
such logical strategies through the new subjective experience of alienation
the individual has the opportunity to gain a more direct access to reality
through experiencing it personally: 'Die Abweichung. die prinzipielie
yflfremdung ist notwendig. um den Ring aus dffentlichen imperativen zu
durchbrechen und iiberhaupt noch sinnllche Erfahrung zu vermitteln."2o
Personal participation has become the measure used to determine the

authenticity of the individuals perceived surroundings: ’reai’ reality is only

attainable through concrete experience of it.

92

Dieter Wellershoff. again proving through his theoretical writings to be
a forerunner of New Subjectivity. explains in his essay of 1969 entitled
'Flktion und Praxis'2] that the world is so full of stimulation for the
individual. that he needs its mediation by means of cultural and habitual
perception models to give it order and meaning. Otherwise the individual
finds himself bombarded with a chaos of stimulation ('Reizchaos') which
would make efficient action impossible. The result of mediation is to
reduce the chaos to a few well-defined patterns which will elicit the same
response from the subject upon recognition. The intent of all true
literature is. according to Wellershoff. to attack and change one’s usual
schemata of experience. so that the subject can discover new realities and
rediscover old ones. This attack and constant process of change is the
basis for his literary style called 'Neuer Realismus“:

Realismus ist fiir mich die Gegentendenz. namiich der immer
neue Versuch. etablierte Begrlffe und Ordnungsgestalten
aufzulbsen. um neue. bisher verbannte Erfahrungen zu
ermbgiichen. das Gegenteil also elner Wiederhoiung und
Bestatlgung des Bekannten. Neue Aufmerksamkeitsgrade und
-richtungen werden entwickelt flir das. was bisher unbewuBt war
oder gesperrt wurde mit Tabuworten wie banal. privat.
pathologisch. aber vor allem auch fiir das nur scheinbar
Bekannte. das unter diesem Schein sich verfiiichtigt hat.

The disappearance of reality is related to the subject’s feeling that
everything is known and knowable: ”alles sel bekannt. verfiigbar und
konsumierbar. alles zugangllch als Formel. Mode. Meinung. lnformation."23
To experience one’s surroundings more directly. reality must become
strange and threatening. This is exactly what the experience of alienation.
expressed and provoked for Wellershoff most aptly through a subjective

point of view. intends. Martin Walser’s "Realismus X' evidences many

similarities to Wellershoffs ‘Neuer Realismus.‘ “Realismus X' also intends

93

to overcome preformuiated ways to view the world ('Betrachtungsweisen')
and it is based upon Walset’s belief that familiarity prevents experience of
reality.24

Turning to the new subjective works themselves. Nicolas Born’s novel
offers the most striking example of a protagonist suffering under the loss
of reality because it has become too familiar. The narrator protagonist
expresses the satiation and disgust he feels toward an all too knowable
world in the words: 'Mir war alles zu bekannt.“ These words run
throughout the novel as a refrain. Reality has become totally predictable
and definable because it is expiainabie. The narrator yearns to maintain
the secret of the world: "Aber sind wir nicht spatestens dann am Ende.
wenn alles erklart ist. wenn das letzte Geheimnis aus uns rausgewaschen
ist wie eln Dreck?“ (86.26). in order to overcome the loss of immediacy
it is necessary to revive one's ability to believe in secrets. This implies
that the individual must learn to live with a state of insecurity and fear.
for it is fear which motivates people to order their world and their self
into unambiguous pictures. The narrator. in contrast to the rest of
society. wants to live with fear: ‘Auch ohne Angst wollte ich nicht leben.
wenn du das gemeint hast. vielmehr wollte ich mit Angst leben. Das war
mlr wirkllch lieber" (86.150). At the end of the novel the protagonist
concludes his story with Maria. The world. finally freed from an all too
familiar and predictable system of love which had caused paralysis and
distance. regains its movement and color: 'Danach setzte sich alles wieder
in Bewegung. und iangsam kehrten die Farben zurlick" (SG.251). The
intent behind the rejection of logical explanation is to break through effete

patterns of perception in order to rediscover the secret of the world

94
through a new perspective: ‘Den etablierten Sinn aufzubrechen durch
Wahnhaftes. durch das ganz Andere. Spontane. die abgelebten Muster
durch eine neue Sehweise. und sel es die des Wahnsinns. in neuem Licht
erscheinen zu lassen...."25

Weilershoffs protagonist Klaus Jung perceives less and less of an
outer world which is known to him to the point of satiety:

Nein. er sah nicht das. was andere sahen. sah vielleicht
weniger. von Jahr zu Jahr weniger. obwohl es lhm so vorkam.
als seien seine Augen grbBer geworden. im gleichen MaBe
wie lhr wolkiges Grau sich eintrlibte. oder im gleichen MaBe
wie er weniger von der AuBenwelt wahrnahm. die er bis zum
OberdruB kannte (88.160-61).
Jung is aware. as was Born’s narrator. of the non-existence (“Nicht-Leben”)
of normal everyday existence. This reality. although thoroughly familiar.
has not become intimate and private for Jung because he cannot
experience it. instead. it appears colorless and tasteless: “...er kannte das.
aber es war lhm nicht vertrauter geworden. sondern fremder. man konnte
auch sagen. farbloser. geschmackioser. er hatte es das Nicht-Leben
genannt" (88.161).

The tendency for new subjective protagonists to perceive objective
reality through a subjective perspective as noted in the previous-chapter
indicates their inability to believe in the authenticity of objective. known.
and distant reality. it is at the same time an attempt to make this
outside world real through personal experience. The compulsion to
subjectively perceive reality ('Wahrnehmungszwang') which was noted and
criticized by Scherpe and Treichei26 cannot be denied. but it should not
be dismissed as an act of narcissism intending to block reality from view.

it often serves to distort the protagonists perception to the point that the

world regains its strangeness. or secret. thereby allowing the subject to

95

experience his surroundings anew.

C. What is Life?
1. The Living Dead
in many new subjective works the protagonists express a
dissatisfaction with everyday existence. The awareness that societal norms
prevent individual autonomy and that institutional perception models hinder
the experience of an authentic reality comprises part of a general concern
voiced by much of New Subjectivity that life as led by most of society is
actually a form of non—existence. The majority of people exist from day to
day and proceed through the world without becoming aware of themselves
or their surroundings. They go about their business in a mechanical and
unconscious state. which is actually the opposite of life. The routines and
movements of life continue endlessly and inevitably. each repeating the one
which came before. until the whole functioning world and all its
participants disappear. Yet life goes ever onward. even after its death:
...Weitermachen. auch nach dem Tode. immer weiter. well as
nicht aufhbren kann. auch wenn es langst schon tote
Bewegungen sind. lmmer weiter betaubende Wlederhoiungen.
immer wieder Aufschichtungen. geschichtete Wlederhoiungen.
ein sichtbares. immer sichtbarer werdendes Verschwlnden. Es
war so. als passiere alles nur noch in einem Traum. als ware
jede Bewegung nur elne Erinnerung an elne Bewegung. die
einmal wirkllch stattgefunden hatte. als kdnne man auf elne
ertragiiche Weise nur tot sein. indem man einfach

weitermachte. als ware nichts geschehen (SG.126-27).

in Waisers Jenseits der Liebe Franz Horn is pronounced alive at the

 

end of the novel after his unsuccessful suicide attempt. But the life he is
condemned to continue is actually a state of non-existence. for he must
carry on his miserable pretensions of being a business man. He must

continue to function within a society which has robbed him of the love of

96

his family and his self—respect. The contradiction within his boss’
pronouncement of life is manifest in its exaggerated and. to Horn’s ears.
terrible loudness: 'Er hbrte. wie Thieles Stimme. furchtbar iaut. sagte: Er
lebt' (JL.176). Peter Beicken notes the Kafkaesque quality of Thieie’s
damning judgment. which condemns Horn to the shameful state of living
death ("Lebendigtotsein").27

Life holds no immediate joy for its participants. but is perceived to
be something to be endured. One should withstand hardship now in order
to really start living sometime in the future: 'lm Augenblick waren Mi'ihsal
und Beschwerden. SchweiBausbriiche und die flaue uninteressierte
Anwesenheit zu ertragen. damit spater das elgentiiche Leben mit freiem
Kopf angefangen werden konnte" (SG.215). Yet this future with its promise
of 'das elgentiiche Leben' never arrives. so that existence becomes one
long expectation. not fulfillment. of living. which is death: 'GewiBheit. daB
as so bliebe. zeitiebens ohne Leben. bis zum Tode immer nur Anwartschaft
auf Leben...‘ (SG.215).

People spend their whole lives behind the bars of the inevitable
routines of life. shackled by society/s numerous restrictions. Helmut Halms

feels particularly at home in his vacation apartment because of its barred

windows (fP.10). Waiser uses a similar metaphor in his Jenseits der

 

Li_eb_e_. where Franz Horn imagines lying in a bed surrounded by electrically
equipped bars so as to prevent all movement: 'Nachher wirst du im Bett
llegen wie in einem zu engen Kafig. dessen Gitterstabe mit Strom geladen
sind. weshalb du jede Bewegung vermeidest' (JL.36-37). Nicolas Born’s
narrator connects the image of a cagelike existence to the state of living

death: 'lHR WOLLT MlCH UMBRINGEN. ABER lHR KONNT MICH NICHT MEHR

97
UMBRINGEN. DENN lCH BlN VOR JAHREN SCHON GESTORBEN. lN EUREN
GEFANGNISSEN" (SG.103-04).

New Subjectivists depict a world ruled with inhumanity and uncaring.
and functioning by means of an often brutal power structure. in
Bernhard’s Der Atem the setting of the story. a hospital supposedly
concerned with saving lives. is depicted as a machine which destroys
existence. as an 'Anti—heiiungs-. ja Menschenvernichtungsmaschine' (A.99).
The protagonist gets well not because of the doctors. but in spite of them.
They treat the seriously sick cases as people already dead. Their
medicine is not supposed to heal. but to facilitate death. The nurses are
equally cold and unfeeiing. worried only about the lack of space in the
hospital. and even the priest performs the last rites as a thoughtless
business (A.66). Dieter Kafitz states that Bernhard’s theatrical figures are
characterized by aggression: 'Die Flgurenbeziehungen in den Bernhardschen

Stiicken sind durch Aggressivitat gepragtf'ze

His remark applies equally
well to the characters of Bernhard’s novel.
The inhumanity and brutality characterizing the business world in

Waisel’s Jenseits der Liebe filter down to the relationship between Horn

 

and his family. so that defeats at the office result in aggressive behavior
at home. Horn divorces himself from his family in order to protect them
from such brutality: 'Sie [Thiele und Liszt] konnten durch dich kelne
Familie mehr zertriimmern. Du arbeitetest jetzt nicht mehr in ihrem
Auftrag an der Zerstdrung delner Familie. Deine Familie war in Sicherheit‘
(JL.142). The power struggles of society ('Macht der Welt": JL.121) drive
themselves between and dehumanlze all interpersonal relationships. Horn

finds himself on a battle campaign against his delinquent business

98
associate in England. Unable to locate him at his office. Horn hunts him
down to his country home: “Oh Mr. Heath. und nun jag ich Sie in ihrer
Gegend. dachte Horn“ (JL.76). Heath had fled here. to his last secret
recess. to escape Horn’s chase: “Er [Heath] floh einfach. Und Horn.
nicht faul. verfolgte lhn bis zu seinem letzten Schlupfwinkei. Tiichtig.
tiichtig' (JL.78). Such business-like efficiency alternates in Horn with
shame caused by the success of his hunt. He questions his own capacity
for compassion ('Mitleid“) and humanity ('Menschllchkeit'). The value
behind these two concepts becomes blurred and confused within the
business world where success has become the only true measure of merit.
Horn imagines the discussion which will ensue between himself and his
bosses. Thiele and Liszt. upon learning that Horn did not in fact achieve
his mission. The most threatening acts are uttered with the friendliest
tone. and the boxing match becomes increasingly affable as it nears its
end: 'Am Ende dieses Satzes wlirde er [Thiele] den Ton freundiichst
drohend nach oben biegen. Und sle [Thiele und Liszt] wiirden von

Runde zu Runde llebenswl'irdlger. freundschaftlicher werden...‘ (JL.106).

2. A New Life
a. Potential for Change

Most new subjective works leave room for hope and change. which
although not realized. can be considered the positive or utoplan direction
of the text in general. The destruction. rejection. and criticism of what is.
represents in most cases an appeal for what should and perhaps could
be. in some works this hope may be difficult to discern. so overwhelming

is the negative depiction of the individual and society. Waisers Jenseits

99
der Liebe for example concludes by condemning the protagonist to the
unchanged continuation of his deformed and alienated non-existence.
However. hope is expressed in the yearning of the protagonist for a more
humane business intercourse. He longs to have been the connecting
bridge between the two men now banded together against him: 'Er. die
Briicke zwischen Arthur und Horst. Das ware elne Mission gewesen. Eine
Lebensaufgabe. Nicht das Ziinglein an der Waage. Nur elne Briicke.
Ober lhn soliten sle zu einander kommen" (JL.137). Thoughts of his
family. tinged with desire. love. and expectation. continually pierce the wall
of emotional neutrality which he artificially constructed for protection.

Hans J. Frbhlich recognizes within works of the late seventies the
presence of suffering. loneliness. and retreat. but also the effort to begin
a radically new life. The themes of these works include 'Leiden an der
Einsamkeit. aber auch Fiucht in diese. das Untertauchen aus privaten oder
polltlschen Motlven. Versuche eln neues. radikal verandertes Leben zu

beginnen...."29

For many of these texts the retreat into solitude and the
protagonists resignation mean 'ein Aufbruch nach Utopia."30 Frbhllch’s

own novel entitled lm Garten der Geflihle contains both resigned and

 

utopian elements. Thematic are interpersonal relationships. Marriage.
depicted as a superficial and demeaning system of interdependency causing
a lack of personal freedom. is juxtaposed to the individual liberty and
capacity for change characterizing elective affinities. At the conclusion of
the novel it seems as though all has returned to its original state.

Similar to Franz Horn. the last line of the text condemns the narrator to
the unaltered continuation of his unsatisfactory marital existence: 'Ja. man

lebt. Man iebt dahin' (GG.295). But the finality of this judgement is

100

undermined by means of the recurring refrain of change and renewal.
Albert. the narrator’s good friend. tells him: 'ihr miiBt euer Leben andern.
Du muBt es endern. und Dorothee muB es auch andern' (GG.70). The
goal of life is to follow one’s natural attractions. which create change:

Das Erwartete. sagte Albert. ist nicht das Zlel.

Was ist das Zlel?

Das Schwarze lm Auge. sagte Albert.

Das Naheliegende also?

Das Nachstiiegende. sagte er. das uns Vertraute und Verwandte.

was uns anzieht und die Veranderung schafft (GG.36).
The solutions found in the final chapter. entitled ‘Lbsungen und auch wieder
kelne.‘ are admittedly questionable ones.

in Waisers Ein fliehendes Pferd the outcome of the experience of

alienation is more obviously positive. The threat to Helmut Halms as
embodied in Klaus Buch directly results in the destruction of Helmuts
complacency. Klaus forcibly disrupts his plodding 'Trott" and prevents him
from skirting life. The outcome of this confrontation is change. and it has
become a turning point in the life of its main protagonist. Helmut and
his wife Sabine almost frantically leave their customary vacation place and
depart for Montpellier. This act is significant in that it represents a
change in direction for the first time in twelve years. Helmut finally takes
the beginning step toward facing life. especially his lmpotency problem. in
his decision to talk with Sabine about themselves. a discussion which he
has long owed her: “Jetzt fange ich an. sagte er. Es tut mlr leid. sagte

er. aber es kann sein. ich erzahie dir alles von diesem Helmut. dieser

Sabine“ (fP.151).

101
b. The Confrontation with Death
The experience of alienation is. if pursued to its inevitable end. a
confrontation with man's mortality and the worlds decomposition. in the
absence of an objective. meaningful order which provides a context for the
world and accordingly orientation for the individual. the subject experiences
his surroundings and himself as pure factuality subject to the process of
decay resulting in death. Edgar Piel. in discussing subjectivity in general
during the twentieth century. inextricably connects the subject’s loss of
context to the realization that all life exists as finiteness:
...die Endlichkeit wird vom individuum ganz einfach faktisch
vorgefunden. und es gelingt lhm nicht mehr. sich
vertrauensvoli auf den Sehultern lrgendweicher Vorfahren und
Autoritaten zu halten. um iiber die Faktizitaten
hinwegzuschauen. wahrend der Mensch erfahrt. daB das
Gesetz elner nichts als faktischen Endlichkeit die Verwesung
ist. steigt bestlirzend die Ahnung in lhm auf. daB er wohl
sein Lebtag kelne Orientierung mehr finden wird. Jede
Verkorperung blelbt in ihrem Jetzt und Hier vor dem Gesetz
der Verwesung vbilig zufallig und auBerhalb jedes umgreifenden
Zusammenhaits. solange nicht dieser Zusammenhalt als
Kategorle oder Sinn von der Subjektivitat seibst in die Reailtat
hinelngearbeitet wird.3]
Man’s reaction to the confrontation with and fear of death is to ignore or
endeavor to forget it. Piel poses the question: 'Was ist der wahre
Abgrund. vor dem nur das Vergessen zu helfen schelnt. und den zu
Vergessen sich die Menschheit vielleicht sogar erst lh ihre eigene
Geschichte gestiirtzt hat?." and answers: 'der Gedanke an den Tod.'32 in
the face of the abyss of death the individual flees into a life of mimicry
and conformity. A state of stupefaction and insenslbility successfully bans
the fear of mortality. but it also means the death and paralysis of life:

'Aber die Fiucht in die Betaubung. das ist ja die von Todesangst gebannt

vollzogene Mlmikry. bei der das Leben sich tot stellt. sich nicht mehr zu

102
bewegen traut."33
Piel’s remarks can be directly applied to much of’New Subjectivity.
As has been seen. many works of the seventies deal with various forms of
death. Suicide. threat. murder. or separation are common and important
thematic elements. The state of living death due to paralyzing conformity
and repetition has been noted in several prominent new subjective texts.

Two works in particular thematlcize death and the individual’s fear and

forced disregard of it: Welleshoff‘s Die Schbnheit des Schimpansen and

 

Bernhard’s Der Atem.
in Wellershoffs novel the title serves as a thematic indicator. for the
chimpanzee signifies death: 'Der Titei deutet die Thematik des Romans an:
der Schimpanse ist das Symbol des Todes.'34 Klaus Jung’s experience of
alienation consists of the terrifying realization that he must die. The
inability to successfully suppress this understanding distinguishes him from
the rest of society. Whereas Jung’s future wife hastily rejects the
chimpanzee with a gesture of disgust. Jung buys the small statue. The
chimpanzee embodies the condition of man:
Es war eln aus Holz geschnitzter. kauernder Schimpanse. der
in seinen groBen unbewuBten Handen elnen Totenkopf hielt.
auf den er wie gebannt hinunterstarrte. Nattirilch begrlff der
Affe nicht. was er in den Handen hatte. aber in der
greisenhaften Kindlichkelt seines Gesichtes zeigte sich eln
dumpfes Nachdenken. als dammere in seinem Kopf elne
Ahnung seiner Ahnlichkeit mit diesem knbchernen Gegenstand
(88.154).
The subject. similar to the chimpanzee. is constantly confronted with and
even fascinated by the fact of mortality. There exists within him a vague
cognizance of his resemblance to the skull. However. this does not lead

to identification or recognition. but rather to even more vehement aversion

and denial: 'Der Affe. der elnen fremden Schadel betrachtete. sah in

103
Wirkiichkelt sich seibst. als eln Wesen. das sterben muBte. doch or war
unfahig. das zu erkennen' (88.198).

The story of Bernhard’s Der Atem is also one of sickness. disease.
and death. The protagonist. first threatened by his own death. must then
come to grips with his grandfathers decease and. later. his mother’s
hospitalization and probable death. Bernhard introduces his text with a
quote from Pascal: 'Da die Menschen unfahig waren. Tod. Elend.
Unwissenhelt zu iiberwinden. sind sle. um giiicklich zu sein. libereln-
gekommen. nicht daran zu denken.’ This passage echoes the idea that
man cannot face his own condition of uncertainty. misery. and mortality.

Wellershoffs protagonist Klaus Jung reacts to the confrontation with
death by committing suicide. For Jung there exists behind the skull held
in the chimpanzee’s hands. behind self-recognition. pure nothingness:

Was wiirde er sehen. wenn er sich erkannte? Auch darauf
schien das Buch [das Tibetanische Totenbuch] elne Antwort
zu geben. Nicht mehr das. was er in den Handen hielt. die
zahnebieckende Fratze des Todes. Auch sle war nur elne
furchterregende Maske. die elnen zurticktreiben solite in die
Welt der Tauschungen. Doch wenn man lhr standhielt. wiirde
sle zerfallen. und man wiirde das klare Licht des Nichts
erbiicken wie in einem leeren Splegei (88.198).
Burdened with the terrifying realization that life is merely an empty mirror.
Jung yearns to attain the nothingness of death. for at least death is
painless: "Erstrebenswert war nur das Nichts. denn as war ohne Leiden“
(88.198).

For most other new subjective protagonists the frightening realization
of death precipitates an existential confirmation of being. impending death
results in an examination and reaffirmation of life for the protagonist in

Frisch’s Montauk. The narrator’s account contains no message except that

he is alive. He writes his autobiography '[o]hne seine Schriftsteilerel zu

104
rechtfertigen durch Verantwortung gegeniiber der Gesellschaft: ohne
Botschaft. Er hat kelne und lebt trotzdem. Er mbchte bioB erzahlen...:
sein Leben“ (M.155). The middle point of Frisch’s novel is marked with
the realization that to be eternal means to have existed: ‘AUF DER WELT
SElN.... EWlG SEIN: GEWESEN SEIN” (M.103). Similarly. Fritz Raddatz
notes the dialectic between life and death in Peter Handke’s works. The
experience of alienation and loss of meaning is necessary for a more
meaningful existence. Death or departure enable the protagonist to start
out anew: “Abschied - also: Tod - als Mdglichkeit neuen Lebens ist stets
Motiv."35

Thomas Bernhard. in his work Der Atem: Eine Entscheidung. attributes

 

most directly a positive potential to the traumas of sickness and death
undergone by the protagonist and illuminates the connection established so
often between life and death. The title again serves as a thematic
indication: life. epitomized throughout the novel as breathing. is a decision.
Discarded in a hospital bathroom as a hopeless case. the protagonist
decides to continue breathing. thereby forcing the nurses to wheel him
back to his room. Life is an act of will. One must desperately desire
and resolve on one’s own to live:

Von zwei mbgilchen Wegen hatte ich mich in dieser Nacht in
dem entscheidenden Augenblick fiir den des Lebens
entschieden. ich hatte nicht. wie der andere vor mlr.
aufhdren wollen zu atmen. ich hatte weiteratmen und
welterieben wollen. ich muBte die slcher auf meinen Tod
eingestellte Schwester zwingen. mich aus dem Badezimmer
heraus- und in den Krankensaai zuriickfiihren zu lassen. und
also muBte ich weiteratmen. Hatte ich nur elnen Augenblick
in diesem melnem Wlllen nachgelassen. ich hatte kelne
einzige Stunde langer gelebt. Es war an mlr. ob ich
welteratmete oder nicht. ich bestimmte. welchen der beiden
mbglichen Wege ich zu gehen hatte (A.20-21).

The protagonist. in the moment before death. consciously wills back life in

105
an act of self-autonomy and assertion: 'ich wollte leben. alles andere
bedeutete nichts. Leben. und zwar mein Leben leben. wie und solagqe ich
gm. Der Weg in den Tod ware leicht gewesen. Genauso hat der
Lebensweg den Vorteil der Selbstbestimmung" (A.20-21).
it is the figure of the grandfather who expresses the existential
necessity of life-endangering sickness. A realm such as the hospital.
where one unavoidably faces death. provokes thoughts about one's life and
situation which are normally avoided or ignored:
Dieser Krankenhausaufenthalt sel lhm urpldtzllch. gar nicht im
medizinischen. sondern in einem existentialien Sinne. als elne
unumgangliche Notwendigkeit erschienen. er sel hier im
Krankenhaus. in dem. so er. zu lebenswlchtigen und
existenzentscheidenden Gedanken geradezu herausfordernden
Leidensbezirk zu einem grundlegenden Oberdenken seiner und
auch melner Situation gekommen. Von Zelt zu Zelt selen
solche Krankheiten. tatsachiiche oder nicht. wie er sich
ausdrilckte. notwendig. um sich jene Gedanken machen zu
kdnnen. zu welchen der Mensch ohne elne solche zeltweise
Krankheit nicht komme (A.59).
The world view of a seriously sick person. due to the opportunity he has to
delve into those life and death questions ignored by a superficial society.
is clearer than that of anyone else: 'Der Kranke ist der Hellsichtige.
kelnem anderen ist das Weltbild klarer” (A.60). Sickness and approaching
death create an awareness of and impart meaning to life. They rekindle
in the stricken individual a consciousness of himself and his world: 'in
diesem Denkbezirk erreichen wir. was wlr auBerhaib niemais erreichen
kbnnen. das SelbstbewuBtsein und das BewuBtsein alles dessen. das ist'
(A.62). it is exactly such an awareness or experience of self and of world
which. to varying degrees. is intended in much of New Subjectivity and

which constitutes the positive potential of the negative experience of

alienation.

106

Conclusion

This chapter has examined an aspect of New Subjectivity too often
overlooked by commentators. and yet convincingly documented within the
primary literature of the seventies itSelf. The destructive and disorienting
loss of context undergone by many new subjective protagonists intends a
reawakening of the subjects awareness of himself and his world. The loss
of a secure place within society initiates a search for self-identity and
autonomy. in the absence of a stabile and encompassing reality the
subject. through his different perspective. is able to reexperience his world.
New subjective works depict a society concerned only in functioning
smoothly and accordingly one in which conformity is valued. They portray
a reality no longer attainable due to the numerous institutional and
traditional patterns of perception. Life is revealed as an oblivious and
unconscious state of non-existence. At the same time. however. these
works express the hope for change. and the justification and even
realization of this hope lies in the experience of alienation. Change can
only take place after the destruction or questioning of what is. An
awareness of life is possible in the subject’s confrontation with death. This
chapter has responded to much of the criticism aimed at New Subjectivity.
especially accusations of societal irrelevancy. triviality. and negativity for the
sake of negation. The positive potential of New Subjectivity lies in the
questions it poses. not the solutions it proposes. and the question raised
again and again in these works is an existentialiy essential one: What is

life?

Notes--Chapter Three

1Adolf Muschg. "Bericht von elner falschen Front oder: Der Schein
triigt nicht.‘ in Literaturmagazin 5: Das Vergehen von Heren und Sehen:
Aspekte der Kulturvernichtung. ed. Hermann Peter Piwitt and Peter Rl'ihmkorf
(Reinbek bei Hamburg: Rowohit Taschenbuch Veriag. 1976). p. 32.

 

 

 

 

2Peter O. Chotjewitz. Die Herren des Morgengrauens: Romanirament
(Berlin: Rotbuch. 1978). Hereafter cited in the text with (HM) and page
number only.

3Quoted according to Michael Buselmeier. 'Nach der Revoite. Die
literarische Verarbeitung der Studentenbewegung.‘ in Literatur und
Studentenbewegung: Eine Zwischenbilanz. ed. Martin W. Liidke (Opiaden:
Westdeutscher Veriag. 1977). pp. 158—59. Original quote in Wolfram
Schlitte. "ich weiB. das es nicht die schlechtesten Menschen sind. die jetzt
bei der Literatur nach etwas suchen’: Eln paar Zitate und Oberlegungen aus
und iiber das ’Literaturmagazin 4." in Frankfurter Rundschau. 11 Oct. 1975.
The original quote reads: ‘Das. was als die Wiederentdeckung des Subjekts
in der Neuen Linken oft erleichtert-biirgerlich als Reprivatislerung
mtierstanden und dementsprechend lauthals gefelert wurde. (als ob die
Neue Linke schiieBlich und endlich auf die lntrospektlon elnes Peter
Handke zusammengeschnurrt sel). ist nichts anderes denn der Versuch....'ili

 

 

 

 

4Arnulf Conradi. 'Die Gezeiten des Subjektivismus: Ober die
Subjektivitat in der neueren Literatur.” horen. 25 (1980). 110-11.

5Manfred Jurgensen. 'Das Tagebuch: Eine Einfiihrung.’ in Des
fiktionale ich: Untersuchungen zum Tagebuch (Bern: Francke. 1979). p. 24.

6Jurgensen. pp. 15-16.

7Bernd Neumann. 'Die Wiedergeburt des Erzahlens aus dem Geist der
Autobiographie? Elnlge Anmerkungen zum neuen autobiographischen Roman
am Belspiei von Hermann Klnders 'Der Schieiftrog’ und Bernhard Vespers
'Die Reise." Basis. 9 (1979). 105.

8Quoted according to David Bronsen. 'Autoblographien der siebziger
Jahre: Beriihmte Schriftsteiler befragen ihre Vergangenheit.” in Deutsche
Literatur in der Bundesrepubilk seit 1965: Untersuchuflen und Berichte. ed.
Paul Michael Liltzeier and Egon Schwarz (Kbnigstein: Athenaum. 1980). p.
203. Original quote in Roy Pascal. Die AutobiogLaphle. Gehalt und Gestalt
(Stuttgart. Berlin. Kbin. Mainz: W. Kohlhammer Veriag. 1965). p. 12.

 

 

9Peter Hartling. Nachgflrggene Liebe (Darmstadt: Hermann Luchterhand
Veriag. 1980). Hereafter cited in text with (NL) and page number only.

 

10Stephan Reinhardt. 'Nach innen fiihrt der geheimnlsvolle Weg. aber
er flihrt auch wieder heraus’: Unvollstandige Anmerkungen zum neuen
lrratlonaiismus in der theratur.' in Nach dem Protest: Literatur lm

107

108

Umbruch. ed. Martin W. Liidke (Frankfurt am Main: Suhrkamp. 1979). p.
170.

nReinhardt. p. 170.

1QBronson. p. 203. Quoted according to Hans Banziger. ”Leben im
Zitat. Zu Montauk: eln Formulierungsprobiem in dessen Vorgeschichte.‘ in
Max Frisch: Aspekte des Prosawerks: Studien zum Werk Max Frischs. ed.
Gerhard P. Knapp. l (Bern. Frankfurt am Main. Las Vegas: 1978). p. 277.

 

13Jurgensen. p. 18.
14Jurgensen. p. 18.

15Fritz J. Raddatz. 'Zweifel meiken: Gedanken. die neueste deutsche
Literatur betreffend.' Frankfurter Hefte. 31. No. 4 (1976). 142.

 

16Jan Knopf. "Verlust der Unmitteibarkeit: Ober Max Frisch und die
’Neue Subjektivitat.“ Orbis Litterarum. 34 (1979. 146.

 

‘7knopn 150.

18Knopf. 146.

19Raddatz. 14o.

20Nicolas Born. 'Vorbemerkung.‘ in Literaturmafilazin 3: ’Die Phantasle

an die Macht: Literatur als Utopie. ed. Nicolas Born (Reinbek bei Hamburg:
Rowohit Taschenbuch Veriag. 1975). p. 10.

 

 

21Dieter Wellershoff. 'Flktion und Praxls.‘ in Poesie und Politik: Zur
Situation der Literatur in Deutschland. ed. Wolfgang Kuttenkeuler (Stuttgart:
Kohlhammer. 1973). especially pp. 336-39.

 

 

22Dieter Wellershoff. 'Wiederherstellung der Fremdhelt.“ in
Grenzverschiebuqu: Neue Tendenzen in der deutschen Literatur. ed. Renate
Matthaei (Kein: Kiepenheuer 8. Witsch. 1970). p. 11 of “Theorie und
Programm“.

 

23Wellershoff. 'Wiederherstellung.‘ p. 11.

“Discussed by Rainer Nagele. “Martin Waiser. Die Gesellschaft lm
Splegei des Subjekts.‘ in Zeitkritische Romane des 20. Jahrhunderts. ed.
Hans Wagener (Stuttgart: Philipp Reclam. 1975). p. 331.

25Reinhardt. pp. 159-60.
26Klaus R. Scherpe and Hans-Ulrich Treichel. 'Vom OberdruB leben:

Sensibilitat und lnteliektuaiitat als Ereignis bei Handke. Born und StrauB.‘
Monatshefte. 73 (1981). 202.

 

27Peter Beicken. ”Neue Subjektivitat: Zur Prosa der siebziger Jahre."

109

in Deutsche Literatur in der Bundesrepubilk seit 1965: Untersuchungen und
Berichte. ed. Paul Michael Liitzeier and Egon Schwarz (Kbnigstein:
Athenaum. 1980). p. 171.

280leter Kafitz. 'Die Problematisierung des lndividualistlschen
Menschenbiides im deutschsprachigen Drama der Gegenwart (Franz Xaver
Kroetz. Thomas Bernhard. Botho StrauB)." Basis. 10 (1980). 105.

29Hans J. Frbhlich. 'Die Gewichte der Welt: Literarische
Neuerscheinungen im Herbst 1977 und Friihjahr.‘ Jahresrlng. 1978/79. p.
291.

30Frbhlich. p. 291.

31Edgar Piel. Der Schrecken der ’wahren’ Wirkiichkelt: Das Problem
der Subjektivitat in der modernen Literatur (Milnchen: Beck. 1978). p. 211.

32Plei. p. 215.
33Piel. p. 216.
34Frdhlich. p. 291.

35naddatz. 144.

Chapter Four--The Forms of New Subjectivity

introduction

The focus of this chapter is turned upon the forms of New
Subjectivity and the reader’s reaction to those forms. The effect of the
literary work upon the reader constitutes a significant and yet largely
overlooked aspect of the text which can be used to ascertain its societal
relevance. Only the reader personally afflicted with the conflict undergoes
change. Only the reader burdened with the questions posed within the text
accepts responsibility for the answers. The effect of a text upon the
reader depends upon the form. and the second and third sections of this
chapter deal with the forms typical to New Subjectivity. Although each
work is stamped with the author’s individual style. there exist common
characteristics. most of which stem from the shared experience of
alienation and/or the diary-like nature of such works. The author no
longer presents a realistic picture of the world. instead. the reader is
confronted with fragmentation. ambiguity. structural openness. and a
narrator who has lost his~omnipotence. The process of writing as a
greping search is presented. not the end result or message of the text.
The formal elements create an aura of uncertainty around the reader and
draw him as a participant into the experience undergone by the

protagonist.

A. The Reader. the Text. and Engagement
Secondary literature concerning New Subjectivity too often ignores the

forms of this literary trend. Formal consideration and effect on the reader

110

111
have. however. become increasingly important to many authors of the
seventies. Above all. inclusion of form and reader is necessary to the
discussion concerning the societal relevance of New Subjectivity.
Traditionally. literary engagement has meant that the text must present a
realistic and trustworthy picture of societal and political conditions: 'Wo von
geselischaftskritischer Literatur die Rede ist. iautet meistens die
Gretchenfrage. wie halt sle es mit dem Realismus."1 However. there exists
among theoreticians of today a growing awareness that engaged literature
implies more than a factual representation of reality. instead of objectively
telling the reader something. the text must afflict him. New subjective
works. rich in question. not answer. intend not description. but provocation.
instead of desiring recognition or registration from the reader. the New
Subjectivists attempt to propel him into his own individual experience of the
portrayed reality.

Personal experience of a literary text can be considered engaged in
several ways. A work transcends triviallty by becoming a paradigmatic
case. whereby the individual experience has been communicated to others
through its form:

Wenn dann das Subjekt des Textes und das Subjekt des Lesers
in Austausch treten. mit Sympathie oder im Konfiikt. dann
bedeutet das mehr als nur elne gegliickte Lektiire. sondern es
gewinnt paradigmatlschen Charakter. und es entsteht so etwas
wie herrschaftsfreie Kommunikation. Und dies hatte dann fiber
den Einzeifali hinaus Bedeutung.
Dazu bedarf es allerdings elner Literatur. die offen ist. und die
eher Fragen steiit als Antworten gibt.2
Only through personal concretization can the critical potential of literature be
realized. Otherwise engagement remains abstract and intangible: "Erst die

persbnliche Konkretlsierung verschafft dem kritischen Potential der Literatur

die glaubwiirdige Wirkung. die dem abstrakten Engagement abging."3

112
Hinrich C. Seeba examines the theoretical writings of contemporary
authors and discovers within them a common intent. which forms the basis
of and justification for subjective literary production. Through examples
drawn from both East and West Germany. Seeba exemplifies the continuity
between the literary theory of the sixties and seventies. The authors of
the seventies. at least in theory. still value engagement. Not the verbal
activism of before. but rather personal engagement (“personliches
Engagement“) motivates literary activity and distinguishes New Subjectivity
from private and unengaged “lnnerilchkeit' Personal engagement unites
two supposedly contradictory terms. The authors do indeed express
themselves and their own personal experiences and search for self-identity.
However. this literary expression must gain its engaged character through
communication with the reader: “Seibstbespiegelung ohne Rilcksicht und
Absicht auf den Leser. Produktion ohne Rezeption und Psychologie des
Schriftsteilers ohne Soziologie seines Publikums wiirden die persdnlich
engagierte Literatur zwangslaufig um die bffentliche Roile bringen. die sle
sich so miihsam erkampft hat."4
There is no denying the fact that the literature of the seventies has

become personal. but this should not be misconstrued as a retreat from
engagement and society. Contemporary literature tends toward more
personal themes because. according to Seeba. subjective deformation.
alienation. and disappearance have become experiences shared by many:

Die Literatur der siebziger Jahre ist. wenn man lhr

theoretisches Verstandnis durch ganz verschiedene Schiftsteller

auf elnen nicht mit ‘Verlnneriichung’ zu verwechselnden Begrlff

bringen will. persbnlicher geworden. well die lhr vorausllegende

Erfahrung allgemeiner geworden ist.

The text offers the reader a model which the reader can personally

113

experience and then perhaps apply to a real setting and situation. its
most important function is to allow both author and reader to fictionaiiy
analyse and work through the damages inflicted upon the individual by
societal reality: “So schelnt die sowohi schrelbende als auch iesende. in
jedem Fall fiktionale Abarbeitung der Verklemmungen und Beschadigungen.
die die einzeine Seele von dieser unzumutbaren Wirkiichkelt erfahren muB.
die wichtigste Aufgabe elner bescheidener gewordenen Literatur zu sein....“6

The “modesty“ of the literature of the seventies lies in the fact that
change is attempted on a personal. not societal. level. Seeba nevertheless
attributes potentially liberating forces of change (“systemverandernde Krafte“)
to the personal participation of the reader in a text.7 if one considers
the themes of New Subjectivity this claim is understandable. justifiable. and
of utmost importance to the debate concerning new subjective societal
validity. Many new subjective works illuminate the state of unconscious
non-existence which has replaced an awareness of life for most of society.
The experience of alienation disrupts and destroys this placid and stale
surface. in this sense it serves as a very effective criticism of the
existent order and as such fulfills the function of modern literature since
Kafka: “...wahrend die Literatur friiherer Zeiten durch fiktionale Bestrafung
der Normbrecher als Wahrer der Ordnung fungierte. iibt die moderne
Literatur seit Kafka. als exemplarlsche Vorfiihrung briichlger Existenz. Kritik
an der bestehenden Ordnung.“8

The participating reader. subjected to a similar negative. frightening.
and threatening experience as the new subjective protagonist. can benefit

from the same positive potential. Only if the reader is plunged into that

abyss of uncertainty and question does he obtain the opportunity to explore

114
and re-experience himself and his world. The text provokes through its
form the experience of alienation to free the reader from his existing
condition and to burden him with his own individual change. Potentially
and ideally. the literary work propels the reader into an unknown world
and initiates a process of search. which continues after the conclusion of
the novel and results in increasing awareness of self and reality. The
new subjective forms of alienation have a twofold function: they engage the
reader in communication with the text and elicit an existentialiy engaged.

personal experience.

B. Realism and Alienation
Contemporary society has become increasingly unsure and distrustful
of reality: “...wir wissen immer weniger. was wir elgentiich unter Realitat zu

verstehen 11308an

it no longer believes in logical governing laws and
cannot comprehend its reality. Accordingly. the presentation of the world
in a literary work has become probiematical. A realistic writing form is
one which corresponds to and reflects society. it responds to its actual
situation and climate. Consequently. a realistic portrayal of modern times
is one which destroys and dissolves a meaningful and ordered reality.
Rainer Nagele discusses Realism in modern literature and finds that
whereas previous centuries were marked by bourgeois Realism. the
twentieth century. especially since Franz Kafka. evidences Anti-Realism.
The former is based upon the principle of recognition which the latter
intends to negate through alienation: “Verkilrzt lieBe sich sagen: Wenn die

Kategorle des Wiedererkennens die Grundlage des bllrgerlichen Realismus

ausmacht. so ist die Grundlage des modernen ’Anti-Realismus’ die

115
Verfremdung. die Negation des Wiedererkennens."10 Two important
examples of contemporary Anti—Realism have already been mentioned in
this dissertation: Waisers “Realismus X“ and Wellershofts “Neuer Realismus.“
Both literary styles reject the photographed and objective reproduction of
what is. to transmit the distorted picture of a reality filtered through
subjective consciousness. Both authors attribute a freeing and critical
intent to their methods. Whereas mlmesis serves only to reinforce and
stabilize. subjective distortion or literary alienation allows its reader to
question and criticize. thereby enabling change.

Commentators of New Subjectivity have lauded it as a return to more
traditional aesthetic forms. The phrase heard so often to herald its
advent—~“Es wird wieder erzahit“H--implies a restoration of plot. characters
which act and are acted upon. and perhaps some type of progressive
development. The single most obvious example of a return to traditional
narration are the diary-like forms such as the autobiography. biography.
and journal. These forms can be used to impose a chronological and
even causal order. a unity of time and place. or an unproblematicai and
unambiguous narrative perspective upon the events of the story. Marcel
Relch-Ranicki links the desire to be understood and to reach the reader to
a return to classical forms and a wearlness of experimentation:

Mlt dem Wunsch. gelesen und verstanden zu werden. mag es
auch zusammenhangen. daB sich vleie Schriftsteiler an
iiberlieferte Formen. ja an klassische Vorbilder haltenl Ob
Lyrik oder Prosa. ob Autoren oder Leser - man scheint der
Experiments miide und ilberdrlisslg. Boil mbchte 'mal im
klassischen Sinn autobiographisch schrelben“. Frisch sehnt
sich nach elner “einfaltlgen Erzahier-Positlon“. Enzensberger
entdeckt die Brauchbarkeit der traditionellen Baliadenform.
Peteé Weiss knlipft offensichtlich an den alten Bildungsroman

an.

Caution must be exercised. however. with such an assertion. The

116
perceived return to traditional forms may in part be attributable to the
juxtaposition of the seventies to the at times extreme experiments of either
documentary literature or concrete poetry during the sixties. in addition.
the themes of new subjective works. which dwell on everyday people and
concrete reality. have undoubtedly increased the impression of formal
traditionalism. Many of these forms. although their origins may be
classical. have undergone a radical transition. The catastrophic auto-
biography of Thomas Bernhard. for example. has very little in common with
its predecessors. which viewed life and the individual as comprehensible
and meaningful entities. Other authors have utilized traditional narrative
forms only for the sake of parody.

Hans J. Frbhlich discusses the stereotype accompanying New
Subjectivity of traditional and realistic narrative forms. He notes the fact
that many contemporary authors refer to the great narrators of the
nineteenth century within their own works. Frbhlich himself makes repeated
reference in his novel im Garten der Geftihie to Goethe's gig

Wahlverwandschaften. However. he asks if this really means that todaYs

 

novelist attempts to narrate as did the quoted model: “Aber bedeutet das.

daB Widmer oder Handke ('Die linkshandige Frau“. Suhrkamp-Verlag).

 

Plenzdorf oder Schneider ('Lenz’) tatsachlich wie May oder Goethe. wie
Biichner oder Jules Verne erzéihlen?“13 He answers that of course this is
not the case. Contemporary narration lacks a conventional story. Neat
connections and transitions. if present at all. serve only to? parody:

So etwas wie stog gibt es entweder nur im Ansatz oder gieich
in inflationarer Flille. dann aber ohne den beriihmten roten
Faden. sauberllche Zusammenhange oder plcobello Obergange
erweisen sich. wenn man sle findet. als Parodie auf die
klassische Kniipftechnlk. Die Parole Es wird wieder erzahlt.
auf die genannten Autoren angewendet. zielt insofern genau

117

daneben. well sie durch das Wdrtchen _v_l_fi_ed_e[ suggerieren

mdchteues wl'irde wie eh und je und in bewahrter Manier

erzahlt.
Frbhlich finds that slogans such as “Es wird wieder erzahlt“ and formulations
such as Reich-Ranicki’s concerning a return to traditional forms are
dangerous because they suggest a mere replication of previous narrative
methods.

Other commentators remark a tendency toward a type of Photo-Realism
in new subjective works. Peter Wapnewski notes upon the advent of New
Subjectivity “the new (or rediscovered) accuracy of factual description.“15
There exists a tendency to focus in upon the everyday objects of reality:
“The new preoccupation with accuracy tends to choose the familiar. the
immediate. and the everyday to work upon. Reality begins at home."16
Peter M. Stephan discovers within new subjective works of the late
seventies a similar trend. which he labels as “fotodokumentarischen
Realismus“ because it results in a photograph-like documentation of
reality.17 The accuracy of these observations cannot be denied. for. as
was discussed previously.18 many new subjective protagonists proceed
throughout reality obsessed with its perception and detailed registration.
This is. however. a question of content. not form. it is the manner in
which segments of reality are arranged which is essential to the question
of form. and it is the lack of ordered arrangement which constitutes the
formal Anti—Realism and technique of alienation characteristic to these
works. The so carefully documented and easily recognizable reality
suddenly appears strange and unrealistic:

Seine Texte [die des schrelbenden ich] sind wie Filme. doch
ohne Drehbuch. ohne Regie. ohne Schnitt. Eine so blind

realistisch “gefllmte' Umweit hat den Charakter des Abstrusen
und Unhelmlichen. well lhr jeder Sinn zu fehlen scheint. Von

118

Realistik schiagt die verseibstandigte Aufzahiung des
Alltagiichen um ins Groteske. Was woiien all diese zahilosen
Dinge und kieinen Tatigkeiten des Alltags? Sie sind dem ich
fremd wie die MilchstraBe dem Blirger auf der StraBe.1

The lack of meaningful integration of the segments of reality defies the
texts Realism. The portrayal of the isolated object alienates it. and. again
echoing Waiser’s and Weilershofts aesthetic theories of Anti-Realism.
consequently renders reality newly discoverable:

it is the very act of exhibiting the familiar object. of
transporting it into the isolation of the object dart. which
lends it its quality of novelty. of something experienced for the
first time. For alienation is the technique which helps us
discover what we already know. to comprehend the general in
the particular.

New subjective works in general are not as concerned in describing
existant reality as in disclosing a new one: “Merkmal dieser Biicher ist.

daB sle nicht auf Realitatsbeschreibung aus sind. sondern auf Entdeckung

~21

elner noch unerforschten Realitat. The description of reality implies

Realism. whereas the provocation of a richer and broader experience of it
demands anti-realistic forms. Alienation as discussed above is one anti-
realistic method with exactly this intent. Another technique depends upon
the individual’s imagination. Hans J. Frdhilch declares at the end of the
seventies that Realism has not undergone the regeneration originally
expected of it. But this does not mean the disappearance of reality. for
many authors instead are discovering a new reality:

Den Gesundbetern des Realismus zum Trotz oder Possen hat
dieser sich bei denen. die lhn erkiértermaBen pflegen wollen.
nicht so recht regenerieren wollen. und auch. um sich am
eigenen Zopf aus der Schwache aufzuheifen. fehlt es lhm
offenbar an (Schreib-)Kraften. DaB mit dem Realismus aber
nicht zugleich auch die Realltat ins Slechbett muBte. daftir
haben jene Autoren gesorgt. die lhr mit Phantasle aufs Fell
gertickt sind. es freiiich dabei nicht beiieBen. sondern um sle
schrelbend zu erfassen. lhr auch unters Fell und unter die
Haut gingen.

119

instead of picturing the world in the attempt to elicit recognition. these
authors rebel against the constraints of Realism. Their expeditions into the
fantasy of the individual’s mind can be considered an act of liberation:
“Was gezeigt wird. lst - wie es bei Eisendle heiBt - der Raum des freien
Denkens."23

in keeping with the original definition of New Subjectivity as a
subjective content and form. the specific formal elements discussed in the
following pages all have one characteristic in common: they are determined
by the subjects consciousness. The content is filtered through the subject
and by this means gains its structure and arrangement. Such a process
tends to break reality down. not to construct it. instead of recognition.

these formal elements express and intend anti-realistic alienation.

C. Alienation as Literary Form
1. Language

The language of New Subjectivity is generally everyday and simple.
The vocabulary and syntax used can be considered colloquial German.
Flowery and convoluted expression is avoided in favor of directness. One
finds a preference for the stark subject/verb/object sentence composition.
stripped of unnecessary frills: “Zuerst kam kelne Stimmung auf. Elnlge
gingen fort. Sie saBen zu sechst. Eln Madchen verabschiedete sich - sie
mlisse um zehn zu Hause sein. sonst setze es Schldge...“ (T.7). These
opening lines of Karin Strucks Trennung are an extreme example bordering
on monotony. but they serve to effectively depict a style typical for many
New Subjectivists. Often the verb has been transposed from its traditional

position at the end of a phrase to a place in closer proximity to its

120
subject. if unnecessary for comprehension. either subject or verb can be
omitted. All of these characteristics result in a familiar and easily
understood language.

Many of the new subjective works impart a conversational tone
through the repeated interjection of such words as “also.“ “jawohl.“ “auch
noch“ (JL.55). or “tatsachlich“ (GG). This effect is heightened by the
sudden but frequent appearance of a direct address. Usually the reader

knows to whom the words are directed. The narrator of Nachgetragene

 

gm addresses his father in the desire to communicate with him. Other
protagonists. such as the narrator in Frisch’s Montauk or Franz Horn in
Jenseits der Liebe. engage in conversations with themselves. However. it
is not always clear with whom the protagonist is speaking. Horn for
example in the following extract thinks to himself. but obviously for a
larger. purely imaginary audience: “Und diese Leutel Wilde Gestaiten. wil3t
ihr' (JL.53). Although one can assume from the context that he directs
his thoughts toward his family. the reader is nevertheless momentarily
puzzled and startled. All of these methods draw the reader into a more
intimate identification with the characters and text.

New subjective works are marked with frequent parentheses. italicized
words. dashes. slashes. capitalized words or phrases. and three dots
indicating incompletion. Frisch’s Montauk brims with such stylistic devices:

Es ist genau Mittag - vielleicht mbchte die junge Frau. die
Lynn heiBt. jetzt lleber allein sein anderswo . . . (M.80).

Warum macht man das. Es muB sein (meint der Veriag) fiir
das Buch - (M.13).

Neullch (aber das ist auch schon vor Jahren gewesen) habe
ich lhn in Ziirich zufaliig auf der StraBe (Limmatquai) von
weitem gesehen: eln schwerer Mann jetzt (M.29).

121
These dashes. dots. and parentheses signal the workings of the mind. which
skips. switches directions. adds afterthoughts. or trails off. Numerous

examples of italicized words can be found in Frdhllch’s im Garten der

 

Gefiihle:

Obwohl uns die melsten vor diesem Schritt in die
Selbstverbannung gewarnt haben. bereue ich lhn nicht (GG.9).

 

Als gegen flint Uhr nachmlttags Norbert Klotz’ rotes Auto auf
unsern Hof fuhr (endlich - als ob ich nur auf diesen
Augenblick gewartet hatte). saB ich mitten in melnem Zimmer
auf dem drehbaren Schreibtischsessei und schaute dlister aus
dem Fenster (GG.12).

Herr Klotz sagte. es glnge lhm grimastens. und Frau Klotz
sagte. die Fahrt hierher sel iiberhaupt nur eln Klacks
gewesen. sle hatte sich diese Gegend viel weiter weg
vorgestellt (GG.13).

in the first two quotations the underscoring manifests the emphasis placed
upon certain words important to the subject. in the third quote the
italicization evidences subjective distortion through exaggeration of others’
words.

Thomas Bernhards prose style in Der Atem. a notable exception to
the general tendency toward simplicity of syntax. reflects the protagonists
inner state and accordingly changes as does the subject. Bernhard’s
longest and most involved sentence. stretching over more than two pages.
occurs during the protagonists most seriously ill period of time:

Als ich zum erstenmal zur Punktlon abgeholt worden war. sind
mlr naturgemaa noch nicht die ganze GrbBe und die ganze
HaBllchkeit dieses Krankensaales zu BewuBtsein gekommen.
was ich wahrgenommen hatte. waren Schatten von Menschen
und Mauern und von Gegenstanden an diesen Menschen und
Mauern und die mit diesen Menschen und Mauern und
Gegenstanden zusammenhangenden Gerausche. alles zusammen
hatte ich auf diesem Weg durch den Krankensaai. auf
weichem mlr mehrere geistliche Schwestern und wie dlese
weiBgekleidete Pfleger behllfllch gewesen waren. schon eln von
den vielen Peniciiiln- und Kampferspritzen auf eln Minimum
herabgesetztes. mich aber tatsachiich in elnen gegentiber

122
meinen Anfangsschmerzen nicht nur ertragiichen. sondern
angenehmen Zustand versetzendes Wahrnehmungsvermbgen
gehabt. von alien Seiten hatten mich Hande. mlr war
vorgekommen. elne Unzahl von Handen. ohne daB ich diese
Hande und auch nicht die zu diesen Handen gehdrenden
Menschen hatte sehen kbnnen. aus melnem Bett heraus und
auf elne Tragbahre gehoben und gezogen und geschoben und
in dicke Decken gewickeit und schiieBllch. alles war mlr
verschwommen und in der grbBten Undeutlichkelt... (A.12-13).
This sentence. only half of which is reproduced here. portrays in its
confusion the condition of the protagonist. No objects or people stand out
as events go by in one indistinguishable blur. it seems to the narrator as
if there are hundreds or even thousands of other people around him in a
flurry of activity. His physical state. described in the next sentence as the
moment during his illness where his capacity to perceive had reached it
lowest point. is.mirrored in a style of frenzied repetition and endless.
indistinct continuation.
The language of New Subjectivity expresses uncertainty. often by
means of subjunctive verb forms. Very common to third person narratives
is a subjunctive clause introduced with the fact that the protagonist felt or

thought what follows:

lhm war. als legs L. neben lhm und beugte sich mit ihren
Haaren iiber sein Gesicht (L.11).

Als Horn den Laden verlieB. hatte er das Geflihi. daB Ober-
und Unterkiefer entspannt seien. Fast sofort hatte er das
Gefiihi. jetzt kbnne nichts mehr passieren (JL.8).
The reader is not presented believable and reliable facts. but rather events
and episodes which are immediately questioned or even negated through
the subjunctive forms. indirect discourse is also widespread. particularly in
works such as Jenseits der Liebe where all dialogue is filtered through the

protagonist. it heightens uncertainty by placing in doubt the account of

the conversation being rendered.

123
Related to language’s uncertainty is the tendency to state something
in the form of a hypothesis only. The opening sentence of Peter O.

Chotjewitz’ novel fragment Die Herren des Morgengrauens provides a good

 

example of a statement made as an assumption which cannot be. and
during the course of the story never is. verified: “Jemand muBte in Fritz
Buchonla eln schlechtes Gewissen erzeugt haben. denn ohne daB er sich
elner Schuid bewuBt gewesen ware. hatte er elnes Morgens elnen Traum“
(HM.5). This of course replicates the form of the first line in Kafka’s _D_er
Prozel3.24 and true to the expectations raised through this beginning
reference. it is impossible to distinguish in Chotjewitz.“ novel between truth
and mere hypothesis. between objective and subjective reality. The entire
“real“ action is instigated through Fritz’ doubtful impressions and the
conclusions he draws: “Offensichtiich streute jemand die Nachricht aus. um
lhn bei der Bevbikerung in Minredlt zu bringen. Wenn er verhaftet wurde.
war die Zeltungsmeldung fiber seine angeblichen Straftaten doch wohl
giaubwfirdig. oder?“ (HM.145). The important words here are “offen-
sichtlich.“ “angeblich.“ “doch.“ and “oder?.“ because they. in addition to
the recurring expressions “Fritz schloB daraus.“ “Fritz hatte den Eindruck.“
“er giaubte zu bemerken.“ or the prevalence of “scheinen,“ serve to
transform any assertation into a questionable possibility. Other examples
abound. Bernhard’s Der Atem is littered with subjunctive forms and words
functioning similarly to those discussed for Chotjewitz. The most common
are “muB klar gewesen sein.“ “vermutilch.“ “wahrscheinlich.“ or “mag sein.“

The abundance of question in new subjective works should also be
mentioned:

Er spfirte eln eindeutiges Entsetzen darfiber. daB dieser Tag
vorbei war. ohne daB . . . ohne was? Das weiB ich nicht.

124
sagte er. MuBte er nicht froh sein. daB dieser Tag vorbei
war? Das ist es doch. Aber wirkllch! Was solite denn
kommen. Hilde vielleicht?! Womdgiich mit den Kindern. ja?l
Und jedes elnen mit brennenden Kerzen besteckten
Weihnachtsbaum in der Hand. ja?! Und alle drei slngen. ja?!
. Sle war etwas zu freundiich. Also bitte. war sle. die
Strenge. nicht etwas zu freundiich? Das war sle doch.
Herrgott (JL.27-29).
The narrative thread is continually interrupted by the doubt and uncertainty
of the protagonist. His questions sometimes express helplessness or
hesitation. sometimes they ridicule his dearest wishes. in the last
quotation the question is redundant and serves to reinforce his original
statement as if in self—defense. important is the rhythm of such
sentences. which switches back and forth between assertion and question.
Sometimes the protagonist states a fact. only to cast doubt upon it in the

new fragment. At other times the process is reversed. but both methods

result in reader suspicion toward the narrators next declaration.

2. Fragmentation

Fragmentaion pervades the new subjective text from its smallest to
most comprehensive structural element. Many of the stylistic devices
mentioned above function to break up the sentence. thereby lending it a
fragmented quality. The narrative flow. molded to the subjects thoughts. is
interrupted by dashes. parentheses. and even incompletion. Between
sentences the stream is choppy due to slashes. topic change. and the
noticeable lack of connective material. Paragraphs vary greatly in length
and do not in general move in one direction toward an ultimate goal.
Chapters as a means of arrangement and orientation have for the most

part. Frbhlich’s im Garten der Geffihle presenting an exception. been

 

eliminated.

125
instead of a plot and a tightly ordered structure. one finds subjective.
associative jumps: “...Fabel. Geschlossenheit der Darstellung kdnnen einem

sich ins eigene ich vertiefenden Springen. einem erzahierischen

-25

Fragmentarlsmus geopfert werden. Examples of thought associations

controlling the narration are numerous. The following is extracted from
Walser’s Jenseits der Liebe:

Der [der grfine Panzerspahwagen] war namllch manchmai
zwischen Bfischen verschwunden und dann an elner Stelle
wieder zum Vorschein gekommen. an der man lhn nicht
erwartet hatte. Das hatte geniigt. den Panzerspahwagen zu
etwas Lustigem zu machen. Thiele hat elnen Springbrunnen
lm Wohnzimmer. Elnen beieuchteten. Horn war gern
davorgestanden. in Mfinchen war Horn lm Bahnhof an einem
dicken. jungen Mann vorbeigegangen. der gerade ins Telefon
rief: An scheena GruoB. es haut alles hin.

Dann tauchte der Satz auf: Dfirre Schluchten. Dann: Eln
Eisenbahner-Satz. Dann: Bier. bitte. Bier. Bier her oder i fall
um (JL.140).

The thoughts running through Horn’s head are recounted as they occur.
without order. meaning. or connection.

Arnulf Conradi compares the form of the subjective texts of the
seventies to the television. The TV presents isolated details in a never-
ending run-on script. A picture. quickly replaced by the one following and
never reappearlng. loses meaning and ceases to refer to the original event
or person behind it. i.e. it loses its symbolic nature. The same process
determines the form of New Subjectivity:

Das Bild. der Tag. das Detail — sle stehen ffir sich. verwelsen
auf nichts und bedeuten nichts. Das gilt ffir die Seh- und
Erzahlweise des Subjekts und konsequenterweise in gleichem
MaBe fiir die Kompositlon des Romanes. Gestaiten tauchen
ffir elnen Moment auf und verschwinden sofort wieder.
foigenios. und ohne EinfiuB auf das Geschehen.

The lSOIated and meaningless events and objects related replace the idea of

a structural whole: “An die Stelle erzahlerischer Kompositlon. die vorn

126
vorgestellten Ganzen her arbeitet. tritt die Wledergabe des Eriebten in
seiner isolierten Zufalligkeit und Ordnungslosigkeit....“27 Conradi finds that
both new subjective prose and poetry consist solely of fragments.
associations and certain codes which impart atmosphere but not
meaning}?8
The example Conradi uses to exemplify his statements is extracted
from Born’s Die erdabgewandte Seite der Geschichte:
ich war die Treppen hinuntergerannt und hatte mir gegenfiber
Zlgaretten gezogen. An der Ecke sah ich elnen Mann. der
elnen Strohhut trug. Er hatte elne Hundeleine in der Hand.
und als er mich sah. fing er an. in alle Richtungen zu
pfeifen. Langsam ging ich wieder hinauf und setzte
Kaffeewasser auf den Kocher (SG.20).
The figure of this man with his dog appears momentarily. only to disappear
just as quickly and unexpectedly. it serves no function for the plot of the
story. contains no meaning for the protagonist. nor does it fit logically into
an encompassing composition. instead it is merely noted in passing and
quickly forgotten.

in many other new subjective works one can find such momentary

scenes. Chotjewitz’ novel fragment Die Herren des Morgengrauens consists

 

primarily of isolated and segmental impressions from the protagonist:

Fritz unterbrach sich abermals. well aus dem Zuschauerraum
das Kreischen elner weiblichen Stimme kam. Er drehte sich
um und gewahrte elne Schfiierin. die elnen der Poiizisten
beschuldigte. sle unslttlich berfihrt zu haben (HM.55).

Gericht und Staatsanwalt blickten zwar mit zlemlichem Unmut
auf die stocksteif und schreckensbleich dasitzenden Zuhbrer.
denen der Schreck in die Kbpfe gefahren war, wahrend die
Urkundsbeamtin unbeteillgt mit einem Lippenstift ihre Lippen
nachzog (HM.47).

Scattered throughout Chotjewitz’ entire text are similar pictures. disconnected

and meaningless. bordering on the grotesque. The structure and causality

127

of the work are determined by the protagonists dreams. and accordingly
defy logic and lead nowhere. Scenes pop into his mind. cause associative
jumps. blend into other memories. and eventually disappear as accidentally
as they arose. The final chapter of the text. entitled “Unvollendete Kapitei
und Notizen aus Buchonias Plastiktfite“ (HM.169). is composed entirely of
imcompiete chapters and notes. and relates at random memories
(“Erinnerungen an elne Bahnfahrt“). single episodes (“Elnlge Episoden“).
varying versions of the same story (“Zwei Versionen“). notes (“Notizen zum
sechsten Kapitei“). and a possible ending ('Das Ende“).

The style of fragmentation affects the reader in two important ways.
First of all. it creates gaps which elicit reader participation in a text. The
reader himself is forced to fill in if possible and accordingly is involved in
active creation. The narrator protagonist of Thomas Bernhard’s work 291
m admits that his account is fragmentary and invites the reader to
assemble its disjointed pieces: “Hier sind Bruchstficke mltgetellt. aus
welchen sich. wenn der Leser gewillt ist. ohne Welteres eln Ganzes
zusammensetzen ldBt. Nicht mehr. Bruchstficke melner Kindheit und
Jugend. nicht mehr“ (A.87). Secondly. the reader is subjected to the
same kind of meaningless fragmentation and disorder as experienced by
the protagonist. Through the texts form. the author is able to
communicate and perhaps provoke in the reader an experience similar to

his own.

3. Thematization of the Writing Process
in many new subjective works the literary process itself is

thematiclzed. The narrator not only recounts a story. but reflects upon the

128

act of writing and upon what he has written as he writes. The author
does not present a finished and complete product. but rather a
consciousness in the process of creating. This consciousness is usually
motivated by either invention or memory. in some works the protagonist
fictionalizes freely. in others he attempts to reconstruct events from his
past. Both methods are characterized with uncertainty and hesitation. and
serve to express the lack of an objective. trustworthy story which actually
took place. Both influence the causality of the narration. The process of
invention or memory propels the protagonists thoughts. thereby determining
the omission or inclusion of elements and their sequence or arrangement.

Novel to and of significance in many new subjective works is the
thematizatlon of the process of fictionalization. The protagonists are often
professional writers. for example the narrator of Frisch’s Montauk.

Bernhard’s Der Atem. Frbhlich’s im Garten der Geffihle. Born’s _D_ig

 

erdabgewandte Seite der Geschichte. or Strucks Trennung. and it is natural
that they speak of their work. sometimes expressing creative stalemate. at
others describing texts in progress. The narrator protagonist in Frisch’s
novel conveys his desire to describe things as they really are. without
lnvenflon:
...ich mdchte dieses Wochenende beschreiben kbnnen. ohne
etwas zu erfinden. diese dfinne Gegenwart - das hat er aber
schon gestern gedacht in der Boutique: den Namen der
Ortschaft hat or Vergessen. Dann wieder denkt er gar nichts
Dann wieder dasselbe: ich mbchte nichts erfinden...
(M.137-38).
At the same time. however. he must admit that this is impossible and
angrily repudiates the portrayal he just offered of his surroundings:

DAMN!

erstens ist das Meer nicht perimuttergrau. die Mdven sind nicht

129

weiB. der Sand weder geib noch grau. nicht einmal das Gras
ist grfin oder geib. das tlefe Gewdik nicht violett -

DAMN!
ich iebe stets in Unkenntnis der Lage.
DAMNi (M.139).
The thematizatlon of the process of writing is most obvious in Born’s

Die erdabgewandte Seite der Geschichte and Chotjewitz Die Herren des

 

Morgengrauens. in both works there exists a layering of stories. These
stories are difficult. if not impossible. to distinguish. and they ultimately
merge. The protagonists express their inability to begin writing. complain
about false starts. strike out in new directions. and frequently give up.
The reader is drawn into the process of allegation and retraction. The
protagonist asserts and describes an event in the story. only to question
its authenticity by admitting it was invented. The acknowledged fictionaiity
of the text constitutes its freedom and openness. The reader moves within
a realm of possibilities where anything can happen. and yet nothing does
in certainty.
in Born’s work the process of writing a story accompanies the

protagonist: at first his inability to start. then his difficulties in continuing.
and finally his search for an ending. Similar to Frisch’s narrator. the
progatonist here realizes that to put on paper one's experiences necessarily
implies their invention:

ich konnte nicht schrelben. mir nicht einmal vorstellen. daB ich

es kdnnte. ich wollte auch immer nur m schrelben. nichts

Bestlmmtes. schon gar nicht. was ich erlebte. ich hatte das.

was ich erlebte. erst wieder erfinden mfissen. und dazu war

ich viel zu schwach und mutios (SG.71).

in spite of the narrator’s assertion that he is too weak and cowardly to

invent. his imagination takes over more than once and spins the tale:

130
Eigentlich wartete ich lmmer nur auf elnen Alarm. daB Lasskl
angerannt kame. well sich etwas abgespleit hatte in der
Geschichte. elne unerwartete Wendung oder das iangst
Erwartete. daB Lasskl gerannt kame. nein. der Hauswart. und
mit nach hinten gebogenem Oberkbrper die Fauste gegen
melne Tfir schlug. Vor der Tfir stand eln Polizlst. und Linda
trat neben lhn und.... Das arbeitete in mlr in lauter neuen
Szenen... (SG.71-72).
He reworks the scene in several different variations in an attempt to change
the course of the story. The fiction represents an alternative to what is
and as such possesses freeing potential. The intent behind the entire
narration is to liberate the protagonist from his inevitable story with Maria.
in Chotjewitz’ novel fragment Die Herren des Morgengrauens the
potential for fictionalization becomes endless. The fragment is written in
the third person. l.e. one finds a narrator writing about a character named
Fritz Buchonla. This protagonist. an author. decides to write a book about
the experiences he has undergone and invents for this purpose a
character called Franz Westphal. who in his turn also resolves to write.
Thus one finds two or three narrative strands. all relating the same
experience. which are not clearly distinguishable and tend to blend into
each other and blur. Heightening the impression of fictionaiity--and
confusion--are numerous repetitions and variations of previous scenes.
Several lines of chapter two are. for example. repeated almost verbatim at

the beginning of chapter three:

im dritten Stock stieB Fritz Buchonla auf elnen giasfiberdachten
Gang. der in eln alteres Gebaude ffihrte (HM.30).

im drltten Stock stleB Buchonla auf elnen giasfiberdachten
Gang. der in eln alteres Gebaude ffihrte (HM.45).

Here is obviously a narrator at work seeking an appropriate mode of
expression for his experiences. The trouble plaguing the protagonist. as

was the case with Prisons and Born’s narrators. is that he wants to tell

131
his story factually. truthfully. and objectively. and yet cannot. He feels as
if his manuscript lacks essential facts and names: “Warum schilderte er die
Ereignlsse nicht so. wie sle sich zugetragen hatten...“ (HM.119). The end
result of his efforts is a picture entirely different than how it really was:
“in ungeordneter Reihenfolge ferner. melne Unfahigkeit. die wahren Geffihle
zu beschreiben. oder genauer. die Fahigkeit. unwahre Gefiihle zu
beschreiben. Es war alles ganz anders“ (HM.178).

The lack of objectivity. the different versions of the same episodes.
and the parallel fictional strands serve to confuse the reader and destroy
his certainty. He is drawn into the same process as the protagonist.
whereby nothing is definite or firm any longer. Events and figures pass
before his eyes as if in a dream. which is indeed structurally and
thematically central to the work. Due to the slightly varied repetition of
scenes. they are not clearly recognizable and distinct. but appear familiar.

The many direct and yet unidentified references to Kafka's Der ProzeB

 

increase the reader’s vague and uncomfortable feeling that he recognizes
the reality portrayed. and yet cannot place it.

Many of the remarks concerning fictionalization can be applied to the
usage of memory as a structural and causative element. The frequency of
its usage is to be expected when one considers the predominance of the
diary-like form in the seventies. These works present the narrator
protagonists attempt to relay a trustworthy account of past or present
experiences: 'Das geschichtliche Prinzip. ’zu sagen. wie as war’. scheint -
ins individueiie gewendet - diese Form ganz zu beherrschen. und der Stil
unterwirft sich der Genauigkeit. mit der Empfindungen von gestern

.29

eingetragen werden. The desire for authenticity in many diary-like

132

works has led more than one commentator to postulate certain similarities
between the autobiography and documentary literature. However. the
authenticity of the autobiographical text depends solely upon the
protagonists capacity to recall. and more important than his desire is his
inability to be accurate. Whereas the authenticity of the documentary
derives from objective facts. that of a diary-like work is based upon
subjective memory. Whereas the documentary on the basis of reliable
material endeavors to persuade the reader. the diary-like text admits and
thematiclzes its failibility. thereby casting doubt upon its events.

The process of remembering is important in Peter Hartllng’s novel

Nachgetragene Liebe. The protagonist. presently forty-six years old.

 

recounts the final seven years of his father’s life. from 1938 to 1945.
during which time he himself was between the ages of five and twelve.
Again one finds the volition to describe without invention: “ich habe nicht
erfinden wollen. darum kommen die Geschichten auf mich zu“ (NL.144).
But this does not mean that the picture the narrator presents of his father
is a true or accurate one. and the fragmentary and hesitant nature of his
account is expressed in his reflection upon the process of remembering
and writing. The story is a drama which the narrator. as stage-manager.
must produce:
ich bitte euch [die Familie]. nachdem lhr. jeder ffir sich. die
Wohnung in Ordnung gebracht habt. und euch ab und zu an
die offenen Fenster stelltet. um Luft zu hoien. die - samlg
und warm - gar nicht erfrischt. ich bitte euch. als eln
allerdings sehr unslcherer Regisseur. eure Platze einzunehmen
an dem runden Tisch lm Wohnzimmer. Da GroBvater. wie ich
vermute. sich von dem Rummel am wenigsten schikanieren
lieB. iasse ich lhn anfangen (NL.27).

This uncertain director pieces together the story of his father from childhood

memories. preserved as isolated pictures. or scenes. He breathes life into

133
his characters and puts words into their mouths: “Es ist sonderbar. das
Gesprach der andern erfinde ich unangestrengt. mit der Lust an den
Figuren. aber dir [dem Vater] lege ich Wort ffir Wort schwer in den
Mund“ (NL.28). Phrases scattered throughout the novel such as “und wenn
mich die Erinnerung nicht trfigt.“ “'ich bin slcher.“ “ich weiB es nicht
mehr.“ or the hypothetical modal construction “muB gewesen sein“ express
his difficulty and the doubt concerning the reliability of his memory. The
dates are uncertain. the story changes. present moments creep unawares
into the past: “ich bilde mlr eln. daB in dem Garten vor dem Fenster
jemand slnge. eln traurlges. endloses Lied. ich bilde mlr jetzt ein. daB
ich es mir eingebildet habe. denn damals kannte ich solche Lieder nicht“
(NL.101).
in the center of Bernhard’s Der Atem the incomplete nature and

structural significance of memory are discussed. The narrator bases his
writing upon his memory and reason: 'lm Vertrauen auf sein Gedachtnis
und auf seinen Verstand. auf diese zusammen. wie ich glaube. verlaBllche
Basis gestfitzt. wird auch dieser Versuch. wird auch diese Annaherung an
elnen Gegenstand unternommen...“ (A.87). Characterizing his narration as
an attempt and approach emphasizes the fact that it is incomplete and
flawed. and the narrator continues by stating that deficiencies and mistakes
are as much a part of his text as is its content:

Gerade diese Mangei und Fehler gehbren genauso zu dieser

Schrift als Versuch und Annaherung wie das in lhr Notierte.

Die Volikommenheit ist ffir nichts mbglich. geschweige denn

ffir Geschriebenes und schon gar nicht ffir Notizen wie diese.

die aus Tausenden und Abertausenden von Mbglichkeitsfetzen

von Erinnerung zusammengesetzt sind (A.87).

The notes are composed of thousands of fragments of memory which

represent possibllities—-incomplete. flawed. and remembered scraps of

134
possibilities which the reader is invited to assemble.

Subjective invention and memory determine the arrangement and
selection of narrated segments and function as the propelling force behind
the story. Although the narrator would often like to give an objective
account of events. the only authenticity his tale possesses lies in his
admission that this is how he personally remembers or imagines the
events. The thematizatlon of the act of remembering and invention allows
the reader to realize that such an account is. as Bernhard’s narrator
states. incomplete and flawed. and invites him to participate in its
construction. The process of construction is one of allegation and doubt
and remembrance and uncertainty. built upon possibility rather than

objective facts.

4. The Narrator

The modern narrator is not an omnipotent and controlling creator who
knows and manipulates the plot and characters of his story. Gone is the
interpreter of actions. whose chief function it was to explain. motivate. and
give meaning: “...da gab es einmal den auktoriaien oder auch allwissenden
Erzahier. dem das lnnenleben seiner Gestalten uneingeschrankt zur

Verfiigung stand....“30

in his place there have appeared two narrative
types: 'der personale Roman (mit dem berfihmten ’point of view. der alles
Geschehen nur aus dem BewuBtsein und dem Empfinden elner Gestalt
heraus an den Leser weitergibt. und der Roman des ich-Erzahlers.“31
Literature of the seventies evidences examples of both the personal novel
and the diary—like one. and its subjective nature is due primarily to the

loss of an omnipotent narrator. The doubt and uncertainty thematiclzed

135
within the text as discussed in the preceding section are expression of a
limited narrative perspective. The new subjective author may long for a
hero of old. but he has no place in an epoch permeated with doubt and
skepticism toward objective truth. The narrator is weak. without direction.
and searches without finding answers. He constantly interrupts the flow of
the text. but not to interpret and explain motivation to the reader. instead
he verifies his powerlessness and lack of insight. He confirms only his
own uncertainty and skepticism. his own inability to comprehend the events
and characters of his story:
ich welB nicht. was wirkllch mit Dorothee los war. Vieileicht
lag's auch am Wetter. Wir neigen beide etwas zu
Wette-rfiihllgkelt. bei Dorothee schlagt sle sich vor allem in
tagelang anhaltenden Depressionen nieder. ich habe auch
geiegentiich Depressionen. wenn auch viel seltener. auch sind
es ganz andere Depressionen. sle treten auch ganz anders in
Erschelnung. meist als Angst vor dem Tode (GG.17).
The above intervention is typical of new subjective works and effectively
manifests the fact that the narrator no longer functions to alleviate doubt.
but to increase it.

Common to both types of narration found in the seventies--the
personal novel written in the third person and the first person diary-like
work--ls the fact that the narrative perspective can never impart more to its
reader than what is registered in the subjects mind. Ali perception of
objects is filtered through this consciousness: “Beiden ist gemeinsam. daB
der Autor nie mehr zu wissen vorgeben kann als seine fiktiven
’Stelivertretel’ im Geschehen des Romans. er biickt gewissermaBen durch
sle hindurch auf die anderen Gestalten. auf Umstande und Motive. und er

geht nie ganz in lhnen auf.“32 On the one hand. the reader receives a

distorted picture of the reality presented. whereby all objective categories

136
such as time. space. and matter are subjectively warped. On the other
hand. the narrative perspective cannot relay the total picture. for it is
bound to subjective consciousness which registers in an accidental and
fragmented fashion.

The narrative perspective in many new subjective works is split due to
the protagonists reflection upon the story. so that the categories of time.
place. action. and even character are no longer unified but rather divided
into past and present. The narrator switches back and forth at will
between different settings. and between memory and the actual moment.
in Frisch’s Montauk the narrator yearns for an unambiguous and unified
narrative perspective (“[e]ine einfaltige Erzahler-Position“: M.82).:33 but the
fulfillment of this wish is thwarted by the process of remembering. The
narrator as a character within his own story. as the stranger upon whom
he (self-)reflects. is described from the more objective third person
standpoint and juxtaposed to the thin and fleeting moment of present
being. expressed through the first person. The narrative perspective
alternates at will between a third and first person perspective. sometimes
encompassing both within a single thought: “Der Kranke in mlr. der tot
sein will und dazu schweigt: sein geiassenes Bedfirfnis. mein len an die
nachste Wand zu schmettern -“ (M.140). Often a place the narrator visits
will bring back memories of a different time:

ERYNNlEN

sle zerreiBen dich nicht. sle stehen nur an irgendeiner Ecke:
Hier oben. im dritten Stock. hast du einmal gewohnt. WAVERLY
PLACE I CHRISTOPHER STREET. vor dreiundzwanzlg Jahren.
Als wfiBte ich's nichti (M.26).

At other times an event or figure will transport him into the past. Lynn.

for example. his companion for the weekend. is of approximately the same

137
age as the narrator’s elder daughter and reminds him of her constantly.
Often the new subjective narrator makes no effort to delineate the
borders between differing points of view. thereby creating ambiguity. it is

difficult within Born’s Die erdabgewandte Seite der Geschichte to distinguish

 

the various frameworks of time which are layered one upon another. The
narrator remembers his story with Maria. but not sequentially and.
especially at its beginning. this story is continually interrupted by
reflections upon his first marriage. The two stories progress side by side.
and although fairly exact time references are made at the onset of each
section. orientation as to which overall framework should be applied is
lacking.

in other works there exists an unannounced and random movement
between the protagonists imagination. dreams. or desire. and what actually
occurs:

Na bitte. sagte er sich. Die Beamten werden kelnesfaiis elnen
Lastwagen herbeiordern....

Sie werden einfach alles durchsehen. Einer wird sich am
Schreibtisch im Zimmer seiner Frau nlederlassen. der andere
wird sein Hauptquartier im Arbeltszlmmer aufschiagen. Stumm
werden sle vor sich hinarbeiten. nur geiegentiich fiber ihre
Waikie-Talkies miteinander reden. wenn sle auf eln Papier
stoBen. das ihre Aufmerksamkeit erregt. und lhr ruhiges.
unauffalllges Treiben hatte noch den Vorteil. daB dieser ganze
scheuBliche Babel. der zum grbBten Tell noch so ungeordnet
daiag. wie er ihn vor vier Jahren mitgebracht hatte. endlich
einmal geordnet wurde. denn die beiden Beamten gingen
systematisch vor. bildeten Sachgruppen. chronologlsche
Reihenfolgen. ordneten nach Veriagen. presserechtlich
Verantwortllchen. Absendern etcetera.

Gegen elf bot Renate den beiden Herren eln Teachen Kaffee
an. das sle dankend annahmen (HM.6-7).

in the first paragraph of the quote above it is obvious that the protagonist
is imagining to himself what could happen. This is indicated by means of

“sagte er sich“ and the utilization of the future tense. During the course

138
of the second paragraph the future tense is subtly replaced by the
narrative past. The significance of this switch is that suddenly and
imperceptibly what takes place within the protagonists imagination becomes
actual. The third paragraph continues the narrative past as if the action
did indeed occur. in this manner the contours between the imagination
and reality become blurred.

Ambiguity is also created by a narrator who assumes that his reader
is as familiar with the events to come as he himself is. A subjective
narrative perspective unfolds the story as it occurs to the filtering
consciousness and does not attempt to orient or formally introduce the
reader to the characters. Many new subjective works will mention names
or events long before the reader is aware of who the people are or the
fact that the event will take place. in Born’s Die erdabgewandte Seite der
Geschichte the narrator refers to his best friend as someone deceased
close to two hundred pages before he relates the character’s actual death.
Similarly. the narrator speaks of Linda. Erika. or Ursel before the reader
has learned of their place within the narrator’s personal history.

Another characteristic formal element causing ambiguity and arising
from a subjective narrative perspective is the usage of undefined pronouns.
Frisch’s narrator employs the pronouns 'er“ and 'sie' at the beginning of
his story before introducing characters to whom they could refer. Often
during the narrative one reads about "sle' and is unclear as to whom is
meant:

Neuerdings haben wir ein Kennwort dafiir: Anfalle. Jedesmal
eln Schrecken fiJr sie. ich weiB. und volikommen
unverstandlich. Dabei kommt es zu kelner kdrperlichen

Bedrohung des Partners: sie lrrt sich. wenn sie das fijrchtet:
nicht die mindeste Versuchung dazu (M.26).

139
The ambiguity is due to the fragmentary nature of the story which deprives
the reader of a meaningful context. Related to both the aforementioned
types of pronominal ambiguity is the lack of clarity within the many
passages of direct address. On the one hand. the reader has difficulty
ascertaining the speaker. and on the other hand. he is unable to
determine to whom this speaker is actually directing his words.

A subjective narrative perspective forces the reader to participate in
the text. for he himself must draw the conclusions and establish the
connections lacking or merely implied within the text. To be engaged by
the literary work and actively involved in its creation means that the reader
is subjected to the same uncertainty and doubt which afflict the protagonist
and which produced the subjective perspective in the first place. The loss
of an omniscient narrator. resulting in the experience of doubt. is
necessary to both protagonist and reader for new discovery:

...ein Schreiber. der alles schon well}. oder alles schon besser
weiB. der kann nicht mehr so schrelben. daB es zu jener
spannenden Entdeckungsfahrt kommt. an der der Leser dann
wirkllch teilnlmmt. Wenn der Autor die Arbeit des Schreibens
nicht zur eigenen Veranderung braucht. dann wird er auch

kelnen anderen verandern.

The subjective narrative perspective is a vehicle for change.

5. Structural Openness

The formal elements discussed above all serve to ensure the text its
structural openness. Subjunctive verb forms and hypothesis undermine the
validity of an assertion. Similarly. a subjective narrative perspective
questions the trustworthiness of the account rendered. while the narrator’s
limited knowledge and command of his story further subvert the text's

conclusiveness. Both fragmentation and the thematizatlon of the writing

140
process deny the story its finality. Openness is essential if the process of
search instigated through the experience of alienation is to continue
beyond ”the final page of the text.

Openness in Chotjewitz’ Die Herren des Morgengrauens is guaranteed

 

primarily by means of the radicalizatlon of fragmentation. What is common
to most of New Subjectivity on a more limited basis typifies the entire
structure of this work. which is. after all. labelled a novel fragment
("Romanfragment'). The sixth chapter is missing. and the final pages
consist of incomplete chapters. including some notes pertaining to the lost
chapter. The novel does not come to a conclusion. instead. as the
narrator himself at one point states. when the manuscript ends the figures
simply disappear:

Das erwartungsgemaBe Verschwlnden der Spieflguren

Der Mensch. der das Ungliick hat. in einem Buch

vorzukommen. lebt ein zweites Leben. wie es lm Buche steht:

wenn Fritz Buchonla mit dem Schreiben aufhdrt. verschwindet

Franz Westphai wieder. und wenn das Buch zu Ende ist. geht

es lhm genauso spurlos. Unserkeiner lebt sich seiber.

unserkeiner stirbt sich seiber (HM.176).
Accordingly. at the close of the last full chapter. chapter ten. the
protagonist Fritz Buchonla simply exits without leaving a trace behind
(HM.168). Within the appended manuscript fragments one finds another
possible ending to the story. which is. however. no more final or definitive
than the protagonists disappearance. This conclusion. entitled 'Das Ende."
is related almost exclusively in the subjunctive mode and is therefore
purely illusory and hypothetical:

Er ware am llebsten weggefahren.

Zum Belspiei nach Sizillen.

in eln winzlges. weiBes Zimmer am Meer. mit nichts als einem

Tisch. einem Stuhl. einem Bett. einem Kielderhaken und elner
Gliihblrne von der Decke (HM.190).

141
Another important method utilized by Chotjewitz to maintain the texts
openness is absurdity and the matter-of-fact manner in which it is treated.
At one point the protagonist receives a disposition containing two
contradictory and therefore absurd orders:
Was ihn [Fritz Buchonla] stbrte. waren iediglich zwei Satze der
Anordnung. Der erste lautete: Solite das Schreiben des
Buchonla fiJr eln Strafverfahren nicht mehr bendtlgt werden. so
ist es zur Habe des Beschuldigten zu nehmen. Der zweite
lautete: Schon wegen der Gewaltaufforderung in dem Schreiben
des Buchonla kommt eine Aushandigung an den Beschuldigten
nicht in Betracht (HM.14).
Buchonia’s reaction to this meaningless order is to sit down immediately at
his typewriter in order to inform the sender that henceforth he is to be
referred to with his full and correct title. and not merely with "Buchonla”:
'Fiir Sie bin ich immer noch Herr Buchonla oder. um genau zu sein. Herr
Rechtsanwalt Buchonla“ (HM.15). Such a sequence is typical throughout
the novel. Something totally illogical occurs. but Buchonla does not reply
with outrage. confusion. or dismissal. instead. he offers an equally absurd
response. and accepts the absurdity of the incident as something everyday
and normal: '- wie Oblich in solchen Fallen -" (HM.14). The entire novel
fragment is characterized by both elements. both the absurd and the
matter-of-fact rejoinder often expressed in the phrases “wie Dblich' or ‘wie
gewdhnllch.‘ Absurdity is an effective means to open a text because it
continually shocks the reader’s expectations and questions normality. The
matter-of-fact tone is essential if the absurdity is to be taken seriously.
The two in conjunction with each other form a tension-filled dialectic which
is never resolved.

in many of the diary-like works of the seventies openness is created

through the impression of incompletion. The narrator relates only one

142
small segment within the continuum of his life. Paradoxicaiiy. the
impression of a future is heightened by the characteristic reflection on the
past. Works of an autobiographical nature do not conclusively end. nor do
they present a definitive message or solution. in Bernhard’s Der Atem the
protagonist undergoes an existentialiy dangerous catastrophe which has
changed him and will continue to influence his development. The story
does not end with his recovery. instead it points forward to the next
catastrOphe. namely his mother’s impending death and his own future battle
against tuberculosis. The protagonist in Frisch’s Montauk explicitly states
that he does not intend to communicate a message. but simply reflect on
life. The questions which are posed during the weekend stay at Montauk.
especially that concerning death. are not answered and will accompany the

narrator back to his home country. Even Frdhlich’s text im Garten der

 

Gefiihie. which seems to present a more traditional narrative progression
from a beginning conflict. through its climax. to a seemingly peaceful
denouement. denies the finality of its conclusion through the titles of its
last few chapters: 'XX. Ein Abschied ohne Abschied.“ 'XXll. Lbsungen und
auch wieder kelne.“

Martin Waisers Ein fliehendes Pferd is structured upon contradiction

 

and contrast produced through the juxtaposition of the text’s two main
characters. Helmut Halms and Klaus Buch. They demonstrate contrasting
manners of speech. Whereas Klaus speaks in fragmentary exclamations
full of slang and superlatives. Helmuts language is typically tranquil. calm.
and almost monotone:
Das ist wirkllch iustig. daB sie seit drei Jahren nebeneinander
Urlaub machen und einander nie gesehen haben. Also. wenn

das nicht iustig lst. Helmut. Mensch. Helmut. wie findest du
das? Doch. das findet er auch iustig (fP.22).

143

Helmut and Klaus are opposites in many other ways. Physically they look
entirely different. Helmut is described as having a round stomach and a
sunburn (fP.10). Klaus on the other hand is angular. hard. fit. and without
extra pounds. and naturally suntanned (fP.19). The two characters eat and
drink differently and participate in life from contrasting standpoints.
Whereas Helmut is content to sit at the edge of the throng promenading
past him. Klaus feels he must be part of the milling crowd: 'Hel und
Klaus segein viel. Sabine und Helmut llegen lieber faul am Wasser. dann
sitzen sle herum" (fP.22). Klaus and Helmut even remember in dissimilar
manners. Helmuts memories are typically lifeless and devoid of people
and movement: 'in seinen Erinnungsbildern herrschte elne Lebiosigkeit wie
nach elner Katastrophe. Als wagten die Leute noch nicht. sich zu
bewegen. Auf jeden Fall standen sie stumm an den wanden. Die Mitte
der Bilder blieb meistens leer“ (fP.28). in contrast. Klaus narrates his
past life with drastic exaggeration (fP.29).

Waiser has built his text upon the contrast and comparison of two
variant styles of life. At the conclusion of the novel there is neither a
judgement preferring one over the other. nor a conversion. nor
reconciliation. Waiser introduces his work with a qu0te from Kierkegaard
which expresses the intent of this novella:

“Man trlfft zuweiien auf Novellen. in denen bestimmte Personen
entgegengesetzte Lebensanschauungen vortragen. Das endet
dann gerne damit. daB der elne den andern iiberzeugt.
Anstatt daB also die Anschauung fiir sich sprechen muB. wird
der Leser mit dem historischen Ergebnis bereichert. daB der
andre iiberzeugt worden ist. ich sehe es filr eln Giiick an.
daB in soicher Hinsicht diese Papiere elne Aufkiarung nicht
gewéihren.‘

Sbren Kierkegaard. Entweder/Oder

This text does not attempt enlightenment. i.e. it offers no reconciliation

144
between the two contrasting poles and no answer to the questions it

poses. These are left up to the reader.

Conclusion

This chapter has focused upon an examination of new subjective
forms. Central to such a discussion is a consideration of the effect of
the work on the reader. Too often a work of literature is viewed as an
entity in itself. and yet it is the communicative process of literature which
constitutes its engagement. New Subjectivists justify the expression of their
individual experiences by means of “personal engagement.‘ The reader
who is drawn into personal participation with the text undergoes an
experience of alienation and doubt similar to the protagonist. Existent
reality has been critically questioned. and the reader is prompted to
search for existential awareness. The forms used to elicit literary
communication are those which destruct. rather than construct reality.
Whereas traditional Realism intends recognition. modern Anti-Realism
provokes alienation. Although some commentators have accused New
Subjectivity of being a return to more traditional and realisitic narrative
forms. this is debatable. especially for those works considered in this
dissertation. those in which subjectivity determines both the content and the
form. A subjective form is manifest in stylistic and formal elements such
as fragmentation. the loss of an omniscient narrator. the use of the
subjunctive. hypothesis. ambiguity. memory. and invention. These elements
ensure that the work cannot come to a neat and conclusive end: they
create the texts openness. This openness leaves the reader not with an

answer or solution. but rather burdens him with question. for each

145
individual must embark upon his own personal search for meaning and

identity.

Notes--Chapter Four

‘Rainer Nageie. “Martin Waiser. Die Gesellschaft im Splegei des
Subjekts.‘ in Zeitkritische Romane des 20. Jahrhunderts. ed. Hans Wagener
(Stuttgart: Philipp Reclam. 1975). p. 330.

 

2Ulrich Greiner, 'Was es heiBt. nach den Tendenzen der Literatur zu
fragen.‘ Akzente. 26 (1979). 302.

3Hinrich C. Seeba. 'Persbnliches Engagement: Zur Autorenpoetik der
siebziger Jahre.“ Monatshefte. 73 (1981). 148-49.

 

4Seeba. 153.
5Seeba. 153.
6Seeba. 151.
7Seeba. 149.
8Seeba. 149.

9Wolfgang Hildesheimer. ”The End of Fiction.” Merkur. so (1976). 63.

10Rainer Nagele. ‘Geht es noch um Realismus? Politlsche lmplikation
moderner Erzahlform im Roman.“ in Der deutsch Roman und seine
historischen und polltlschen Bedlngungen: Neuntes Amherster Koiioquium zur
deutschen Literatur. ed. Wolfgang Paulsen (Bern: Francke. 1977). p. 38.

 

 

 

”For example: Hans J. Frbhlich. 'Ein Blick zuriick. eln Blick nach
vorn: Literarische Neuerscheinungen Herbst 1976. Frtihjahr 1977.‘
Jahresrlng. 1977/78. p. 274. Or: Adolf Muschg. 'Bericht von elner falschen
Front oder: Der Schein triigt nicht.“ in Literaturmagazin 5: Das Vergehen
von Hdren und Sehen: Aspekte der Kulturvernichtung. ed. Hermann Peter
Piwitt and Peter Rilhmkorf (Reinbek bei Hamburg: Rowohit Taschenbuch
Veriag. 1976). p. 26.

 

”Marcel Reich-Ranicki. 'Riickkehr zur schdnen Literatur: Eine Bilanz
aus AnlaB der Frankfurter Buchmesse.‘ Frankfurter Angemeine Zeitung. 8
Oct. 1975. p. 21.

13Frdhllch. p. 273.

14 _

Frdhiich. pp. 273 74.

15Peter Wapnewski. "On Contemporary Narrative Literature in Germany
- The Documentary Phase." Universitas: English Language Edition. 17 (1975).
161.

16Wapnewski. 161.

146

147

17Peter M. Stephan. ‘Schlecht getraumt: Ober Geffihle. Sinniichkeit.
Vernunft und andere Absurditaten in der Literatur.’ in Literaturmagazin 9:
Der neue lrratlonaiismus. ed. Nicolas Born et. al. (Reinbek bei Hamburg:
Rowohit Taschenbuch Veriag. 1978). p. 173.

 

 

18Discussed in Chapter Two. Section D.
19Stephan. p. 173.
20Wapnewski. 161.

”Hans J. Frbhiich. ”Die Literatur kommt in die Jahre.“ Jahresrlng.
1979/80. p. 282.

22Frfjhlich. 'theratur.' p. 282.
23Frdhlich. 'Literatur.’ p. 282.

24"Jemand muBte Josef K. verleumdet haben. denn ohne dai3 er etwas
Bbses getan hatte. wurde er elnes Morgens verhaftet.‘ Franz Kafka. Der
ProzeB (Frankfurt am Main: Fischer Taschenbuch Veriag. 1960). p. 7.

25Peter Beicken. ”Neue Subjektivitat’: Zur Prosa der siebziger Jahre."
in Deutsche Literatur in der Bundesrepubilk seit 1965: Untersuchlmen und
Berichte. ed. Paul Michael LUtzeler and Egon Schwarz (Kdnigstein:
Athenaum. 1980). p. 167.

 

26Arnulf Conradi. 'Die Gezeiten des Subjektivismus: Uber die
Subjektivitat in der neueren Literatur.‘ horen. 25 (1980). 113.

27Conradi. 111.
28Conradi. 114.
29Conradi. m.
3°Conradl. m.
31Conradi. 111-12.
32Conradi. 112.

33This is the source of the assertion quoted previously of Reich-
Ranlcki. See Footnote 12.

34Martin Waiser. 'Wie und wovon handelt Literatur.‘ in Wie und wovon
handelt die Literatur? Aufsatze und Reden (Frankfurt am Main: Suhrkamp.
1973). p. 136.

Chapter Five--Fear and Happiness
in the Works of Peter Handke

introduction

Peter Handke. more than any other single author. must be considered
the predecessor to and epitome of the subjective literature produced during
the past decade. Already in the late sixties Handke defiantly announces
his subjectivity and explicitly rejects repeated demands for a politically
engaged literature. Already in the late sixties he is attacked as a self-
consuming narcissist unconcerned with society and its ills. Just as
Handke presages this most recent literary trend. his works embody and
indeed radicalize the general themes and forms of New Subjectivity once it
arrives. Handke’s literary production during the seventies is considered an
extreme example of subjectivity. often denounced as trivial. private. and
regressive even by those critics who admit to the positive potential of
other new subjective works. This chapter is devoted to a discussion of
Peter Handke and three of his works within the context of New Subjectivity.
Parallels will become evident. as well as differences. Handke’s intent and
method are similar to those of New Subjectivity as discussed previously.
Handke attempts to provoke an awareness within the reader or public of
the artificiality of what seems natural. He endeavors to free the reader
from the patterns of perception and societal conventions by means of the
experience of alienation. Handke. however. differs from most New
Subjectivists by realizing within his works the positive potential of alienation:
he portrays a state of mystical union and peaceful existence freed from
societal functionality and prejudice. The first section of this chapter will
briefly outline the basis and development of Handke’s subjectivity. the intent

148

149
of his literature. and the meaning of engagement for him as formulated in
his theoretical works. The following three sections will investigate his
works entitled Die Angst des Tormanns beim Elfmeter. Die Stunde der

1 These works will

wahren Empfindung. and Die Lehre der Sainte-Victoire.
evidence both the continuity and the development within Handke’s own
personal literary production. and both the similarities and differences

between Handke and New Subjectivity.

A. The Subjectivity of Peter Handke
1. The inhabitant of the ivory Tower
For Peter Handke literature offers the possibility for reflection and
revelation concerning oneself. in his essay 'ich bin eln Bewohner des
Eifenbeinturms“ (1967)? he states that literature is the means to learn of
himself and to gain existential assurance of his very being: ’Literatur ist
fiir mich lange Zelt das Mittel gewesen. ijber mich seiber. wenn nicht klar.
so doch klarer zu werden. Sle hat mlr geholfen zu erkennen. daB ich da
war. daB ich auf der Welt war' (BE.19). The theme of Handke’s works is
himself as subject. and he desires by means of his literature to achieve a
more thorough understanding of this subject: 'ich habe kelne Themen. Uber
die ich schrelben mdchte. ich habe nur eln Thema: Ober mich seibst klar.
klarer zu werden...‘ (BE.26). Handke leaves the investigation of objective
reality up to the sciences and presents instead his own reality:
Es lnteresslert mich als Autor iibrigens gar nicht. die
Wirkiichkelt zu zeigen oder zu bewaltigen. sondern es geht mir
darum. melne Wirkiichkelt zu zeigen (wenn auch nicht zu
bewaltigen). Das Erforschen und Bewaltigen der Wirkiichkelt
(ich weiB gar nicht. was das ist) Uberlasse ich den
Wissenschaften. die allerdings mlr mit ihren Daten und

Methoden (sozlologischen. medizinischen. psychologischen.
juristischen) wieder Material fU‘r melne Wirkiichkelt iiefern

150
konnen (BE.25).
He does not unequivocably discard objective scientific methods and
conclusions. However. they will be used only to better portray his
subjective picture of the world.

Handke’s subjectivity necessarily implies the rejection of an engaged
literature. Handke spurns the view held by many during the late sixties
that the task of literature lies in revealing and thereby changing actual
and political societal conditions. Engagement rests upon the assumption
that the writer. by means of a transparent ("wie Glas") language (BE.41).
transmits an objective picture of the world. But for Handke the engaged
writer cannot observe or describe reality objectively because. on the one
hand. unreflected language is loaded with predetermined meanings and
judgements (BE.25). and on the other hand because the engaged author
has a message to impart: 'Er beschreibt nicht Dinge. sondern Werte. er
beschreibt nicht eln Sein. sondern eln Soilen' (BE.41). Engagement and
literature are mutually exclusive concepts. Whereas engagement is clear-
cut. functional. and informational. literature deals with forms and has no
underlying concrete goal or purpose (BE.44). The intent of Handke’s
autonomous literature is not to impart information or explanations. but

rather to communicate an experience:

Da es Handke nicht darum geht. eln neues begrlffliches
Regeisystem zur Erklarung von Wirkiichkelt (geselischaftlicher.
poiitischer) zu finden. sondern durch Riickbesinnung auf die
antl-ratlonaiistische (was nicht heiBt: anti-rationale) Erfahrung
von Wirkiichkelt elnen kommunikatlven Handlungszusammenhang
fiir das Leben des Elnzelnen zu (re)konstruieren. sieht er sich
auch nicht als elnen 'engaglerten" Autor....3

Handke includes his own subjective dreams. irrational fears. and

memories within his works: "Es wiirde mich nicht interessieren. etwas rein

151

in der AuBenwelt Beobachtetes in Poesie zu bringen. sondern irgendwie
mlissen melne eigenen Geschichten und Verschlingungen hinzukommen....'4
Handke collects personally experienced incidents which he then assembles
into a story: “...ich sammle ganz stumpfsinnig Einzeiheiten. aus denen ich
bestehe. und die fingiere ich zu elner Art Erzahiung. zu elner Art
Geschichte. die lch seiber nicht erlebt habe: wohl aber habe ich viele
einzeine Sachen erlebt."5 Accordingly. Handke’s works. most obviously his

Der kurze Brief zum langgn Abschied and Wunschloses Ungliick. evidence

 

many autobiographical moments. However. as was true of the new
subjective diary—like works. Handke’s autobiographies are not complete and
static pictures. but rather exploration and discovery of the subject and its
world: 'Das sind Daten melner eigenen Existenz. mit denen ich mich
schreibend auf elne Art Reise begebe. von der ich nicht weiB. wo sle
hlnfiihren wird."6

it is not the facts of reality which concern Handke. but rather his
own subjective reactions to and reflections upon those facts (BE.24). The
subject constitutes the focal point of reality. for the outer world appears
only as it is seen and experienced. only as filtered through an inner

world. The title of one of Handke’s poetry volumes--Dle lnnenwelt der

 

AuBenwelt der lnnenwelt-~effectively expresses the relationship between
subjective experience and objective reality. “namlich daB die AuBenwelt nur
in der Perspektlve der lnnenwelt erscheinen kann: es gibt kelnen Blick. der

hinter den Blick zuriicktreten kann."7

Reality. prestructured through
arbitrary and subjective models of language and perception. serves as a
mirror and/or impetus for the feelings and experiences of the inner world.

Handke thematiclzes not the objective world. but the subject and its

152
subjective perspective.

The aspects of subjectivity noted for Handke and discussed above: ie.
the rejection of politically engaged literature. a subjective perspective. an
autobiographical tendency. and the emphasis on personal individual
experience. not only serve to establish a connection between Handke and
New Subjectivity. but also subject him to similar vehemently critical rhetoric.
Reinhard Lettau composed the following satirical poem in honor of the
young Handke:

“Der Dramatiker Peter Handke.
unterwegs nach einem lnteresse.
begegnet

der Sprache.

dann dem Senator Franz Burda aus
Offenburg. endlich

sich seibst.

'Nach innen’. seufzt er. ’gaeht
der geheimnlsvolle Weg."

Close to a decade later. Ulrich Greiner states of Handke’s Das Gewicht der

 

Welt: Eln Journal (1977) that its contextual unity and meaning rest solely in
the figure of the author himself: 'Alies bleibt fiir sich. atomisiert in
Bruchstficke. die nur elnen einzigen Zusammenhalt haben: Peter Handke.
Nicht mehr die Poesie stiftet Sinn. sondern Handke.'9 Handke is accused
of egoism. narcissism. solipsism. extreme subjectivity and individuality.

inwardness ('lnnerlichkeit") etc. etc.10

2. The Revelation of Artificiality

Peter Handke‘s scorn of an engaged literature which seeks to
objectively reveal societal conditions and ills does not mean that he denies
societal relevance to literature. On the contrary. Handke burdens literature

with an extremely political goal: literature is the medium of change. it is

153
the means to provoke the subject to consciousness and to re-evaluation of
himself and of his world. it must disclose the manipulation and artificiallty
of all which is considered natural.

For Handke all of life is regulated. manipulated. and controlled. be it
by means of language. roles. habits. conventions. ideologies or institutions:
'Die ganze Welt ist ’systematlsch’ ausgelegt. und sle indoktriniert mit ihren
bereits interpretierten und schablonenhaft hergerichteten Erschelnungen jede
Beobachtung. jedes Gefiihl und jeden Gedanken.an The unreflected
naturalness of the already existant hinders variety. newness. and possibility.
A natural state is a complete state. which no longer needs to be critically
evaluated and which can undergo no development. Although matter—of—fact
language. roles. and norms allow the individual to function in society with
ease. they also predetermine one’s view and experience of reality. or at
times even prevent that experience totally: "Vieiieicht kennst du Menschen.
die alles. was sle sehen. auch das Erstaunlichste. sofort auf elnen Begrlff
bringen wollen. es durch elne Formulierung bannen und damit aufhdren. es
zu erlebenf'm The constriction of individual growth and development by
assumed naturalness has always been one of Handke’s main themes: “...die
Einschniirung des individuums durch das Vorgegebene. bereits allgemeln
Gliltige: das ist seit seinen Anfangen als Schriftsteiler anno 1966 Peter
Handkes Thema."13

Handke’s main literary intent is the destruction of predetermined
systems and concepts of reality: 'ich erwarte von der Literatur eln
Zerbrechen aller‘endgiiltlg scheinenden Weltbilder' (BE.20). The method of
a literary work should question that which is taken for granted (BE.21—22).

and Handke accordingly endeavors during the writing process to avoid all

154
conceptual systems: 'Sowie beim Schreiben auch nur der Ansatz elnes
Begrlffs auftaucht. weiche ich - wenn ich noch kann - aus in elne andere
Richtung. in elne andere Landschaft. in der es noch kelne Erlelchterungen
und Totalitatsanspriiche durch Begrlffe gibt."14 For the individual reader
literature which destroys natural patterns of perception and thought can
offer a new and previously unenvisioned possibility of perceiving reality and
of existence:
ich erwarte von einem literarischen Werk elne Neuigkeit fiir
mich. etwas. das mich. wenn auch geringfu’glg. andert. etwas.
das mlr elne noch nicht gedachte. noch nicht bewuBte
Mbglichkeit der Wirkiichkelt bewuBt macht. elne neue
Mbglichkeit zu sehen. zu sprechen. zu denken. zu existieren
(BE.19-20).
Literature can free the individual to growth and self-realization. as well as
to a greater awareness of one’s world.

Through writing Handke strives to become conscious of unthinking and
automatic words. actions. and thoughts (BE.26). Attentiveness ('Aufmerk-
samkeit") is Handke’s personal goal as well as the reaction he desires to
elicit in his audience. He considers the theater (and all literary methods)
as a means through which individual consciousness is made not broader.
but more exact and precise. The theater then is a means to discover the
world: 'Wozu es [das Theater] taugen kbnnte...: als eln Mittel zum
Empfindlichmachen: zum Reizbarmachen: zum Reagieren: als eln Mittel. auf
die Welt zu kommen“ (BE.54). Attentiveness or critical awareness is
instilled by means of an aesthetic method which shows the artificiallty and
implicit manipulation within literary conventions. in his essay entitled 'Die
Arbeit des Zuschauers' (1969) Handke states that the public must learn.

"Natur als Dramaturgie zu durchschauen. als Dramaturgie des herrschenden

Systems. nicht nur im Theater. auch sonst' (85.99). The political

155
dimension of such remarks is obvious. The critical awareness produced in
the theater must be applied elsewhere ('auch sonst“) to societal
conventions in general: 'Handke wants the public...to become more
conscious of the fact that neither the order found inside nor that found
outside the theater is permanent and natural."15 Handke’s “neue Asthetik'
functions as the sharpening block for critical perception: 'Nur die Asthetik
kann den Wahrnehmungsapparat so genau machen. daB die Natur in dieser
Gesellschaft als gemacht. als manipuliert erkennbar wird. nur eine neue

Asthetik kann auch Bewelse und Argumente llefern“ (BE.99).

3. 'Der fremde Blick“ of Alienation
The perception finely honed through an aesthetic method is called by
Handke the 'fremder Blick" (BE.99). it is a poetical mode of perception
free of concepts and systems:
'Fiir mich kommt es darauf an . . . lrgendetwas zu machen.
was das Schauen und das Zuhbren der Leute irgendwie
befremdet. daB nicht jemand auftrltt und sagt: ’Guten Tag’. und
der andere antwortet: ’Mir geht es gut.‘ DaB also nicht alles
so ablauft. wie man as schon kennt. sondern dai3 elne
Verstdrung oder Verwirrung eintritt . . . ." 6
Handke describes here an experience of alienation very similar to that of
other New Subjectivists. and this experience serves as the point of
departure in much of his literature: “A" Handke’s characters...suffer from
feelings of intense isolation and estrangement. as if they. like Josef Bloch
in the Tormann novel had been suddenly jolted out of the context...of
everyday reallty."]7 The protagonist feels as if "Somewhere i lost
connection..." (Wli.121). Neither the world nor the self can be taken for

granted any longer. and both are experienced as something alien. Handke

attempts to explain this feeling. which is an autobiographical one. to

156
Manfred Durzak: 'Das Gefiihl hatte ich als Kind immer. daB man drauBen

auf der StraBe spielt und plbtzlich steiit sich heraus: das stimmt alles gar

.18

nicht.... The world suddenly and unexpectedly loses meaning: '...an

einem solchen. unbeschreiblichen Tag / geht auf der StraBe. / zwischen
zwei Schritten. / plbtzilch der Sinn verioren...” (WU.103).

Handke. again similar to other new subjective authors. recognizes the
positive potential of this experience:

“Und ich glaube. daB lrgend jemand. der das mit fremden
Augen pldtzlich sieht. dann auch seine alitagliche Wirkiichkelt.
seine ailtagllchen Beziehungen zu seiner Frau. zu Kindern. zu
anderen Menschen. zu anderen Dingen. zu seinem Beruf
irgendwie verandert. daB er die irgendwie befremdet sieht. und
diese Befreiung lst dann so eln AniaB fiir ihn. sich dariiber
klar zu werden. wie sich das verhalt zu seinem Leben.‘

The individual who perceives the world around him through a different and
alienated perspective (”mit fremden Augen"). can. in the freedom granted
from conventions and preconceptions. re-evaluate and even change his way
of life.

in his address acknowledging receipt of the Georg—Biichner-Preis
entitled 'Die Geborgenhelt unter der Schadeldecke' (1973). Handke
reiterates and specifies his concept of alienation ('Verstbrung') and its
implications:

in seinem Arbeitsjournal schrieb Brecht am 31. 8. 44: 'in
augenblicken der verstdrung fallen im gemiit die bestande
auseinander wie die teile tbdlich getroffener reiche. die
verstandigung zwischen den teilen hdrt auf (pldtzlich wird
deutlich. wie das ganze aus teilen besteht). sle haben nur
noch die bedeutung. die sle fiir sich seiber haben. das ist
wenig bedeutung. es kann passieren. daB ich urplbtzlich nicht
mehr elnen sinn in lnstitutionen wie der musik oder auch der
poiitik sehen kann. die nachststehenden wie fremde sehe usw.
gesundheit besteht aus gleichgewicht.‘ Was Brecht hier. aus
kleinlicher Angst vor der Sinnlosigkeit. als Krankheit und
Verstdrung aburteiit. lst nichts andres als das hoffnungs-
bestimmte poetische Denken. das die Welt immer wieder neu
anfangen laBt. wenn ich sle in melner Verstocktheit schon fiir

157

versiegelt hielt. und es lst auch der Grund des
SelbstbewuBtseins. mit dem ich schrelbe (wu.79—80).

Whereas Brecht fears the loss of institutionalized meaning. the absence of
an encompassing context. and the destruction of order. Handke intends to
provoke and reach imbalance. for only in this poetical state can a world
sealed by preconceptions be opened to new experience and a new
beginning: 'ich bin liberzeugt von der begrlffsauflbsenden und damit

zukunftsmachtigen Kraft des poetischen Denkens' (WU.76).

4. Fear and Happiness

Two opposing emotions characterize Handke’s concept of alienation.
On the one hand. the experience of alienation implies destruction of
meaning. loss of familiarity. imbalance. and accordingly gives rise to fear.
On the other hand. alienation can result in idyllic moments of happiness.
whereby the subject. no longer hindered by patterns of perception. can
directly experience the essence of the objects of reality. Fear
predominates in much of Handke’s literary production. but moments of
happiness become increasingly common. The inclusion of hope and a
type of utopian happiness in later works reveals a significant development
within Handke‘s literary production. The portrayal of an idealistic and
mystical unlon-—the actualization of the positive potential of alienation--also
constitutes the main difference between Handke and other New Subjectivists.

The experience of alienation creates feelings of fear. panic. and
terror. An indistinct uneasiness characterizes the underlying mood of much
of Handke’s literature. Handke himself admits to his preoccupation with
fear in a short piece entitled “Eine Zwischenbemerkung liber die Angst”:

"Du hast immer nur Angst. Angst. Angst. hat gestern eln Kind zu mlr

158
gesagt. und es sagte das ziemlich gelangweilt . . . Wann habe ich
elgentiich k e i n e Angst?‘ (Wii.101). There is no particular cause for
his fear: “Angst also wovor? Das ist eine mlr unverstandiiche Frage. ich
habe einfach Angst...‘ (Wli.101). Fear. including fear of death. is simply
part of life.
Fear is important for Handke personally and for his literature because
it can lead to an experience of reasonable happiness ('das verniinftige
Giiick'). Reasonable happiness differs from an everyday state of blind and
aggressive happiness in the subject’s relationship to reality. Whereas a
person in the common state of happiness perceives the outside world as a
disturbance and reacts to it with impatience and anger. 'das verniinftige
Gllick' fills the individual with sympathy for and attentiveness to other
forms of existence: 'ich habe noch nicht recht gelernt. im Gllick verniinftig
zu bleiben und aufmerksam fiir die anderen zu sein. Sehr seiten gelingt
das verniinftige Gliick. das von der Umweit nicht abschlieBt. sondern flir
sle dffnet' (Wii.101). The longed for attentiveness of reasonable bliss or
happiness is approximated in the moment after the feeling of fear:
Was soil also daran augenbffnend sein? Nicht den Zustand
der Angst melne ich. sondern den Zustand danach - wenn
die Angst vorbei ist. Da entsteht dann eln Geflihl. das jenem
verniinftigen Glijck nahekommt: das Geflihl fiir die Existenz und
die Existenzbedingungen der anderen Menschen. eln starkes.
mitteilbares. soziales Geffihl. Deswegen kann ich es mlr nicht
leisten. daB mlr melne Angst nur auf die Nerven geht und
deswegen schrelbe ich dariiber und iebe davon. daB ich
darUber schrelbe (WU.102).

The experience of fear opens the individual’s eyes to the world and other

people. and for this reason it is essential to Handke’s life and works.

in an interview with Heinz Ludwig Arnold in 1975 Handke himself

admits to an increasing concern with the question of happiness and its

159
portrayal: 'Das ist es. was mich seit diesen Jahren beschaftigt: Wie kann
man das Giiick darstellen? Wie kann man vor allem das Gilick
dauerhafter zu machen versuchen."20 The first work in which moments of
happiness play an important role is Der kurze Brief zum langen Abschied.
The feelings of fear and alienation have gained a different and more
positive meaning: 'Die [Fremdheltsmomente] haben sich ein bchhen
gewandelt im ’Kurzen Brief zum langen Abschied‘. Es ist zwar Fremdhelt.
aber diese Fremdhelt wird zum ersten Mal als eln wirkllcher Gliickszustand
erfahren.”2] The experience of disorientation and lack of context is
coupled for the first time with a longing for contextual orientation
('Sehnsucht nach einem Bezugssystem').22 This orientation is a
harmonious union between subject and object. in which. however. neither
subject nor object must sacrifice individuality. Bruno Hillebrand’s
description of blissful moments in Der kurze Brief zum langen Abschied
aptly characterizes the ideal of happiness for Handke: 'individuation ohne
isolation - das ist die Formel - identisch sein mit anderen. ohne sich
seibst zu veriieren."23 The utopian union is bonded by an acute
awareness of others and of oneself based upon the feeling of shared

existence.

B. Alienation in Die Angst des Tormanns beim Elfmeter

 

Peter Handke’s novel of 1970 entitled Die Angst des Tormanns beim
Elfmeter is a classic study in alienation. The protagonist. Josef Bloch.
experiences the loss of an encompassing context: 'Es war eln Ruck
gewesen. und mit einem Ruck war er unnatlirlich geworden. war er aus

dem Zusammenhang gerissen worden. Er lag da. unmbglich. so wirkllch:

160
kein Vergleich mehr“ (ATE.78). Due to this “jolt." Bloch suddenly perceives
himself and his world as unnatural and frighteningly strange. as
incomparably alien. Manfred Durzak describes this experience as 'die
Erfahrung elnes Sprungs. der alle vertrauten Systeme der Orientierung
auBer Kraft setzt. elnes expiosiven Rucks. mit dem man herausgerlssen
wird. um sich seibst und die Wirkiichkelt als buchstabllch unvergleichllch.
als erschreckend anders zu empfinden."24 The systems. explanations.
routines. and societal patterns which normally provide orientation have
suddenly and without reason become invalid.

The jolt undergone by Bloch destroys an objectivity which can be
taken for granted in its naturalness. and results in an extreme and
exaggerated awareness of the subject. No longer part of the outer world.
he is turned inside out to become the world: ‘Wehrlos. abwehrunfahig lag
er da: ekelhaft das innere nach auBen gestiiipt...‘ (ATE.78). and
experiences himself as 'etwas Geiles. Obszdnes. Unangebrachtes. durch und
durch AnstoBerregendes' (ATE.78). in the absence of a context which
automatically—-and objectively--asslgns a place and a meaning to individual
actions and single objects. even the most insignificant detail of Bloch’s
surroundings becomes conspicuous. and even the most meaningless picture
relates a personal message: 'Buchstablich war alles. was er sah. auffaliig.
Die Bilder kamen einem nicht natiirlich vor. sondern so. als seien sle
extra fiir elnen gemacht worden. Sle dlenten zu etwas. Wenn man sle
ansah. sprangen sle elnem buchstablich in die Augen' (ATE.96). Bloch’s
state of alienation manifests itself in the subjectivity of his perception: he
notices every little detail and interprets all events and objects around him.

Karlheinz Rossbacher states that the disproportionately important detail

161
has. since Franz Kafka. become the sign of alienation. isolation. and a
loss of context. and notes its frequent appearance in the earlier works of
Handke. above all in Die Angst des Tormanns beim Elfmeter}?5 in the
following extract Bloch’s attention is caught by details normally overlooked:
Er ias das Klnoplakat. das mit Heftklammern am Miichstand
befestigt war: die anderen Piakate darunter waren abgefetzt.
Bloch ging weiter und sah lm Hof elnes Bauernhauses elnen
Burschen stehen. der Schluckauf hatte. in einem Obstgarten
sah er Wespen umherfliegen. An einem Wegkreuz standen
verfaulte Blumen in Konservendosen. lm Gras neben der
StraBe lagen leere Zigarettenschachteln. Neben den
geschiossenen Fenstern sah er Fensterhaken von den
Fensteriaden hangen. Als er an einem offenen Fenster
vorbeiging. roch er Verwestes (ATE.48).
The details Bloch perceives say nothing about the object as a whole. The
boy has hiccups. in the fruit garden he sees only the wasps. instead of
observing panoramas. or at least whole pictures. within which details would
be connected to other details. Bloch perceives disconnected segments: 'Die
veriorene Hierarchle der Funktlons-. Ordnungs- und Bewertungs-
zusammenhange fiihrt dazu. dal3 alles. was mit den Sinnen erfaBbar lst.
auch auffallig werden kann. und alle diese Einzeiheiten stehen nun
unverbunden nebeneinander."26 The individual segments often represent for
him the totality: 'innerhalb der Ausschnitte sah er die Einzeiheiten
aufdrlnglich deutlich: als ob die Teiie. die er sah. fiir das Ganze standen.
. So sah er das Ohr der Kellnerln mit dem elnen Ohrkilps als eln Signal
fiir die ganze Person...‘ (ATE.84).
Bloch’s eyes are directed toward the goal or the recipient of an
action. and not the initiator. instead of watching the person talking. Bloch
observes the listener. and instead of following the bail and players on the

field during a soccer game. he trains his eyes on the goalie:

'Es ist sehr schwlerlg. von den Stiirmern und dem Ball

162
wegzuschauen und dem Tormann zuzuschauen'. sagte Bloch.
“Man muB sich vom Ball losreiBen. es ist etwas ganz und gar
Unnatiirliches.‘ Man sehe statt des Balls den Tormann. wie
er. die Hande auf den Schenkeln. vorlaufe. zuriicklaufe. sich
nach links und rechts vorbeuge und die Verteidiger anschreie.
'Ubllcherweise bemerkt man ihn ja erst. wenn der Ball schon
aufs Tor geschossen wird“ (ATE.123-24).
This manner of perception is typical for Bloch)?7 and it manifests his loss
of context. A causal order of events. whereby an action results in a
reaction or a cause brings about an effect. has lost its validity for Bloch.
His perception is accidental: it follows no purpose nor underlying logical
progression.
in the absence of the objective interpretive system used by the rest
of society. Bioch’s interaction with other people is marked with

misunderstandings:

Als sle [die Pachterln] am Tisch elne Kerze anzlindete. sah er
[Bloch] das Wachs auf elnen Teller tropfen. well sle die Kerze
in der Hand eln wenig geneigt hielt. Sie soile doch
aufpassen. sagte er. das Wachs rinne auf den sauberen

Teller. Aber sle stellte schon die Kerze in das noch filissige
libergelaufene Wachs und preBte sle so lange darauf. bis sle
von seiber stehenblleb. 'ich habe nicht gewuBt. daB du die
Kerze auf den Teller steilen wolltest'. sagte Bloch. Sie traf
Anstalten. sich auf elne Stelle zu setzen. wo gar kein Stuhl
war. und Bloch rlef: 'Vorsichtl'. dabei hatte sle sich nur
hingehockt und elne Mfinze aufgehoben. die lhr beim zahlen
unter den Tisch gefallen war (ATE.106-07).

Bloch misinterprets the actions of the ieasehoider due to his inability to
deduct the purpose or reasons for such actions. At other times
misunderstandings arise because Bloch reads meaning into an innocent
and meaningless gesture. Because only the foreman takes notice of his
arrival at work. Bloch assumes he has been fired (ATE.7). Later Bloch
presupposes that because his friend places her hand on his shoulder. he
is to order a round of schnapps: 'Die Pdchterln kam und legte lhm die

Hand auf die Schulter. Er verstand und besteilte Schnaps filr alle. die am

163

Tisch saBen' (ATE.101).

Not only does Bloch subjectively interpret the actions and gestures of
others. but the objects of his surroundings obtain personal significance.
The outer world no longer exists independent of Bloch's inner world. but is
a reflection of subjective consciousness. Because Bloch feels vulnerable
and suspicious. most of the phenomena he observes are interpreted as
warnings or traps. in the post office the paper on the writing tables has
been freshly changed. yam—it also die Abdrlicke zu iesen waren?“ (ATE.91).
Bloch reads a newspaper advertisement urging people to make telephone
calls and fears a trap: “Schon am Morgen hatte Bloch in der Zeitung die
kieine Anzeige Warum telefonierst Du nicht?’ sofort fijr elne Falle gehaiten“
(ATE.91).

Phenomena do not exist objectively in their own right. but function as
signs and eventually imperatives for Bloch. Handke states of his work:
'. . . das Prinzip war. zu zeigen. wie sich jemandem die Gegenstande. die
er wahrnimmt. infolge elnes Ereignlsses (elnes Mordes) immer mehr
versprachllchen und. indem die Bilder versprachllcht werden. auch zu

.28

Geboten und Verboten werden. Probably the most well-known single

example of 'the hero’s whole neurotic desire to discover messages and

.29

instructions in almost everything he observes occurs upon perceiving

fish-shaped crackers:

Und warum hatten die Kekse dort auf dem Holzteller die Form
von Fischen? Auf was spielten sle an? Sollte er ’stumm wie
eln Fisch’ sein? Durfte er nicht welterreden? Sollten lhm die
Kekse auf dem Holzteller das andeuten? Es war. als ob er
das alles nicht sah. sondern es irgendwo. von einem Piakat
mit VerhaitensmaBregein. ablas.

Ja. es waren VerhaitensmaBregeln. ...iiberaii sah er elne
Aufforderung: das elne zu tun. das andere nicht zu tun. Alles
war lhm vorformuiiert (ATE.109).

164
For Bloch the objects themselves have disappeared behind words or
formulations which demand certain behaviors from him.

An important aspect of alienation consists in the gradual disintegration
of Bloch's ability to use language. Handke’s protagonist can no longer
employ the words. phrases. and constructions taken for granted by the rest
of society. Just as the loss of context destroys natural connections
between the phenomena of the world. so too does it question the linkage
normally taken for granted between the word and the object it designates
or the occurrence it describes: 'Parailel zur Atomisierung der Wahrnehmung
findet auch ein Sprachzerfall statt....':30 Bloch questions the meanings of
words: 'Zu der Frau...sagte er: ’ich habe vergessen. elnen Zettel zu
hinterlegen’. ohne zu wissen. was er mit den Worten ’Zettel’ und ’hinterlegen’
elgentiich meinte' (ATE.13). Causal relationships expressed by means of
language are viewed with suspicion: 'War as mdglich. daB sich niemand in
dem Raum befand. obwohl das Fenster welt gedffnet war? Warum ’obwohi?
War es mdglich. daB sich niemand in dem Raum befand. well das Fenster
welt gebffnet war?“ (ATE.40). Bloch thinks in quotation marks. which
indicate the loss of natural agreement between word and object: 'Er sah
elnen ’SchranK. 'danach’ ’einen’ ’kleinen’ Tisch’. 'danach' ’elnen’ 'Papierkorb’...‘
(ATE.117). Ultimately the words are replaced by pictures of the objects
being described (ATE.117). and the connection between sign and denotatum
is totally destroyed. resulting in speechlessness.

The structure of the novel reflects Bloch’s manner of perception. The
smallest to the most comprehensive structural unit is characterized by a
lack of causal connection. Handke clearly prefers fragments or sentences

with subject/verb/object/ simplicity to complex sentences in which

165
relationships between segments are established: ”Zurlick im Gasthaus.
Bloch besteilte elnen Aufschnltt. Die Kellnerln schnitt mit elner
Brotschneldemaschine Brot und Wurst und brachte lhm die Wurstblatter auf
einem Teller: obenauf hatte sle etwas Senf gedrlickt. Bloch 38. as wurde
schon finster' (ATE.74—75). instead of incorporating information within long
involved periods. one usually finds a series of simple sentences or at most
a compound sentence. The absence of hierarchical structure is also
evident in the listing of objects or events. Bloch’s perceptions are usually
ordered according to the referential frameworks of time or place and not
causality:
Er erbiickte elnen anderen Ausschnitt mit der Musicbox. durch
die iangsam eln Lichtpunkt wanderte. der dann bei der
gewahlten Nummer stehenblleb. daneben den
Zigarettenautomaten. darauf wieder elnen BiumenstrauB: dann
wieder elnen anderen Ausschnitt mit dem ert hinter der
Theke. der flir die Kellnerln. die danebenstand. elne Fiasche
bffnete. die die Kellnerln auf das Tablett stellte: und
schlleBlich elnen Ausschnitt von sich seiber. wie er die Belne
von sich gestreckt hatte. mit den nassen. schmutzigen
Schuhkappen. dazu den riesigen Aschenbecher auf dem Tisch.
daneben elne kleinere Blumenvase und das gefiillte Welngias
am Nebentisch. wo gerade niemand dabeisaB (ATE.83—84).
The key words in the description are “dam“ and 'daneben" which are
repeated as Bloch's glance moves across the room. in addition to 'dann.'
sequentiallty is indicated with the word 'schlieBlich.' Other indicators of
position include ”darauf” and “dazu.“

The narrator offers no reasons behind. explanations for. or motivation
of the action and arrangement of events. The causality is dependent upon
the protagonist. who acts without purpose or goal. For instance. Bloch
goes to the inn of his friend. the ieasehoider. When the waitress

observes him sitting alone in the inn. she assumes that Bloch wants to

see the ieasehoider and tells him that his friend has gone to the castle

166
to renew her lease. Bloch then proceeds on to the castle. But is Bloch
pursuing a plan of action. or does he act solely upon the waitress’
directions? Does he go in order to find the leasee. or is he merely
following the somewhat feeble-minded boy from the inn? The superfluous
and distracting mention of trivial details and incidents which occur on the
way to the castle undermine the assumption of causal action. Upon
reaching the castle Bloch is not led to his friend. but is taken on a tour
through the castle by the gate-keeper (another 'misunderstanding'). Finally.
he catches sight of the ieasehoider outside in the garden. But even at
the end of the tour he does not go to her. but rather walks slowly and
aimlessly back to the inn (ATE.70—74). Bloch's actions here and
throughout the entire novel are accidental. random. and disconnected: 'So
braucht Bloch sich nicht geradiinig und konsequent zu verhalten. sondern
Handke kann lhn als punktuell Erfahrenden darstellen....‘3]

Applied to the structure of the novel as a whole the illogicallty and
discontinuity result in a type of monotonous sequentiallty. There are a few
climactic moments. such as the murder (ATE.23) or the experience of the
jolt (ATE.78). but even these scenes are isolated and disconnected. leading
nowhere. Bloch does not take the bus to Southern Germany because he
has committed a murder. instead. Bloch commits a murder _an_d takes the
bus to Southern Germany. Handke’s protagonist does not undergo a
development. His condition in the first scene does not differ appreciably
from his state at the novel’s conclusion. Such lack of development and

32 and are consistent with

inconclusiveness ensure the novel its openness
the loss of context and orientation undergone by Bloch. Reader

uncertainty is created throughout the novel by means of a narrative

167
perspective which is located within a consciousness. for whom all
naturalness and matter-of—fact objectivity is questionable. The end of the
novel does not relieve the reader by imparting conclusions. but rather

leaves him in the insecure state of question.

C. Sudden Change in Die Stunde der wahren Emjifindung

 

Die Stunde der wahren Empfindung (1975) is thematically and
structurally based upon a concept of vacillation. or sudden change. The
protagonist is torn back and forth between contradictory extremes: normality
and strangeness. objectivity and subjectivity. dispassion and emotionality.
aggression and sympathy. These oppositions can be encompassed under
the conditions of fear and happiness. of disorientation and a yearning for
and even discovery of a new context. Such thematic oscillation is
reflected within a structure of juxtaposition. The novel is composed of
rapidly changing segments. ordered according to a principle of contrast.
However. underlying the abrupt and at times panicked seesawing movement
of the novel. a general direction becomes apparent as the protagonist
moves ever closer to a mystical state of reasonable happiness. where
alienation is overcome and the subject lives in harmony with the world of

objects and other people--at least until the next sudden change.

1. 'Auf einmal gehdrte er nicht mehr dazu“

Handke’s novel relates the story of a typical and common man.
Gregor Keuschnig.33 Austrian press attaché to France. who unexpectedly
falls out of his everyday and routine context. Suddenly and against his

will everything seems strange and alien to Keuschnig. Handke states of

168
his character:
Dann habe ich gedacht. das muB eln Mann sein. der ganz
gewbhnlich ist. der nicht wie ein Schriftsteiler. also wie ich.
davon lebt. daB er pibtzlich das Gefflhl hat. alles sel fremd.
anders. wideriich34sondern der das wider Willen. gegen selnen
Willen so erlebt.
This totally normal man dreams one night that he murders an old woman.
and this dream propels Gregor Keuschnig into the totally abnormal and
frightening experience of alienation: 'Auf einmal gehbrte er nicht mehr
dazu' (SE.8). Out of context. Keuschnig experiences alienation from
himself. the world of objects. and other people.

Alienation destroys the natural harmony between the protagonist and
his previous role: 'Was sich so vertraut erelgnen solite. vollflihrte er als
zeremonielle Vorgange. angstllch bedacht. nicht aus der Rolle zu fallen:
das—den-Korken-aus-der-Flasche-Ziehen. das-die-Servlette-auf-die-Knie-
Legen' (SE28). Keuschnig has lost the 'ungebrochene AuBerlichkeit'
(SE64) of someone who still agrees with the definition assigned to him
from an outside and objective system. Without a role he can take for
granted. Keuschnig is burdened with the weight of his own sense of self
as his sole point of reference. He perceives of himself 'als etwas zum
SCHREIEN Fremdes‘ (SE.99). as “something obscene and monstruous. like
a kind of cancerous growth."35 which bursts into his surroundings: 'lm
nachsten Moment war lhm. als piatzte er aus seiner Haut heraus. und eln
Fleisch— und Sehnenklumpen lage naB und schwer auf dem Tepplch'
(SE.13-14). No longer part of the context which encompasses everyone
else. Keuschnig stands superfluous and unprotected (SE.41). He alone is

the afflicted individual. and Keuschnig feels as if the rest of the world

points at him in horror: 'Aber auch wenn er mit noch jemandem gewesen

169
ware. mit vielen. hatte man bei elner Gegeniiberstellung sofort auf lhn
gezeigt: Das ist erl' (SE.64).36
Keuschnig longs to escape his exaggerated subjectivity by means of a
defined identity within a system which would provide him a preprogrammed.
objectively determined chain of actions and reactions: 'Bei lhnen [den
Poiizisten] war alles geprobt: und es konnte lhnen nichts mehr zustoBen.
well sie fiir alles schon von vornherein elne RElHENFOLGE hatten. Jede
Mdgiichkelt durchgespieit. fiir jede Eventualitat gesorgt' (SE.64). For the
policemen there are no unanswered questions. no need to even consider
their actions. Keuschnig yearns in vain for such an objective system:
ich brauche auch elne Reihenfolge. dachte Keuschnig. - Aber
fiir elne Reihenfolge brauchte er voraus eln System. - Aber
es gab fiir ihn keln System mehr. - Aber wozu brauchte er
dann elgentiich elne Reihenfolge? - Um zu vertuschen. daB er
keln System mehr hatte. - Mir fallt nur eln. was ich nicht
gebrauchen kann. dachte er (SE.65).

The essence of Keuschnig’s experience of alienation lies in the invalidation

of any encompassing system which could dictate a causal and automatic

pattern of behavior.

Keuschnlg's alienation not only affects his seit-perception but also
distorts his view of the world. On the one hand. objects. no longer within
a context. disintegrate into insignificant details. and on the other hand. in
the absence of objective meaning. they become subjective and arbitrary
signs: “...er [Keuschnig] erfahrt eln Chaos von Einzeiheiten. die alle
zeichenhaft und unbegreiflich auf ihn seiber hlnzuweisen scheinen.‘37
Handke’s protagonist proceeds through the streets of Paris with the
'fremden Biick" of alienation:

Er schaute nur noch zu Boden. Eln Pfirsichkern. gerade

weggeworfen. lag feucht auf dem Gehsteig. und bei diesem
Anbiick erlebte er auf einmal. daB Sommer war. und das

170

wurde jetzt seltsam wichtig. Ein gutes Omen. dachte er und

konnte langsamer gehen. Vielleicht gab es noch mehr

soicher Hinweise? Die Scheiben elnes Cafés. das den

Sommer liber geschiossen hatte. waren von innen angeweiBt .

. Eln Auto fuhr vorbei. auf seinem Dach eln Fahrrad.

dessen Speichen sich blinkend drehten (SE.41-42).
For Keuschnig the objects have lost their matter-of-factness and can no
longer be taken for granted. The outer world is a reflection of the inner
state of the observer. and Keuschnig accordingly interprets many objects.
especially ones in disorder. not as good omens but as portents of death:
'Der Wind warf elne Parkverbotstafel um. und wieder begann er die
Todeszelchen zu sehen“ (SE.65).

The experience of alienation also destroys the system of societal
conventions which normally control interpersonal relationships: "Bel der
Radikaiitat von Keuschnigs Zweifel an den Systemen. in denen er bisher
gelebt hat. mlissen auch die sozialen Werte zusammenbrechen."38 Both on
a familial and societal level. the values which normally guide one’s
behavior have been invalidated for Keuschnig. He suddenly and without
reason feels apathetic or even aggressive toward his wife Stefanie. At the
office Keuschnig makes love to a totally unfamiliar woman (SE.54-55).
Later that same evening he undresses in front of his dinner guests. an
Austrian writer and his girlfriend. smears his face with leftovers. pounces
on the girlfriend. and finally engages in a scuffle with the writer (SE.100).
Standardized rituals or monuments of solidarity elicit feelings of aggression
from Keuschnig. At the sight of a freshly cleaned and decorated memorial
tablet commemorating an Austrian born partlsan’s death at the hands of
the Nazis. Keuschnig thinks: ”Dieses Arschloch...‘ (SE.16). The brutality

and inhumanitya9 of Keuschnig’s actions are thematiclzed in the opening

quote of the novel: 'Sind Gewalt und Sinniosigkeit nicht zuletzt eln und

171
dasselbe? M. Horkheimer.‘

Handke’s protagonist Keuschnig finds himself in a situation where
neither his old system is intact. nor does there exist a new one as a
replacement. His previous mode of life has become impossible. and yet a
new form is unimaginable: 'Ab heute fu'hre ich also eln Doppelleben.
dachte er. Nein. gar keln Leben: weder das gewohnte noch eln neues...”
(SE.13). The invalidation of all systems leaves him in a void. where it is
impossible to conceive of a future or of alternatives. where it is impossible
to imagine anything at all: "Er versuchte sich vorzustelien. wie es nun
weitergehen soilte. Weil alles so ungiiitig geworden war. konnte er sich
auch nichts mehr vorstellen' (SE.9). Keuschnig’s situation is described
repeatedly as one of futility and hopelessness (SE.17:SE.36). which leaves
him in apathy (SE.121) and without feelings (SE.25:SE.116). He
experiences himself as the figure of a story concluded long ago: ”Auf
einmal erlebte er sich wie die Figur elner langst zu Ende erzahlten
Geschichte” (SE.116).

The two most common responses provoked through the experience of
alienation are fear and disgust. and they manifest the protagonists
neither/nor state. Keuschnig experiences disgust at the never-ending and
never-changing routines of life. and yet is afraid to relinquish his old
patterns and role. He remembers a question from his wife so typical and
banal that he is close to vomiting (SE.112). The most everyday actions
become grotesque and disgusting for Keuschnig because of their
inevitability (85.78-79). Disgust is aroused not because he has changed.
but because the change did not affect everyone (85.36-37): 'Brechreiz und

Ekel. die leitmotivisch Keuschnigs Erfahrungen mit seiner Umweit

172
beherrschen. rijhren aus jener verstimmenden Oberfiitterung mit dem ailzu
Bekannten...."40 At the same time Keuschnig fears the chaos which results
from the loss of his typical and predetermined existence. Fear or panic
and safety or security are repeatedly juxtaposed (SE.73: SE.14): 'Die
Reaktlonen auf diesen Verlust der Deutungssysteme der ailtaglichen
Lebensweit sind bei Handke Angst und Schrecken. denn dem Menschen

werden Schutz und Bestatigung entzogenf‘”

2. ”Herbeigezauberte Name"

The experience of alienation negates and destroys systems. it places
the individual in a vacuum of invalidity which denies and empties. Yet it
is also necessary for new feelings. new possibilities. and future expectation.
The loss of an objective and meaningful context which normally mediates
between subject and object places the disconnected Keuschnig in the
center of the world. And yet this extreme subjectivity has as its intent
and goal a rediscovery of the world and of others: ”Handkes Stunde der

wahren Empfindung ist das Protokoll elner Verelnzelung des ich. das in

 

dem Versprechen elner neuen Gemeinschaft gipfeit."“‘2 Thematic is “die
Suche nach einem noch nicht zum System geronnen Gilick."43
The dream which initiates Keuschnig’s experience of alienation serves
to shock the protagonist out of a life totally paralyzed in its routines. it
is a warning meant to awaken Keuschnig from clvlllzation’s slumber (SE.46)
to the world around him and to a new awareness of life:
Der Traum ist wahr gewesen.... Der Traum ist vielleicht mein
erstes Lebenszeichen seit langem gewesen. Er hat mich
warnen soilen. Er wollte mich umdrehen. wie jemanden. der
lange auf der falschen Seite gestanden hat. ich mdchte die

sehiafwandlerischen Sicherheiten itir den Wachzustand
vergessen (SE35).

173

Keuschnig. freed from his previous pattern of life. embarks upon an
adventure: 'Abenteueriich! Alles. was er tat. kam lhm an diesem Morgen
abenteuerllch vor' (SE.12). and approaches his world with curiosity: 'Er
straffte sich kurz vor Neugier' (85.15). The adventure undertaken by
Handke’s protagonist is one of rediscovery.

Within contemporary society it is difficult if not impossible to
personally experience one’s own existence. for instead of leading an
individual life. the subject merely memorizes a role. memorizes 'WlE MAN
LEBEN VORTAUSCHTE' (SE.50). The inability to participate in life is linked
to regulatory meanings. patterns. and systems. The alienated Keuschnig
rejects these meanings: 'Ausweichen. lhr Sinnreichenl' (SE.58). and empties
himself of artificial societal patterns of experience: 'Das AbstoBen als der
Widerwille vor all den Fremdbeatmungen: die international bewahrten
Erlebnisformen als bloBe Kurpfurschereil“ (SE.66). Keuschnig realizes that
the infrequency of personal experience is due to preconceptions and
predefinitions: “Vielleicht kommt es mlr deswegen so vor. als hatte ich.
jedenfalis bis zur letzten Nacht. seit langem kaum etwas erlebt. weii ich
mlr im voraus zurechtmachte. was eln Erlebnis lst' (SE.84). Handke’s
protagonist determines that for him an experience will be the water flowing
in the drainage channel (SE.84). This motif accompanies Keuschnig
throughout his adventure.

During the course of the first day Keuschnig undergoes a series of
fleeting experiences of his surroundings. These moments. initiated through
viewing the river Seine. the clouds. and a drugstore. are characterized by
a loss of self as Keuschnig becomes totally absorbed in the objects

around him. A context is established under which he perceives details.

174
but as part of the whole: 'ich mochte erreichen. diese seibstlosen und
doch ausgefiillten Momente. wo man nichts extra beobachtet. wo einem
aber auch nichts entgeht. langer auszuhaiten' (SE.58). These experiences
can be viewed as preparatory for those to come. However. they do not
last. and what is more. Keuschnig cannot recall the feelings undergone
during these brief scenes: "Er konnte zwar alles aufzahlen. sich aber an
nichts erinnern. Er hatte die Tatsachen behalten. aber nicht die Gefiihle'
(SE.60). He resolves to rediscover his feelings: 'ich muB alle Gefiihle neu
entdecken! dachte er' (SE.62).

Keuschnig's journey of rediscovery climaxes on the first day in a brief
moment of epiphany and happiness: 'Hier also geschieht das Wunder der
wiedergewonnenen Unmitteibarkeit. die zeitgendssische Pathologle wird
liberwunden. Handkes Protagonist fiJhlt sich in Harmonie mit sich seibst
und der Welt - er ist gliicklich."‘44 Keuschnig undergoes a mystical
experience upon noticing three objects lying at his feet in the sand.
These objects--a chestnut leaf. a piece of mirror. and a child’s barrette--
become magical as they form a union among themselves:

im Sand zu seinen FllBen erbiickte er drei Dinge: eln
Kastanienbiatt: ein Stiick von einem Taschensplegel: elne
Kinderzopfspange. Sie hatten schon die ganze Zelt so
dageiegen. doch auf einmal rlickten diese Gegenstande
zusammen zu Wunderdingen (SE.81).
Keuschnig. for whom standard perception models are no longer valid. is
able to directly and personally experience these three objects. which are
arranged accidentally and serve no function. in this moment the world
becomes discoverable: 'Wer sagt denn. daB die Welt schon entdeckt ist?"

(SE.81).

The discovery of the world occurs only in the absence of societYs

175
rigid patterns or systems of perception and meanings. The alienated
Keuschnig has rejected the systematlzed secrets of society used to safely
order. explain. and define the world. He discovers instead the idea of a
secret. which he shares with all other beings: 'ich habe an lhnen [den
Wunschdlngen] keln persdnliches Geheimnis fijr mich entdeckt. dachte. er.
sondern die lDEE elnes Geheimnisses. die fiir alle da ist!“ (SE.82). Fallen
from context. Keuschnig experiences the three magical objects. which have
also been stripped of their meaning within society. as entities for and by
themselves. The idea ('lDEE') which he discovers is an existential one.
for he has experienced the essence of simple existence. Moreover. this is
a secret which he can discover and share with all other beings. The
mystery of mutual existence creates an encompassing context and feeling
0f harmony between Keuschnig and the rest of the world:
Das Kastanienbiatt. die Spiegelscherbe und die Zopfspange
schienen noch enger zusammenzuriicken - und mit lhnen
rlickte auch das andere zusammen . . . bis es nichts anderes
mehr gab. Herbeigezauberte Nahel 'ich kann mich andern'.
sagte er laut. Er stampfte auf. aber es war keln Spuk. Er
schaute sich um. aber er sah kelnen Gegner mehr. Er
flihlte sich von neuem allmachtig. aber nicht machtlger als
lrgend jemand andrer (SE.82-83).

Keuschnig has overcome the experience of alienation in a brief
moment of happiness. He feels a helpless sympathy for the world and
welcomes this attachment as a reasonable feeling: 'Bei dem bestarkenden
Anbiick der drei wunderbaren Dinge im Sand erlebte er elne hilfiose
Zuneigung zu alien. aus der er sich aber auch nicht helfen iassen wollte.
well sle lhm jetzt als das Verniinftige erschien' (SE.82). This is the state
called by Handke “reasonable happiness” and discussed in the first section

of this chapter. it is that moment directly after the fear of alienation in

which the individual is open and attentive to the other forms of existence

176

in the world around him. it is the moment of rediscovery. The state of
happiness lasts only a few seconds. after which Keuschnig is again
plunged into his alienated and fearful condition. but this moment instills
hope within Keuschnig:

...in diesem Moment. an diesem Abend. elne. zwei Sekunden

lang. erlebt er das wie elne Besanftigung. wie elne

Beruhigung - so wie man im Marchen im Wald auf dem

Boden drei Wunderdinge sieht. und die helfen inem weiter -.

Einverstandnis. Zufriedenheit und Geheimnis..."4

The brief moments of happiness experienced by Keuschnig culminate
on the second day in an idyllic hour of true feeling. Keuschnig loses his
extreme subjectivity and becomes part of the world around him: "Er. der
nicht mehr zahlte. war in die anderen gefahren.... Er lebte noch irgendwie
- mit lhnen“ (SE.152). He has rediscovered an encompassing context which
not only melds details. but also provides him orientation: ‘Welt
auseinanderliegende Einzeiheiten...vibrlerten in einer Zusammengehdrigkeit...:
eln Gefiihl. daB man von jedem Punkt aus zu FuB nach Hause gehen
konnte” (SE.152). The lost balance between subject and object is re-
established. The objects have been freed of Keuschnlg’s subjective
interpretation and of systematic preformuiated meaning. to simply exist 'flir
sich": “...er [eln Schirm] war keln Hinweis auf etwas andres mehr. sondern
elne Sache ftir sich. fiir sich schbn oder haBlich. und haBlich und schbn
gemeinsam mit allem anderen' (SE.152). Keuschnig’s new sense of
orientation is founded in a shared feeling of existence.
Just as during the moment of true feeling previously. Keuschnig

allows the world to retain its secret. But the difference between then and

now lies in the duration of his feeling:

Dieser Zustand war kelne Laune. kelne Augenblicksstimmung
mehr. die gleich wieder aufhbrte. sondern elne. auch aus all

177

den fliichtigen Augenblicksstimmungenl. gewonnene

Oberzeugung. mit der man arbeiten konnte. Jetzt erschien

lhm die ldee. die lhm gekommen war beim Anbiick der drei

Dinge im Sand des Carré Marigny. anwendbar. indem lhm

die Welt geheimnlsvoll wurde. bffnete sle sich und konnte

zuriickerobert werden (SE.152).
Whereas the experiences of before were fleeting moods. Keuschnig here
wins a conviction with which he can work. thereby transforming happiness
into a more lasting state. Keuschnig can now actively use the idea
formed previously. it is his newly found task to rediscover a world made
inaccessible by means of the systems and explanations which eradicate its
strangeness and secrecy.46

The experiences of the previous two days have left Keuschnig not a

replacement system. but a more persistent yearning for the people and
objects around him:

Er brauchte elne Arbeit. deren Ergebnis verbindiich und

unverriickbar ware wie eln Gesetz! Er wollte keln System flir

sein Leben. dachte nur. daB es in Zukunft wenn kelne neuen

Gegenstande und neuen Menschen geben wiirde. so doch elne

bestandigere Sehnsucht (SE.161).
Armed with his newly won conviction and longing. a new set of clothes
(SE.159). and a new direction (SE.153:SE.159). Keuschnig sets to work
(“Arbeit”). Although his surroundings are the same as always. Keuschnig
experiences them now for the first time: “Obwohl er dasselbe sah wie
sonst. mit demselben Blickwinkel. war es doch fremdartig geworden. und
damit erlebbar' (SE.162). He feels like the hero of an adventure story.
out to conquer the world and thereby experience an unprecedented.
unknown. and matchless event:

Eroberungsiustig fing er hiigelab zu laufen an... (SE.162).

Er trat fest auf und reckte sich (SE.162).

Als er an elner Passage vorbeiging. dachte er: Hier kbnnte sle

178

passieren. die einmalige. noch nie erzahite Begebenheit!
(SE.163).

Bel dem Anbiick des von der Tageshitze noch welchen Pflasters
zu seinen FiiBen erlebte er sich plbtzlich als der Held elner
unbekannten Geschichte . . . (SE.166).

in the final scene of Handke’s novel Keuschnig realizes such premonitions

and expectations as he steps into the beginning of a new story (SE.167).

3. A Seesawing Rhythm

Handke’s novel is structured upon dynamic contrasts and contradiction.
Sudden and unexpected change determines the rhythm of the entire work
and provokes in the reader an uncertainty and instability similar to that
undergone by the protagonist.

Keuschnig’s reaction to his sudden disorientation is an unsuccessful
attempt to recreate his old system or to create a new system. This
results in several patterns especially prevalent in the first half of the novel.
The protagonist. threatened by the loss of a role he can take for granted.
seeks shelter within his previous habits. only to realize their invalidity: 'Er
verschrankte die Hande hinter dem Kopf. doch diese Gewohnheit stellte
nichts wieder her" (SE.9). The irreversible change undergone by
Keuschnig is expressed through numerous comparisons of his previous
('friiher") and normal ('gewbhnlich') condition to the present: 'Wenn
Keuschnig frliher etwas nicht aushlelt. legte er sich gethnlich irgendwo
abseits nieder und schlief eln. in dieser Nacht war as umgekehrt...‘
(SE.8). At other times Keuschnig attempts to counter his insecurity with a
new meaning or system. only to realize that it is artificial and invalid
(SE.65). lrene Wellershoff aptly describes Keuschnig's situation as a

'Klppmoment.‘ because he continually seesaws back and forth between a

179
normal and an alienated world:
Keuschnig schwankt nun bestandig zwischen seiner vertrauten
Routinewelt und der Erkenntnls. daB er alles neu sehen muB.
hin und her. Es ist elgentiich dieser Kippmoment. in dem er
sich dauernd befindet. denn nie gehbrt er der elnen oder der
anderen Sphare ganz an. Kurzzeitig kann lhm die Welt wieder
harmonisch und hell erscheinen. doch das erwelst sich ieich
als trligerisch und der Anbiick schlagt in Fremdhelt um.
Handke’s protagonist does not undergo an orderly progression from
initial alienation to refound orientation. Although the novel's general
direction points toward a state of happiness. Keuschnig’s pathway leads
'durch eln Labyrinth von sich widersprechenden Gefiihien.n48 Keuschnig is
torn back and forth between the contrasting emotional poles of fear and
happiness: “Seiten war er bis jetzt so heiter gewesen. noch nie so
hoffnungslos' (SE.36). One moment he is overcome with feelings of
sympathy and soHdarity for others. but in the next he refuses to help a
fellow passenger in the bus he takes home (SE.82-85). Many
commentators criticize Handke’s novel because of the protagonists cruelty
and unfounded vacillation of feelings.48 For Handke. the emotional
interchangeability of objects constitutes the radically new aspect of the
novel. He is not concerned with the question of solidarity. but with the
fact that the same object will elicit contradictory emotional responses in
the protagonist from one moment to the next: “Gerade dieses
Austauschbare. daB jeder Gegenstand in seinem emotionaien Wert plbtziich
austauschbar ist. das erscheint mlr als das wirkllch Neue und als das
Radikale an der Geschichte: daB eben nichts mehr gilt."50 Such
vacillation is symptomatic for Keuschnig’s loss of context and the

invalidation of all that was ordered. foreseeable. and systematic. For the

reader it serves to continually negate that which was just established.

180
thereby creating distrust and a feeling of precariousness.

The narrative perspective in Handke’s novel vacillates between
subjectivity and objectivity. For the most part the narrator is implanted
within the protagonist. so that the view of the world is as subjective.
distorted. and arbitrary as it appears to Keuschnig: 'Auch Peter Handke
verwendet die Methode der verkiirzten Perspektlve. um den entfremdeten
Menschen darzusteiien. Ganz nach dem Kafkaschen Muster sieht der Leser
alles ausschlieBllch mit den Augen der Hauptperson."51 The reader is not
presented a trustworthy picture of reality but rather a world as Keuschnig
experiences it in all his uncertainty. questioning. and sudden emotional
changes. The subjunctive is often utilized. further undermining the stability
and firmness of the world. At other times however. the subjective point of
view is interrupted by an objective narrator who suddenly stands at a
distance from his story and protagonist. At the end of the fourth chapter
this narrator steps back for a moment to over-see what is to come: 'So
begann der Tag. an dem seine Frau von lhm wegging. an dem lhm sein
Kind abhanden kam. an dem er zu leben aufhbren wollte und an dem
schlieollch doch elniges anders wurde" (SE.113). This heightens the
expectant and anticipatory tone which accompanies Keuschnig’s adventure
throughout the entire novel.

The work opens with distanced objectivity which imparts to the reader
a sense of security. The main character is introduced. his profession.
place of dwelling. and family situation: the frameworks of time and place
are established. Harmless details are given in a calm and flowing style.
The perspective becomes increasingly focused until it rests upon the

protagonist and his dream. And then suddenly Keuschnig loses orientation.

181
The security of the introduction is revealed as deceptive. Chapter Two
also begins with seemingly harmless objectivity: “Keuschnig arbeitete seit
einigen Tagen an elnem Bericht fijr das AuBenministerium mit dem Titei
’Das Osterreichbiid im franzosischen Fernsehen’. Untertitel: ’Osterreich. eln
Atelierfilm" (SE.49). However. the distance of the introduction is gradually
corroded. More and more Keuschnig’s own thoughts and questions creep
into the report:
Keuschnig wollte nun beweisen. daB die Personen dieser Filme.
dadurch. daB das Land nle mltspielte und nie eln Seltenblick
in elne Landschaft etwa die Geschichte wendete. ihre
Erlebnisse nur noch AUFZUSAGEN schienen (nachdem sle
diese im Vorzimmer vielleicht noch memoriert hatten) -
AUSWENDIG gelernte Umarmungen: AUSWENDIG gelernt. wie
zwei sich in die Augen schauten: AUSWENDIG gewuBt. wie
man die Lippen aufeinanderpreBte -. und dal3 die Filme seiber
(was wollte er elgentiich”. daB also dadurch. daB die
Personen dieser Filme . . . (auch er konnte also auswendig
Sdtze bilden?) . . . nicht wirkllch lebten (was hieB das?).
sondern . . . nur AUSWENDlG gelernt hatten. WiE MAN LEBEN
VORTAUSCHTE . . . (SE.49-50).
The capitalized words. parantheses. questions. fragmentation. and
incompletion all indicate subjective doubt. which intensifies to the point
where. suddenly. Keuschnig no longer knows what he wanted to prove.
Again the matter-of-fact objectivity evident in the opening lines is
destroyed and the reader finds himself plunged into Keuschnlg’s subjectivity.
The structure of Handke’s novel is determined by the subjective
consciousness of the protagonist. Because there no longer exists an
uninterrupted sense of being ('kontlnulerliches Lebensgefiihi') or context
('Zusammenhang') for Keuschnig.” the incidents he experiences are
subject to a principal of discontinuity: "...dle Zerstbrung des Zusammen-
hangs. dle totale Diskontlnuitat lst auch organisierendes Prinzip dieses

.53

Buches.... Keuschnig’s experiences are loosely strung together. one after

182
the other. each existing as a separate entity resulting neither in nor from
another experience. Accordingly. common transition elements. especially
between paragraphs. are expressions of time such as 'dann.‘ 'Nach einlger
Zeit' (SE.81). and 'in diesem Moment" (SE.103). At other times no
connection at all is made between individual segments:
Zu Mittag ging Keuschnig durch die Rue St. Dominique bis zum
Autobus 68. um wie iiblich auf den Montmartre zu elner
Freundin zu fahren. Eine Zeitlang foigte er durch
SeltenstraBen einem Madchen. auf dessen Hose hinten
CHICAGO CITY stand. Er wollte lhr Gesicht sehen. Darin
merkte er. daB er das Madchen vergessen hatte. im Autobus
freute er sich elnen Moment ganz unbandlg. als er merkte.
daB er allein war. Eln Schauder iiberlief ihn und erzeugte
eln auf niemanden gerichtetes Machtgefiihl. An der nachsten
Station schaute er auf. und schon waren einlge Hinterkdpfe
vor lhm (SE.24-25).
in the above quotation Keuschnig’s activities and feelings are related as they
occur. the sole relationship between the individual segments being that of
sequential time.

The loss of an explanatory system results in the negation of logical
causality. There are no reasons for the events of the story: 'An kelner
Stelle gibt es ein ‘Weli’.'54 No motivation behind Keuschnig’s differing
feelings is given: 'Der Umschwung zwischen Depression und Helterkelt.
Ohnmacht und Allmacht erfoigt pibtzlich und unmotlvlert - wie lm Traum."55
The progression from sentence to sentence. experience to experience. and
paragraph to paragraph is therefore not smooth and foreseeable. but
broken. shocking. and usually sudden. 'Auf elnmal' and 'plbtzlich' are two
of the most frequently found connecting elements in the entire novel.
Similar in function but more directly indicative of the contradiction between

the segments being linked are phrases such as 'und doch' or 'trotzdem.'

The narration does not logically flow from one event to the next. but

183

rather is constantly disrupted by the unexpected. The reader undergoes a
process of invalidation similar to Keuschnig’s as he is subjected to a
rhythm of constant and sudden change. in which his expectations and
efforts to organize the events of the novel into a comprehensible whole
are repeatedly thwarted.

Underlying the discontinuity and contradiction of Handke’s novel there
exists an undeniable development. which is. however. presented as a
possibility and a direction. not a conclusive endpoint: "Wer vom Titei das
Ende elner Entwlcklung erwartet. lrrt sich. falls ich mich nicht irre. Wie
ich diesen Dauerempfinder kenne. werden sich weiterhin die gegensatz-
lichsten Gefiihie in lhm ablbsen und die Erfahrungen dialektisch bleiben."56
in the final pages of the novel Keuschnig overcomes his disorientation and
regains his balance. but the balance is tentative. Just as these past two
days are marked with a movement back and forth between fear and
happiness. one can expect that Keuschnig’s future experiences will continue
to seesaw. The experiences of fear and happiness are dialectically and
inextricably linked in this work of Handke. Alienation is necessary for the
rediscovery of the world: extreme subjectivity leads to the recognition of

the mutuality of existence.

D. Orientation in Die Lehre der Sainte-Victolre

 

in his work entitled Die Lehre der Sainte-Victolre (1980) Handke

 

portrays the state of reasonable happiness. Alienation is overcome and
replaced by a feeling of security and contextual reorientation. The narrator
protagonist discovers a unity between himself as subject and the world as

object. a commonality which transcends time and individuation. The key to

184
the protagonists orientation and sense of security lies in his perception of
the world as pictures composed of only form and color. Aesthetic
perception allows the narrator protagonist to experience his world and
develop an openness for it. Art is. in addition. the means to
communicate this experience to others. The narrator observes the forms
and colors of nature. experiences these pictures. and attempts to translate
his experience into words and a form which can be visualized and
experienced by the reader.

The action of Handke’s novel consists of several walks around and on
the Mont Sainte-Victolre in the Provence of Southern France. Standing on
the road leading to the mountain. the narrator experiences a oneness and
a moment of eternity: 'Naturweit und Menschenwerk. elns durch das

andere. bereiteten mlr elnen Beseiigungsmoment. ...der Nunc stans genannt

 

worden ist: Augenblick der Ewlgkeit" (LS-v.9-10). This is the desired state
of harmony. orientation. a feeling of being at home: “Elnmal bin ich dann
in den Farben zu Hause gewesen“ (LS-v.9). The narrator returns to the
mountain later that year in order to find the form in which to
communicate his experience. He describes his moment of reasonable bliss
and gives it lasting quality by means of analogy. These analogous
moments. at times reaching back into his childhood. but more often
relating the remembered reaction at the sight of a painting. especially the
paintings of Cézanne. circle around the central experience of the Mont
Sainte-Victoire. Thus. through the mountain. the narrator learns of both the
moments of transcendence and of the form appropriate for their
communication.

The narrator has experienced moments of orientation and bliss

185
previously within dream—like pictures (LS-v.9). These pictures were.
however. threatening to the narrator. They were founded in the narrator’s
existential feeling of fear and terror. which. although continuing to direct
his literary production. no longer comprises his principal topic (LS-v.21).
The narrator reflects upon his previous manner of writing. whereby he
would dream himself into an object in order to comprehend its essence:
"Slch eintraumen in die Dinge’ war ja lange elne Maxime beim Schreiben
gewesen: sich die zu erfassenden Gegenstande derart vorstellen. als ob ich
sle im Traum sane. in der Oberzeugung. daB sle dort erst in ihrem Wesen
erscheinen' (LS-v.26). in this manner the objects of his world became
magical and provided him a place of safety and orientation ('Hain").
However. it was difficult to return to everyday life from this magical realm.
for its dream-like contours dissolved into 'ein gar nicht friedliches Nichts.
in das ich trelwillig nie mehr zuriick mdchte' (Ls—v.26).57
The difference between the magical pictures of before and the

reasonable ones the narrator is in the process of discovering is that there
is a distance between the narrator and an object in reasonable pictures
which does not exist in magical ones. The picture which inspired and
justifies the narrator’s present account expresses this distance: 'Es war
nicht in einem Traum. sondern an einem sonnenheilen Tag: auch keln
Vergehen vor slidlichen Zypressen. sondern ich hier. und mein Gegenstand
dort' (LS-v.27). The narrator reflects upon two different landscapes:

in einer Erzahlung. die ich eln halbes Jahrzehnt davor

geschrleben hatte. wblbte sich einmal elne Landschaft. obwohl

sle eben war. so nah an den Helden heran. daB sle ihn zu

verdrangen schien. Die ganz andere. konkav geweitete. vom

Druck entlastende und den Kbrper freidenkende Welt von 1974

steht jedoch lmmer noch vor mlr... (LS-v.24).

The earlier landscape is too close for the hero to perceive of either himself

186
or the objects of the landscape. in contrast. the latter allows both the
individual and the phenomena of the world to exist separately. and yet. as
expressed in the concavity of the landscape. connected and reflective of
each other.

The subject can realize his own individual right to exist only in
allowing his vls-a-vis its independent being: 'Nur auBen. bei den
Tagesfarben. _bi_r1 ich' (LS—v.26). The present moments of bliss and
orientation are marked with a new relationship between subject and world.
The objects still offer the protagonist a place of refuge. but he does not
disappear within them: 'Nicht etwa verschwunden oder aufgegangen in der
Landschaft kam ich mlr vor. sondern in deren Gegenstanden (den
Gegenstanden Cézannes) gut verborgen' (LS-V.68). The protagonist yearns
for a place of safe secrecy ("Verborgenheit").57 and during moments of
reasonable bliss feels part of a general context (”Nahe." 'Néhegeftihl.‘
'Zusammenhalt': LS-V.76-77). But at the same time these moments
intensify individual existential awareness. Whereas the convex landscapes
resulted in a state described as 'gelstesabwesend-fassungslos.' concavity
heightens the protagonists 'Daseinsfreude' (LS—v.24).

Cezanne. who at first painted terrifying and shocking pictures. turned
increasingly to the problem concerning the realization of the essence of an
object by means of form. A perfect form ensures peaceful and eternal
being:

Cézanne hat ja anfangs Schreckensbilder. wie die Versuchung
des Heillgen Antonius. gemalt. Aber mit der Zelt wurde sein
einziges Problem die Verwlrkiichung ('réaiisation") des reinen.
schuldlosen irdlschen: des Apfels. des Felsens. elnes
menschlichen Gesichts. Das Wirkiiche war dann die erreichte
Form: die nicht das Vergehen in den Wechselfallen der

Geschichte beklagt. sondern eln Sein lm Frieden welterglbt
(LS-v.21).

187

Cézanne’s later pictures. so close to this realization. celebrate the object
with colors and forms: “Es waren die Arbeiten seines letzten Jahrzehnts.
wo er dann so nah an dem erstrebten ‘Verwirkllchen’ seines jeweiligen
Gegenstands war. daB die Farben und Formen diesen schon feiern kdnnen'
(LS-v.35). in giving up the dream-like magical pictures connected to fear.
the narrator. similar to the development of Cézanne. attempts to realize the
essence of an object through its form.

Reality for the narrator protagonist does not consist of individual.
time-bound and therefore fleeting appearances of the phenomena. but rather
of form. which. through never-ending repetition. must be seen as an
eternal and powerful example: 'lch...weil3 mich verpfllchtet dem Reich der
Formen. als elner anderen Rechtsordnung. in der ’die wahren ldeen’. wie
der Philosoph gesagt hat. ’mlt ihren Gegenstanden tibereinstlmmen’. und
jede Form machtvoll ist als Beispiel...‘ (LS-V26). The narrator belongs to
a realm where the idea of an object. which encompasses all its various
actualizations. finds its appropriate form. This is the realm of exemplary
beauty (LS—v.80). free from the violent force of society/s "Zweckformen"
(LS-v.91). The patterns which the protagonist discovers within nature are
repeated again and again on his walks: 'lm Nachschauen wiederholte sich
an der Bergwand. mit den in den Felsrltzen wachsenden dunklen Blischen.
das Muster der Zikadenfiiigel' (LS-v.49).

The narrator pictures the beauty of nature by naming its colors:
"Denk nicht lmmer Himmelsvergielche bei der Schbnhelt - sondern sleh die
Erde. Sprich von der Erde. oder bloB von dem Fleck hier. New; lhn.
mit seinen Farben" (LS-v.71). This principle. exemplified in the following

extract. is applied throughout the novel: 'Da waren die Rlsse lm Felsen.

188
Da waren die Pinlen und saumten elnen Seltenweg: am Ende des Wags
groB das Schwarzweio elner Elster“ (LS-v.42). The narrator names the
objects of his surroundings without placing them in relationships or
assigning them functions. Stylistically this is achieved by means of the
omission of verbs and by the usage of "da waren“ (“there were“). or. in
other passages. of 'da" (“there“) alone: 'Als er [Cézanne] lm Louvre vor
Courbets Bildern stand. rief er immer wieder nur die Namen der Dinge
darauf aus: ’Da. die Meute. die Blutlache. der Baum. Da. die Handschuhe.
die Spitzen. die gebrochene Seide des Rocks" (LS-v.33). The effect of
the objects in and of themselves is so strong that Cézanne can merely
name them. The protagonist rejects the 'plbtzlich“ of the magical pictures
for the 'da“ of his reasonable and objective pictures (LS-v.23). When
naming the objects. the protagonist does so by means of their colors. in
the above passage the narrator does not see a magpie which is black and
white. but rather he sees the black-and-white of a magpie. The color
becomes the object and is therefore capitalized. a trademark of Handke’s
entire work:
Knapp fiber mlr. fast zum Angreifen. schwebte im Wind elne
Rabenkrahe. ich sah das wie ins lnbild elnes Vogels
gehbrende Gelb der an den Kdrper gezogenen Krailen: das
Goldbraun der von der Sonne schlmmernden Fliigei: das Blau
des Himmels. — Zu dritt ergab das die Bahnen elner weiten
luftigen Flache. die ich lm selben Augenblick als dreifarbige
Fahne empfand. Es war elne Fahne ohne Anspruch. eln Ding
rein aus Farben (LS-v.12).
Describing an object with color alone robs it of all pretensions
(“Anspruch") such as meaning. symbolism. or function. A picture of pure
form and color is silent and dark. imparting not a message. but a

subjective experience which can be shared by all participating imaginations

(LS—v.31). The narrator protagonist finds that the late pictures of Cezanne.

189
celebrations of color and form. are so completely silent. that they provoke
a communicative jump. whereby two onlookers--two sets of eyes--separated
by time. nevertheless unite in an artistic experience:
...das Schweigen der Bilder wirkte hier so volikommen. well die
Dunkelbahnen elner Konstruktion elnen Allgemein-Zug
verstarkten. zu dem ich (Wort des Dichters) 'hinliberdunkeln'
konnte: Erlebnis des Sprungs. mit dem zwei Augenpaare. in
der Zelt auseinander. auf elner Bildflache zusammenkamen
(LS-V.35-36).
The motifs of silence and darkness are found throughout the novel.
Aesthetic communication expressed through the metaphor 'das Augenpaar”
becomes the yearned for ideal with its promise of contextual unity and
belonging: 'Wohl also dem. den zu Hause eln Augenpaar erwartetl' (LS-
V.82): 'Zu Hause das Augenpaar?‘ (LS-v.139).

Through a darkness left undefined. through a silence which simply is.
the narrator experiences. in a moment of imagination. an existential
mutuality which unites all forms of being: ”...der Augenblick der Phantasle
[vereinte]...nicht bioB die eigenen Lebensbruchstlicke in Unschuid. sondern
erdffnete mlr auch neu melne Verwandschaft mit anderen. unbekannten
Leben. und wirkte so als unbestimmte Liebe...” (LS-v.72). Unspecified love
becomes an 'erleichternder. erheiternder. verwegener Sollensmoment des
Schreibens' (LS-v.73). The love felt by the narrator needs to find
aesthetic expression. it needs to be communicated 'in einer treuestlftenden
Form!....als berechtigten Vorschlag. fiir den Zusammenhalt meines nie
bestimmbaren. verborgenen Volkes. als unsere gemeinsame Daselnsform"
(LS-v.72-73). The 'Verwandlung" undergone by the narrator protagonist

during moments of reasonable bliss is his transformation into 'der

Schriftsteiler“ (LS-v.72).

 

The quest the narrator—writer undertakes upon his return later that

190

year to the Mont Sainte-Victoire has as its goal the “treustiftende Form" in
which to communicate his experience: 'Aber was war das Gesetz meines
Gegenstands - seine selbstverstandiiche. verbindiiche Form?” (LS-v.98-99).
The narrator is guided by two maxims on his search for form: unity and
creative imagination:

Und so kam wieder die Lust auf das Eine ln Allem. ich wuBte

ja: Der Zusammenhang lst mbgiich. Jeder einzelne Augenblick

meines Lebens geht mit jedem anderen zusammen - ohne

Hilfsglieder. Es existiert elne unmitteibare Verbindung: ich

muB sle nur freiphantasieren (LS-v.100).
The problem confronting the narrator-writer is that of connection: how does
one intertwlne the many single moments of life into a whole? His friend
D. formulates the contradiction: "Der Obergang muB filr mich klar trennend
Eng lneinander sein" (LS-v.119). The solution to this problem is
experienced--is creatively lmagined--upon observing the site of a fracture
on the Mont Sainte-Victoire. This rupture. which shows two different types
of stone lying side by side as part of the same slope. provides the form
for the protagonists experiences.

The form found for the structure of the novel is based on analogies
arranged as dictated by the creative imagination of the protagonist: 'Sie
[die Analoglen] waren. Gegenteil von dem taglichen Durchelnander im Kopf.
nach heiBen Erschiitterungen die goldenen Friichte der Phantasle. standen
da als die wahren Vergleiche. und bildeten so erst. nach dem Wort des
Dichters. 'des Werkes weithin strahlende Stirn" (LS-v.100). The narrators
description of reasonable happiness is comprised of the many previous
fleeting instances of it. each distinctive in time and place. and yet similar

in feeling. Reflecting upon places and objects of refuge the narrator asks:

'Solite es nicht seit je so sein. und gab es nicht schon in der Klndheit

191
etwas. das for mich. wie spater L'Estaque der %. das _Dl_ng der
Verborgenheit war?“ (LS-v.68). Above all. the forms and colors of the
mountain reoccur in never-ending analogies: 'Dafiir kehrt der Berg aber in
der Analogie von Farben und Formen fast alltagllch wieder“ (LS-v.85).
The two verbs 'weitergeben' and 'bewirken' occur repeatedly within

Handke’s iext.59

The narrator protagonist desires to communicate
('weitergeben') his experience of harmony to the reader in such a manner
as to provoke (‘bewlrken") within this reader a similar experience. The
difference between the narrators experience of the essence of being during
the time of his magical pictures and his present experiences of that
essence lies in his present communicative intent (LS-v.26). Communication
is the societal link which was lacking in his dream-like experiences. To
provoke in the reader the narrators experience of orientation it is
necessary to engage the readers imagination. not his reason (LS-v.99). for
contextual unity can be told. but not explained: 'Ein Zusammenhang ist da.
nicht erklarbar. doch zu erzahlen' (LS-v.69. The forms and colors used
by the narrator to describe nature impart to the reader a picture. not an
explanation. of an object which must be imagined. not comprehended.
integration of single incidents or objects into a context is achieved by
means of analogies. The calmness and flowing complexity of style and the
repetition of motifs and experiences. which by means of their

intertwinement become vague. mystical. and fluid. all contribute to the

readei’s feeling of safety and contextual refuge.

192

Conclusion

This chapter has discussed the concepts of fear and happiness.
alienation and reorientation in the works of Peter Handke. who is
considered by many critics to be the most extreme representative of New
Subjectivity. The preceding analysis possessed a twofold intent: to
evidence correlations between Handke's portrayal of alienation and that of
other New Subjectivists. and to trace a development within Handke's works
themselves away from fear toward happiness. The first work investigated
here. Die Angst des Tormanns beim Elfmeter. proved to be most similar to
other new subjective works in both themes and forms. The protagonist
suffers under the loss of context and proceeds throughout his world with
the subjective ‘fremden Blick" of alienation. The most significant difference
between Bloch and the new subjective heros to come is the extremity of
the formers condition. manifest in the disintegration of all communication
systems and in the absence of hope or acknowledgement of alienation’s
positive potential as was seen in later new subjective works. Handke's gig
Stunde der wahren Empfindm also portrays an alienated individual and
accordingly evidences parallels to both his previous novel and other new
subjective works. But Keuschnig. in contrast to Bloch. undergoes moments
of true feeling in which alienation is overcome in expectation of a new
life. in this novel. Handke attempts to portray the realization of alienation’s
freeing function. which other New Subjectivists present in its potentiality

only. The most recent novel by Handke examined here. Die Lehre der

 

Saint—Vlctoire. portrays the attainment of reorientation through aesthetic

 

communication. The moments of happiness are no longer subject to the

sudden change of before. and subjective alienation is overcome within a

193

feeling of contextual belonging and existential mutuality.

Notes—-Chapter Five

1Die Angst des Tormanns beim Elfmeter (Frankfurt am Main:
Suhrkamp. 1970). Die Stunde der wahren Empfindtm (Frankfurt am Main:
Suhrkamp. 1975). Die Lehre der Sainte-Victoire (Frankfurt am Main:
Suhrkamp. 1980). Hereafter cited in the text with (ATE). (SE). and (LS-V)
respectively.

 

 

 

2Thls essay is in a collection of early theoretical essays of the same
title: ich bin eln Bewohner des Eifenbeinturms (Frankfurt am Main:
Suhrkamp. 1972). pp. 19—28. Hereafter all essays of this collection will be
cited in the text with (BE) and page number only.

3Manfreo Mixner. Peter Handke (Kronberg: Athenaum. 1977). p. 167.

 

4Manfred Durzak. Gesprache fiber den Roman mit Joseph Breltbach.
Elias Canettl. Heinrich Bdll. Siegfried Lenz. Hermann Lenz. Wolfgang
Hildesheimer. Peter Handke. Hans Erich Nossack. Uwe Johnson. Walter
HOIlerer: Formbestimmungen und Analysen (Frankfurt: Suhrkamp. 1976). p.
320.

 

5Heinz Ludwig Arnold. "Nicht Literatur machen. sondern als
Schriftsteiler ieben’: Gesprach mit Peter Handke.“ in Als Schriftsteiler leben:
Gesprache mit Peter Handke. Franz Xaver Kroetz. Gerhard Zwerenz. Walter
Jens. Peter Rilhmkorf. Giinter Grass (Reinbek: Rowohit. 1979). p. 17.

 

 

 

6Arnold. p. 17.

7lrene Wellershoff. innen und AuBen: Wahrnehmung und Vorstellung
bei Alain Robbe-Grillet und Peter Handke (Mfinchen: Wilhelm Fink Veriag.
1980). p. 7.

 

 

8Quoted according to Rolf Michaelis. “Ohrfeigen flir das Lieblingskind:
Peter Handke und seine Kritiker. Eine Beispielsammlung.‘ Text + Kritik.
24/24a (1976). ed. Heinz Ludwig Arnold. 83. Original quote in Merkur 318.
p. 225.

 

9Ulrich Greiner. Der Tod des Nachsommers. Aufsatze. Portrats. Kritiken
zur dsterrelchlschen Gegenwartsliteratur (Mfinchen: Cari Hanser Veriag.
1979). pp. 94—95.

 

1(’iiiiicnaeiis offers a review of Handke criticism and a brief outline of
its development in his article.

“Peter Plitz. “Peter Handke.“ in Deutsche Dichter der Gegenwart. lhr
Leben und Werk. ed. Benno von Wlese (Berlin: E. Schmidt. 1973). p. 668.

 

1ZQuoted according to Hellmuth Karasek. ‘Das Abenteuer. eln anderer
zu werden: Peter Handkes ’Kurzer Brief zum langen Abschied." Die Zeit. 31
March 1972. p. UT 1. Original quote from Handke’s Der kurze Brief zum

194

195

langen Abschied.

13Ernst Nef. 'Peter Handkes neue Schriften und seine Entwlcklung.‘
Universitas. 31 (1976). 1241.

MPeter Handke. Als das Wiinschen noch geholfen hat (Frankfurt am
Main: Suhrkamp. 1974). p. 76. Hereafter cited in the text with (W0) and
page number only.

15Michael Hays. 'Peter Handke and the End of the ’Modern." Modern
Drama. 23 (1981). 349.

16Handke is quoted according to Rolf Michaelis. 'Die Katze vor dem
Splegei: Oder: Peter Handkes Traum von der ’anderen Zelt." Theater heute.
14. No. 12 (1973). 5.

17Thomas F. Barry. "Sehnsucht nach elnem Bezugssystem’: The
Existential Aesthetlcism of Peter Handke’s Recent Fiction.” Handke Session.
MLA Convention. New York. December 1981. p. 2.

18Durzak. p. 334.

19Handke is quoted here according to Michaelis. 'Die Katze.“ 5.
”Arnold. 'Gespréich.‘ p. 26.

2”Durzak. p. 333.

”Christian Linder. 'Die Ausbeutung des BewuBtselns: Gesprach mit
Peter Handke.‘ in Schreiben und Leben: Gesprache mit Jilrgen Becker.
Peter Handke. Walter Kempowski. Wolfgang Koeppen. Glinter Wallraff. Dieter
Wellershoff (Kbln: Kiepenheuer & Witsch. 1974). p. 34.

23Bruno Hillebrand. 'Auf der Suche nach der veriorenen identitat.
Peter Handke - 'Der kurze Brief zum langen Abschied." in Der deutsche
Roman lm 20. Jahrhundert: AnalLsen und Materialien zur Theorie und
Soziologie des Romans. ed. Manfred Brauneck (Bamberg: Buchner. 1976).
ii. 106.

 

“Durzak. pp. 346—47.

25Karlhelnz Rossbacher. 'Detail und Geschichte.” in Erzahltechniken in
der modernen Osterreichlschen Literatur. ed. Alfred Doppler and Friedbert
Aspetsberger (Wien: Osterreichischer Bundesverlag. 1976). p. 93.

26Weliershoff. p. 42.
27366 for example pp. 35. 36. and 96.

28Peter Handke. 'Die Angst des Tormanns beim Elfmeter.‘ Text +
Kritik. 24 (1969). ed. Heinz Ludwig Arnold. 3.

196

29J. J. White. ”Signs of Disturbance: The Semloiogical import of Some
Recent Fiction by Michael Tournier and Peter Handke.” Journal of European
Studies. 4. No. 3 (1974). 244.

 

30Weiiershoif. p. 47.

31Heinz Ludwig Arnold. ”Reine Kilnstlichkeit: Peter Handkes Roman ’Die
Angst des Tormanns beim Elfmeter." in Brauchen wir noch die Literatur?
Zur literarischen Situation in der Bundesrepubilk (Dilsseldorf: Bertelsmann
Universitatsverlag. 1972). p. 189.

32lrene Wellershoff discusses differing opinions concerning the ending
of Handke’s novel and concludes: ”Beim Tormann’ hat Handke es aber
noch in der Schwebe gelassen. ob Bloch wirkllch auf dem Weg der
Hellung lst.” p. 69.

33The name is reminiscent of several Kafka figures. above all Gregor
Samsa in Die Verwandlm. whose experience of deforming alienation is
also similar to Gregor Keuschnig's. Numerous parallels have been drawn
between Handke and other authors. particularly Kafka and Sartre (l_._a_
Nausée). See for example: Michael Wood. ”Play it Again. Franz.” The New
York Review of Books. 23 June 1977. pp. 22-24. and Wolfgang Kraus.
”Laudatlo auf Peter Handke: Zur Verleihung des Kafka-Praises 10. Oktober
1979.” Literatur und Kritik. 14 (1979). 577-78.

 

34Arnold. ”Gesprach.” p. 21.

35Barry. p. 2.

36Compare this feeling to Handke’s description of fear in ”Eine
Zwischenbemerkung liber die Angst”: ”...das Gefiihl. daB jetzt ich gemelnt
bin...” (Wti.101).

37William H. Rey. ”Peter Handke - oder die Auferstehung der
Tradition.” Literatur und Kritik. 12 (1977). 396.

 

38Wellershoff. p. 33.

39Handke himself admits to an intentional ”lnhumanen Akzent” in his
interview with Heinz Ludwig Arnold. ”Gespréch.‘ P. 33. Handke has been
harshly criticized for his portrayal of other people and societal solidarity.
Peter Schneider. for example. accuses Keuschnig of perceiving other
people. especially women. with a ”bdsen Blick”: ”Angst aus dem
Zettelkasten: Peter Handkes Roman 'Die Stunde der wahren Empfindung.“
Frankfurter Rundschau. 28 June 1975. Sec. Zelt und Bild. p. 4. Martin
Roda Becher complains that Handke’s protagonist reacts ”mit brutaler
Begrlffsstutzlgkeit” to anything or anyone who approaches too closely: ”Peter
Handke - eln Euphorion? Zu selnen letzten Biichern.” Merkur. 30 (1976).
197.

 

4OBeChen 196.

197
41Wellershoff. p. 37.

42Manfred Jurgensen. ”’Die zustandig gewordene Poesie’? Peter
Handke: Die Stunde der wahren Empfindung.” in Erzahiformen des
fiktionalen ich: Beltrage zum deutschen Gegenwartsroman (Bern: Francke.
1980). p. 9.

 

43Peter Piitz. ”Peter Handke.” in Kritisches Lexikon zur
deutschsprachigen Gegenwartsliteratur. ed. Heinz Ludwig Arnold (Mfinchen:
edition text + kritik. 1978). p. 5.

44Fiey. 397.
45Arnold. ”Gesprach.” p. 24.

46Handke complains that this task (“Arbeit”) is too often overlooked by
critics. See Arnold. ”Gesprach.” p. 26.

47Wellershoff. p. 32.

48Ji.irgen Sang. Fiktion und Aufklarung: Werkskizzen zu Andersch.
Bernhard. Bdll. Flchte. Frisch. Frdhlich. Grass. Handke. Hartling. Johnson.
Lenz. Loetscher. Nossack. Roth. Waiser. Wellershoff. Wohmann. Zwerenz
(Bern: Peter Lang. 1980). p. 58.

49Peter Schneider derogatorily calls Keuschnig’s feelings ”Launen.”
Jean Améry criticizes the accidental and arbitrary nature of Keuschnig’s
feelings in his review: ”Grundloser Ekel: Marginales zu Peter Handkes
neuem Buch ’Die Stunde der wahren Empfindung.“ Merkur. 29 (1975).
Handke states of Amery/s review: ”Gerade das. was mir an dem Buch als
wahr erscheint. erschien lhm [Améry] als zufallig": Arnold. ”Gesprach.” p.
23.

50Arnoid. 'Gesprélch.” pp. 22-23.

51Gunther Pakendorf. ”Empfindungen elnes entfremdeten individuums.
Zu Peter Handkes Geschichte des Gregor Keuschnig.” in Handke. Ansatze -
Analysen - Anmerkungen. ed. Manfred Jurgensen (Bern: Francke. 1979). p.
136.

 

52Arnold. ”Gesprach.” p. 23.

53Gustav ZUrcher. ”Leben mit Poesie.” Text + Kritik. 24/24a (1976).
ed. Heinz Ludwig Arnold. 52.

 

54Améry. 469.

55Michael Buselmeier. ”’Das Paradles lst verriegelt." Text + Kritik.
24/24a (1976). ed. Heinz Ludwig Arnold. 58.

 

56Gabriele Wohmann. ”Lebenszeichen - Todeszelchen : Peter Handkes
neue Erzahlung ’Die Stunde der wahren Empfindung.“ Die Wait. 20 March

198
1975. Sec. Welt des Buches. p. 1.

57it is a simple matter to draw correlations between the narrator’s
comments and Handke’s own works. The significance of dreams and the
”als-ob” perspective are common to many of his earlier works. including %
Angst des Tormanns beim Elfmeter and Die Stunde der wahren
Empfindung. Magical objects. l.e. everyday things made special by means
of the ”fremden Blick” are also typical. For the narrator’s reference to the
experience of swaying cypress trees. see Der kurze Brief zum lang_e_r_i
Abschied. p. 95. For the landscape which closes in upon the subject. see
Die Aqut des Tormanns beim Elfmeter. p. 47. and the poem ”Leben ohne
Poesie.” p. 16 in Als das lenschen noch geholfen hat. The stylistic
element ”pldtzllch” was discussed earlier in this chapter as typical for _Di_e
Stunde der wahren Empfindung.

 

58The feeling of ”Verborgenheit” is acquired through reading the
quiet. patient. and calm descriptive pictures in Hermann Lenz’ works. See
Handke’s essay about this writer entitled ”Jemand anderer: Hermann Lenz”
and contained in his collection of pieces Als das lenschen noch geholfen
fit. See especially pp. 84 and 99. The ability of Lenz to quiet fear and
provoke feelings of naturalness and happiness through his works
undoubtedly played a significant role in Handke’s decision to dedicate _Di_e
Lehre der Sainte-Vlctoire to this author: ”fiir Hermann Lenz und Hanne
Lenz. zum Dank flir den Januar 1979.”

 

593ee pp. 21. 24. 26. and 99 for example.

Chapter Six--The Love Stories of Botho StrauB

Introduction
As a literary critic. as a dramatic advisor for the ”Berliner
Schaubiihne.” and above all as an increasingly important and well-known
author of drama. prose. and even poetry. Botho StrauB is most noted for
his sensitivity and for the portrayal of personal feelings. On the basis of
his adaptations of dramatic pieces in Berlin during the early seventies
StrauB is credited with the sensitization of a theater devoted too exclusively
to objective and rational political enlightenment:
StrauB hat zu Beginn der siebziger Jahre als erster auf der
Blihne etwas von dem ahnen lassen. was man spater ”neue
Sensibilitat” genannt hat: das Eindringen von Gerhien ins
p0iitische Agitations- und Belehrungstheater der sechzlger
Jahre. Als Dramaturg an der mit so viel polltlschem Elan
gestarteten Berliner Schaublihne hat er vor allem mit seinen
Bearbeitungen ”Kleists Traum vom Prinzen Homburg”. 1972.
und der ”Sommergaste” von Gorkl. Dezember 1974.- dieses
”neue” Geflihi in Stljcken der Vergangenheit aufgesplirt und in
der Gegenwart heimisch gemacht.

The first dramatic work written by StrauB himself. Die Hypochonder in 1972.

 

served in its extreme subjectivity as the breakthrough to a theater
concerned with the individual’s inner emotional and psychic world? Straui3’
later dramatic pieces unfold and explore the many possibilities of what in
the meantime had earned the label of New Subjectivity: ”Dennoch kommt
as im Drama erst wahrend der siebziger Jahre zur Entfaltung dessen. was
wir Neue Subjektivitat nennen.... Und nirgendwo sind ihre Mdgllchkeiten in
soicher Vielfalt und mit soicher Subtiiitat realisiert wie in den Stiicken von
Botho StrauB.”3

StrauB. in an essay of 1970 entitled ”Versuch. asthetische und
p0iitische Ereignlsse zusammenzudenken.” discusses two ideas. one

199

200
concerning theme and the other form. which characterize his literary
production and also comprise his subjectivity. StrauB understands craziness
('das lrresein') as a typical metaphor to express the state of the individual
within todaYs society:
Zur Zelt ist das lrresein. so scheint es. elne ganz gewdhnliche
Metapher fiir das Befinden des individuums iiberhaupt. filr die
internierten Krafte seiner Fantasia. lnmltten einer Gesellschaft.
welche nur zur Ralson zu bringen versteht. welche im Namen
der Vernunft elne perverse Unterdriickungsherrschaft ausiibt.4
StrauB’ concept of craziness is very similar to that of alienation. The
individual finds himself alone and deprived of a societal context. He has
lost contact with an objectivity existing outside of himself. This leads to a
focusing of attention solely upon the afflicted self. The figures of StrauB’
literature. suffering from the loss of societal integration. are obsessed with
self-observation ("Selbstbeobachtung").5 His characters are involved in the
new subjective confrontation of the self with self. The lndividual’s alienated
state is for StrauB most succinctly and intensely expressed in human
abandonment and separation:
im Verlassensein findet StrauB die ffir lhn charakteristische
Metapher fi.ir den Zustand des individuums in der heutlgen
Zelt. Ob es sich um die Zurlickgelassenen in den beiden
Erzahiungen oder ob es sich um die ’Paare’ in den friihen
Stilcken handelt - sle alle empfinden das gleiche: sle haben
den Zusammenhang verioren. sind ”aus der Zelt gefallen” und
standig bedroht. zur ”Beute von wilden Empfindungen und
Redensarten” zu werden.
it is important to note that the state of alienation is for StrauB not an
exception. but rather typical of the individual within today/s society in
general. Herein lies the politically critical consequence of his literature.
irrationality. or ”craziness.” serves as the last preserve of the individual

within the face of rational society. StrauB contrasts the internal drives.

dreams. and imagination of his characters to the oppressive reasonableness

201

of society. He portrays the alienated individual. deprived of societal
contact and left to his own feelings and thoughts. This portrayal
possesses. as was true of other New Subjectivists. a positive and socially
relevant potential. StrauB’ characters send out an unmistakable cry for a
humanity so sadly lacking in today/s functionaiized and rationalized society.
individual subjectivity undermines the order of an oppressiveiy objective
society.

The formal idea expressed in the early essay quoted above is that of
ambiguity. StrauB agrees with the words of Manfred Bierwisch:

. Man muB sich zuerst klarmachen. daB es im Grunde in
den meisten Fallen bei interessanten Stilcken ’die’ Fabel gar
nicht gibt. sondern daB das. was an Szenen und Situationen
aneinandergerelht ist. oft elne ganze Serie von Fabein
darsteilen kann. Nun ist die Frage. ob man Mittel
entwickein kann. in denen die Doppeideutigkeit oder die
mehrfache lnterpretatlonsmdgiichkeit elnes Zusammenhangs
aktualisiert werden kann.... Es scheint mlr wichtig. daB man
nicht zwei oder drei Versionen hintereinander spielt. sondern
zeigt: in einem und demselben Strukturzusammenhang stecken
mehrere Mdglichkeiten."7

A work is not structured upon one linearly developed storyline. but upon a
multitude of disconnected threads ("’Spuren’“).8 or upon fragments
(”Bruchstficke von Handlungszusammenhangen”).9 The form of StrauB‘

10 or

works can be compared to the irrationality and disruption of dreams.
to the leaping and hallucinatory discontinuity of a fever. As such it
reflects and expresses the alienated state of the protagonist:
'Entfremdung...wird so nicht beschreibend oder analyslerend dargestelit.
sondern in der Bewegung innerhalb der Texte. die den Angsten.
Haliuzinationen und Obsessionen der Figuren foigt. konkret vorgefiihrt."H
in this chapter three of StrauB’ prose pieces will be examined. namely

Marlenes Schwester. Die Widmung. and Fiumor.12 They are all stories of

 

 

202
a love which has been or is being retracted. thereby exposing the

protagonist to the new subjective experience of alienation.

A. Separation as Alienation in Marlenes Schwester

 

Botho StrauB’ short piece entitled Marlenes Schwester (1975) recounts

 

the story of the love between and separation of two inseparable sisters.
Mariene’s decision to divorce herself from her sister deprives Mariene’s
sister of all meaning and context for her life. thereby plunging her into an
alienated state of isolation and dissolution very similar to other new
subjective protagonists. in the absence of a societal link. Mariene’s sister
sinks into her own personal world of feelings. This world is critically
contrasted to the rationality of society. The form of StrauB’ piece reflects
the confusion and dream-like or even delirious condition of the protagonist.
it best expresses the experience of disorientation and. in addition.
evidences many of the trademarks noted for other new subjective works.
The character of the relationship between Marlene’s sister and
Marlene is manifested in the fact that the narrator protagonist refers to
herself throughout the work only as Mariene's sister and never with her
own name. The narrator protagonist is totally dependent upon her sister
Marlene for her sense of self and identity: “lch?‘ - sle fuhr zusammen und
erwachte . . . ich bin Marlenes Schwester' (MS.14). Even just before their
separation the two sisters embody one final picture of inseparabieness
(MS.'lS). The attachment of the two is founded upon their relationship as
sisters. which. because it is a blood tie. is permanent and lifelong: 'Elne
Schwester verliert man doch nicht. wie elnen Mann. wie elnen Keri. aus

dem Lebén. Eine Schwester ist eine angeborene Lebensgefahrtin. Deine

203
Eltern haben dir ein Schwesterlein geschenkt“ (MS.17). Marlene constitutes
the meaning of life itself for her sister: 'Ach. sagte ich [Marlenes
Schwester] schwach und bequem. es geniJgt ja. wenn du [Marlene] der
Sinn alles Unverstandlichen bist' (MS.19).

The separation from Marlene destroys the narrator protagonists reason
for existence itself and abandons her to meaninglessness. She feels as if
she is acting out her life before the eyes of the dead: 'ich lebe flir elne
Abwesende. Mein Gedachtnistheater gibt elne Vorsteliung fiir eine
abwesende Zuschauerin. ich ziere mich. so ailein ich auch bin. Es ist.
als ftihre man diese ganze affige Existenz vor den Augen der Toten auf'
(M319). Even her repeated attempts to kill herself are meaningful only in
reference to Marlene. so that her suicide becomes senseless when she
has a brief foreboding of Mariene’s death: 'Sie [Marlenes Schwester] geriet
in eine alles umstilrzende Konfusion: wie sinnios were dann. wie komisch
umsonst ihr eigener Tod. wie grundfalsch alles. was sle jetzt noch erwog
und empfand” (MS.36). The separation from her beloved sister plunges
the narrator protagonist into a state of alienation. She is no longer firmly
rooted within society and is susceptible to the same type of vertigo or
imbalance as was noted for other new subjective characters (MS.i7). The
withdrawal of Marlene means at the same time a withdrawal of existential
Orientation.

The experience undergone by Mariene’s sister upon the departure of
her sister consists of increasing isolation and the gradual disintegration of
her social identity. Immediately after the interruption of the sisters’
summer vacation together. the narrator protagonist travels to the apartment

of a common friend where she seeks quiet refuge and shelter (MSJB).

204

From here she retreats to a commune in the countryside close to
Aschaffenburg. where contact with the outside is totally broken. She wants
neither to work nor to meet the other members of the community and.
relinquishing what remains of her money. pleads only to be left in peace
to die (M825). The narrator protagonist. alone. without a home. or a job.
or money. and desiring to see no one and nothing. has surrendered all
those things which establish the contours of individual identity within its
social context:

Die Liebe zu Marlene -. vielleicht der letzte geselischaftliche

Ort. den ich passiert habe. sehr entlegen schon. wenn man

zuriickbiickt auf die breite Stadt. in der ich mich ausdehnte.

in unvordenklicher Zelt. der Beruf und der Geldumsatz. die

StraBen und die Besuche. die Abwechsiung und die

Wiederkehr -: sehr entlegen schon. aber immer noch ein Ort

der Sprache. der Verstandigungs- und Gefiihlsarbeit. Und

jetzt? ich habe den thenweg gefunden. auf dem melne

Spur sich veriiert (MSJB).
The love of Marlene was the protagonists last societal connection. and in
the wake of separation. all trace of her social being threatens to simply
disappear.

Divorced from the outside world. Mariene’s sister steps into her own

inner consciousness. She loses herself within the 'Einbildungen.

Wahnideen. Wachtralume"13

of her own mind. within her thoughts.
memories. and feelings. The narrator protagonist retreats into the world of
her own personal memories. No longer participating in the life around
her. she relives jumbled segments of her past. especially her past with
Marlene. in the opening pages of the story the protagonist returns again
and again to an outing at the sea with her sister. She also relives the

more recent pain and suffering undergone during their quarrel and

Mariene’s decision to break off future contact. 80 absolute is the

205

protagonists isolation. so close is her dissolution to its endpoint of death.
that all which remains of warmth. life. and feelings huddies within these
thoughts and memories. Her body is described as an lcecoid corpse. and
her terrified scream within sounds apathetic when uttered aloud (MS.35).
The narrator protagonist turns from the outer phenomena to focus in upon
her own self. An objective or neutral reality has been replaced by her
fears. hallucinations. and dreams. by her irrational. at times close to
delirious. and threatened inner mind. On one of Marlene’s sister’s last
walks outside of her own room all of nature menaces her in oppressive
closeness and overabundance:

Die Natur fiei ihr zur Last. sie ertrug sle nicht. sle wurde

bedrangend wie elne Oberfiilie von Menschen. Diese

Baummenschen. dachte sle. diese unzahiigen Grasmenschen.

diese Erdfurchenmenschen. diese HaselnuBstrauchmenschen.

dlese tobenden Grillenmenschen . . . ein bdses Marchen

(MS.8).
Even while physically outside in nature. the narrator protagonist remains
bound to the realm of her inner thoughts: 'Doch lhr Blick erfaBte kaum.
was sle sah - er kehrte sich nicht ab von ihren Gedanken' (MS.7).

The thoughts of the narrator protagonist are transformed into a
language heard solely by the narrator protagonist herself. The only
language which reamins for Mariene’s sister is the silent. non-
communicative. and circular one of wildly drifting thoughts: 'Nicht welt
unter dem Gipfel. das wilde unsinnige Gedankengestdber seit den friihen
Morgenstunden. Das ist jetzt melne Sprache” (MSJB). Language. normally
a medium of communication in which words are directed toward another
person. becomes for Marlene’s sister self—expression in the most literal

sense of the word. On the one hand. Mariene’s sister verbalizes her

innermost thoughts and feelings and expresses her self in this manner.

206
On the other hand. she verbalizes solely to herself. and this verbalization
transports her deeper and deeper into her self. StrauB’ story consists of
a stream of language pouring directly forth from the consciousness of the
narrator protagonist.

The reflection of the narrator protagonist upon herself results in a
constantly shifting narrative perspective. The language switches back and
forth at will and without warning between third and first person. between
past and present:

Die jungen Landarbeiter hatten sle ohne Umstande

aufgenommen und lhr eln kieines Zimmer im Nebentrakt des

Bauernhauses eingerichtet. Sie lassen mich in Fluhe. sle

lassen mlr Zelt.

Sie bekam zu essen. wenn sie es wUnschte (MS.8).

Es riB sle. wie ein StartschuB. aus der Mulde des Bettes. Und

sle lief. lief. lief .

(Schneiler muB ich sein als die Kugel. die durch den Kopf

jagt.) Sie lief Uber die Felder. die StraBe, durch den Wald.

durchs Dorf und dann immer den Schienen entlang (MS.36).
The narrative perspective traces the movement within the protagonists mind
between memories of her past life or reflections upon her present
condition and the sudden. sometimes panicked. thoughts from the present.
A shifting narrative perspective is typical for the prose works of StrauB in
general. it is the keystone of his subjectivity. for it indicates the
confrontation and questioning of self undergone by a protagonist upon loss
of a societal context.

The form of StrauB’ work is governed by the narrator protagonists
mind. Just as her stream of consciousness comprises the action or plot
of the story. so too does it determine the manner in which it is narrated.

i.e.. its chronology. causality. flow. and style. The narrator protagonists

memory serves as the moving force behind the story. which begins with

207

her final days and proceeds backwards to reconstruct her life. The key to
the chronology in which her life is unfolded lies in the description of her
memory: 'Und sie haBte nichts so sehr wie diese fahrigen. liberreizten
Gedachtniszustande. wenn ihr das Leben in tausend Fetzen um die Ohren
flog' (MS.9). Marlene’s sister exercises no control over the vehemently
wild and unruly fragments of her past which swirl by. There exists no
logical order to the sequence of events. and it is extremely difficult to

'14 of remembered incidents.

unravel the 'chronoiogische Verschachteiung
Some incidences occur in exact replication at two different times (MS.ii-
l2:MS.39). Other occurrences are slowly pieced together through the
narrator protagonists later return and addition. A good example of this
type of gradual reconstruction is a scene at the beach (MS.9-ll).

Not only is the sequence of events subject to an unruly and
disordered memory. but in addition it is jumbled and fragmented by means
of the drifting thought pattern of the narrator protagonist: “...das wilde
unsinnige Gedankengestdber...‘ (MSJB). The narration is interrupted by
“wild piatzenden Gedankenblasen. die Erinnerungsfetzen der Wirkiichkelt ver-
drangen und ihrerseits Uberspiilt werden von schaumenden Assozlatlonens-

keflenf15

Jumps in thought caused by association are apparent as. for
example. the narrator protagonist sits in the bathroom of a train crying
and. upon observing her girlish knees. suddenly leaps to a picture of
herself as a young girl with her father (MS.i6). Examples of brief and
disjointed flashes of thought are common throughout: 'Sie soiien mlr um
Himmeis willen die Schuhe nicht ausziehenl' (MS.9): 'Wie? Liegt Staub auf

dem Wasser’?‘ (MS. 1 0).

Fragmentation. again reflective of the choppy and disjointed flow of

208

the narrator protagonists inner consciousness. must be considered the
trademark of the works entire form. StrauB’ short piece evidences many of
the fragmentary methods discussed previously for New Subjectivity in
general. One finds incompletion. repetition (especially three times).
interruption. omissions of verbs. and short choppy sentences:

Die Briile stinkt. die Uhr stinkt. wirf sle wegl (MS.10).

Getraumt wie ich lese. lese. iese (MS.13).

Wie? Was war das? Eln Witz? Eln Kind? Eln pathetischer
lrrtum? . . . ich habe es nicht erkannt (MS.36).

Ausgeraucht. der Erdboden ist ausgeraucht. Wie komisch. in
der Erinnerung. die Uberschwenglichen Gerhlel (MS.7).

Will es dir nicht besser gehen? Marlene legte lhr die Hand
auf die Stirn. stu’tzte ihren K0pf. als sle erbrach. Marlene
schdpfte Wasser aus der Queiie am Meer. sie frank aus
Marlenes Handen. Marlenes gnadlge Darreichung. Marlenes
unerforschte Schdnhelt (MS.9).
All of these devices are indicative of a subjective and disturbed.
consciousness.

The form of the work serves to involve the reader in the alienation
and dissolution which the narrator protagonist herself is experiencing. Her
stream of words effectively undermines objective safety as it draws the
reader into the uncertainty and instability of a subjective viewpoint. The
lack of an orderly progression for the events of the story bewilders and
frustrates the reader. His attempts to logically connect and order the
chronology are thwarted again and again. The constantly changing
narrative perspective functions similarly. it subjects the reader to instability
and fluctuation. and undermines any attempt to stand back and view the

story with distanced objectivity. The reader is allowed just enough time to

start to feel comfortable within a perspective. and then it changes. thereby

209
necessitating on the part of the reader a reorientation. in general. the
reader is burdened with the narrator protagonists irrationality. or
'craziness.‘ The atmosphere of an evil fairy tale (‘MS.7) pervades much of
the narrator protagonists thought and is intensified by the fact that
Mariene’s sister is situated on the border between sleep and wakefulness
(MS.7). The pictures she imagines in her state of half-sleep are unclear.
contouriess. eerie. and often grotesque. The reader is left the impression
of shadowy indistinction. Nothing happens in certainty. but rather must be
surmised: 'Offenbar. offenbar: mit letzter GewiBhelt lassen sich hier Motive
und Schlijsse nicht fassen."16 The reader. in his attempt to reconstruct
and unravel--in his attempt to rationally understand--has only the
subjective testimony of the protagonist with which to work. This account is
fragmentary, incomplete. illogical. disordered. and often hysterical--it defies
rational comprehension and instead imparts to the reader a feeling of
threat. of impending doom. of darkness. The reader is drawn into an
irrationality similar to that of the protagonist in which objects. events and
even peOpie lose their objective. harmless. and definitive outlines to merge
and dissolve and disappear.

The irrationality of the protagonists inner world is contrasted to the
unemotional practicality and reasonableness of a politically oriented society.
A young worker of the commune where Marlene‘s sister is staying
questions her feelings. By means of unsuspecting reason ('mit
unaufdringiicher. doch ahnungsioser Vernunft“) he hopes to distract
Marlene’s sister and reinvolve her in the life around her (MS.24-25).

Later. while reading the newspaper. Mariene‘s siter feels disgust at the

self-satisfied and profound tone of the commentaries and leafs hurriedly to

210
a page full of pictured catastrophies (MS.34). The protagonist. unable to
weaken her feelings. cannot be reassimiiated into society. From the
viewpoint of society she is a crazy person (MS.8). Within her
uncompromised domain of irrational feelings she represents an alternative.
or 'eine Gegenposition: das Versteifen auf den Geffihlsanspruch gegeniiber
der pseudoaufklarerischen Verurteilung des Psychischen in der
Politislerungsphasef'n
in other new subjective works the turn to the irrational and to
emotion was understood as a correction of an overly mechanized and
functional society. in StrauB‘ piece there is also societal criticism and
positive direction implied by means of the juxtapositions discussed above.
This is more directly apparent in a story of communal and idyllic love free
of individual need and selfish desire:
Sie waren nun zu flinft mit sich allein und an nichts mehr
gebunden als jeder an den anderen. Eln Bann von Sympathie
fesseite sle aneinander und niemand konnte lhm entkommen.
Wie im Schiaf. wie in einer zweiten Natur entschwanden lhnen
die aufsassigen Gefiihie und Bediirfnisse. die das soziale und
kdrperiiche Leben des verelnzelten Biirgers iiblicherweise
beherrschen. vor allem das Woiiustgefiihl und das
Ungleichheitsgefiihi ldsten sich in nichts auf. Denk dir nur:
elne Liebe ohne Begehren. gewaitlos. nur diese gliihende
Leidenschaft. einander unablassig zu beobachten. aus
wechselnden raumlichen Entfernungen (MS.29).
However. the hopeful alternative position of love is grotesquely destroyed by
the vampiric relationship between all lovers: "Von dem Aufbruch in eine
neue Zukunft...verbieibt in seinen ersten Werken eln ins Groteske
verzerrter...Abglanz: ...der utopische Freundschaftsbund...beruht auf

Vampirlsmus...."18

Vampirlsm is a metaphor used by StrauB to express the
dependency of one’s own life upon that of the beloved.19 The members

of the commune can no longer lead independent lives and die when

2H
separated. Similarly. the narrator protagonists love of Marlene is so
overwhelming that it destroys her own self-identity and threatens to engulf
that of her sister Marlene as well. Mariene’s decision to separate is
based on her fear of the oppressive and destructive force of her sister’s
love (MSJS). The paradoxical and problematical nature of love is
thematiclzed in the worlts opening quote: 'ich wtinschte. Sie liebten mich
nur mit dem Tell lhres lnnern. der unempfindlich und fiihlios ist. Maurice
Bianchot. Warten Vergessen.“ This wish is similar to Mariene’s desire that
the narrator protagonist control and moderate her feelings of love (MS.38).
Both wishes are not only contradictory but indeed impossible.

Marlene’s Schwester is a story of love between two sisters. But of
importance to StrauB is not the realization. but the withdrawal of this love.
Withdrawal of love brings about the state of 'irresein.‘ or alienation.
whereby the individual is plunged into subjective irrationality. it is this
individual irrationality which is critically contrasted to the objectivity and
rationality of today/s society. Within this irrationality lies the hope and
positive potential of StrauB’ literature. The narrator protagonist must
ultimately die from the experience of dissolution and alienation. But
through the form of the work the reader has been afflicted and burdened
with this same experience. The oppressive and unquestioned objectivity of

society has been undermined during the subjects confrontation with self.

8. A Search for Connection in Die Widmung

 

StrauB’ narration entitled Die Wldmung (1977) also. as was seen for

 

Marlenes Schwester. revolves around separation. this time between Richard

 

Schroubek and his girlfriend Hannah Beyl. This separation. again similar

212
to its predecessor. serves to destroy the normal and established patterns
of life for the protagonist Richard. the partner left behind. The difference
between the two protagonists lies in their reaction to the crisis undergone.
Richard reacts by maintaining a journal. or a dedication ('Widmung“) to
Hannah. This journal serves the protagonist as a forum for self-
confrontation. The written word reveals the alienated Richard in his
societal nakedness and at the same time intensifies the feelings of the
irrational inner self. The journey into the consciousness of the protagonist
critically highlights the superficiaiity of a society disconnected from its
historical. cultural. and erotic roots and bound only to present rationality.
The sudden and unexpected departure of Hannah exposes Richard to

the destructive experience of alienation. The protagonist himself reflects
upon his separation as the most terrifying and shattering of all types of
personal catastrophe:

Keine andere Form des gewdhnlichen Scheiterns. weder

Krankheit noch Ruin oder Versagen im Beruf. findet elnen

solch tiefen. grausamen Widerhaii im UnbewuBten wie die

Trennung. Sie riihrt unmitteibar an den Ursprung aller Angst

und weckt ihn auf. Sie greift mit einem Griff so tief. wie

Uberhaupt Leben in uns reicht (Wl.27).
Abandonment means the withdrawal of the closest and warmest of all
contexts for the individual. Security is suddenly revealed as false. and the
human being most intimate to oneself becomes painfully cold and distant:
'Es geht ums Veriassenwerden. um jenen jahen Moment. in dem sich das
harmonische Gefiihi der Geborgenhelt in einer Beziehung als Trug enthiiiit
und Kalte einbricht. wo vorher so seibstverstandiich warme war."20
Separation itself is undergone by all of society at one time or another.

Although it is generally thought that normality consists of togetherness. the

truth is actually just the opposite: '...und das Negative. das Scheitern. die

213
Trennung. der irrtum machen das Allgemeine aus.... So ermittelt
schiieBiich die auBerste Subjektivitat des Scheiterns den einzig veriaBlichen
Erfahrungswert ftir das Wort ’normal’...‘ (Wl.25-26). As common as this
experience may be. Richard is not a companion in suffering:
ich weiB wohl: jeder hat das. was mlr mit H. zugestoBen ist. in
dieser oder jener Form schon einmal durchgemacht oder es
wird lhm bevorstehen. Ja. Tausende erleben es jetzt vielleicht
zur seiben Stunde. und doch bin ich fest davon Uberzeugt:
nicht eln einziger wiirde sich in mlr wiedererkennen. ich bin
keln Leidensgenosse (Wi.110).
The lack of mutuality between Richard and other abandoned people is
obvious in a farcical scene where Fritz. who also briefly knew and was
abandoned by Hannah. pays a visit to the protagonist. The exaggerated
effusiveness of his emotions quickly reveals him to Richard as a fake.
'nicht wirkllch ein ieidenschaftiicher Mensch... nur ein Halb-irrer. noch als
irrer eln Stiimper' (Wi.52).

The difference between the abandoned of society and the deserted
Richard lies in the former’s desire to assuage the pain. whereas StrauB’
protagonist seeks to intensify it. The experience of separation is one so
profound that it defies reason and touches upon emotions lodged deep
within the unconscious (Wi.27:Wi.103). Society turns to the science of
psychoanalysis to explain these feelings and. in the process of
categorization. the pain and fear disappear behind prefabricated and
rational clarification: 'Ausgerechnet das. was mich am tiefsten trifft.
verschwindet in eln Schema von Betroffenheit. in dem vor iauter Papa und
Mama der elgentiiche Leidensgegenstand. melne einzige Freundin kaum
noch filhlbar ist" (Wi.101-102). For this reason psychological explanations

hold no interest for Richard. He prefers an analysis which will augment

his unconscious and thereby nurture his feelings: 'Unterdessen will ich

214
mich weiterhin einer Art der Analyse zuwenden. deren Worte an der
Realitat des UnbewuBten mitwirken und diese eher zu vermehren suchen.
statt sle der alternden idee elner Enthiillung zu unterwerfen' (Wi.4i). The
different type of analysis undertaken by Richard is his decision to write.
While other people seek diversion ('Abienkung') in their work to ease their
condition in forgetfulness (Wi.36). Richard finds a diversion ('Abienkung') in
his dedication. which he hopes will enable him to bear his pain over a
long period of time (Wl.106). While society sinks into an apathetic
paralysis before the television. StrauB’ protagonist picks up his pen. The
written word serves Richard as the means by which to intensify his pain
(Wl.104).

The experience of abandonment leads to the gradual but total
withdrawal of the protagonist from the society around him. The loss of
context destroys Richard’s previous life of certainty and safety which was
based on reason: 'Gesicherte Erfahrungen und feste Gewohnheiten der
Vernunft verschmoizen wieder zu elner Rohmasse von Unfertlgkeit. Angst
und Unwissen' (Wi.103). The protagonist quits his job. or rather simply
stops working. He sells a work of art for money which he places in a
post office account so as to have cash available through the mail. He
retreats to his apartment. closes the curtains. and there he remains. in
darkness and isolation. After a while he stops caring for his own body
and for the cleanliness of his apartment. He becomes prone to accidents
and mishaps which increase the disarray of his surroundings. Richard
sinks into the contouriess realm of his subconscious. of pain. and of fear.
The dedication he composes is testimony to his loss of contact with outer

reality. The protagonist is stripped of the outer garb displayed by most of

215

society for the sake of self-advertisement and show. Left behind is his

irreducible and irreplaceable core:
Obergesichtig sind die Leute. Jeder ein Zuviei. ein Supermarkt.
tiberschwemmt mit Merkmaien. Hinweisen. Biickfangen. durch
die man kaum noch zur Ware findet. Kein Augenblick. wo
der Tyg einmal ffir sich sein kdnnte - wann sehe ich einmal
seinen irreduzibein. unzersetzbaren Ernst? Doch nur. wenn er
ganz in sich zusammensinkt. Vielleicht nur diese vier. flinf.
lntensivstationen der Normalitat. Schrei. Trauer. Giiick.
Fanatismus. in denen das verschwenderlsche Geschaft mit der
Personifizierung eingeschrankt und die Person zu einem
einzigen. klar erkennbaren Ausdruck zusammengefaBt wird
(Wi.38).

Richard has been reduced to the single feeling of pain. His dedication

traces the loss of outer reality as he sinks into himself.

The written word shows Richard his self in its nakedness. devoid of
societal definition and context. But in its nakedness the self has finally
become discoverable. Thus the written word serves as a medium of self-
constitutionzm 'in der Schrift bin ich nackter als ausgezogen. Kein Bein.
keln Atem. keln Kieid. keln Ton. Weder Stimme noch Abglanz. Alles
ausgeraumt. Statt dessen die ganze Fiiile elnes Menschen. verschrumpeit
und verwachsen. in seinem Krickel-krakei. Seine Zeiien sind sein Rest und
seine Vermehrung' (Wl.2l). From within the state of outer reduction and
dissolution the protagonist is involved in an investigation and exploration of
self ('lch—Forschung': Wi.41). Richard’s dedication to Hannah intensifies
and deepens the emotional trauma of separation. it augments
('Vermehrung') the realm of the unconscious in general. it leads Richard
into his past. his feelings. in short into his inner consciousness. The
stream of words produced by Richard represents verbalization of the

irrational inner self. a self which remains silent within societal definitions

and roles.

216

Richard’s dedication is propelled by the loss of outer context upon
Hannah’s departure. i.e.. it is propelled by the experience of separation.
but it serves as a bridge of connection by plunging Richard into a realm
beyond societal consciousness. Society as portrayed in this work by
StrauB is shallow and superficial. it has lost its connection to an historic.
symbolic. and erotic heritage. Only the individual who has. like Richard.
fallen from societal context has the opportunity to refind this lost linkage.
The dedication is both a protocol of his state of abandonment22 and the
medium of reiinkage: 'Die Trennung scheint sich. eine Familie der Briiche.
in alle Lebensverrichtungen auszusiedeln. Oberail ist der ’stete FluB’
unterbrochen. ...infolgedessen bildet das Schreiben...die aufbegehrende
Mitte all dessen. was verstopft. geteilt und eingeschnilrt ist' (Wl.27). The
written word provides Richard the opportunity for erotic. cultural. historical.
and biographical reconnection. The protagonist is called a collector of all
things divided ('Sammler des Geteilten": Wi.40). and he sinks into his
condition of abandonment. At the same time. however. he seeks linkage.
or a context. on both a personal and societal level.

On the personal level. Richards dedication is an attempt to maintain
connection with Hannah. On the one hand. the dedication links Richard to
Hannah by continuing their dialogue. it represents one half of a
conversation abruptly and dangerously interrupted upon Hannah's departure:
'ich iiberbriicke elne gefahrilche Unterbrechung unseres Gesprachs' (Wi.37).
By delivering this half to Hannah. Richard hopes to restore continuity and
wholeness not only to their conversation. but to their relationship:

Am Ende ihrer Trennung. die er nach wie vor fiir elne
befristete hielt. wollte er Hannah das gewissenhafte und

entsetzliche Protokoll ihrer Abwesenheit ilberreichen. und es
solite die Liicke zwischen dem Abschied und der Wiederkehr

217

ausfiiilen. so daB sich spater das Ganze elnes niemais
abgerissenen Gesprachs wiederherstellen iieB (Wi.106).

in addition. the dedication. by means of sharpening the protagonists pain.
ensures the closeness of Hannah at least emotionally: 'Jedenfaiis will er
sich von diesem Schmerz nicht trennen. denn das wtirde ja bedeuten. daB
or die Frau. deren Verschwlnden er nicht begreifen kann. fiir immer
aufgibt.'23
The structure of separation and connection apparent on the personal
level within Richards state of abandonment and longing for reunion. is
mirrored in the contrast of a disconnected society to the desired flow
(”FiuB.‘ ‘flieBen': Wl.114) of remythicization ('remythisiert": Wl.113). The
television epitomizes the fragmentation. apathy. falseness. and entrapment
within the retreat for connection. linkage. and context. Here lie lost
emotions. cultural experiences. symbolic meaning. and the continuum of
history and biography. The society surrounding Richard is one totally
lacking in passion and eroticism. The women who scream in excitement
and pleasure at a soccer game are apathetic in bed with their husbands
(Wi.64). Everyone possesses an inborn and natural ability to affect the
opposite sex eroticaiiy. an ability which depends upon the unconscious and
yet intentional symbolic interaction between sexuality and language. but this
ability has been lost:
Woher nun der Tod aller Reize bei dieser jungen Frau? ich
bin aber iiberzeugt von der natiirlichen Befahlgung elnes jeden
Menschen. erotisch zu wirken. zu verlocken. auf sich
aufmerksam zu machen. von elner symbolischen Tatigkelt
zwischen Sexualitat und Sprache. und doch von beiden
angeregt und geformt. eln unbewuBtes Kdnnen mit erklarten
Absichten.
Warum hat Frau N. dies Kdnnen elngebUBt. warum habe ich es

eingebtlBt? (Wi.67).

in today/s sexually enlightened society it is more embarrassing to inquire

218
about the last name of one’s partner than to sleep with him or her: 'Das
erste Mal mit lhr zu schlafen. bereitete weniger Veriegenheit. als sle nach
ihrem Nachnamen zu fragen' (Wi.15).

The passion of love and the eroticism of a relationship are only
possible at the end of that love or relationship. Only at the point of
separation does one today expend the energy of ardor which previously
marked the beginning of a love affair: “Leidenschaft. Briefwechsei eventueli.
Wahnsinnstaten gehdren heute dem Ende aliein. der Krise. der Trennung.
dem Gehen' (Wi.15). The power of love first becomes apparent only upon
its dissolution. only when it is broken: 'Den Sinn elnes wissenschaftiichen
Versuchs enthUllt erst sein Scheitern. Die Kraft. die elne Liebesbeziehung
bewegt hat. kommt erst lm Bruch zur grOBten Wirkung“ (Wl.25). The effect
of Hannah’s disappearance on Richard is to bring him closer than ever
before to the departed: 'GewiB war lhm die Verschwundene niemais naher
als jetzt. da er sie so lebhaft entbehrt. Er braucht Stillstand. nicht
Beschaftigung. er braucht Urlaub zum Erinnern. Fiitterwochen nach der
Trennung. er hat sich mit elner Abwesenden vermahlt' (Wi.37). Separation
creates in Richard an awareness of the superfiCIality of feelings. He
endeavors within his dedication to deepen and strengthen his experience of
pain. The protagonist is called an investigator of emotions ('Empfindungs-
forscher": Wi.42). for he examines and dwells upon feelings. He subjects
himself to an implosion of feelings“. By this means he attempts to
overcome society/s superficiality ("kieinbilrgerliche Schrumpfmelanchoiie':
Wl.120) and rediscover a realm of true and profound feeling.

Society perceives surrounding reality through eyes prejudiced by

means of prelearned perception models. The individual is taught several

219

methods to approach reality. Richard remembers that as a child he
received a magazine called 'Der Spaher' which sent its reader on
expeditions to recognize and visually gather objects or events of reality.
Later. the protagonist learned to approach reality by attempting to reveal it
through the science of psychology: 'Das Reale erspahen blieb
unbefriedigend. Um so grdBer melne Neugierde. als es einige Jahre
spater pldtzlich hieB: das Reaie demaskierenl' (Wl.87). Even later. reality
is understood within the confining parameters of a political ideology
(Wl.88). Such methods prevent awareness of an object in its own
uniqueness and individuality. instead it appears only as part of a learned
and perhaps imaginary context:

Und seibst wenn as so etwas wie Einzeiheiten und lndividueiles

wirkllch gabe. waren wir nicht in der Lage. es wahrzunehmen.

Unsere Organe werden uns lmmer nur verstandigen. wenn sle

lrgendeinen Zusammenhang gefunden haben. eine Typlk. oder

zumindest etwas davon. gerade so viel. daB der Rest zum

Ganzen hailuziniert wird (Wi.134).
The manner in which society perceives is manifest in a scene between a
mother and her handicapped child at the 200. The child is briefly moved
from his apathy in a supreme effort to express the wonder of a dove
perched atop a giraffe’s head. But the woman. for whom this appearance
could also elicit at least a brief moment of astonishment. does not look
up from her magazine: 'Sie sieht aber nicht hin und sagt noch einmal:
'Ja. das ist eine Giraffe. Herbert. Die Giraffe ist das hbchste Tier auf
Erden.’ Der Behinderte nlckt. Nun sagt er nichts mehr. Fehlschiag der
Begeisterung' (Wi.13—14).

The crisis of separation experienced by Richard distorts his manner of

perception: 'Die Krise. verursacht durch den Verlust der Freundin Hanna.

bezeugt...einen Schub veranderter Wahrnehmungen...."25 The pain he

220
strives to intensify activates his power of observation: 'Mit wachem
Schmerz. der die Wahrnehmung aufgerauht halt. beobachtet Richard sich
und die Rudimente seiner Umweit...."26 Richard proceeds through his
surroundings and notes scenes similar to the one at the zoo. These are
scenes of deviation which frequently involve people handicapped in some
way. His own loss of context has freed him from the need to discover
unity and totality in all that he observes. thereby allowing him to note the
fragments of a context which does indeed exist. but remains
incomprehensible: 'Das elgentiich Sehenswerte wird doch immer nur als
Bruchstiick elner tiefen. machtigen Typik auftauchen. die wir als Ganzes
genauso schwer begreifen und festhalten kdnnen wie der Behinderte die
Taube auf dem Giraffenkopf' (Wi.14).

Today/s society has broken all connection with the past to become
totally entrapped within isolated moments of the present. it is an epoch
of immobility and silence. an epoch characterized with paralyzing
conformity. an epoch in which destinies are not decided. nor are individual
biographies made: 'Nach einunddreiBig Jahren. denkt er [Richard].
auBeriich gesehen. ein halbes Leben ohne Biographie. Stilie Epoche. die
kelne Schicksaie macht“ (Wi.15). instead of historical differentiation. depth.
and reference. there exists today a nervous tendency for synchronous
accumulation: “Dem Gedachtnis der Dauer erscheint alles ebenbtirtlg
prasent. Anstelle der Differenz. anstelle elnes ZeltmaBes. das zwischen
Hofinung und Widerspruch. Erinnerung und Fortschritt unterscheiden kann.
vermehrt sich elne seltsam gedrangte. sammierische. nervdse Synchronitdt'
(Wi.16).

Richard’s dedication to Hannah is a record of the discovery of his

221
own personal biography. in the process of reflection and remembrance
Richard links the isolated moments of his life into a continuum. The flow
of words reflects a stream of consciousness which connects past and
present. The separation sends him back into his childhood where his
present words are reunited with his first word ever laboriously written--
Richard:
Bis ihn eln Liebesungliick aus seinem Beruf und dem Umlauf
der Biicher herausschleuderte und so welt zurUck schickte.
daB er sich zuletzt vor seinem erstgeschriebenen und einst
aufgegebenen Wort wiederfand und nun. gierig und miihsam.
alles versuchte. daran anzuknilpfen. es endlich fortzusetzen
(Wi.119-20).
Through the process of writing the protagonist frees his first word from the
lifeless and still collection in which his parents had placed it (Wi.18). His
life regains at least a fraction of its lost mobility within the historical
continuity of his biography: 'Soviel Vorgang. soviel Lauf der Schrift. nur urn
sich in einer auswegiosen Lage eln bchhen Bewegung zu verschaf-
fen . . ." (Wi.119:see also Wi.23).

Finally. StrauB portrays a society of rituals and concepts rendered
empty and meaningless because they can no longer be personally
experienced. Society of today has lost connection with its cultural and
ancestral heritage. maintaining the ceremonies of old but unable to
remember their significance:

So ergeht es uns nicht anders als jenem abessinischen
Eingeborenen. der elnen wichtigen Mythos nicht mehr wuBte
und sich deshaib nicht erkiaren konnte. weshalb er zu so
verschiedenartigen Anlassen eln Stilck Butter auf dem Kopf
trug. ”Unsere Vorfahren kannten den Sinn der Dinge. aber
wir haben ihn vergessen.‘

Wir kennen den Sinn der unzahllgen Uberbleibsel. in denen wir
uns ausdrUCken. noch sehr viel weniger. Das aliermeiste ist

uns Butter auf dem Kopf (Wl.84-85).

Similarly. words such as shame and honor must be used within quotation

222
marks. for their emotional value lies buried deep within the past (Wl.84).
The symbolic connection between past meaning and contemporary usage
has been interrupted. and the only hope for relinkage lies in the hands of
poets (Wl.85). Richard. as a compulsive reader ('Triebieser': Wl.82) and a
writer himself. experiences the connective stream between past and present
produced within iiterature’s memory. He rejects the ordered and trivial
symbols of today in his yearning for those of old: '...schneil ergriffen von
alten. primaren Symbolen: Blindhelt. Meer. Haus. Schrift. Pferd. Bel
gleichzeitig aggressivem OberdruB an kleineren. 'sozialeren‘ Symbolen:
Splegei. Geld. Schuh. Blume. Teig. Uhr - und was dergleichen Plunder uns
taglich in seine niedrige Ordnung ruft' (Wl.114).

The form of StrauB’ novel is determined by the protagonists inner
mind. it reflects the endless flow of words pouring forth from Richard.
This flow is not governed by laws of causality and logical progression.
because Richards mind no longer functions according to such order.

Order is a system imposed upon the individual by a rational society. The
formless flow of Richards words. propelled by his irrational and subjective
inner consciousness. represents a rejection of such an outside order. He
demands a form which has no purpose or endpoint. Only a form
determined by deviation and divergence leads into the self: 'Alle Form muB
ans Zieliose gelangen. SchluB mit dem Endel Ohne Zlel: Fernsehen.
Zerstauber. Mischmasch. Abweichung in sich seibst. lebensecht" (Wl. 89).
These words of the protagonist are an accurate description of his style
and form. The dedication is composed of a mishmash of loosely
connected fragments which lack reason and causal motivation and which

lead nowhere except ever deeper into Richard's own self.

223
The first impression received by the reader through the form and
style of the work is one of choppy interruption. As was noted for StrauB’
earlier work. typically one finds short sentences and many fragments
lacking either a verb or subject. and sometimes both. The work opens as
follows:
Ganz Europa ieidet gegenwartig unter dieser Hitze. DreiBig
Grad im Schatten. Mitte Junl. leichte Quelibewdikerung. jeden
Tag das gleiche. Es soil ein Jahrhundertsommer werden.
Morgens um sieben fahrt der erste Spriihwagen unter seinem
Fenster vorbei. Er wacht lm seiben Trt'ibsinn auf. der ihn am
Abend eingeschlafert hat.
Aus Langeweiie zum Friseur gegangen. Herrensalon. Der
Besitzer scheint ein Pferdenarr zu sein. Oberail neben den
Spiegeln Kappis und Reitgerten. Bilder von Rennpferden und
Jagdhunden (Wi.7).
Fragmentation is manifest in the snapshots of reality observed by the
protagonist. Scenes such as the handicapped child and the giraffe appear
and disappear. Other examples include two roofers (Wi.112-13). a man
and his wife in a photography store (Wi.76). or the old singer of the
closing lines (Wi.145). Such scenes exert no influence on the progression
or causality of the action. They remain without consequence ('eln
Zwischenfali ohne Folgen": Wl.122). and as such resemble the loosely
strung together and disconnected segments of a T.V. news broadcast.
Richard himself wonders about the meaning of the rhythm of interruption to
which he is prone:
Welches ist der Sinn der Unterbrechung. die sich mlr aufzwlngt.
wenn ich schrelbe. und der ich mich filge. ohne sle zu
verstehen? Woher diese stockende Lust? Ansatz. Absatz.
aus. Und wieder von vorn: Ansatz. Absatz. aus.
Sekundeniang anfangen. um in Sekundenschnelie wieder
aufzuhbren (Wi.26-27).

in his dedication Richard recounts the personal trauma and suffering

he undergoes. in addition. he constantly intersperses his subjective

224
testimony with general and distanced commentaries. StrauB‘ work is filled
with the random thoughts and reflections of the protagonist: “Reflexion und
Erfahrung treten in eln Wechselverhaitnis. StrauB’ literarische Bebiiderung
des lndividueilen Leidens wird daher auch zu einem Diskurs iiber das

Leiden.'27

A good example of this back and forth between experience and
reflection can be found as Richard. who suffers the pain of abandonment.
ponders the normality of separation and crisis. The protagonists discourse
includes a wide variety of topics. as evident in the many passages about
society and its ills. it is important to note that these reflections lead
nowhere. nor do they intend or pursue a goal. Rather they must be
considered one digression after another. The protagonist himself admits to
the many digressions within his writings: 'Viel Digression auf meinen

Blattern. Tut mir wohl. Die richtige Sammlung ffir H.’ (Wl.89).

This novel by StrauB is marked. as was true of Marlenes Schwester.

 

with a shifting narrative perspective. The changes are not as abrupt as in
the earlier work. Usually they correspond to the start of a new numbered
chapter. Of the eleven divisions within the dedication six are written in
the first person and the remaining five in the third. i.e.. approximately half
of the dedication is written in the form of a diary and the other half from
the seemingly objective viewpoint of an outside observer. This observer.
however. knows Richard’s every thought and feeling. The narrator. although
in the third person. reports from within the protagonists consciousness.

His account may start objectively but it is often undermined by the
protagonists own subjective viewpoint. This subjectivity is evident in both
the content and form of the following passage. Although it starts out with

distance. it delves deeper and deeper into Richards thoughts. Accordingly.

225

the flow becomes fragmentary and interspersed with exclamation marks:
Er [Richard] gings ins Badezimmer. Er spiilte und gurgelte
mit einem Mundwasser. um den Geschmack des Zigaretten-
quaims. den er unfreiwillig eingeatmet hatte. loszuwerden.
Allmahlich wurde ihm klar. wie der unbegreifliche Anruf
zustande gekommen war. Hannah muBte auf einem Postamt
seine unbeglichene Telefonrechnung bezahit haben. anders war
es nicht mdgiich: zweihundertsiebenundsechzig Mark. nur um
die Leitung frei zu bekommenl. nur fiir diesen elnen Anruf.
der seibstverstandlich lhm gegoiten hatte: sie konnte ja nicht
wissen. daB sich zu diesem Zeitpunkt Fritz. der Schuldiener.
bei lhm aufhieit. Wahrscheinlich wollte sie lhn urn Hilfe rufen
und. da es dringend war. hatte sie ohne ngern mit der Hilfe
des anderen vorlieb genommen. Durchtriebene Verfehlungl
Wenn auch nur um Haaresbreite. Der nachste Zufall wird auf
deiner Seite sein. sagte er spdttisch: so und nicht anders
gehdrt es in deine Schmerzensgeschlchte. paBt genaul Er
kammte seine strahnigen Haare zusammen. Duschen spater.
nicht alles auf einmal (Wi.60).

The shifting narrative perspective is indicative of a protagonist
confronting and coming to terms with his own self. in the pages of the
dedication Richard reflects upon himself and upon his life. At the
beginning of his story the protagonist states that at times he feels that
this life story is writing itself and that he is merely the medium of
expression. The subject itself is missing: 'Was in diesen Séancen
geschrleben wird. kdnnte man gewissermaBen eln Biograf nennen: das
Leben hat. nach der Niederwerfung des Subjekts. damit begonnen. seinen
Rest zu schrelben“ (Wl.24-25). This life story follows Richard around and
he tries desperately to find its subject: 'Seit Wochen verfolgt mich eln
winziges. aber iiberdeutiiches Biograf. zu dem ich verzweifelt das
zugehdrige Subjekt suche' (Wi.40). in the pages of the dedication Richard
does indeed rediscover himself as the subject of his life. When he finally
gives his writings to Hannah. he calls the dedication a biography of his
last hours (Wi.127).

A feeling of suspension is created due to a general inactivity.

226
monotony. and lack of distinction. Timelessness is created by means of
the prevailing and seemingly endless heat wave which lies over all of
Europe. Language plays an important role in producing the sense of
suspension. Verbs are frequently found missing or as an infinitive. past
participle. or gerund. This stylistic device generates a feeling of inactivity
similar to the state of the protagonist himself: "Vermehrte Neigung zum
Gerundiv. dem verpbnten: ’dle nicht zu ziehende Summe’. 'das nicht zu
Offnende Hemd. 'das nicht zu schrelbende Werit - tatiges Nichtwerden als
Eigenschaft elnes Dings' (Wi.102). indistinction is produced through the
lack of a specifically determined subject or by means of the frequent
utilization of indefinite subjects such as 'was.‘ ‘nichts.’ 'man.‘ or 'Leute.‘
Similar in function is StrauB’ usage of pronouns in the absence of a
determinable antecedent. Finally. nothing happens or unfolds in this novel
except Richard’s stream of words. When the reader is first introduced to
Richard the latter has already been abandoned. At the end of the novel
his condition has become more intense. but it has not changed in nature.
No resolution or conclusion is foreseeable. except perhaps the eventual
total physical dissolution of the protagonist.

The departure of Hannah confronts the protagonist Richard with the
question of why she left him. and the answer to this question lies within
himself: 'Warum ist sle weggegangen? Er war der Antwort um keinen
Schritt naher gekommen. Und doch gab es keinen anderen Weg. als den
Grund beharrlich weiter bei sich seiber zu suchen' (Wi.44). The dedication
must be seen as the attempt to answer this question. it represents the
search and exploration of self elicited by separation. i.e.. by the experience

of alienation. The protagonist. stripped naked of societal pretensions.

227
reconstitutes himself as subject——he finds the subject of his biography-~by
means of the written word. Writing intensifies and augments his irrational
unconscious self. thereby providing Richard possible linkage to an historic.
biographical. cultural. and erotic past long since forgotten by rational
society. Toward the end of StrauB’ novel. upon handing Hannah his
dedication. Richard tells her that everything that he knows about himself is
contained in those pages: "Mehr weiB ich nicht von mir" (Wi. 141). But
Hannah does not read the dedication. and Richard returns to his desk.
His flow of words is never-ending. for the subject it piumbs is

unfathomable: ”ich bin noch nicht ganz am Ziel . .

C. Love and Hate in m

The main character of StrauB’ novel entitled film (1980) is similar
in many ways to the protagonists already discussed. Bekker is also a
figure who seeks love and contact and who. in their absence. undergoes a
gradual physical and mental dissolution and increasing alienation from
objective reality. Once again the action of StrauB’ novel consists of the
protagonists thoughts flowing forth in a jumbled and chaotic stream of
words. But Bekker rebels with hate against a world ruled through power
and demeaning subordination. and this hate propels him on a final
rampage of disquiet and disturbance. of 'Rumor.‘ Bekker plunges into a
tumultuous underworld of destruction and insurgency. an underworld which
threatens the placid surface of society. The protagonists language leads
him into the ugliness of human existence and forces the reader down into
this hell to confront an existential chaos common to all but overlooked and

suppressed by a society struggling to get ahead. The positive potential of

228
StrauB’ work lies in the ripples Bekker creates which. although they
ultimately dissipate in apathy here. nevertheless serve as a warning and
leave in their wake a gnawing uneasiness and agitation.

The first impression which the reader receives of StrauB’ main
character is a contradictory one of forceful distinction on the one hand
and of degenerating dislocation on the other: 'Die ganze Erschelnung in
diesem gespaltenen. auseinanderstrebenden Aufzug wirkt wechselnd altlich
und gebrochen. dann wieder manniich iiberragend' (R.8). Bekker. suddenly
and unexpectedly appearing at a party held by his former boss Zachier. is
described as the man from outside (R.7). He possesses a discordant and
rebellious mind which prevents assimilation into a system. in contrast to
his former coworkers. Bekker never allowed himself to be specialized within
Zachlei’s institute for information ('lnstitut fiir Nachricht“). or to be limited
to only this place of employment. Surrounded by the ineffectual meekness
of others. Bekker stands out as a man of determination who could be
powerful it he so desired: 'Unter all dem Wlnke-Winke von uns anderen ist
Bekker wahrhaftig elne schneidende Gebarde. Wenn er je Macht besaBe
(und sie besitzen wollteli. er kdnnte mehr Leute an sich ziehen und
starker binden als seibst Zachier...‘ (R.8). But accompanying Bekker’s
status as an outsider there is a disconnection. Without a job. without a
home. and long since divorced. Bekker finds himself. as exemplified in the
opening party scene (R.7). in a circle of isolation. silence. and
strangeness. which weakens and disables the protagonist: 'Er [Bekker]
kommt mlr heute etwas schmachtiger vor als in frtiheren Jahren. trotz der
hohen Gestalt. trotz des breiten Schadels mit dem glatt nach hinten

gekammten Haar und den starken Stirnhdckern. Die Schultern hangen so“

229
(R.7).

The protagonist in this work as in StrauB’ earlier ones undergoes a
process of increasing isolation and accompanying dissolution. Bekker’s
isolation and position as an outsider become increasingly absolute as
contact with the outside world is gradually destroyed. Breadth of setting
and number of characters shrink until focused solely upon Bekker and Grit
in the latters apartment. Bekker sinks into himself to the point that he no
longer recognizes an outside objectivity. The protagonist becomes more
and more apathetic. increasingly prone to mishaps. and less and less
interested in his own outward appearance. He succumbs to paralysis
('Starre": R.109:R.132) and decay ('fauien': R.76:R.92;R.225). One of the
final portrayals of Bekker emphasizes his paieness (“eln jahes. absolutes
Erbieichen"). siackness and softness ('aufgedunsen.‘ "erschiafft.’ 'weiches").
and his loss of control and determination ('halb aufgekiapptes Maui.”
'schwach und fahi'). The latent power of his stature and broad forehead
as noted in his first description becomes lame. and Bekker becomes an
old man nearing death: '80 ist er. wie durch eln Gewitter hbchster
Strahlen. plbtziich Greis und ein halber idiot geworden. mitten lm besten
Mannesalter...‘ (R.224). Oldness is a particularly appropriate metaphor used
by StrauB to describe Bekker’s condition. for his alienation is motivated by
feelings of uselessness and a lack of personal contact. the two worst
diseases afflicting the old in today/s society:

'Vor allem das Altsein'. sagt Bekker und sprlcht das Mlkrofon
persdniich an. 'ist ein wahres Wesen des Seins. Und
pldtzlich. Sie schrecken elner jenseits vom anderen iiber und
sind’s. Die anderen Leute sind nicht geneigt. die Alten noch
suchend anzusehen. Die wollen von lhnen nichts. Das muB
man ertragen. Die eigenen Traume noch haben dich

ausgesperrt. Aber wenn drauBen nachts nur eln bchhen
Verkehr von ferne raunt. bist du beruhigt. Diese Leute sind

230
beschaftigt. sie fahren. sle iieben sich nicht“ (R.196).

Again in this novel by StrauB one finds a love story: Bekker loves. he
seeks warm human contact. and he needs to be needed. This is obvious
in the pitiful scene with the Pakistanis. where Bekker promises them jobs
in order to create a refuge of belonging and companionship for himself
(R.198—210). it is above all apparent in the relationship between Bekker
and his daughter Grit. who comes to represent for Bekker the final resting
place for his hope of love. The plot of the novel consists of the actions
of Bekker and his daughter: they renew their acquaintance at the party.
Bekker moves into Grits apartment. they vacation together. Bekker visits
Grit at the hospital and tries to take care of her. it is at times when
Grit needs help that Bekker remains in command of his facilities and the
situation (R.115-116). Bekker becomes more and more dependent upon
Grit, to the point that he lives only for her and threatens to suffocate her
in his embrace: ”Ohne die rechten Begrlffe dafiir zu haben. geht ihr [Grit]
pldtziich. in einem honen Grauen. der letzte Sinn dieser iangsamen
Umschlingung auf: 'Das ist kelne Liebel’ ruft sle. 'das ist wirkllch kelne
Liebe!" (H.229).

Bekker’s longing for human closeness is manifest in the importance of
communication for him. both non-verbal and verbal. Eye contact is
essential to eradicate fear and suspicion and to foster love between two
peOple: 'Oh. da muB man sich aber gut ansehen. muB sich geduldlg in
den Augen ilegen. um die GewiBheit zu gewinnen. daB man wahriich nicht
Angst voreinander zu haben braucht. Die Liebe wartet aufs Augeniicht'
(R.96). Bekker judges people on the basis of their eye contact (R172).

and becomes immediately suspicious when Grits doctor hides behind his

231
sunglasses (R.182). Furthermore. he conveys and receives emotional
signals through his eyes (R.174). To establish contact with another person
the capacity to listen. in addition to frank eye contact. is necessary:
'[s]chau sie an. hbr hin...‘ (R.163). Listening is the only worthy act of
submission which exists. and Grit draws out her father’s words with her
patient ear: “Nun hast du kieine Augen bekommen. Grit. Dein Zuhdren hat
mich bis hierher gefiihrt und besanftigt mich jetzt. Zuhdren ist eine
schdne Unterwerfung und die einzig wiirdige' (R.49).

Bekker is driven by his need to speak. to unleash his torrent of
words ('Redeschwali': R.97) before an audience. and even if the public is
imaginary or only desired. he continues to talk to them. to reach out to a
'du.' in the Opening scene at Zachiei’s party Bekker and Grit retreat to
another room where the father talks on and on until the morning hours:
'Je mehr er davon trinkt. je feiner und bewegter Grit zugegen ist und
hdrt. wunderschdn hdrt. desto riicksichtsioser redet der Vater seine
zerstiickeite Welt hervor. und diese Rede will nicht enden...‘ (R.19). The
remaining pages of the novel present this stream of words. Seldom is it
clear to whom Bekker speaks. whether to Grit. to Zachier. to his father. or
to the world. But he consistently uses his language as a means of
communication which reaches out to a listening and answering partner:
'Bieib bei mir. Rede mit mir" (R.25). Bekkers words are repeatedly
interspersed with a direct address to his opposite. in addition. the
frequent usage of the pronoun 'we" instead of 'i' emphasizes Bekkers
need not only to talk. but to talk to someone. Upon withdrawal of such a
partner as the protagonist becomes increasingly isolated. the seemingly

endless flow of words breaks. Bekker stammers and utters meaningless

232
and incomprehensible sounds: “Der aufgebaumte Redner ist jetzt in sich
zusammengerutscht. Es will sich nur noch ein dtinnes. traurlges Murmein
erheben' (R.213). Finally. even the stuttering of the protagonist is
sHenced.

The flow of words springs directly from the protagonists inner mind.
He does not talk about his everyday activities. but rather reveals the state
of his subjective consciousness. i.e.. his imagination. dreams. fears. and
thoughts. The irrational frenzy of his language manifests the restlessness
of his mind: 'Er redet aufgewiihit und oft in dunkien. schroffen Fantasien.
die wenig fiber sein Tun und Handein. sein auBeriiches Leben und viel
fiber seinen Zustand. seinen unfriediichen. nach alien Seiten zugleich sich
aufbaumenden Geist verraten' (R.18-19). Bekkers speech leads him into
his memory: 'Damais in der Vierundvierzigsten StraBe - ich hatte ja kelne
Ahnungi. ich hatte ja kelne Ahnung von dem. der sich da heute erlnnert.
Und dies unwissende Gestern. elne nie erlebte. animalische Unschuid. dies
Tier jagt dich jetzt durch die StraBen" (R.34). Memories plague and
pursue the protagonist. Long since forgotten incidences propel themselves
into the protagonists awareness and force Bekker to confront these
pictures of his past. As was true of the previous two works by StrauB.
the protagonist here comes face to face with his inner self.

The reflection. confrontation. and expression of self through language
are manifest within a narrative perspective which is difficult to pinpoint. At
times the viewpoint is that of a third person narrator. at other times the
self speaks directly in the first person. The narrator seems to attempt an
objective account of a fragment of Bekkers life. but again and again slips

almost unnoticed into the protagonists own thoughts. feelings. and words:

233

Och. ich bin elgentiich nicht alt”. antwortet der Vater zerstreut
und behaglich. ”und ich iebe ja auch gar nicht besonders von
meinen Erinnerungen.” indem er nun schweigend weitergeht.
spilrt er. wie sehr er die Stadt vermiBt und die Ruhe. die lhm
die Stadt hin und wieder gdnnt. So in der Riihe nach elner
duchwanderten Nacht auf elner Bank endlich zum Sitzen
kommen. drauBen auf leerem Spielpiatz am Rande irgendeiner
Schaiafstadt. Der breite Quader elner Mietskaserne im kiihlen
Morgen. Um sechs Uhr zwanzig springen in den kieinen
Kiichen von oben bis unten. kreuz und quer fiber die ganze
Wand die Lichter an. Arbeiter mit Frau im Morgenmantei und
Thermosfiasche auf dem Tisch. Arbeiter mit Frau. beide zum
Dienst gekieidet. am Kilchentisch. Frau allein in Jeans und
Pullover mit Kaffeetasse im Stehen. Ein Morgan in Ober
flinfzig kieinen Fenstern. wie auf elner Videowabenwand

Da ist zum elnen das Geld. das wir gut verdienen (noch sogar
ich. bei grdBter Schmach. bekomme es aus sicherer Kasse).
zum anderen das Deutschland. dessen Scharren und Schilbe
wir nicht wahrheitsgetreu bemessen und bemerken kdnnen. so
angestrengt wir auch hinstarren und die Ohren spitzen. wir
diirftigen Spanner des Zeitgeschehens (R.94-95).

The above passage begins in the third person. calling Bekker ”the father”
and ”he.” The protagonists words are clearly marked with quotations. His
feelings are objectively discussed (”er spilrt”). But in listing the feelings
of the protagonist one gradually loses sight of an objective narrator.
instead of stating that Bekker sees certain scenes with his mind’s eye.
these scenes are simply related. it has become unclear as to who is
now the narrator. in the second paragraph the narrative perspective of
the first person has taken over.

Central to the novel is not only Bekker’s relationship with his
daughter. but interpersonal interaction of all types within many varying
societal settings. Scenes unroll between doctor and patient. teacher and
pupil. father and son. man and woman. boss and worker. and between
friends. The common denominator of all these relationships is the
structure of suppressor and suppressed. interaction between people

functions not according to mutual respect and love. but based upon power

234
and humiliation. The world. as miniatured in Zachier’s institute for
information. is divided into a handful of peOpie with a strong self-image
and the many people suffering from weak identities. Both groups are
totally dependent upon each other. The majority of people are so
concerned with climbing the social ladder that they are willing to give up
their own being and identity. in their weakness they must seek the life-
giving and strengthening ether of a hero. i.e.. of one of those few people
who possess a strong self (R.12-13). These heroes are equally dependent
upon their underlings. for the latter form the basis of the former’s support
and power: ”Die ichstarken werden tagiich starker. Die. denen sie folgen
dtlrfen. GeniegegeschmeiB. gefraBige Wracks. sprechen sle GrdBe um
GrdBe zu. weil ja niemand elnes unsicheren Wackeikopfes Diener sein
mag” (R.14).

Bekker refuses to accept power in any kind of interpersonal
relationship. a refusal which accounts for his position as an outsider. He
is the only man who has courage enough to exist. or at least attempt to
exist. without the system of societal dependencies epitomized in Zachiei’s
institute (R.7). Power within a relationship. above all within the one of
love. places one of the partners in a position of humiliation and
degradation: ”Doch nur nicht Macht habenl Uber niemanden. Macht in
jeder Form ist iacheriich und abscheulich. auch im allerengsten Eck. auch
und erst recht in der Liebe. wo so schneil elner zum Absteiger wird in
des anderen Auge” (R.46). Bekker prefers an openly declared fight to the
deceit and falsity which typifies interpersonal relationships: ”Ach. es ist mlr
ja so iieb. wenn es nur wirkllch ein Kampf ist. statt zu ersticken in dieser

vermauschelten. dreckigen Liigenweit der Beziehungeni” (R.161). Open

235
conflict implies two worthy if not equal adversaries who oppose each other
in a manner which allows the opponents to maintain their independence
and dignity. Bekker treasures his previous relationship of war with his
boss Zachler because. far from demeaning either partner. it in fact forced
Bekker to develop his own power and esteem to a maximum: ”’Man findet
im Leben nur einmal elnen solchen Gegner. um den es sich lohnt. auf
der Hdhe seiner Krafte - und seines Ansehensi - zu bleiben. und
wahrscheinlich ist das elne noch seltenere Kostbarkeit als die sogenannte
groBe Liebe’” (R.54-55).

The most effective weapon of the powerful is language. Regardless
of whether the interaction of suppressor/suppressed takes place at the
interpersonal level obetween a state and its citizens. the order of iangauge
ensures the ruler the position of dominance. Bekker observes a German
couple belittling their Danish ”friends” struggling to communicate in German
(R.157). The protagonist feels no fear of people who do not speak his
own language. for they do not possess the tool of manipulation and
suppression. Society is obsessed with languages of all sorts. i.e.. with
any type of code which systematizes accumulated information. it collects
systems and logic and proof annd gathers meanings and laws to the point
that the subject has vanished within explanations and codes: ”in Allem ist
information und Sprache. von der winzigen Bakterienzelie bis in den
geheimsten Traumzipfel. wir sind ilberftiiit mit Mikrotexten. Codes und
Alphabeten. Sprache iiberaii und lauter Gesetzesherrschaft und fremde
Ordnungen. Wo solite da noch filr eln ich Platz sein?” (R.144-45). These
languages impose law and order which are alien to the subject. Religions

and ideologies are examples of languages which guarantee man a safe

236

and meaningful position at the center of the world (R.143). But such
guarantees are increasingly threatened in todaYs world. Society/s neatly
ordered bits and pieces of information are menaced by anarchy. by
disorder and tumult. by an uneasy ”Rumor”:

Der Ordnungen habe wir schiieBiich viel zu vieie gesammeit

und wild aufeinander gettirmt und ein bestiirzend ObermaB an

Sinn in die Welt gesetzt. Zuviei der Logiken. Bewelse.

Erfahrungen. Vernilnfte. als daB das Ganze nicht doch auf die

krauseste und urspriingiichste Unordnung hinausliefe. Die

Unordnung. die immer noch unterdrilckte Rede des Ganzen.

eln Rumor bloB. aber iiberail starker hervordringend (R146-

47).
Bekker. as the declared enemy of the powerful (R.196-97). rejects the
systems and orders of society and listens for the disquiet and rumbling
just barely audible below a placid surface. He wants to peel back the
modern layers of skin to reach this state of original disorder (R.147). He
fights his battle against the powerful with hate and rebellion. and by
means of a language of turmoil.

in the darkness behind the protagonist there looms an old man. a

fallen but tyrannical war officer. desirous of revenge. who drapes his heavy
cloak of battle around the shoulders of his son (R.21). With this cloak
Bekker inherits the boiling rage. destructive anger. frustrated desire for
revenge. and hate lodged within his father: ”HaB. Verachtung.
Vernichtungsdrang und Wilie zum Tod . . .” (R.21). Armed with these gifts
Bekker approaches the world in a final frenzy of hate and anarchy. He
will expend himself on one last tumultuous rampage: ”Noch einmal aus
sich herausgehen. noch einmal sich austoben. ja?” (R.24). The energy
and disquiet of hate propel him toward his declared enemies. the powerful.

Bekker’s rebellion. although driven by hate. is not to be judged in an

exclusively negative light. in fact. on both a personal and societal level

237

one finds within the destruction of hate the hope for rebirth or change.
Hate is the ultimate in opposition. For Bekker personally his rebellious
hate offers him a final refuge before submission and dissolution. it
provides him a direction and goal. Only within opposition can he still
manage to gather himself into assertiveness and action. Seen within a
broader context. hate forms a nucleus of opposition indigestible for a state
which gobbies up all other traces of nonconformity:

Der Staat. der mit allem und jedem. was sich ihm als die Kraft

des Ganz Anderen in den Weg stellt. fertig und nichts als

fertig werden will. es immer versteht. zu verteufeln. zu

verdrangen. zu zerschlagen. er hat seinen unheimllchen

Meister. seinen ersten nichtschluckbaren Widerstand gefunden

in einer kieinen. stammeinden Elite von Hassern... (R.75).
This small and stammering. yet indestructible and uncompromising core of
haters endeavors by means of its otherness to bring the machinery of
functionaiized society into disarray. They are fighters against the unformity
and sameness of politics and of a purposeiess life (R.75). As is true of
all divisive forces. the destruction produced by the haters. sometimes
called assassins. could result in a different order and new life. and for
this reason the state wars against them (R.215).

Bekkei’s rebellion takes place within the realm of language. His
many speeches and long conversations reflect his inner disquiet and
turmoil. and are accordingly marked with chaotic disruption: ”Eine Angst
geht fibers Land. als wiirde der Herzog von Wiirttemberg wieder junge
Manner ausheben und fiir Soidaten nach England vergeben . . . Die ganze
Richtung sprengen. Schatten schaffen und. Das ist des Gekrdses Jeden
Tag. Von Vieien nach Oldenburg. Warum schieBen die? . . .” (R.37-38).

Choppiness. fragmentation. and omission of connective material typify the

flow of words which give expression to Bekkei’s thoughts: ”Abwarten.

238
Schiirfen und Soharren. Der Lelb ist Gestein. verschlossen der Lelb.
verschlossen die Sprache. Ablagerung. Verwerfung. Eine neben vielen
Krusten der Erde. Aber unter unserer stockend trockenen Rede muB eln
GroBer FluB sein . . ." (R178). The subjective irrationality and chaos of
Bekkei’s language serves to defy the order of society. it undermines the
codes and systems used by the suppressors to contain and control the
suppressed. He attempts by means of language to break the codes of
order and reveal the actual disorder of existence. Stuttering and stumbling
within one’s speech is a sign that the totality of the system has been
questioned by the individual: ”Offentiiche Sprache. deren Besonnenheit
schutzgepanzert. Und wenn nur eln Offentiicher wagte. eln kiein wenig frei
schweifen lieBe - es miiBte lhm auf der Stelle schwindellg werden. so daB
seine Rede durcheinanderpurzelte...” (R.77) Stammering indicates a
measure of individual thought and freedom. The rebellious haters. with
Bekker included. are described as a group of stammerers (R.75). To
escape the power of the suppressors it is necessary to escape their
language of order: ”Es rasselt. und abgehackt. Sprachbaliungsraume.
BioB raus hierl Raus aus der Sprache . . .i ich will nichts mehr hdren
und sehen. Lieber sein als scharrenl” (R.78).

Bekkers language leads him into the depths of a tumuitous city. The
downward pathway appears as a motif throughout the entire novel28 and
must be considered the direction or intent behind the novel. Bekker is
drawn to the darkness of the city’s streets. for it is here that the power of
hate and pain is boiling and building beneath the placid calm of societYs
order. it is here that the rumbling of unrest is audible: ”ich werd mal

iangsam weiterstreifen. die Stadt hinunter. Grit. well da im Grund eln

239

Rumor ist. der noch gehdrt werden will . . .” (R.42). Here. in the
deepest regions of hell itself. one finds the rose of explosion and
destruction which threatens to bloom (R.76). The protagonist commands
the reader down into a hell which has surfaced: ”Gehen wir also die Stadt
hinunter. Sehen wir uns um. Wir sind angelangt. Hier ist es. Tartarien.
Mehr kommt nicht. Von himmeisweit unter der Erde. wo sle die Alten
dachten. ist unsere Unterweit emporgetaucht bis ans Tageslicht. fiir
jedermann begehbare Hdile . . .” (R.25). This hell is the boiling pot of
chaos. and the reader is submerged within this disorder by means of the
protagonists unruly but strongly rhythmical language. Bekker repeatedly
commands the reader to see and hear and follow him. in addition.
Bekker’s speech is characterized by repetition of parallel structures and by
rich alliterations. often in connection with a multiplication of words of
similar meaning:

Machtstreber. Ehrgeiziinge. Herostrate. Brandstifter (R.77).

So nicht und nicht anders. Kein Danach und kelne Utopie.

Schiisse iiberm Kuchen. Entftlhrung. Schlag. Schreck und

Schock (R.74).

Rumor. dumpfes Gerbil. wiederholtes Gerede. Gerilcht (R.65).
The chanting heaviness and the slowly building intensification of the
language serve not only to mirror. but also to immerse the reader within
the thickly churning pot of uneasy disturbance menacing to boil over and
rebel at any moment.

The journey into the depths of the city represents for both Bekker

and the reader a confrontation with the existential suffering of mankind.
The reality of the city is likened to hell and to the worst of concentration

camps. but this is the reality of contemporary society. To plunge into the

240
disorder and irrationality of this reality is to come to terms with the
existential chaos lying in wait behind the veneer of civilized order. The
protagonist does not reflect upon the state of mankind. as was true of the

narrator protagonist in Die Widmung. but rather shows its condition by

 

unfolding and repeating anonymous scenes of ugliness and brutality before
the eyes and ears of the reader: ”Du hbrst. die nackten Giieder mit ihren
Mulden kiatschen gegen elne Wand von Kacheln im Baderaum. Siehst
du: er schlagt sle. doch sie falit nicht um” (R.25). The protagonist
commands the reader to open his eyes and ears to the pitiful existence of
all of mankind. This is at the same time a demand to confront one's own
self. for the reality of pain and suffering——the reality of mishaps and
chaos--is one shared by all of society: ”Und doch befehie ich mlr: schau
sle an. hdr hin. geiz nicht mit deinem Mitieid. denn das steht dir nicht zu.
Wir sind Eln Leid. Eln Wunsch. Eln Danebengehen” (R.163).

Bekker exhausts his energy and inevitably his very life in a rebellion
and unrest which. lacking an enemy. turns inward. He finds no partner
for either his love or his hate and foresees his madly spinning end: ”...der
enge Umlauf melner Lebensschritte [schileBt] immer enger [zu] und
[endet] bald vielleicht in einem toilen Wirbei um die eigene Achse” (R.21).
But he has left behind a feeling of disquiet and agitation. He has
communicated some of his restless energy to the reader. and this reader

has heard the rumblings of a rebellion ready to explode into chaos.

Conclusion
This chapter has examined three prose pieces of Botho StrauB within

the context of New Subjectivity. it has been seen that StrauB’ protagonists

241
undergo an experience of alienation similar in many ways to other new
subjective characters. All three works trace the dissolution of the
protagonists’ sense of self and identity and their gradual isolation. All
three delve into the inner mind of the main character and portray not
objective reality but the subjects thoughts. dreams. hallucinations. and
feelings. Unique to StrauB is his emphasis on interpersonal relationships
and love of varying types: sisterly in Marlenes Schwester. between man

and woman in Die Widmqu. and between father and daughter in Rumor.

 

in all three works the turn to the self is motivated by separation or
abandonment. which is the most devastating of all personal crises for
StrauB. Upon loss of a societal context the subject is plunged into
subjective irrationality. This is the state of ”lrresein.” or craziness--this is
the new subjective experience of alienation. StrauB critically contrasts this
individual irrationality to the reason of contemporary society. Society is so
concerned with logic. informational systems. and order that there is no
longer room for individual feelings and thoughts. The form of all three
works is molded to the consciousness of the subject and as such can be
termed a stream of consciousness whereby the subject reflects upon the
self. The most notable characteristic of subjective reflection is a
constantly changing narrative perspective. in addition. StrauB’ works are
marked with fragmentation. a lack of orderly progression. and an absence
of causality. Through such formal elements the reader is provoked into an
experience of alienation and self—confrontation similar to that of the
protagonist. The Oppressive reason and objectivity of society has been

undermined through the new subjective confrontation with self.

Notes-~Chapter Six

1Georg Hensei. ”Vom Lehrtheater zum Leertheater: Beobachtungen in
der Spielzeit 1978/79.” ahresring. 1979/80. p. 305

2Hensei. p. 305.

3Walter Hinck. ”Deutsche Dramatik in der Bundesrepubilk seit 1965:
(Mlt elner Auswahiblbiiographie und elner Liste der Urauffiihrungen).” in
Deutsche Literatur in der Bundesrepubilk seit 1965: Untersuchungen und
Berichte. ed. Paul Michael Liitzeier and Egon Schwarz (Kdnigstein:
Athenaum. 1980). p. 73.

 

4Botho StrauB. ”Versuch. asthetische und polltlsche Ereignlsse
zusammenzudenken: Neues Theater 1967-70.” Theater heute. 11. No.10
(1970). 68.

 

5Hans Woifschtitz. ”Botho StrauB.” in Kritisches Lexikon zur
deutschsprachigen Gegenwartsliteratur. ed. Heinz Ludwig Arnold (Mfinchen:
edition text + kritik. 1978). pp. 2-3.

 

 

6Woitschiitz. p. 5.
7StrauB. 68.

8Hansjoachim Bieyl. ”Ein Theater-Ereignis in der Berliner Schaubtihne:
'Die Hypochonder’ von Botho StrauB.” Neue Rundschau. 84 (1973). 340.

 

9Woitschiitz. p. 4.

10Waifschtitz. p. 4.

1‘Woiischiitz. p. 5.

12Marienes Schwester (Mfinchen: Cari Hanser. 1977). Die Widmung;
Eine Erzahlung (Mfinchen: Cari Hanser. 1977). Rumor: Roman (Mfinchen:

Cari Hanser. 1980). Hereafter cited in the text with (MS). (Wl). and (R)
respectively.

 

 

 

 

13Rolf Michaelis. ”Stimmen - Meer im Kopf: 'Marienes Schwester -
Botho StrauB debiitiert als Erzahler.” Die Zelt. 21 March 1975. Sec.
Literatur-Beilage. p. 4.

“Michaelis. p. 4.

15Michaelis. p. 4.

16Reinhard Baumgart. ”Gerhle als Handiungen: Die ersten Erzahiungen
von Botho StrauB.” Siiddeutsche Zeitung. 17 May 1975. p. 80.

 

242

243

17Peter Beicken. ”’Neue Subjektivitat: Zur Prosa der siebziger Jahre.”
in Deutsche Literatur in der Bundesrepubilk seit 1965: Untersuchungen und
Berichte (Kbnigstein: Athenaum. 1980). p. 175.

 

18Woitschiitz. p. 7.

19Gerhard vom Hole and Peter Pfaff. Das Elend des Poiyphem: Zum
Thema der Subjektivitat bei Thomas Bernhard. Peter Handke. Wolfgang
Koeppen und Botho StrauB (Kdnigstein. Athenaum. 1980). p. 114.

 

 

 

20Woifgang Limmer. ”Fiitterwochen elner Trennung.” Der Spiegel. 28
Nov. 1977. p. 228.

 

“note and Pfaff. p. 124.

22Martin Roda Becher. ”Poesie der UnglUcksfaiie: Ober die Schriften
von Botho StrauB.” Merkur. 32 (1978). 626.

23Marcel Relch-Ranickl. ”Gleicht die Liebe einem Monolog?: ‘Wldmung‘.
eine Erzahlung von Botho StrauB.” Frankfurter Allgemeine ZeltunJ. 10 Sept.
1977. Sec. Literatur.

 

24Limmer. p. 228.

25Klaus R. Scherpe and Hans-Ulrich Treichei. ”Vom OberdruB leben:
Sensibilitat und lnteilektualitat als Ereignis bei Handke. Born und StrauB.”
Monatshefte. 73 (1981). 188. The authors not only create a different
spelling for StrauB’ character Hannah. but even rename the protagonist
Robenul -

 

26Limmer. p. 228.
27Scherpe and Treichei. 194.

28869 for example pp. 24. 36. 42. 76. 104. 131. and 194.

Conclusion

This dissertation has investigated the themes and forms of new
subjective literature. On the basis of this investigation a definition of New
Subjectivity is provided: the subject is both the object and means of
portrayal. The turn inward to the personal world of the subject is
motivated by the shocking invalidation of objective truths and systems.
Subjectivity is dependent upon a preceding experience of alienation. and
this experience is the common denominator of new subjective literature.
The protagonists alienated state is not only thematically central. but also
determines the form of the work. A pattern of alienation has been traced
for New Subjectivity in general. and the contours of this same pattern.
although with variations. became apparent in the works of two specific new
subjective authors.

A comparison in Chapter One of New Subjectivity to the literature
immediately preceding it revealed that the literature of the seventies is new
because it so radically rejects the politically oriented literature produced
during the late sixties. instead of objective ideology and societal
revolution. the new subjective author portrays the irrational consciousness
of the subject. However. the boundary between the two literary trends is
not as absolute as it appears at first glance. Peter Handke. for instance.
wrote subjective literature even at the height of political activism. New
Subjectivity is the latest manifestation of a literary tradition of subjectivity.
The first chapter discussed the many similarities between New Subjectivity
and Expressionism. These similarities rest upon the common experience of

alienation. and New Subjectivity can be viewed as a reaffirmation of

244

245
Nietzsche's break with tradition.

The second chapter traced the destruction which accompanies the
new subjective experience of alienation. The new subjective protagonist no
longer trusts in the explanations and systems of society. The rejection of
a political ideology is especially prevalent. The loss of a trustworthy
context plunges the individual into the irrationality and instability of his own
feelings. No longer assured a meaningful definition or role within society.
many new subjective protagonists experience the dissolution of identity.
They become apathetic. lose touch with the world. and often their pathway
leads to death. New Subjectivity is harshly criticized for its rejection of
explanatory systems and for the lack of individual resistance. Many
commentators find that new subjective literature possesses no societal
relevance.

Chapter Three responded to the criticism leveled at New Subjectivity
by positing a positive potential for the experience of alienation. The
destruction of alienation frees the individual from preconceptions and
prejudices to rediscover an awareness of himself and his world. in the
absence of a predefined role. the subject embarks upon a search for self.
in the absence of an objective and preconceived manner of perception. the
individual has the opportunity to re-experience the world. in the
confrontation with death the individual becomes fully conscious of life. Far
from being trivial and socially irrelevant. New Subjectivity portrays societal
non-existence. and the hope for change lies in the experience of alienation.

The positive potential often remains unrealized within the new
subjective work itself. but the potential for change has been directed at

the reader by means of the form of the work. Personal engagement.

246
whereby the author communicates the experience of alienation to the
reader. is revealed in Chapter Four as the common engaged intent of the
New Subjectivists. The form of the literary work draws the reader into
active participation with the text and afflicts him with the uncertainty and
instability of the protagonist. Common formal elements in new subjective
works are fragmentation. an uncertain narrator. and structural openness.
The reader is left with the questions of the protagonist. and the
responsibility for change lies in his hands.

The chapter devoted to Peter Handke disclosed the typical new
subjective pattern as discussed in the preceding chapters and outlined a
development within Handke’s works toward refound orientation. The dialectic
relationship evident in Handke’s theoretical and primary works between fear
and happiness corresponds to the pattern of alienation and positive
potential discussed for New Subjectivity in general. His work Die Angst

des Tormanns beim Elfmeter must be considered an early and radical

 

example of new subjective alienation. As such it is characterized by fear
and evidences many of the themes and forms of New Subjectivity. g2

Stunde der wahren Empfindung is a pivotal work and clearly evidences the

 

contradictory states of fear and happiness and the relationship between
them. The fear of alienation is necessary for mystical moments of
happiness in which the individual experiences a refound harmony and union
with the world. The most recent Handke work discussed here. Die Lehre

der Sainte-Victoire. portrays the attainment of orientation. The protagonist

 

overcomes subjective alienation by means of aesthetic communication.
In the works of Botho StrauB examined in Chapter Six the personal

crisis of separation plunges the protagonists into a state of alienation.

247
Another human being provides the meaning and context for the individual’s

life: in Marlenes Schwester it is the sister. for Richard in Die Widmung it

 

 

is Hannah. and Bekker of Rumor seeks human contact in general. and
specifically the love of his daughter. Upon the withdrawal of the loved
one. all three protagonists undergo a process of dissolution and increasing
isolation very similar to other new subjective protagonists. Lacking societal
context StrauB’ protagonists turn inward to question. explore. and confront
the self. Lacking outer objectivity they are plunged into their own
subjective irrationality. Herein lies the positive potential and intent of
StrauB’ literature. for this irrationality is critically contrasted to the
oppressive reason of society. Although the potential is not realized within
the work itself. the reader is subjected to the experience of alienation and
subjective irrationality by means of a form determined by the protagonists’
inner mind.

in conclusion. New Subjectivity presents an experience of alienation
which is irrational and terrifying. Through the works form the reader is
drawn into the experience and burdened with the questions. uncertainties.
and yearnings of the protagonist. Within the reader lies the hope for the

realization of the positive potential of the negative experience of alienation.

APPENDIX

(A)

(ATE)

(BA)

(BE)

(FB)

(f P)

(GG)

(H)

(HM)

(JL)

(K)

(L)

(LS-V)

(M)

(MS)

(NL)

(R)

(SE)

(SG)

(88)

(T)

(W1)

APPENDIX

Abbreviations for Primary Literature

Bernhard. Der Atem: Eine Entscheidung. 1978.

Peter Handke. Die Angst des Tormanns beim Elfmeter. 1970.

Peter Handke. Der kurze Brief zum langen Abschied. 1972.

 

Peter Handke. ich bin eln Bewohner des Eifenbeinturms. 1972.
Gabriele Wohmann. Friihherbst in Badenwelier. 1978.

Martin Waiser. Eln fliehendes Pferd. 1978.

 

Hans J. Frdhiich. im Garten der Gefilhie. 1975.

Verena Stefan. Hautungen. 1975.

Peter O. Chotjewitz. Die Herren des Morgengrauens. 1978.
Martin Waiser. Jenseits der Liebe. 1976.

Karin Struck. Kiassenliebe. 1973.

 

Peter Schneider. Lg. 1973.

Peter Handke. Die Lehre der Sainte-Victoire. 1980.

Max Frisch. Montauk. 1975.

Botho StrauB. Marlenes Schwester. 1975.

Peter Hartling. Naclgetrajgne Liebe. 1980.

Botho StrauB. M25. 1980.

Peter Handke. Die Stunde der wahren Empfindtm. 1975.
Nicolas Born. Die erdabgewandte Seite der Geschichte. 1976.
Dieter Wellershoff. Die Schdnhelt des Schimpansen. 1977.
Karin Struck. Trennung. 1978.

Botho StrauB. Die Widmung. 1977.

 

248

249

(WU) Peter Handke. Als das Wiinschen noch geholfen hat. 1974.

SELECTED BIBLIOGRAPHY

SELECTED BIBLIOGRAPHY

l. Primary Works

Benn. Gottfried. ”ithaka.” in Einakter und kieine Dramen des
Expressionismus. Ed. Horst Denkier. Stuttgart: Philipp Reclam.
1968. pp. 90-100.

 

 

Bernhard. Thomas. Der Atem: Eine Entscheidung. Wien: Residenz. 1978.

 

Born. Nicolas. Die erdabgewandte Seite der Geschichte. Reinbek bei
Hamburg: Rowohit. 1976.

 

Chotjewitz. Peter 0. Die Herren des Morgengrauens: Romanfragment.
Berlin: Rotbuch. 1978.

 

Ddbiin. Alfred. ”Lydia und Maxchen.” in Einakter und kieine Dramen des
Expressionismus. Ed. Horst Denkier. Stuttgart: Philipp Reclam.
1968. pp. 22-46.

 

 

Frisch. Max. Montauk: Eine Erzahiung. Frankfurt am Main: Suhrkamp. 1975.

 

Frdhlich. Hans J. im Garten der Gefilhle: Roman. Miinchen: Carl Hanser.
1975.

 

 

Hartling. Peter. Nachgetragene Liebe. Darmstadt: Hermann Luchterhand
Veriag. 1980.

Handke. Peter. Die lnnenwelt der AuBenwelt der lnnenwelt. Frankfurt am
Main: Suhrkamp. 1969.

 

———————— . ”Die Angst des Tormanns beim Elfmeter.” Text + Kritik:
Zeitschrift fiJr Literatur. 24 (1969). 3-7. Ed. Heinz Ludwig
Arnold.

 

 

-------- . Die Angst des Tormanns beim Elfmeter. Frankfurt am Main:
Suhrkamp. 1970.

 

-------- . ich bin eln Bewohner des Eifenbeinturms. Frankfurt am Main:
Suhrkamp. 1972.

 

-------- . Der kurze Brief zum langen Abschied. Frankfurt am Main:
Suhrkamp. 1972.

 

-------- . Wunschloses Unglilck: Erzahiung. Saizburg: Residenz Verlag.
1972.

-------- . Als das WUnschen noch fihdifen hat. Frankfurt am Main:
Suhrkamp. 1974.

 

250

251

-------- . ”Denunziation ohne Wahrnehmung.” Der Spiefli. 17 March 1975.
pp. 147-49.

 

-------- . ”Die privaten Weitkriege der Patricia Highsmith.” Der Spiegel. 13
Jan. 1975. pp. 88-93.

 

-------- . Die Stunde der wahren Empfindung. Frankfurt am Main:
Suhrkamp. 1975.

 

-------- . ”Gegen den tiefen Schiaf: Nicolas Borns zweiter Roman: ’Die
erdabgewandte Seite der Geschichte." Die Zeit. 8 Oct. 1976.
Sec. Literatur. p. 40.

-------- . ”Die Tyrannel der Systeme.” Die Zeit. 2 Jan. 1976. Sec.
Feuiileton. pp. 25-26.

-------- . Das Gewicht der Welt: Eln Journal (November 1975 - Marz
1977). Saizburg: Residenz Verlag. 1977.

 

-------- . Die Lehre der Sainte—Victoire. Frankfurt am Main: Suhrkamp.
1980.

 

Hofmannsthal. Hugo von. ”Eln Brief.” in Hugo von Hofmannsthal:
Gesammeite Werke in Einzelausgaben: Prosa ii. Ed. Herbert
Steiner. Frankfurt am Main: Fischer. 1951. pp. 7-20.

 

 

Kafka. Franz. ”Gesprach mit dem Beter.” in Prosa des Expressionismus.
Ed. Fritz Martini. Stuttgart: Philipp Reclam. 1970. pp. 59-66.

 

Kandinsky. Wassily. ”Der gelbe Kiang.” in Einakter und kieine Dramen des
Expressionismus. Ed. Horst Denkier. Stuttgart: Philipp Reclam.
1968. pp. 54—64.

 

 

Musii. Robert. ”Tonka.” in Prosa und Stilcke. Vol. Vi of Robert Musil:
Gesammeite Werke. Ed. Adolf Frisé. Reinbek bei Hamburg:
Rowohit. 1978. pp. 270-306.

 

 

 

Novak. Helga M. Die Eisheillgen. Darmstadt: Hermann Luchterhand Verlag.
1979.

 

Rilke. Rainer Maria. Die Aufzelchnungen des Malte Laurids Briggg. in
Samtiiche Werke. Vol. Vi. Frankfurt am Main: lnsel. 1966.
709-946.

 

 

Schneider. Peter. Lenz: elne Erzahltfl. Berlin: Rotbuch. 1973.

 

Stefan. Verena. Hautungen. Mfinchen: Frauenoffensive. 1975.

StrauB. Botho. ”Stiicke nach der Revolte.” Theater heute. 10. No. 2
(1969). 45-52.

 

-------- . ”Versuch. asthetische und p0iitische Ereignlsse

252

zusammenzudenken: Neues Theater 1967-70.” Theater heute.
11. No. 10 (1970). 61-68.

 

-------- . Marlenes Schwester. Mfinchen: Cari Hanser. 1975.

 

-------- . Die Widmung: Eine Erzahiugq. Miinchen: Cari Hanser. 1977.

 

-------- . Rumor: Roman Mfinchen: Carl Hanser. 1980.

 

Struck. Karin. Kiassenliebe: Roman. Frankfurt am Main: Suhrkamp. 1973.

 

-------- . Trennung: Erzahiung. Frankfurt am Main: Suhrkamp. 1978.

 

Waiser. Martin. Ein fliehendes Pferd: Novelle. Frankfurt am Main:
Suhrkamp. 1978.

Waiser. Martin. Jenseits der Liebe: Roman. Frankfurt am Main: Suhrkamp.
1976.

 

Wellershoff. Dieter. Die Schdnheit des Schimpansen: Roman. Kdin:
Kiepenheuer & Witsch. 1977.

Wohmann. Gabriele. Friihherbst in Badenwelier: Roman. 1978: rpt.
Frankfurt am Main: Fischer Taschenbuch. 1980.

 

ll. Secondary Works

Améry. Jean. ”Grundioser Ekel: Marginales zu Peter Handkes neuem Buch
'Die Stunde der wahren Empfindung.“ Merkur. 29 (1975). 468-
71.

Andersch. Alfred. and Hans Magnus Enzensberger. ”Die Literatur nach dem
Tod der Literatur. Eln Gesprach.” in Nach dem Protest:
Literatur im Umbruch. Ed. Martin W. Lildke. Frankfurt:
Suhrkamp. 1979. pp. 85-102.

 

 

Arnold. Heinz Ludwig. ”Ober die Vergangenheit der alten und die
Notwendigkeit elner neuen Literaturkritik.” in Brauchen wir
noch die Literatur? Zur literarischen Situation in der
Bundesrepubilk. Diisseidorf: Bertelsmann Universitatsverlag.
1972. pp. 26-40.

 

 

 

-------- . ”innovation und irritation als Prinzip: Zum Belspiei Peter Handkes
’Kaspar.‘” in Brauchen wir noch die Literatur? Zur literarischen
Situation in der Bundesrepubilk. Dusseldorf: Bertelsmann
Universitatsverlag. 1972. pp. 41-46.

 

 

-------- . ”Ausdrucksformen des Protestes in der zeitgendssischen
Prosaliteratur.” in Brauchen wir noch die Literatur? Zur
literarischen Situation in der Bundesrepubilk. Diisseldorf:

 

253

Bertelsmann Universitatsverlag. 1972. pp. 124-33.
-------- ”Reine Klinstiichkeit: Peter Handkes Roman 'Die Angst des
Tormanns beim Elfmeter.“ in Brauchen wir noch die
Literatur? Zur literarischen Situation in der Bundesrepubilk.
Dilsseldorf: Bertelsmann Universitatsveriag. 1972. pp. 188-89.
-------- ”’Nicht Literatur machen. sondern als Schriftsteiler ieben’:
Gesprach mit Peter Handke.” in Als Schriftsteiler leben:
Gesprache mit Peter Handke. Franz Xaver Kroetz. Gerhard

Zwerenz. Waiter Jens. Peter Rtihmkorf. Giinter Grass. Reinbek:
Rowohit. 1979. pp. 7-34.

Baier. Lothar. ”Aus der Satziehre des Unmenschen.”

Zeitschrift fiir Literatur. 24 (1969). 8-14.
Arnold.

Text + Kritik:
Ed. Heinz Ludwig

”LektUre als Blindfiug: Zwei Erzahlungen von Botho StrauB.”
Frankfurter Allgemeine Zeitung. 10 May 1975. Sec. Literatur.

Barry. Thomas F. ”Sehnsucht nach einem Bezugssystem’: The Existential

Aestheticism of Peter Handke's Recent Fiction.” Handke
Session. MLA Convention. New York. December 1981.
Batt. Kurt.

”Revolte intern: Beobachtungen an der westdeutschen Literatur.”
Neue deutsche Literatur. 22 (1974). 113-41.

”Die Exekution des Erzahiers: Westdeutsche Romane um 70.”

 

 

in
Revolte intern: Betrachtungen zur Literatur in der
Bundesrepubilk Deutschland. Leibzig: Reclam. 1974. pp. 191-
273.
-------- ”Leben im Zitat: Notizen zu Peter Handke.” Sinn und Form. 26
(1974). 603-23.

 

Baumgart. Reinhard. ”Erst Zeichen. dann Wunder: Peter Handkes neue

Erzahlung ’Die Stunde der wahren Empfindung.“ Die Zeit. 21
March 1975. Sec. Literatur-Beiiage. p. 5.

”Gefiihie als Handiungen: Die ersten Erzahlungen von Botho
StrauB.” Siiddeutsche Zeitung. 17 May 1975. p. 80.

”Eln Engei aus Remscheid-Lennep: Ober den Dramatiker Botho

StrauB und sein neues Stilck 'GroB und kiein.“ Die Zeit. 6
Oct. 1978. pp. 47-48.

Becher. Martin Roda. ”Peter Handke - eln Euphorion? Zu seinen letzten
Bilchern.” Merkur. 30 (1976). 193-97.

”Poesie der Ungiiicksfalle: Ober die Schriften von Botho StrauB.”
Merkur. 32 (1978). 625-28.

254

Becker. Peter von. ”Die Falle des Triebiesers: Botho StrauB’ ‘Widmung.’”
Stiddeutsche Zeitung. 12 Oct. 1977. Sec. Buch und Zelt. p. 7.

-------- . ”Entieben in Glaube. Liebe. Hoffnung: Zur Urauffilhrung von Botho
StrauB’ ’GroB und kiein’ in Berlin.” Theater heute. 20. No. 1
(1979). 4—10.

 

Beckermann. Thomas. ”Auf der Suche nach dem Glilck. aliein oder mit
anderen Tendenzen der deutschsprachigen Prosa seit dem
Ende der sechzlger Jahre.” Doitsu Bungaku. 57 (1976). 93-
112.

 

Beicken. Peter. ”’Neue Subjektivitatz Zur Prosa der siebziger Jahre.” in
Deutsche Literatur in der Bundesrepubilk seit 1965:
Untersuchungen und Berichte. Kbnigstein: Athenaum. 1980. pp.
164-81.

Bernhard. Hans Joachim. ”Positionen und Tendenzen in der Literatur der
BRD Mitte der siebziger Jahre.” Welmarer Beltrag_e_. 23. No.
12 (1977). 53-84.

 

Bleistein. Roman. ”Der Tod als Thema.” Stimmen der Zelt. 191 (1973).
710-13.

 

Bieyl. Hansjoachim. ”Eln Theater-Ereignis in der Berliner Schaubiihne: ’Die
Hypochondei’ von Botho StrauB.” Neue Rundschau. 84 (1973).
339-44.

 

-------- . ”Peter Stein inszeniert die Trilogie des Wiedersehens’ von Botho
StrauB.” Neue Deutsche Hefte. 158 (1978). 430-34.

Biumer. Arnold. ”Peter Handkes romantlsche Unvernunft.” Acta Germanica.
8 (1973). 123-32.

 

Bdii. Heinrich. ”Ab nach rechts.” in Einmischung erwilnscht: Schriften zur
Zelt. Kdin: Kiepenheuer & Witsch. 1977. pp. 163-68.

Bohn. Volker. ”’Spater werde ich iiber das alles Genaueres schrelben’: Peter
Handkes Erzahiung Wunschloses Ungiilck aus
literaturtheoretischer Sicht.” Germanisch-Romanische
Monatsschrift. Neue Folge. 57 (1976). 356-79.

-------- . ”Zum Hinscheiden der These vom Tod der Literatur.” in Nach
dem Protest: Literatur im Umbruch. Ed. Martin w. Liidke.
Frankfurt: Suhrkamp. 1979. pp. 241-68.

Bondy. Francois. ”’Zu echt. um wahr zu sein.“ Schweizer Monatshefte filr
Politik. Wirtschaft. Kultur. June (1973). pp. 189-97.

 

Born. Nicolas. ”Vorbemerkung.” in Literaturmagazin 3: 'Die Phantasle an
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255

Bronson. David. 'Autoblographien der siebziger Jahre: Bertihmte Schriftsteiler
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Bundesrepubilk seit 1965: Untersuchungen und Berichte.
Kdnigstein: Athenaum. 1980. pp. 202-14.

 

Buch. Hans Christoph. ”Piadoyer fu‘r ein historisches Gedachtnis: Gedanken
(iber Sensibilitat und Soildarltat.” Frankfurter Allgemeine
Zeitung. 13 Nov. 1976. p. 25.

 

Buselmeier. Michael. ”'Das Paradies ist verriegeit.‘” Text + Kritik: Zeitschrift
fijr Literatur. 24/24a (1976). 57-62. Ed. Heinz Ludwig Arnold.

 

 

-------- . ”Nach der Revolte: Die literarische Verarbeitung der
Studentenbewegung.” in Literatur und Studentenbewegung: Eine
Zwischenbilanz. Ed. Martin W. Lildke. Opiaden: Wesdeutscher
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Conradi. Arnulf. ”Die Gezeiten des Subjektivismus: Ober die Subjektivitat in
der neueren Literatur.” horen. 25 (1980). 111-15.

Critchfieid. Richard. ”Parody. Satire. and Transparencies in Peter Handke’s
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Daiienbach. Lucien. ”Refiexivity and Reading.” New Literary History. 11
(1979/80). 435-49.

 

Dede. Hans Ewaid. ”Die Poiitisierung der Literatur in der Bundesrepubilk
seit 1968.” In Kontext 1: Literatur und Wirkiichkelt. Miinchen:
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Denkier. Horst. Drama des Expressionismus : Programm : Spieitext :
Theater. Mfinchen: Wilhelm Fink Veriag. 1967.

-------- . 'Langer Marsch und kurzer ProzeB: Oppositioneile
Studentenbewegung und streitbarer Staat im westdeutschen
Roman der siebziger Jahre.” in Der deutsche Roman und
seine historischen und polltlschen Bedingungen: Neuntes
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Paulsen. Bern: Francke. 1977. pp. 124-44.

 

 

Dettmering. Peter. ”Der Wunsch. 'Niemand zu sein.” Praxis der
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Dickey. William. ”l have had my vision.” The Key Reporter. 47 (Autumn
1981). 1-4.

 

Drews. Jdrg. ”Sterile Exerzitien.” Text + Kritik: Zeitschrift fllr Literatur. 24
(1969). 50-55. Ed. Heinz Ludwig Arnold.

 

-------- . ”Selbsterfahrung und Neue Subjektivitdt in der Lyrik.” Akzente.

256
24 (1977). 89-95.
-------- . ”Antwort auf Jiirgen Theobaldy.” Akzente. 24 (1977). 379-82.

Durzak. Manfred. Der deutsche Roman der Gegenwart. Stuttgart:
Kohikammer. 1971.

-------- . Gesprache fiber den Roman mit Joseph Breltbach. Elias Canettl.
Heinrich Bdii. Siegfried Lenz. Hermann Lenz. Wolfgam
Hildesheimer. Peter Handke. Hans Erich Nossack. Uwe
Johnson. Walter Hdllerer: Formbestimmungen und Analysen.
Frankfurt: Suhrkamp. 1976.

-------- . ”Zur Situation des aktueilen deutschen Romans.” in Rezegtion
der deutschen Gegenwartsliteratur im Ausiand: lnternationale
Forschungen zur neueren deutschen Literatur. Ed. Dietrich
Papenfuss and Jtirgen Sdring. Stuttgart: Kohlhammer. 1976.
pp. 415-23.

Enzensberger. Hans Magnus. ”Gemelnpiatze. die Neueste Literatur
betreffend.” Kursbuch. 15 (1968). 187-97.

Federico. Joseph A. ”The Hero as Playwright in Dramas by Frisch.
Dilrrenmatt. and Handke.” German Life and Letters. 32
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Fischer. Ludwig. ”Vom Beweis der Glite des Puddings: Zu Jdrg Drews‘ und
Jiirgen Theobaldys Ansichten tlber neuere Lyrik.” Akzente. 24
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Frisch. Max. ”Offentiichkelt als Partner.” in Offentlichkeit als Partner.
Frankfurt am Main: Suhrkamp. 1967. pp. 56-67.

 

Frdhiich. Hans J. ”Ein Blick zuriick. eln Blick nach vorn: Literarische
Neuerscheinungen Herbst 1976. Frilhjahr 1977.” Jahresrlng.
1977/78. pp. 273-81.

-------- . ”Dle Gewichte der Welt: Literarische Neuerscheinungen im Herbst
1977 und Frtihjahr 1978.” Jahresrlng. 1978/79. pp. 285-93.

-------- . ”Die Literatur kommt in die Jahre.” Jahresrlng. (1979/80). pp.
267-85.

Glaser. Horst Albert. ”Formen des Engagements: Eln Beitrag zur
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(3009. Hiltrud. ”Was heIBt 'Neue Subjektlvltat?" Merkur. 32 (1978). 60-75.

-------- . ”Schiechte Zelt ftlr Liebe - Zelt filr bessere Liebe? Das Theme
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257

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Grass. Giinter. ”Vom mangelnden Seibstvertrauen der schrelbenden
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Greiner. Ulrich. Der Tod des Nachsommers. Aufsatze. Portrats. Kritiken zur
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-------- . ”Was es heiBt. nach den Tendenzen der Literatur zu fragen.”
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Hage. Volker. 'Das Ende der Beziehungen: Uber den Zustand der Liebe in
neueren Romanen und Erzahlungen: elne Bestandsaufnahme.”
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1968. Stuttgart: Klett. 1979. pp. 14-25.

Hartung. Rudolf. ”Traumhafte Wandiung: Zu Peter Handkes 'Die Stunde der
wahren Empfindung.“ Neue Rundschau. 86 (1975). 521-24.

 

Hays. Michael. ”Peter Handke and the End of the 'Modern.'” Modern
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Hazel. E. Hazel. ”Die alte und die neue Sensibilitat: Erfahrungen mit dem
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