In 1971, Hanser Verlag published a treatise by a young poet and editor entitled “The Hero and His Rite”. The author seems to have worked only on the subject which Walter Holler, the doctoral supervisor, had given him with a guilty conscience: the subject was lacking in “the supposed utility of critical literary studies, their social implications and political significance”. Nevertheless, the book was a success: “Since the Failure of the 1848 Revolution,” says a slightly sarcastic review in MirrorIt is raining, it is snowing, and it is stormy, blue and gray unprecedented in German narrative prose,” due to the fact that bourgeois thinking is strengthened in the weather. On the other hand, modern literature stays away from the weather.
“Progressive German” Friedrich Christian (abbreviated: “FC”) became a writer, and one of the most productive German-language writers in the past decades: there are nearly forty books, mostly narrow, very rare since his first work a year. Not evading the weather, in his Die Pears von Ribbeck (1991), Wende’s first novel, which is primarily about the political history of the village, she tells of a festival in which the practical results of the new German unity are: “The roosters chirping, the birds chirping. In the spring as in the summer, what warmth falls upon us, the year will be long.” The weather is also appropriate at the beginning of the novel “The Walk from Rostock to Syracuse” (1995), in which a waiter from the GDR travels south in the footsteps of Seume: “On a clear August evening” the decision to leave is made. And when Deleus in his late book, The Future of Beauty (2018) memorialized 1966, an evening he listened to saxophonist Albert Eiler in a New York nightclub, the word “thunderstorm synapse” credibly falls.
The global company sued him for four years over his satirical documentary “Unsere Siemens-Welt”.
“Weather seldom stands alone. It helps make fictional reality manageable, unambiguous, and usable in the author’s program,” wrote FC Dilios in his Ph.D., which appeared in a new edition in 2011. You can also flip the sentence: the weather helps make reality less clear. The work of this author oscillates between these two sentences, that is, between the two poles of the documentary narration.
They follow the course of German history from the student revolutions to the present: first, there is an event to consider, then it fits into the autobiographical context and often contributes to the folly (real or even fake) of the narrator to give any explanations psychological necessity. The depiction of the prepubertal needs of a young Northern Hessian, as reflected in the story “Sunday I Became the World Champion” (1994), is an example of such a technique. And in the end, he awaits at least a semi-conciliatory decision.
FC Dilios began with socially critical works and montages such as the book of poems “Kerbholz” (1965) or “documentary satire” entitled “Unsere Siemens-Welt” (1972), which gave the company reason to file a lawsuit against “defamation”. The process ended four years later with a settlement. However, these actions were not revolutionary. Instead, they were carried away by some moral outrage, as befits a pastor’s son, while opponents, from politicians to corporations, reacted with a sensitivity showing how fragile social cohesion was at the time – and how bad the position was. It was seen as a subversive at the time who had advanced into the mainstream of society.
It is not excluded that he himself described the weather without believing in it
In the late seventies, F.C. Delius withdrew in works such as “Mogadishu Fensterplatz” (1981) to the position of co-commentator, repeatedly hung in the dilemmas of his youth, with which he became a companion of regular readers.
The literary works of FC Delius were followed with sympathy and appreciation. In 2007 he was awarded the Josef Breitbach Prize, and four years later the Buechner Prize. The Darmstadt jury praised the writer as a “critical, resourceful and inventive observer” who “researched the history of German consciousness in the twentieth century in his novels and short stories”. The jury may have underestimated the prize winner at the time.
And so, in “The Future of Beauty,” while listening to Albert Eyler’s untamed tones, the narrator recalls his beginnings as a writer and his father, who, in a moment of great anger, threw a pillow at him: “And here, under the squawk of a saxophone and the blazing fire of a trumpeter, I first had an idea A higher comedy that this naive writing may have been spurred by the forgotten curse of an unforgettable pillow-slinger.” FC Delius included self-doubt. And it is not excluded that he himself described the weather without believing in it, to the best of literature. He died in Berlin on Monday at the age of 79.