On occasion, the critic Helmuth Karasik eloquently complained that Germany’s worst critic – he meant Marcel Reich-Ranicki – was also the most famous. That’s when they both competed in the literary quartet to see who could raise their thumbs or lower them faster on the book. Researchers will have to decide whether this is still literary criticism or is already on its way to Twitter.
This company has been dominated by innovative and equally pioneering packaging artist Siegfried Unseld, whose biannual Suhrkamp titles have been well-behaved by FAZ, SZ, review And the time been discussed. Just Mirror He rarely had a field for literature and was always very late, but sometimes there was an uproar: “In any other production of literary works literary critics play their main and favorite role in disembodied form: that of a pimp that allows writers to write poetry at their own expense, and who knows How does it help if they don’t want to.”
Don’t just fail, you die
Christian Schulz Gerstein, who was a true critic, and thus not only failed, but perished, noted and wrote. In the Mirror He was busy as a party and enjoyed the encouragement of publisher Rudolph Augustin. He also stood by him when nearly the entire company was outraged that Schulz Gerstein had called Reich-Ranicki a “terrible art judge” with a loan from Hochhuth.
Gerstein was his mother’s name, and Gerstein was the name of a Special Forces man who wanted to inform the religious authorities of the use of Zyklon B. Father would almost have become President of the Senate of Hamburg, if not for him star He announced that some of the victims of his sentences had died in concentration camps. This father, who was not a Nazi, made his way out of “legal status”, for the son it was at best fabricated: what was legal then cannot be wrong today. Schultz Gerstein, exaggerated or not, was identifying himself in Bernard Vesper: the son of a Nazi poet, he couldn’t escape as he plunged into the 1960s revolution and then ended up in a drug psychiatric ward and died in 1971.
The year before, 25-year-old Schultz Gerstein started the time Because, as he wrote in the course of self-exploration, “I no longer know how to go on with me.” The career path “teacher, pension, death” that was determined after the state examination was not very tempting. As expected, he was also in the time Not happy, but he quickly secured himself in one prison and moved to the next, to Mirror.
Schultz Gerstein’s specialty was the flaming board. Companions of Travelers in Need, Critical Opportunists, now expanded by Klaus Petermann and reissued with his publishing house Edition Tiamat, dates back to the 1970s and 1980s. Depicts debates from the Greens’ early days, demonstrations against retrofitting, moribund forests, and the women’s movement around Alice Schwarzer whateverConservatives call for a “transformation” against the supposed ethos of the social democratic age.
The question as to whether there are still many roosters squawking after Peter Schneider’s “Lenz” or browsing through Hans Christoph Buch’s “Memoirs of Gorleben” (“Highscores in the Critical Spirit of the Age”) is left to the aforementioned research. But it is astonishing how exactly Schultz-Gerstein revealed chivalry to Bethe Strauss 40 years ago, when, to almost complete applause, he lamented the “deteriorating democratic informal social consciousness” of the present, which he described as “fat car custodians” and “unlawful citizens” TV apathetic ‘saw populated. In 1982, Schultz rebuked Gerstein Strauss for a “vulgar neo-cultural spiritualist” whose “dried material from Hans Karusa’s humanistic herbarium is equally good for every morning prayer”. The merchandise hasn’t gotten any fresher since then.
The grass seemed to him “as human as Marika Rock”.
Schultz-Gerstein was one-sided and rough, and at the same time unparalleled clairvoyant, when he noticed the “raging disciple” in child prodigy Raynald Goetz in 1983. Some pieces are in this thick volume, which enlightened parents would place beside their children’s keyboard in place of a literary story , are completely missing cultural assets: word marketing and book-spitting Marianne Fritz, the unfortunate no less experienced in show business and even a sad Karen Struck, who later vanished from work, later Grass, who looks to the critic “almost like Marika Rock”. But the recognition of Peter Sloterdijk’s “philosophical bosom clutch” since 1983, 33 years before his zotikon “Schilling Project”, refers to divine abilities.
In his calculated anger against opportunism, the critic came up with enviable formulas, for example when he always reprimanded Heiner Geisler by no means for making statements “in the chest tone of ignorance to the tolerance of alms” against squatters or Wolf Bermann, who had been expelled from East Germany To produce “perfect hair claps with”. He’s as “reckless” as the teacher “defies Strauss just as he does evil nuclear, which he strikes perfectly on her ass, or the fascist, upon which he stretches his ears.” In an account with Wolfgang Koeppen, who has been living on account of advertising a new novel for decades, Reich-Ranicki again faces the challenge: “This standard, which derives the rank of a writer from the fact that he writes nothing, is not what people think should have fallen. A prey to the laughter of the literary world, but part of the constant repertoire of Cobain’s cult.”
Schultz Gerstein had no talent for cult. With him, the great cannot remain great and the small cannot remain small. In this way he was able to stand up to the prolific writer Gerhard Zverins, whom he “regards as a worthy literary achievement to achieve an erection in the reader”, against the well-respected silent Cobain.
Many consider him incomplete, but he ended his life with a great script
Today there is no more Schultz Gerstein, just as there is no longer any dispute about right and wrong in art judges. Botto Strauss could write whatever he wanted, no longer bothering anyone. Workshop visits and friendly interviews are simply closer to people than a review, and a rigorous visit if possible. The fact that modest seasonal sensations are celebrated is another matter.
sFar less well known than Schultz Gerstein’s rip-off is his talent for self-doubt. Under the term “double head” he reflects on his writing and has to admit adapting it to the newspaper, in which case time. To his astonishment, he wrote sentences that he did not want to write at all because he adapts, voluntarily or not, to the medium, who does not convey the message immediately, but formulates the language: “I can swear that by I for the time I started writing, not using words like “of course” and “however”, which I no longer feel today.”
Schulz Gerstein also sought out poets in their countries, watched football with Peter Handke and drank wine with Peter Schneider, but then criticized them like his brothers to lost idols. He looked at Jean Omari like the oracle who was supposed to help him, complaining to him about his struggles as a critic and claiming that he works as a tennis coach in the summer to make up. “I couldn’t stand writing all year long.” Of course this one is too home story Amiri has written a book that he hopes will attract attention, but Schultz Gerstein is not writing for the author or the audience, admitting that sometimes during an interview he cared more about the Wimbledon final broadcast than in a man he said had been tortured by the SS. But since he does not hide this either, he finds out in a free conversation with my prince “what it was like when I was in a concentration camp and “experienced” the Third Reich, how fathers in Germany bragged about their sons.”
Christian Schulz Gerstein was not interested in the everyday production or in the literary scene, to which he belonged in his cloudy way of Ruth Handel. After the feud with Augustine, he again did not know how to deal with it. In Klagenfurt, where technical judge Reich-Ranecke administered the Ingeborg Bachmann Prize, he dived in 1985 to obtain star He surrendered, and with the support of Tillmann Jens, who was not otherwise happy, by phone to the editors in Hamburg that nothing fateful was going on in the lectures. Who boldly pointed out the henchmen and the opportunists had to undergo the last prison regime.
In a classic biography, the man is considered incomplete. He completed this difficult life with a large text that was passed down in appreciative horror posthumously, a chapter letter to “Proprietor of Human Property” Rudolf Augustin. He does not call him a pimp, but a “proprietor of human property” because he is in Mirror She wanted complete control of her authorized personnel.
With all the blessings he bestowed upon his comrades Mirror Go ahead, judge there is a “perpetual mockery of people” https://www.sueddeutsche.de/kultur/. “You and Karasik simply cannot bear the prospect that there are more intelligent, resourceful, and more cunning people on God’s earth than Mirror-editors. “Schulz Gerstein was able to write it because he participated, because for a while he admired and mocked the man. Christian Schulz Gerstein died in 1987, at the age of 41. He is said to have drunk himself to death, of which Lovesickness is also said to have been a part. Anecdote Another fairy of antiquity, but unfortunately it is still true.