By Wulf Koepke, Roland Dollinger, Heidi Thomann Tewarson
Alfred Döblin (1878-1957) used to be one of many nice German-Jewish writers of the 20 th century, a big determine within the German avant-garde prior to the 1st international conflict and a number one highbrow in the course of the Weimar Republic. Döblin tremendously prompted the background of the German novel: his best-known paintings, the best-selling 1929 novel Berlin Alexanderplatz, has often been in comparison in its use of inner monologue and literary montage to James Joyce's Ulysses and John Dos Passos's ny move . Döblin's oeuvre is on no account constrained to novels, yet during this style, he provided a shocking number of narrative options, issues, buildings, and outlooks. Döblin's influence on German writers after the second one international warfare used to be massive: Günter Grass, for instance, stated him as my instructor. And but, whereas Alexanderplatz maintains to fascinate the interpreting public, it has overshadowed the remainder of Döblin's titanic oeuvre. This quantity of conscientiously targeted essays seeks to do justice to such very important texts as Döblin's early tales, his various different novels, his political, philosophical, scientific, autobiographical, and spiritual essays, his experimental performs, and his writings at the new media of cinema and radio. participants: Heidi Thomann Tewarson, David Dollenmayer, Neil H. Donahue, Roland Dollinger, Veronika Fuechtner, Gabriele Sander, Erich Kleinschmidt, Wulf Koepke, Helmut F. Pfanner, Helmuth Kiesel, Klaus Müller-Salget, Christoph Bartscherer, Wolfgang Düsing.
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Additional info for A Companion to the Works of Alfred Döblin (Studies in German Literature Linguistics and Culture)
There is one more dimension that is common to all these early writings — madness. Bertha, in “Modern,” is close to going mad as the 10 manuscript breaks off. In Jagende Rosse, the narrator/protagonist is driven from madness to madness (JR, 57) and later exclaims that the soul yearns for madness, its true home: “nach Wahnsinn lechzt sie, nach Wahnsinn giert sie. Verleumdet hat man den Wahnsinn. Ich weiß es anders. — Sie heben die Beinchen, sie tanzen in der Seele. In der Tiefe der Seele liegen sie gebannt, Kobolde, Fratzen, Teufel, Unholde .
The Döblins obtained French citizenship in 1937. Exile meant, among many other things, the loss of his medical practice, so that for the first time in his life, Döblin was now nothing but an author. Moreover, his readership was severely reduced. He was fifty-four years old when he left Germany. Still, he kept on writing. Fortunately, two new publishing houses were established in Amsterdam, Querido and Allert de Lange, so that until 1939, Döblin was able to publish all of his books, mostly with Querido.
6 Brecht, Tagebücher 1920–22. Autobiographische Aufzeichnungen 1920–54, 48. Heinz Graber, who edited the work for Ausgewählte Werke, has offered the only thorough study so far: Heinz Graber, Döblins Epos; for contemporary reviews, see Schuster/Bode, 176–95. ” 9 Döblin’s first answer from June 1930 in B I, 151–61; on the discussion circle, see the circular letters beginning 20 October 1931, B I, 166. The critical response to Wissen und Verändern! in Schuster/Bode, 267–304. 10 See Michel Grunewald and Schuster/Bode, 334–36, and 338–40.