Günter Eich
Günter Eich | |
---|---|
Eich in 1967 | |
Born | (1907-02-01)1 February 1907 Lebus, German Empire |
Died | 20 December 1972(1972-12-20) (aged 65) Salzburg, Austria |
Nationality | German |
Notable awards | Hörspielpreis der Kriegsblinden 1952 Georg Büchner Prize 1959 |
Spouse | Ilse Aichinger (1953–1972, his death) |
Günter Eich (German: [ˈɡʏntɐ ˈaɪç]; 1 February 1907 – 20 December 1972) was a German lyricist, dramatist, and author. He was born in Lebus, on the Oder River, and educated in Leipzig, Berlin, and Paris.
Life
Eich made his first appearance in print with some poems in the Anthology of the Latest Poetry. His first radio play, written in collaboration with Martin Raschke, was performed in 1929. From 1929 to 1932, Eich lived as a freelance writer in Dresden, Berlin, and on the Baltic coast, writing mainly for the radio. From 1939 to 1945, Eich served in the German army in a signals unit. In 1945 he was held as a war prisoner in an American internment camp, and in 1946 he was released and moved to Geisenhausen in Bavaria.[1] After being held as a prisoner of war, he was one of the founders in 1947 of Gruppe 47, and for poems in his then unpublished Abgelegene Gehöfte, he was one of the first two recipients, in 1950, of its Literature Prize for young writers. In 1953, he married the Jewish Austrian writer Ilse Aichinger. Their son Clemens was born on 22 May 1954, and their daughter Mirjam was born in 1958.
He continued to publish prose, poetry, and radio plays over the rest of his life. Eich died in Salzburg in 1972.
Writing
Weimar era (1929–1932)
Eich was a contributor to Ana Victoria, a literary magazine.[2] "Die Kolonne" is seen as a reaction against contemporary Modernist literary trends,[3] and rests on three central principles: "the essential timelessness of the inner life, the notion of the genius as representative of his age, and the religious function of art."[4] Eich believed in a fundamental incompatibility between poetry and politics and in his essay, "Bemerkungen über Lyrik", he drew a line between the poet "als Lyriker" and "als Privatmann" which allows poets to be politically active as long as it does not impinge on their work.[5]
Eich is regarded as a literary conservative and his public association with a staunchly critical review of Johannes R. Becher's poem "Der Große Plan" attests to this. According to Cuomo, "The most fitting overall characterisation of '[Die Kolonne]' would not be liberal or progressive, but conservative."[6] "Die Kolonne" was strongly representative of Eich's own aesthetic and ideological views, and although largely apolitical, it appeared to favor conservative ideology. Despite this apparent conservatism, the journal aimed to separate literature from any political influence.[1]
Nazi Germany (1933–1945)
The majority of Eich's literary output in this period were radio plays, which numbered 160.[7] The most well known of these today is Rebellion in der Goldstadt, which was only recently discovered. The play was broadcast on 8 May 1940 in an anti-British radio campaign the Goebbels' Propaganda Ministry was waging. It deals with a South African mine and its workers striking against the poor wages they receive from the overtly capitalist British owner, Lord Pembroke. There is some contention surrounding Eich's complete authorship of the play as there is no broadcast text in his handwriting.[1][8]
Response to the Machtergreifung
On 1 May 1933 Eich applied for membership in the Nazi Party but was not accepted.[9]
After the war, Eich made many public statements about the role of artists in standing up against oppressive regimes: "If our work cannot be understood as criticism, as opposition and resistance, [...] then we are positive and decorate the slaughterhouse with geraniums."[10] and "Seid unbequem, seid Sand, nicht das Öl im Getriebe der Welt!"[11] which translates as "Be inconvenient, be sand, not oil in the gears of the world!"
These statements, however, stand in stark contrast to his actions during the Nazi era. His radio plays were often tailored to fit the propaganda needs of the Nazi party, extolling the Blut und Boden rural life and denouncing the decadent capitalism of the regime's enemies. It is believed that Eich had pragmatic reasons for writing all of his radio plays:
Eichs Rundfunktätigkeit beschränkte sich auf den Hörspielbereich und diente dem Broterwerb. [...] Wie viele Hörspiele, Märchenbearbeitungen, Kalenderblätter Eich auch schrieb, niemals hat er damit «Karriere« gemacht.[12]
Eich's broadcasting activity was limited to radio plays and breadwinning. Like many of the radio plays, fairy tale adaptation and calendar pages that Eich also wrote he never tried to 'make a career' out of it.
His collected works were published in four volumes in 1991.
James Dickey opened his 1965 poem "The Firebombing," about a nighttime air raid on the Japanese town of Beppu, with this epigraph from Eich's work:
- Denke daran, dass nach den großen Zerstörungen
- Jedermann beweisen wird, dass er unschuldig war.
roughly:
- Think of this: that after the great destructions
- every man will attest that he was innocent.
Literary prizes
Eich received numerous literary prizes after World War II, including one from the literary association of which he was a member, Gruppe 47, in 1950. In 1953, he won the Hörspielpreis der Kriegsblinden for his radio play Die Andere und ich (The Other and I).[13] Eich also won the Georg Büchner Prize in 1959[14] and the Schiller Memorial Prize in 1968.
Notes
- ^ a b c Krispyn, Egbert (1971). Günter Eich. Twayne's World Authors. New York: Twayne Publishers, Inc. pp. 176.
- ^ Philpotts, M., The Margins of Dictatorship: Assent and Dissent in the Work of Günter Eich and Bertolt Brecht (Oxford: Lang, 2003), p. 170.
- ^ Philpotts, p. 172).
- ^ Dolan, J. P., The Theory and Practice of Apolitical Literature: Die Kolonne 1929–1932‘, Studies in Twentieth-Century Literature, 1 (1977), p. 158
- ^ Philpotts, p. 185
- ^ Cuomo, p. 19
- ^ Cuomo, G. R., ‘Opposition or Opportunism? Gunter Eich’s Status as Inner Emigrant’ in Donahue, N. and D. Kirchner (eds), Flight of Fantasy (Oxford: Berghahn Books, 2005), pp. 176–87, p. 178.
- ^ Donahue, N. and D. Kirchner (eds), Flight of Fantasy (Oxford: Berghahn Books, 2005), pp. 176–87, p. 181
- ^ Ernst Klee: Das Kulturlexikon zum Dritten Reich. Wer war was vor und nach 1945, S. Fischer, Frankfurt am Main 2007, p. 130.
- ^ Eich, Gunter, Vermischte Schriften, Axel Vieregg (ed.), Vol. IV of Gesammelte Werke in vier Bänden, Karl Karst et al. (eds) (Frankfurt am Main: Suhrkamp, 1991), p. 627.
- ^ Günter Eich: Träume (1950), in: Günter Eich, Fünfzehn Hörspiele, (Frankfurt: 1981) p. 88
- ^ "Unsere Sünden sind Maulwürfe": die Günter-Eich-Debatte, edited by Axel J. A. Vieregg, Amsterdam and Atlanta, GA: Editions Rodopi, 1996, pp. 57–58.
- ^ Hörspielpreis der Kriegsblinden, Bund der Kriegsblinden Deutschlands e.V., 2012, retrieved 7 April 2013
- ^ "Günter Eich". Deutsche Akademie für Sprache und Dichtung. Retrieved 12 November 2023.
External links
- Valuable Nail: Selected Poems, trans. Stuart Friebert, David Walker, and David Young, ISBN 0-932440-08-8
- Oberlin College Press site for Günter Eich
- Axel Vieregg: 'The Spanner in the Works' (Review of G. Eich: Angina Days, Princeton 2010), The Berlin Review of Books, 30 March 2011 Archived 24 July 2011 at the Wayback Machine
- v
- t
- e
- 1923 Adam Karrillon and Arnold Mendelssohn
- 1924 Alfred Bock and Paul Thesing
- 1925 Wilhelm Michel and Rudolf Koch
- 1926 Christian Heinrich Kleukens and Wilhelm Petersen
- 1927 Kasimir Edschmid and Johannes Bischoff
- 1928 Richard Hoelscher and Well Habicht
- 1929 Carl Zuckmayer and Adam Antes
- 1930 Nikolaus Schwarzkopf and Johannes Lippmann
- 1931 Alexander Posch and Hans Simon
- 1932 Albert H. Rausch and Adolf Bode
- 1933–1944 not given
- 1945 Hans Schiebelhuth
- 1946 Fritz Usinger
- 1947 Anna Seghers
- 1948 Hermann Heiss
- 1949 Carl Gunschmann
- 1950 Elisabeth Langgässer
- 1951 Gottfried Benn
- 1952 not given
- 1953 Ernst Kreuder
- 1954 Martin Kessel
- 1955 Marie Luise Kaschnitz
- 1956 Karl Krolow
- 1957 Erich Kästner
- 1958 Max Frisch
- 1959 Günter Eich
- 1960 Paul Celan
- 1961 Hans Erich Nossack
- 1962 Wolfgang Koeppen
- 1963 Hans Magnus Enzensberger
- 1964 Ingeborg Bachmann
- 1965 Günter Grass
- 1966 Wolfgang Hildesheimer
- 1967 Heinrich Böll
- 1968 Golo Mann
- 1969 Helmut Heißenbüttel
- 1970 Thomas Bernhard
- 1971 Uwe Johnson
- 1972 Elias Canetti
- 1973 Peter Handke
- 1974 Hermann Kesten
- 1975 Manès Sperber
- 1976 Heinz Piontek
- 1977 Reiner Kunze
- 1978 Hermann Lenz
- 1979 Ernst Meister
- 1980 Christa Wolf
- 1981 Martin Walser
- 1982 Peter Weiss
- 1983 Wolfdietrich Schnurre
- 1984 Ernst Jandl
- 1985 Heiner Müller
- 1986 Friedrich Dürrenmatt
- 1987 Erich Fried
- 1988 Albert Drach
- 1989 Botho Strauß
- 1990 Tankred Dorst
- 1991 Wolf Biermann
- 1992 George Tabori
- 1993 Peter Rühmkorf
- 1994 Adolf Muschg
- 1995 Durs Grünbein
- 1996 Sarah Kirsch
- 1997 H. C. Artmann
- 1998 Elfriede Jelinek
- 1999 Arnold Stadler
- 2000 Volker Braun
- 2001 Friederike Mayröcker
- 2002 Wolfgang Hilbig
- 2003 Alexander Kluge
- 2004 Wilhelm Genazino
- 2005 Brigitte Kronauer
- 2006 Oskar Pastior
- 2007 Martin Mosebach
- 2008 Josef Winkler
- 2009 Walter Kappacher
- 2010 Reinhard Jirgl
- 2011 Friedrich Christian Delius
- 2012 Felicitas Hoppe
- 2013 Sibylle Lewitscharoff
- 2014 Jürgen Becker
- 2015 Rainald Goetz
- 2016 Marcel Beyer
- 2017 Jan Wagner
- 2018 Terézia Mora
- 2019 Lukas Bärfuss
- 2020 Elke Erb
- 2021 Clemens J. Setz
- 2022 Emine Sevgi Özdamar
- 2023: Lutz Seiler