Included are also photographs of the paintings while on display at the museum. Other Papers, This series is in English. The diary discusses many varied topics. Among them is growing up during a time of war and his reactions to literature, art, theater, performances, and lectures. Politics and the strength of mass political movements are also mentioned.
Three folders relate to Hans Proskauer's architectural work. Material on the hotel includes newspaper and magazine clippings, promotional materials, a diagram of the hotel's layout, and a photograph of a model of the hotel. Biographical information on Hans Proskauer as well as documentation on his death are held in the fourth folder of the subseries. These include his obituary and a article about himself and Paul, which tells of the Proskauer family's departure from Europe, including mention of the aid given them bv the Vatican library.
This series holds the papers of other Proskauer family members. Another folder holds later articles about the Willy Cohn diary. Her letter of March 10, gives details of her position as a teacher, with discussion of students, her duties, and other comments on her life. The folder of correspondence with individuals in Germany centers around those friends to whom the Proskauers sent packages. The letters of the Prager family also the state of postwar Rome.
Paul Proskauer was a friend of reins'tateTtoitai;. Three folders relate to the Proskauer family's emigration. Emigration documentation consists of the affidavits of support and related bank statements and correspondence from the American Consulate. Included are also hotel receipts documenting their stay in Italy; From July through October they stayed at hotels and pensions in Milan, Pallanza, Rome, and Naples.
A few documents relate to the family's later life in the United States, such as a New York State certificate of literacy for Curt Proskauer, and cards for Curt and Erna Proskauer's filing for naturalization. This series is divided into two subseries by article author: Paul Proskauer and Henry Proskauer.
Series IV holds the writing files of Paul and Henry Proskauer, consisting of their articles and reviews, along with accompanying material. Paul Proskauer, This subseries is in German and English. Subseries 1 contains Paul Proskauer's reviews and articles on literature, along with the materials he used to produce them.
Most of the reviews were written for the newspaper Aufbau. The bulk of the folders in this subseries hold copies of the final, published, reviews, along with early drafts of it, others' reviews of the same work, and publisher's materials on the book. Some folders include correspondence with the publishers or with Aufbau.
His articles focus on Otto Mueller and his paintings and a series of articles on Thomas Mann and the Mann family. Bodensee 2 37 Review - Hermann Hesse: Jugend in Kalw 2 39 Review - Hugo von Hofmannsthal: Kritische Ausgabe 2 40 Review - Klaus Mann: Das innere Vaterland 2 41 Review - Robert Musil: Frankfurter Ausgabe - Die Forderung des Tages. Subseries 2 contains the writings of Henry Proskauer. His fiies inciude copie of the fmai pubiished, drafts as weil as related newspaper o magazine articles correspondence with publishers, and early draft his works.
The folder "Articles and Reviews" contains ai assortment of his published articles on various individuals no found in the other folders of this series, including articles oi kterature and art, theater, publisher's histories, art in the s and several articles on Oskar Kokoschka. Berlin 2 50 Review - Exil: Vienna 2 56 Review - Walter Benjamin: Wege zu einer optischen Kultur 2 58 Review - Werner Hofmann: Albums, This series is in German.
The first of these consists of unidentified photographs that show various landscapes of Italy and Switzerland along with unidentified people, likely family members. The photographs of the second album are identified. Photographs of friends include some information about them or about the photographs. Photographs includes those of Paul as a boy, while working at the Ausable Club in , and also those of Curt and Erna Proskauer. The remaining albums contain postcards accumulated by Paul and Henry Proskauer during a few of their trips to Europe.
Series VI consists of research files, primarily relating to German authors, literature, and publishers, but also to actors, theater, film, and other topics. The files consisted of several large folders that were further subdivided during processing of the archival collection. Some of these large files were previously organized alphabetically by the Proskauers, while others were untitled and assigned titles based on their contents during processing. The research files include many newspaper and magazine clippings, brochures, publisher's materials and advertisements, brochures, and photographs.
Material on publishers relates not only to the history of the publishing firms, but also obituaries or biographical profiles of the individual publishers themselves. Der 1 laten von St. Il teatro anatomico di G. Morco particolare' Venise, La Picce St. Marc detail Venice, S. Mark's Square detail Venedig Skt. Markus Platz Einzelheit 8ergomo, Accademia Carrara. Fifloa Le Doms el! Its presentation at Purchase is provided by the Westchester Arts Fund of the Council lor the Arts in Westchester, which is supported by corporate contributions and the Countv of Westchester.
Fritz Lang Emile J. United German Film Enterprises, Inc. Music for the silent films arranged and plaged by Arthur Kleiner. To open its retrospective of the German film, the Museum is privileged during the week of October 24 to present to its public a selection of new films never before shown in this country. This opportunity to examine the progress made in the past decade has been extended through the courtesy and with the cooperation of the Export-Union of the German film industry and its American represen- tative, Mr.
This enables the Film Li- brary, for the first time in its history, to include new work in the film medium in its auditorium showings, as new paintings are shown in the galleries. It also offers patrons the hitherto unique experience of seeing the new work in direct relation to the German film heritage from which many of its traditions are derived. In the studio film, par excellence, all aspects of life are re-created for the camera under controlled conditions. Today every film owes something to these efforts, for in emphasizing pre- viously neglected elements, the Germans freed them for other uses, as well as for their own.
The studio tradition has remained the dominant mode of filmmaking in Germany ever since, to the practical exclu- sion of other methods. This retrospect focuses on that tradition through a wide range of examples, many of which have been shown only rarely if at all in decades. In all may be seen the remark- able care and ingenuity of the German studio craftsmen. Although the old play was a spoof on Gei'inan militarism, it contained nothing like this full-scale attack, at once savage and compassionate, on the regimentation of the old German society and its placing of rank above evei y human pialtiy.
Osten-Sacket, photoyraphed by Fried! Rehn-Grund and Dietrich Wedekind, music by Werner hisbrenner. October 31 -November 2 Skladanowsky Primitives cG. An early comedy modeled on French films of the time. Producer and director un- known, probably Messier. A favorite with moviegoers from her debut in , Henny Porten, appearing here as Anna, grew up with the film and became the most popular German star.
She is still active in films today. The Cabinet of Dr. Caligari is one of the three or four most famous and most discussed of all films. Its decor and acting style, deriving from expressionist painting and expressionism of the theater, aroused a storm of controversy which has not fully abated even today. Audiences then found it bewildering and many critics have thought it uncine- matic. November Passion Madame du Barry Passion was the first German film to be officially im- ported here after the first World War.
The crowd scenes, handled in the manner of Reinhardt, use volume and space in the conscious shaping of masses for monumental effects. November An excerpt from The Golem The Golem confirmed the lasting tendency toward legend and fantasy which had begun in the German film as early as The fact that the film takes place in the past tends to obscure the remarkable freedom of treatment in decor, which was carefully planned for its contribution to the whole.
Even the figure of the Golem is integrated in the design-as a piece of sculpture. Yet in spite of the elab- orate conception and preparation of each shot, the nar- rative moves fluidly unimpeded by the tight composition of each part. Jessner was the most advanced director in the German theater after Reinhardt. The hallmark of his productions was the use of stairs, and his critics coined the word Jessnertreppen as a stick to beat him with.
Here, in his only film, he uses stairs to dramatize both the. For the greater part of the action, only three peo- ple are seen. November Rhythmus 21 Hans Richter, originally a member of the Dada e-roun painted scrolls on which successions of abstract forms developed across the paper.
Acting was con- sciously stylised, too, in an attempt to use all elements in a motion picture creatively. The stories selected for such productions invariably emphasized fantastic or legendary materials which drew the spectator into a nightmare world where the difference between dream and leahty, sanity and insanity, was ambiguous. These films m Dr. Warning Shadows is one of the best e.
It is also more explicit than most about Its real subject, for it is frankly an expression of inner conflicts. The Gray House is an example of such film- making at its most magnificent. All the buildings and most of the countryside were specially constructed and are a striking example of the expertise of the craftsmen at the old Ufa studios in Neubabelsberg.
Unfortunately, in this work the ingredients did not combine to produce a film, and whatever merits the picture may possess, they have little to do with the art of the motion picture, though they made a considerable impression on contemporary criticism. The Last Laugh Produced by Ufa, directed by F.
Bound from beginning to end by unified treatment. The Last Laugh revolutionized the industry because its per- fection dramatized technical innovations which were the fruit of several years experimentation at Ufa. Without subtitles, the story moves among nameless individuals whose relationships to each other are at times obscure. We can distinguish content only from the expressions and actions of the characters and consequently move in a world of mani- fold meanings, each with its possibilities for the narra- tive.
Lotte Reiniger was first a professional artist and actress; backstage at the theater, she would amuse the cast and stagehands by cutting out silhouettes of them at work On the suggestion of Paul Wegener, she turned to films and after brief experiments, began Prince Achmed which took her three years to complete.
Its considerable com- mercial and critical success won great prestige for the animated silhouette film, and Miss Reiniger is still at work today in London. November Ghosts Before Breakfast Vormittagsspuk In this surrealist comedy, conceived and executed for a music festival, objects revolt ag-ainst their usual existence. Each scene, most often a tableau or some bit of clever business, served less to advance a plot than to exploit some new aspect of this studio world whose de- sign was highly pictorial and dramatic.
Spies combines the monumentality of his earlier Siegfried and Metropolis with his particular genius for the crime film. This por- trait of a ma. November Hands Simon, the New York photographer who made the present film independently in Berlin, states that it rep- 1 esents no more than an experiment to discover what could be achieved by treating the film as an abstract pattern in time and space.
She felt that the basic laws of the medium are usually obscured by the presence of actors and decided to use hands only, so as to exclude the personality of actors and yet leave them capable of expression. Heie the elements of sex, violence and repentance are exaggerated to produce a sensational film of escapist flavor. Joe May, its director, had specialized for years in exotic adventure films. November Ueberfall Accident El no Metzner, who designed the sets for many studio films of the twenties, later turned to direction himself, but of documentary and realistic films, not films with created decor.
Kra- cauer points out, it neither glamourizes nor sentimental- izes the street as an arena for illicit passion. It was in fact so comparatively objective that it was banned by the German censors, though it contains no element new to the genre, nor was it sensational. The Lie of Nina Petrovna The glossy photography of this film which seems to endow every object with a pearly lustre, provides a fin- ish to a production which represents silent film making at its most advanced, and in a technical sense, decadent state.
The over-ripe perfection of this studio technique suggests that there was no way to go forward, except outside the studio itself. December Diary of a Lost Girl Produced and directed by G. After a brief apprenticeship in the German studio school, Pahst began his long series of realistic works in which decor is used, not to create fantastic worlds, but to in- crease the sense of actuality in the stories he narrates. Pabst shapes the action of even the most trivial substance to find in it an expres- sion of social chaos, and coldbloodedly dissects the vice and corruption of a disintegrating society.
In it she plays a girl whom even the most immoral experiences cannot corrupt, yet without any chance to develop and express her positive qualities because of the decadent state of society. Abstract forms set to a minuet by Mozart. Das Testament des Mr. Mabuse The Last Will of Dr. The Last Will of Dr. Mabuse the Gambler , a long film about a master criminal who rules a depraved society. In the interim between the two stories, Mabuse has been con- fined in an insane asylum where he scribbles on paper his plan for domination of the world by terroristic meth- ods.
The head of the asylum aspires to implement the plan, while one of his henchmen who has decided to re- forni, tries to stop him. Fischinger alone, of the many who have used the form, continues solely to produce them. Emil und Die Detektive Emil and the Detectives Produced by Ufa, directed by Gerhard Lamp- recht,. This delightful comedy was based on a novel which is not only a classic in Germany, but is beloved of students December S.
They featured bieathtaking photography of ice and snow, danger- ous ascents and heroic endurance of the elements. Dr Arnold Fanck was the originator and most celebrated director of the senes and in , financed jointly by Geiman and American money, he went to Greenland for a change of locale from the Alps, but still retained the old elements. December One showing only at 3: The Stone Wonders of Naumburg Produced by Deutsche Universal, directed by R. A survey of the stone sculptures within and without the cathedral at Naumburp, in the German province of Prus- sian Saxony. The film is primarily impressionistic; it does not identify the sculptures nor describe the conditions under which they were made.
The story of Frederick IPs rebellion against and later submission to his father is well known in Germany where it is a national legend. Beginning in a long series of films about Frederick, usually emphasizing his relation- ship to his father, enjoyed great popular success and they were continued till the end of the war. This particular version is little different from the rest, though on its appearance in New York, it was considered by film critics as a piece of deliberate propaganda for the regime.
Ac- tually, the Nazis had no need to tamper with the legend. December 1 1 Oi. Every conceivable facility was offered her: Originally received as nothing more than the record of a sports festival, it seems today not only the finest film of sports to have been made, but one of the truly great works in the medium. No work of screen fantasy has ever surpassed the un- canny passages covering the bar exercises and the div- ing in Part II.
December On December 24, one showing only at 3: No showings December In this school, period sets and costumes are used to evoke nostalgia, not only for a lost time, but also for lost emotions. The past serves as frame- work for shocking behavior, and provides a subtle form of escape for sophisticated audiences. Romanze in Moll stands midway in time between the similar films of Elisa- beth Bergner and the later school. On an autumn lav in K 40 rir,,:: Vainly the old man tries to convince the younger of the madness of war. Here 1C soldier Josef meets the refugee Maria with her child He neglects lus duty in order to drive them to safetv in Hamburg By military law he is guilty, but a comrade who imderstaiufs Ins motives allows him to tcscape.
Produced by Corned, a Film, directed by Robert A. The old tradition of cafe entertainment in Germany- concerned as much with political and social satire as wfth Renerai amusement - is here transcribed into a film about post-war Berlin in which realism and fantasy en. Wonderful Times begins with delightful clips from early newsreel and story-film footage, but gradually changes from a mood of light-hearted recall to a more complicated and confused attitude as the period m time becomes contemporaneous and as the emphasis shifts from general good-natured reminiscence to a more specific account of political and economic events.
The time is Rothe, physician and scientist, is at work on a vaccine serum. Rothe hears this he strangles her. He is left unpunished, however, because of the strategic value of his work. Guilt for the deed and a growing awareness of the brutality of the society around him derange him. Rothe changes his name and works in a camp for refugees. Any Country at the Present Time Produced by the University of Munich under the supervision of Hr. Hedwig Traub, a scriptwriter touring the United States in , talked with students here in film pro- duction courses, particularly at the University of Cali- fornia at Los Angeles.
When she returned to Munich she inspired a group of students there to try their hand in the medium. This film bears only token resemblance to the German avant-garde of the twenties. Its stylized photography, direction and sound track are the products of a different tiadition, refinements of the European school which grew out of study of Russian silent films. The sound track is composed of dialogue, sound effects, cool jazz and twelve-tone music, all integrated as a piece of musique concrete.
The director has stated that it is meaningless to summarize the plot of his film. Produced by Cosmopoi Austria , directed by G. In this film Pabst reverts to his early style to present a disengapd record of Nazi hysteria; and reaffirms his reputation for being able to treat a melodramatic subject with conviction by staging it in seeming independence of the camera, and then standing by and recording it, to bring it alive and comment on it through an uncanny choice of camera angles.
January To be announced. An espe- callyrmporlanl considero, ion wos ,be ,ost o, docuraen,. These newsreels, which document one.. A great popular favorite, he produced dozens of films for many companies before going to Hollywood, where he met an untimely death in One of the most famous of primitive films, this ancestor of many subsequent trick comedies was made by yet another French comedian attracted to Italy by the vogue of French films there.
Internal evi- dence such as the legend on the bootblack's stand indicates that an attempt was made to suggest to audiences that the film had actually been made in France. Emilio Ghione left a career in the theater to become a film star and later a director, achieving his greatest fame in serials centering around himself in the character of "Za-la Mort", a sort of Apache Robin Hood, whose sweetheart was "Za-la Vie", played by Kally Sambuchini. These two became European idols whose popularity was comparable to that of American serial stars in the same era.
There he wrote a history of the Italian film in which his own work is promi- nent and in which he bitterly condemns the decadence of the Italian industry during the twenties. He died in poverty in His great success in the role paved the way for an endless succession of starring vehicles in which Maciste , like Tarzan or Superman, overcomes impossible odds through strength and kindness alone. Pagano carefully saved his money and retired from films with the arrival of sound. He was killed in an automobile accident in The inimitable Sorelli was the idol of young Italian women, who tried to copy the diva's mannerisms to such an extent that the word Borellismo was coined to describe her vogue.
That she received her training in the theater is evident from her performance here, yet beneath the standard postures she is often able to render emotional subtleties. Fortunately her style was recorded in a film that is more than a star vehicle, and which hints at the expressiveness toward which the Italian cinema was reaching before the era of grandiose spectacle.
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This excerpt was chosen to illus- trate these qualities. At the time this film was planned, Duse— ill, unhappy, far from young and newly faced with poverty— momentarily felt hope. Though she hod been obsent from ihe slage for some time, she wished to work; perhaps the new medium might grant her an opportunity. But even while the film was In production, she realized that the attempt had been a failure. I am too old for it, isn't it a pity? There are nobly eloquent gestures here as well as classic beauty. Unhappily, she was miscast in the role of Rosalia, a heroine who at the opening of the story is barely twenty: In , the firm of Ambrosio inaugurated a Seria d'Oro in frank imitation of the French Film d'Art, and like its model, produced cap- sule versions of celebrated literary and theatrical works.
Today, the film is attractive for its pretensions, if not for its success. Contrary to report, the poet d'Annunzio had nothing to do with this film except to provide its name and some subtitles after It was completed. Much less processional and rigid than earlier Italian spectacles, the film uses the moving camera to provide greoter identification and intimacy, and the then-new technique of the process-shot to present even grander images than had ever been seen.
Though the action is choppy, there is o new kind of suspense here which, together with the heroic figure of Maciste, gave the film its not undeserved fame. Its contemporary influence was enormous. Forced to leave Italy in the early twenties because of the parlous state of the industry there, Genina went to France and Germany to seek work.
CYRANO, filmed in France for an Italian company, is little more than a tronscript of the play, with Rostand's dialogue painfully retained in the subtitles. Hardly an achievement for a director who has been working for over forty years and is regarded as one of the deans of Italian cinema, it is far more a tribute to the anonymous craftsmen who colored this print by hand, one frame at a time.
Hod not imitotion of the French led to commercial success before? But it did not come off. The film wos o joint Italian-German production and the new star Emil Jannings was hired to play Nere. It had three directors who were ot odds throughout the shooting. One of the extras was inadvertently burned during the filming with dummies of the Christian martyrs used as human torches to light Nero's gordens. Another extra was mauled by a lion, who created a panic at one point by leaping from the arena into the stands. The film secured distribution in both hemispheres and was well enough received, but so much extravagance and misfortune had raised costs to a point at which even sensational success could not recover them; the trust dissolved in ruin.
Blasetti, avant-garde film critic and journalist, had made a striking debut with SOLE Sun , an independent production of The official revival of patriotic themes in the early sound period gave him the opportunity to film this Sicilian episode from Garibaldi's career. It restored movement and pictorial quality to the talk-bound screen, and its subject struck an especially fresh note in the midst of the "white telephone" period, when the majority of Italian films were musicals or boudoir farces.
What seems even more striking today is its use of actual Sicilian locations and of many non-actors, portend- ing much that was to come in Blasetti's later career and in those of others. Light in tone, faintly "social" In their satire of the petit-bourgeoisie, Camerini's early films were a marked contrast to the more ambitious and glamourous works of his contemporaries. Like its source, Camerini's work is quite evidently directed against arbitrary and pompous officialdom, and it was banned by the Ministry of Popular Culture, though later re-released in a some- what tailored version.
From , the regime took a firmer grip on the Italian film in- dustry, in part through the subsidizing of production, and in a vast new studio. Its making reflected not only the immemorial longings of Italian film-makers for the glories of pre-war spectacle, and of ancient Italy, but also the "imperial euphoria" which then attended the regime's African adventures. Blasetti, too, responded to the atmosphere of the time with this luxuriously mounted melodrama of the Dark Ages, in which, says the critic Mario Gromo, "he used the cinema as a heavy and spectacular machine for producing symbols.
After a long apprenticeship, Rossellini was given this film os his first directorial assignment, from which, however, his name was after- wards removed. Instead it shows men fighting unseen enemies from within a fortress of dials, ladders, and doorways, or helpless and incapacitated in a hospital ship while the war goes on somewhere else. Made in the first year of Italian participation in the war, it was an official film designed to display the reality of fighting, which seems remote, and to pay tribute to its victims, none of whom seems to die.
The tireless and versatile Blasetti here turned to comedy with a story which might have served as bedroom farce. He made of it in- stead a portrait of everyday life in provincial and rural Italy which, even today, holds its own in comparison with later films consciously conceived in the spirit of neo-realism. Released in this country shortly after the war, it never received the attention it deserved. Viola; with Isa Polo, and Emilio Cigoli. With this, his fifth film, began his long and fruitful collaboration with the scenarist Cesare Zavattini, and here the outlines of post-war neo-realism are already visible.
While the leading players are actors, de Sica's direction of the central figure of the child displays his increasing hunger for photographic reality, and the unresolved but deeply felt ending implicitly states a leading theme of neo-realism, that men can look, not to society and its institutions, but only to each other, for justice and mercy.
When shown throughout the world in , it at once took its place among the film classics. In this film Roberto Rossellini broke finally with the theatrical and operatic traditions which had overshadowed the Italian cinema from its beginnings and filmed from life itself, as it had been lived and was still being lived at the moment of filming by everyone in the film. In its use of non-actors, of real slums and streets, prisons and hospitals, and in its overmastering concern with human experience in a splintered society, OPEN CITY is the source and fountainhead of neo-realism. It radically altered the course of Italian film history and confronted film-makers throughout the world with a formidable challenge to re-examine the technique of the medium.
In an atmosphere of epic reality, Rossellini here continues his story of the fortunes of the Italian people as they were gradually liberated from the Nazis. Filled with tumultuous life, they separately and together portray the conflict of two peoples, formally united in aim and locked In a struggle with a common enemy, but too separate culturally and historically to dis- cover together their common humanity. Although each episode has something that could be called a plot, Rossellini and his writers worked without a script, improvising little stories as shooting went on— improvising out of their own experience and out of those of the men and women they used as players.
Dialogue was rarely "written" but rather drawn out of the actors in their own speech rhythms; situations were devised from the circumstances of each location and from the memories of participants. The result of such methods was an unrivalled spontaneity. Ideas arise from the material, they do not control It, they hardly shape it. The concluding episode in the Po marshes is one of the most remarkable passages in all cinema. Its fine depiction of the development of the Black Market, and of the Partisan movement, seems to be rooted in the characters themselves, although the melodrama inherent in the story material sometimes interferes with the director's realistic intentions.
Plottier, more neatly tied together than other neo-realistic films— its form suggests Marcel Pagnol's dramas of the soil— it seems a good deal more distant from the realities it undoubtedly intended to describe, but the scene in which the Nazi and the American Negro soldier get drunk together belongs to the most pointed and paignant passages in post-war Italian films.
Even more than in OUTCRY, the elements of vice and violence in- herent in the post-war situation quite overwhelm the director's intention to cross-section the social effects of war and occupatian. The film runs a gamut of sensational problems— the love of a Negro and a white girl, drugs, the black market, white slavery— without more than scratching the surface of any: But no social, political, or economic forces explicitly appear here: Its odyssey of a man and his son in search of the means of existence brings the spectator so close to these characters that identificatian becomes complete.
It is only incidentally and along the way that we realize how wholly society and its institutions have failed them. Neither em- ployment agencies, the police, nor the church can help this family bring bread to their mouths. This was exactly what de Sica and his close collaborator Zavattini hoped to convey. They wanted to force their audiences to think not in "social" but in human terms, to im- plant in us the belief that only if we all feel compassion can justice again be done. The classic simplicity of this film's structure and action stands in the grand tradition of the cinema, and it achieves a universality and empathy almost unknown since the silent era.
Rene Clair called it the greatest film he had seen in thirty years. The admirable hero was played by a mechanic from the great Breda factory, his son by a Roman newsboy.
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Another immemorial Italian problem, the Sicilian secret societies who rule by terror and whose rough justice replaces that of the law, forms the springboard for a film that invites comparison with thosj American "Westerns" which pit the sheriff against the vigilantes. The resemblances are often startling, including, unfortunately, a final reformation as unconvincing as ever were these of the bad men of the Western plains.
But Pietro Germi's Interest in character and flair for editing and camera placement contribute subsidiary values. Not all the films produced in Italy since the war have been neo- reelistic. Filmed in Italy with French stars, by a direc- tor who has made several historical epics, as well as neo-realist films, this film in part combines the two genres and instead of the lives of famous Romans, it describes the life of the common people. While its style at first seems to be that of neo-realism, the film soon reveals itself as a tour-de-farce of sex and violence rather than a serious study of life among the rice harvesters of the Po Valley.
It did, however, create two new stars, and its popularity undoubtedly influenced the course of subsequent production in Italy. While Anna Magnani's performance is the life and spirit of this film. Zampa had more serious intentions than just to provide the star with a vehicle. He tried in fact to dramatize the political educatian of an Italian woman of the people whose qualities of leadership thrust her into a position of such dizzy eminence in national life that she loses her footing. Her development and downfall are con- vincing to the point of seeming inevitable, thanks in large part to Magnoni's unique vitality and honesty, which makes the fairy-tale ending of this film all the more abrupt and incomprehensible.
Before making this, his first feature film, Luciano Emmer had spent SIX years directing documentaries, including two films about the painters Giotto and Bosch which have become historic in their mode. For this step toward the narrative film, Emmer chose as sub- ject that "kingdom of little events", the beach on an August after- noon, where he picks out several beach parties and follows their activities till sundown.
Ironic, humorous, detached, the film in spite of the reality of its material has less in common with contemporary Italian realism than with the older school of reportage in which Walter Ruttman was so long supreme, and in which the French and British have specialized. Yet the film's methods, in particular its editing, seem to reflect an effort to get closer to the ordinariness of everyday life than the big neo-realist films have yet attempted.
It has been said that the morality of neo-realism is identical with that of primitive Christianity. As if in confirmation, Roberto Rossel- lini, turned abruptly from the post-war scene to make this tribute to one of the heroes of the church militant. FRANCIS follows very closely the pattern of the actual "fioretti"] and the film, lacking any added explanatory or introductory mate- rial, has greatest meaning for those familiar with the original tales.
To no one, however, will it be obscure that this is a film celebrating selfless abnegation as the cardinal human virtue. Public speculation over possible "political" meanings in this film has largely obscured its real significance. For here the leaders of the neo-realistic school are deliberately saying that the solutions they offer to the problems they raise are moral, rather than social or political.
That this was de Sica's and Zavattini's specific intention they have made abundantly clear in subsequent statements; but the complexity of the "realistic allegory" in which their message is couched makes widespread misunderstanding pardonable. There are moments in this film which seem an indictment of the rich; and other moments when greed seems the motivating factor in rich and poor alike. This fantastic comedy has meanings on many levels, but its final meaning is that brotherhood is the primary human necessity, and that brotherhood is very hard to achieve.
In times out of joint, luck becomes the goddess of the majority- luck at gambling, at the races, or simply some overwhelming stroke of fortune which against all probability singles one individual out os a winner even though the social and economic cards are stacked against him. This insight Luchino Visconti has extended in a film which makes success in the movies themselves the magic wand of fortune.
The abundance of incident in this film is such that the theme sometimes gets lost, but Anna Magnani at all times makes clear her burning belief that her small daughter will be lifted to the heights of stardom, even though there is no evidence to support such a hope. Though based on a serious political problem-the disposition of Trieste-Zompa's film fails to suggest the meaning of the crisis, nstead, it chronicles the uncertainties of a group of patly "human" characters, and solves their unrest by melodrama. It provides, how- ever, another example of the range of subject-matter treated by post-war Italian films, if a weak one.
Gogol's story has been filmed twice before, notably by Kozintsev and Trouberg in Russia. Lottuada has given the tale an Italian back- ground and characters and, says Mario Gromo, "transforms the Tsarist bureaucracy of Gogol into an almost fascist hierarchy, and the pothetic humor of the Russian author here becomes strong satire sometimes intentionally grotesque. Unemployment, politicol strife, social and familial disin- tegration, bear grimly upon its two young lovers, who at the end of the film are poorer than at the start, and marriage seems even farther away for them. This act af faith in life and in youth ogam epitomizes the neo-realist belief in human rather thon institutional solutions.
It is expressed in a merry film with "the flavor of a savory rustic dish.
Cheever Cowdin Ned E. As a plump, raucous and tougrh cabaret trouper in -The Blue Angel. Her legs, sultry voice and smoldfflng look gave the world a aew conception of what a lethal female could be like. IONE 13 , No nation has loved the cinema more deeply than France, and no country's intellectuals have been more irresistibly attracted to the exploration of the new medium.
It is for this reason that French films have won an enduring audience wherever the spirit of inquiry and experiment is valued, and particularly in New York. The fact that every period of French film history has its lovers among film connoisseurs has largely shaped the present exhibition. Begun as an historical retrospective, it developed along very different lines. Films of purely historical interest gave place to others which have stood the years triumphantly on intrinsic m6rit; othsrs which would CGrtainly have to be included in any extended conspectus of the French film have been omitted because they are happily enjoying successful commercial revival at the present moment.
Still others are here primarily because the Film Library has been given the opportunity to present them in their original, complete form for the first time in the United States, or for the first time in decades. The exhibition is thus not an historical exegesis but a grouping in rough chronological order of some of the best examples of all the main streams of French film art.
From the riches he pro- vided, John Adams of the Film Library staff has made the final choice, adding examples already in the Film Library collection and others made available by their American distributors. An optical show, recreated in color. Four of the earliest films made; precursors of the documentary, narra- tive and pictorial approaches to the cinema. A professional magician here explores the technical capacities of the new invention to produce effects impossible on stage.
Reversed motion provides a magic effect. An early reformist film. A colored "postcard" come to life. A comedy employing camera tricks. The first French animated cartoon. An early kidnapping and chose film. The celebrated death scene. Optical deformations help the famous comedion to obtoin the stature demanded by his prospective father-in-law. The culmination of the first French school of comedy. Breon, Renee Cori Georges Melchior. Part two of the most famous French serial. A French refinement of D. Griffith's style, used to tell o story reminiscent of contemporary Italian melodramas of "high life.
Eve Dinant is black- mailed into continuing to be his mistress, even though she is disgusted by their relationship, but later manages to buy him off with part of her fortune. After a few years, she is happily morried to a composer when the blackmailer returns and becomes interested in the compos- er's young sister. Eve tries to prevent their marriage, but arouses the composer's suspicions and jealousy. June One showing only at 3 p. Sibilla, favorite dancer at the Eldorado, works only for her sick child, whose rich father has forsaken them.
Desperate for money to buy medicines, the mother goes to see him but is chased away. The father is busy preparing for the wedding of his daughter Uliana to a land- owner, though she loves a young painter. Sibilla tries to help the young lovers to marry, as a means of taking revenge on the father. On the night of Uliana's engagement she locks the couple into a building and only lets them out at dawn.
The resultant scandal pre- vents the marriage of Uliana to the landowner. The painter goes to claim her hand from the father, but there is a quarrel and he is re- fused. The couple decide to flee to the mountain home of the young man's mother. Sibilla reveals to Uliana that the sick child is her half-brother ond the couple offers to take the child with them so that he may recover.
A subieclive occouni of the spiritual sufferings of a provincial wife. An essay in the development of film content created by uxtaposing photographs rich in tactile Impressions. A sophisticated transcription of the Hans Christian Andersen tale. A Dada work by the American photographer utilizing the technique of fhe photogram. Poetic imagery and free cutting used to tell the story of two sisters who are seduced by the same man.
A classic farce re-enacted in terms of obsessive actions of the French bourgeoisie. The evocation of o woman's sadness about the end of an affair. Images selected as a pictorial counterpart to Debussy's Arabesques. Stylized camere speeds and photography suggest the emotional re- move of Poe's tales. Les Gardiens du Phore. June July 3 One showing only at 3 p. A satire on French politics. Her affections for the two men change with the rise and fall of their political fortunes.
Clair's lost silent film, containing parodies of Dreyer's Master of the House, Gance's triple screen, and many hints of the early comedies of Harold Lloyd. A nervous young lawyer, arguing his first case, inadvertently sends his client to ioil when he ends his plea by quoting the prosecutor's de- mand for the full severity of the tribunal.
Upon his client's release, they both find themselves courting the some girl. Without consulting the girl, her father consents to the client's suit. The girl refuses to marry the man, and when the young lawyer's aunt urges him to be bold and he proposes the girl accepts. But when he is faced with asking her father's permission, he loses courage.
The client sees the young man in the girl's house, and fearing exposure, he tries to frighten him into giving up the girl. The next day the client's family comes to coll on the girl and her father to sign the marriage contract. The young man mistakenly believes that rabbers have taken over the girl's house and taking courage "rescues" her and in so doing, obtains her fother's consent to their morriage. July One showing only at 3 p. A study in motion by the American sculptor, then living in Paris. Controsts in mavement as a visual equivalent to Tschaikowsky's Theme and Variations, Opus 19, 6.
Avant-garde preoccupations with light-play and rhythmic patterns, integrated into the simplest of story lines. A father and son leave for a six month's tour of duty on o remote lighthouse. A doctor discovers that the young man has been bitten by a rabid dog and must be brought home. A disturbing work of pure surrealism.
A version of Cocteau's autobiography. An early chase film. A musical about a chose across Paris to recover a winning lottery ticket. The revelation of Renoir's most celebrated style, in a film which he mode exoctly as he wanted. A bank clerk returns home late one night and befriends a young woman who has been beaten by her lover. She soon becomes his mistress, though she continues to see her former lover. The clerk's wife is a shrew, and when her first husband returns attempting to blackmail the clerk on a threat of bigamy, the clerk seizes the oppor- tunity to leove his wife and live permonently with his mistress.
He discovers her together with her lover, however, kills her and allows the lover to be executed for it. The bank discovers that he has em- bezzled money and fires him. He quickly sinks to begging on the streets. The cinema's innate capacity for debunking turned on modern indus- trial civilization. A man who is rescued from drowning against his will upsets the care- ful lives of his benefoctors through his indifference to convention.
A comedy based on French music hall humour. A mod hatter schemes to kidnap the daughter of an American million- aire who is so bored with life that he refuses all his daughter's suitors because they con't amuse him. By mistake the hatter gets the old man himself, who thinks the kidnapping highly entertaining and refuses to go home. The satiric illustration of a folk song. Paul Olliver, Aimos, Tommy Bourdelle.
The celebration of the French national holiday among a group of Parisian neighbors. Paulette Elambert in La Maternelle. Rose takes a job as maid in a day nursery where she quickly becomes the chil- dren's favorite. Morie, the deserted child of a prostitute, becomes attached to her and goes to live in her apartment. However, the sight of Rose together with the doctor who loves her reawakens Marie's fears of being deserted, and in her desperation she tries to commit suicide. A young man seduces her and tokes her off with him to Marseille where she becomes o prostitute and bears an ille- gitimate child.
The worker finds her there and leads her home, but her father shuts her up so that no one may know what has happened. Another young man who has loved her for a long while tries to search her out with the help of a friend. The young man comes to moke her his bride. A documentary on the life cycle of the sea horse. Toni, a young Italian working in France is married to Marie, but falls in love with Josepho, o Spanish girl who lives with her father and he' cousin, who IS her lover.
The foreman of the quarry at which Toni warks seduces Josephe and marries her. Toni cannot forget her and in despair his wife tries to drown herself. Toni goes to live on a hillside overlooking Josepha's house. Josepho wants to run away with her cousin and tries to steal money from her husband while he is asleep, he wakes, and in a fight she kills him. The cousin flees, but Toni comes to help her and in trying to dispose of the husband's body Toni is discovered and chased.
Josepho confesses, but an overzealous peos- ant kills Toni, believing him to be the real murderer. An early "film noir" about the gradual dissolution of a group of best friends who have banded together to help each other. A depiction of Moussorgsky's score by a unique method of animotion. Dawn to dusk activities in a Benedictine monastery.
- Die nackten Tatsachen des Klaus Ender.
- Oeuvres de Gabriel-Marie Legouvé (French Edition).
- Nell Hills O Christmas Tree.
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The archetype of fatalistic films of crime, passion and despair. A portrait of French society on the brink of the second World War, yet unconscious of it; conceived as a counterpart to Beaumorchois' Moriage de Figaro, which was written on the eve of the French Revolution. She and her husband, Robert de lo Chesnyest, have heard the speech over the radio. Realising that his wife has refused the affections of the young oviator, de la Chesnyest decides to break with his mistress as proof of his devotion to her.
But weakly, he invites the mistress to a week- end house party, and olso consents that the aviator shall attend when a mutual friend requests it. Arriving at his estate, de lo Chesnyest befriends a poacher, taking him into service against the advice of his gamekeeper. The poacher begins to flirt with the gamekeeper's wife and at a grand party, the enraged gamekeeper chases the poacher through the halls, but kills the aviator by mistake. De la c,hesnyest apologizes to his guests for the "accident," which they think he ordered intentionally.
The principal action of the film concerns the efforts of o peasant who hos worked on the construction of on oirfield for the Fascists to locate a bombing squadron and direct one of their missions to destroy the field. Based on a frue story, this tribute to French heroism was made to arouse support for the Resistance movement. A garage owner moves to the city when his land is taken for use in laying out o new airfield.
At the inauguration of the field, he agoin feels the urge to fly and soon spends all his time at it, while his wife runs the garage.
Die nackten Tatsachen des Klaus Ender by Klaus Ender on Apple Books
One day she searches for him at the field, goes up herself in a plane and becomes as strongly interested as he. The husband breaks an arm and gives up flying himself to be her mechanic. Soon they sacrifice everything to their passion for flying. The wife attempts to set a record in o meet and departs in a plane without a radio. She is not heard from for many hours and the neighbors coll the husband a murderer. But word comes that she is sate, has set c record and a huge reception is organized to welcome her back.
SsptSrnbor 1 -3 One showing only at 3 p. The Boulevard of Crime Gorance, o side-show artist, leaves her lover, Lacenaire, a murderer, to devote herself to Baptiste who loves her platonicolly. Soon, how- ever, she goes with Frederic Lemaitre, a rising actor. The three of them perform together at Les Funambules and all achieve tame. Gar- ance is offered the protection of the Comte de Montray, and at first refuses. Later she is imprisoned falsely as an accomplice of Lacen- oire, and she uses the Comte's cord to free herself and goes to live with him. Lemaftre is now a famous actor.
Baptiste has married Nathalie and has a son. Ffe has almost succeeded In for- getting Gorance when she returns to Paris. She has not forgotten him, however, and comes each night to watch him perform. One night LemoTtre sees her at the theater and though she Is now only someone from his past, he nevertheless feels jealous. He is about to ploy Othello and lets his jealousy develop to help him In the part. Baptiste learns of Garance's return and in spite of his wife's pleading, flees with her to spend the night together. Next day is the carnival; the day on which Locenoire has decided to kill the Comte de Montray because he feels humiliated by him.
Baptiste and Gorance are surprised by the visit of his wife and son who have come to beg his return. Gar- ance feels that she must renounce her love tor Boptiste and disappeo'-s into the holiday crowd. Exciting and intimate newsreel footage. A film of the liberotion ond return of prisoners of war. A re-enactment of incidents in the Resistance movement among French railway workers during the Occupation. A study of an ancient croft. The Breton legend about o man who can stop gales. Flamencan dances and songs. An aging film producer counsels a young actor in the art of making love, and especially ogoinsi taking any one woman seriously.
While the young man is away in the service, the producer meets ond be- friends the daughter of the only woman he ever really loved. Soon he foils in love with her, and asks the staff at his studio to help him protect her from other men. But the young man returns, falls In love with her, too, and opplying oil the odvice of the producer, wins her love in return.
But he feels guilty ot having deceived his friend and decides to break their relotionship. The producer, however, learns of the situation, renounces his own interest and unites the couple. A mild husband, returning home late one night, comes in on the middle of his wife's salon, at which his brother-in-law is reciting verse. The brother-in-law takes him aside and convinces him that he is not supporting his wife properly. He gives him the address of a man who he thinks is rich and tells him to rob his safe.
Before he con depart, however, the wife forces him to take along their two sons to get them out of the house. An anarchist from Sfromboli steals his country's jewels from its Parisian embassy. Putting them in a waiting taxi, he returns for more when two drunk porters drive off with the taxi to visit their grandfather who runs a tourist agency. The old man is trying to revive his dying business by offering a "surprise trip," destination unknown.
The trip is pursued by the anarchist and police, and ends in the chateau of the Grand Duchess of Stromboli, where the travellers take part in a revolution to overthrow her government. English narra- fion by Monty Woolley. Life in Pans from to reconstructed from early film footage. The reflection of war in the lives of two children. The account of an anthropological expedition into Guinea to film the initiation rites of the TrIbus Tomo. A film-legend of the Comargue. Flaherty was bom Febmary i6, Led four expeditions into sub-arctic Eastern Canada; explored and mapped the island archipelago known as Belcher Islands, Hudson Bay; explored and mapped barren islands of Northern Ungava, Fellow of the Royal Geographic Society, London.
Author of travel books and monographs. Director of the films: Ich bin ja nur zehn Tage da, und wuerde gerne haben, dass auch Du und meine Eltern einander treffen. Aus den Augen, aus dem Sinn? Ansonsten habe ich mich einer internationalen Poetinnen-Gruppe angeschlossen. Die Sache hat unglaublich eingeschlagen. I could cry at what translation does to the really fine one — the three stanzas.
All of the beautiful I oetic words, especially the verbs come doim to a sort of typical english philoso hical statement without the emotional load they have in the original. The last line of the second stanza is what I mean. It is beautiful in her own Version. I would keep on working in German if I were that girl. It is a good sound moral thought in either language, but to me not so clearly poetic. Still, the idea is original and good and very modern and the first half ijg expressed as poetry. I certainly think she is good, but I wouldnH push her to work in ihglish.
King 's statement about the poems - he cannot read the German at all. Language is very secondary to this kind of talent. I would love to meet her some time. I should lore to do it, but I am afraid I shall not be able to carry out thls task without your help. Thls piece of werk seems too great for my limited oapacity to convey into another medliim without relnsurance against damage or partial loss. I thlnk I would not hare so many diffioulties with the purely poetlcal parte that are tlmeless and independent of national boundaries and customs, but on the other hand there are many "Americanisms" which will hardly have an equivalent in German.
May I ineaniBrtiile send you a few exaraples of my own poetry and translatlons from Baudelaire and Rimbaud as well as two Originals wlth the English translatlons I have re- cently made of than. Ich habe alles gelesen und hatte einen sehr starken Eindruck. Ich kenne ihn durch den RIAS. Sein Urteil wird sehr beachtet. Fischer Verlag Frankfurt am main-zeil haus Bienenkorb Mrs. In einem Punkt irren Sie sich. May 10, Mr. In March you retumed iny Rilke translatlons with the comment that you found them "sensitive and int eres t ing" but not quite finished.
Strangely enough, most literary magazines to whom I had submitted them wrote to me that they liked the quality of my translations, but that it was against their editorial policy to pub- lish dead or foreign authors. I feel, however, that one should not give up. Kokoschka' s name is again in the news right now, in connection with the exhibition at the Museum of Modem Art.
I enciose the story herewith. I am looklng forward to another of your llttle notes for my oollectlon. June 2, Dear Mrs, Gruenthal: Thank you for sending us the Kokoschka and Heine translations. I plan to include major selections from the following poets: There would be an honorarium of course for any contributions you might make.
I like especially well the only two versions of yours I have reod: Interior of Roses" and "All who attempted to If you know of other competent translators for these poets I should be grateful to be put in touch with them. Many thanks f or your letter of the 17th and the eight Heine I7r5. I find that translatops usually do their best work when tiiey cUoose tVielr own poems and poets.
In my unanewered letter I brought up the question of remunera- tlon. Unfortuneitcly, I find the greater part of tho Rilke sectlon quite dieappolntlngi becauee it does not makc sense to me to translate tkasKxsl! May I keep them until then, or would you rather have them back now? I had hoped to be able to publish one of your Rilke translations during the suinmer. I was not able to do so, and now I cannot hope to do anything about them until our fall book issue in November.
If your patience has become exhausted, as it very well may have, I will be happy to return the poems to you. Please let me know if I may keep them still longer, or if you would like them back. We found the results of your test quite satisfactoiy and would like you to starb work for us immediately. We have, therefore, taken the liberty of enclosing a German original for the article EA. We have also enclosed manuscript paper, an abbreviation style sheet, and flyers. Our starbing rate is December 10, Mr. Shattuck has just forwarded to this office your poems which you submitted to him on November 8.
Although we have read the poems with great interest, I regret that the Quarterly is presently so well supplied with poetry that it will be some time before we shall be accepting any additional verse. Thank you for having given us this opportunity to consider your work. Paul, This is really very funny! After I received your letter, I started digging in my memory which has never been very good and in an old theater project file which is much more reliable with the result of discovering some odd bits and pieces.
It turned out that we have known each other, at least by tele- phone and correspondence , since October You are quite right that Spencer Messe was the original "contact man" , At that time a friend of mine in Europe was interested in financing plays by new or relatively unknown authors , and you sent me some Scripts which I offered to my frien d, but unf ortunately nothing came of it. I see from your biographical page that you have been very active in the theater, doing interesting things , apparently over a long time. It was very nice of you to take the trouble of writing to me.
In other words, please keep me on your mailing list. I can also be reached by telephone: The note was prepared last spring so that the "last siiiraner" of the first sentence refers to the summer of Tf you would be willinp: A seasoned veteran of resident companies throughout the nation — Mr. A native Nebraskan and graduate of Harvard College, Mr. Thank you for letting Me see it. The maln reaeon 18 that I war. Reading about the nightmarish experience you described in your article in the Book Review of April 5, I was horrified and shocked, but at the same time I admired your courage in bringing it out into the open.
The manuscript was returned by all readers with favorable comments of course, no one recognized the orginal source , but invariably they contained remarks to the effect that style and language had an unmistakable foreign flavor. Some time ago maybe last year or the year before the New York Times Magazine carried a full-length article about Jerzy Kosinsky with a great deal of material that he himself had revealed regarding his rather uncommon pursuits outside of the literary field.
This sounds almost like one of the quotes introducing the book. I am enclosing a copy of the biographical notes "On Kosinsky" from the last pages of his book. Reading about the nightmarish experience you described in your article in the Book Review of April 5. I was horrified and shocked, but at the same time I admired your courage in bringing it out into the open. MI Dear Contributor: We hope this will not discourage you from subscribing to the magazine, if you do not already subscribe.
We know we can count on your support. Ich versank in Worten. Anders ist, glaube ich, Literatur nicht zu schaffen. Zwischen Ein- siedlerei und Geselligkeit werde ich wohl mein Leben lang iiin und her pendeln. Ich hoffe, Sie verzeihen mir.
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Brauch- ten wir doch unsere Masken nicht. Viele Depressionen kommen, glaube ich, daher. Ja, ich kenne es gut, dieses "in ein schwarzes Loch" fallen. Was ich gelernt habe: Ich lasse es mir gefallen! Schade, dass Sie mich von Berlin aus nicht angerufen haben. Vielleicht sehen wir uns mal in New York? Ich werde also bestimmt irgendwann in meiner Lieblingsstadt aufkreuzKen, zumal ich verbilligt fliegen kann. Inzwischen habe ich einen neuen Lyrikband zusammengestellt und bin auf der Suche nach einem Verlag.
Meiner Ansicht nach werden meine Gedichte immer intensiver. Lyrik ist und bleibt eben meine grosse Leidenschaft. Ich habe versucht, mein holistisches Welt- bild in Literatur umzusetzen. Stephen Murray Fjord Press P. Joel Agee told me that you are Publishing translations of books by German authors who are not generally known in this country and that you are also interested in women writers. It does not pretend to be a novel in the traditional sense , but, as the subtitle indicates, it is the Monologue of a Drinker: Even though one may at first be reluctant to get involved, one cannot help following her from page to page, listening to her at times agonizing, at times painfully comical experiences, as she rummages through her memories, evoking people and places, relationships with men amd women, children and animals, the dead and the living, even with inanimate objects.
When I had finished reading the book in one sitting, I feit as though I knew everybody who played a part in it and as though I myself had lived through this seemingly interminable nightmare, relieved only by flashes of grotesque humor, as they some times appear in our dreams. I'm aware of the fact that I have omitted all specific details in my brief notes about "Die Vogelspinne , " but I hope I have at least succeeded in making you want to find out more by yourself , perhaps through a report from one of your professional readers.
I look forward to hear from you. It does not pretend to be a novel in the traditional sense, but, as the subtitle indicates, it is the Monologue of a Drinker: Even though one may at first be reluctant to get involved, one cannot help following her from page to page, listening to her at times agonizing, at times painfully comical experiences, as she rummages through her memories, evoking people and places, relationships with men and women, children and animals, the dead and the living, even with inanimate objects.
When I had finished reading the book in one sitting, I feit as though I knew everybody who played a part in it and as though I myself had lived through this seemingly interminable nightmare, relieved only by flashes of grotesque humor, as they sometimes appear in our dreams. I'm aware of the fact that I have omitted all specific details in my brief notes about "Die Vogelspinne," but I hope I have at least succeeded in making you want to find out more by yourself , perhaps through a report from one of your professional readers.
Sincerely yours, Lola Gruenthal Enclosures: Ich bin sicher, dass Sie bei Ihren Vorlesungen an den verschiedenen Universitaeten viele neue Freunde oder zum mindesten interes- sierte Leser und Zuhoerer gefunden haben. Kurz nach Ihrer Lesung in New York habe ich eine eigene Pro- pagandaaktion eingeleitet, wie Sie aus der angliegenden Kopie ersehen koennen. Sie werden natuerlich sofort von mir hoeren, sobald ich selbst irgend- eine Nachricht habe.
Ausserdem habe ich mich, sozusagen "zu meinem eigenen Spass- vergnuegen", mit Uebersetzungen einiger Ihrer Gedichte be- schaeftigt. Dabei habe ich mit 2 und 9 aus "Nichts faellt nach oben" keine besonderen Schwierigkeiten gehabt. Eine junge Amerikanerin, die Germanistik studiert hat und hier am Goethe House als Bibliothekarin arbeitet, fand, dass die englische Fassung dem Original sehr nahekommt.
Es waere schoen, wenn Sie selbst darueber eine Meinung abgeben koennten, aber ich weiss nicht, wie weit Sie mit der englischen Sprache vertraut sind. Der englische Titel hat ungefaehr die gleiche Bedeutung wie der deutsche: Hierzu ein paar Fragen: Ich werde mich freuen, von Ihnen zu hoeren, wenn Sie sich den Dezember Liebe Margot Schroeder, ich habe chen, die wartetes gesteckt, koennen. Bisher habe ich nur die Nase herein- aber ich hoffe, ich werde mich bald ganz hereinknien Dass Sie Umraeumen mit Ver-Rueckt-Werden gleichsetzen, sehr gut nachfuehlen.
Ich gehoere ausserdem zu denjenigen, esen "froehlichen Feiertagen" mehr als leicht hysterische Inzwischen habe ich von Joel Agee gebeert, dass der Verleger, oder vielmehr seine Partnerin sehr positiv auf Ihre "Vogelspinne" reagiert hat. So kann man nur die Daumen halten falls man nichts besseres zu tun hat. Als naechstes wollte ich Ihnen mitteilen, dass wir in unserer New Yorker Wig-Gruppe geplant haben, eine Auswahl deutscher Frauen-Lyrik und Prosa der Gegenwart zusammenaustellen und dass einige von uns zum mindesten einen Teil der Uebersetzungsarbeit uebemehmen wollen. Ich lege die Kopie einer Seite aus dem letzten Wig Newsletter bei, woraus Sie ersehen werden, dass a ein solches Projekt schon im Gange ist was uns ja nur nuetzlich sein kann und b wie gross der Bedarf an Ueber Setzungen auf diesem Gebiet bei den entsprechenden "Departments", vor allem "Women Studies" hier ist.
In diesem Zusammenhang wuerde ich mich gern mit einigen englischen Fassungen Ihrer Gedichte beteiligen. Ihr Einwand gegen meine Erklaerung, wie ich das "Fliegenfangen" in Ihrem Gedicht verstanden habe, machte mir bewusst, dass ich mich dabei d. Die Ironie ist mir dabei nicht entgangen. Ich werde mich gelegentlich von anderen zweisprachigen Kennern beraten lassen. Vielleicht bei unserem naechsten WiG-Treffen, an dem drei amerikanische Germanistinnen teilnehmen. Nochmals vielen herzlichen Dank - fuer Ihre anerkennenden Worte wie fuer die Buecher - und alle guten Wuensche fuer das kommende Jahr, mit allem, was man sich so selber wuenschti dass es ein friedliches, gesundes und produktives sein moege.
Oktober im Deutschen Haus. Mitglied im Verband Deutscher Schriftsteller Fletkau-Verlag Roman "Die Vogelspinne". Lyrik und Prosa in zahlreichen Anthologien. Information ueber Miriam Frank, Tel. Fietkau-Verlag Roman "Die Vogelspinne". Monolog einer Trinker in. Bei mir ist in letzter Zeit viel Post liegengeblieben. Ausserdem habe ich ein neues Buch begonnen. Die Arbeit daran fasziniert mich so, dass ich alles andere immer wieder beiseite schiebe.
Ein gutes Zeichen, finde ich. Und das ist es eben, was mich so fasziniert! Der Hamburger Rowohlt Verlag zeigt aller- dings Interesse. Ich freue mich sehr, dass wir uns kennengelernt haben. Ihr Engagement ist einfach grossartig. Die Geschichte mit meiner "Vogelspinne" ist Ja richtig spannend. Steve Murray Pjord Press P. In my puzsle- ment I neglected thecheck the postmark there was no Sender 's address on the envelope to find out whether it was sent from Texas or California.
Februar Margot Schroeder Wrangeis trasse 20 Hamburg 20 Liebe Margot Schroeder, diesmal habe ich Grund zxm schlechten Gewissen, weil ich mich nicht zu einer Antwort aufraffen konnte. Zum Teil lag es daran, dass ich zunaechst noch den Bescheid der Fjord Presse abwarten wollte, der aber bisher nicht eingetroffen ist. Am 4, Februar schrieb ich an Mr. Es kann einem wirklich die Lust vergehen, wenn man nicht dutzendwireise Eisen im Feuer hat oder so unheimlich produktiv ist wie Sie, dass man einfach nicht anders kann als weitermachen.
Die neue Arbeit, mit der Sie sich beschaeftigen, klingt ausser- ordentlich faszinierend. Ich finde es bewundernswert, wie Sie sich, dem jeweiligen Thema entsprechend, in jedem Ihrer Buecher eine ganz neue Ausdrucksweise zueigen machen. Die Art, wie Ihre Menschen sprechen, ist so ueberzeugend lebendig, dass ich mich nicht wundem wuerde, wenn Sie als naechstes ein Buehnenstueck oder ein Hoerspiel in Angriff nehmen wuerden.
Eben sehe ich, was ich anscheinend vorher uebersehen hatte, dass Sie damit nicht auf meine ermunternden Worte gewartet haben. Aber vielleicht kommt doch noch demnaechst etwas Neues dazu. Auch ich freue mich, dass wir uns kennengelernt haben und dass ich durch unser Zusammentreffen Gelegenheit hatte, mehr von Ihnen und ueber Sie zu erfahren.
Ich soll die Koordination dafuer ueber- nehmen, und ich werde bei unserer ersten Besprechung am 7. Maerz meine Uebersetzungen Ihrer Gedichte vorlegen und vielleicht an- regen, dass ein Auszug aus der "Vogel spinne" uebersetzt wird. Durch Gesine Worm und das Goethe Haus habe ich entdeckt, dass in Deutschland in den letzten zehn Jahren eine ausserordentlich umfangreiche Frauenliteratur entstanden und veroeffentlichtwwor- den ist.
Unsere Vorschlaege und Beltraege muessen dann an Nancy Lukens und Dorothy Rosenberg, die die Sammlung deutscher Frauenprosa und -Dichtung herausgeben, weitergeleitet werden. Zu meinem eigenen Entsetzen stelle ich fest, dass ich mir ein ganz altertuemliches Akademiker deutsch angewoehnt habe, obwohl ich nie ein deutscher Akademiker warl Hoffentlich sind Sie inzwischen Ihre Sciatica losgeworden. So etwas ist aeusserst unangenehm und zieht sich oft lange hin. Ich habe gerade zufaellig in einem sehr guten Buch ueber "Back Problems" etwas darueber gelesen.
Wichtjg ist, dass man ein regelmaessi- ges aber nicht zu anstrengendes "Exercise Program" einhaelt, nicht zu lange hintereinander - und nicht zu hart - auf seinen vier Buch- staben sitzt und vor allem, dass man viel Spaziergaenge macht. Nur das Bild mit der "Fliege" stimmt nun wirklich nicht. Steve Murray Fjord Press P. Murray 1 Thstnk you very much for your letter of January 7 and the enclosures. It does not read like a translation at all. I also liked the format of the little book, by which I mean its entire physlcal appearance.
Joel had told me already a while ago that Ms. Doran seemed to be interested in the Vogelspinne. Now I hope the Texas University expert will be similarly impressed. Box Corte Madera, California ; Jan. Unfortunately it got misplaced when we moved our office, and I have just rediscovered it. I will send it out to our women's literature expert at the University of Texas at once. My partner, Susan Doran, expressed considerable interest in this book, but as she does not read German we will have to wait for a report.
I am enclosing our last year's catalog for yourilnformation. We are always open to tips and appreciate your interest. Please say hello to Joel when you see him. Weniger erfreulich ist, dass meine "Vogelspinne" nun doch nicht zweisprachig werden kann. Naja, es ist ein Urtier und irgendwann werden es die netsprechenden Leute schon verstehen lernen. April trinke ich keinen Tropfen Alkohol mehr. Ich geniesse die Klarheit in meinem Kopf und meine neugewonnene Arbeitswut.
Ich binckbei, einen neuen Lyrikband zusammenzustellen, ob ich meine Gedichte loswerde, ist eine andere Frage. Leider muss ich jetzt Hausfrau spielen und an den Herd gehen, was ich in letzter Zeit hasse. I am tapering off in a wrinkled forehead. Dead insects dry on my window sill. I no longer believe in flying and yet how my mirror-reversed head uses the window as an altar at night when the moon does not mind being tickled by chimneys at night when uncorked laughter falls off the balconies.
And yet I ask you every night: How then your No warms both of us. Yesterday I thought of death just like that as a finish foto as I sometimes think when I've come to the end of a run. Today I'm climbing up the stairs to the blue ballroom sky. For the moment relishing gardens poppies and larkspur for the moment tempted to piss from up high on the lowlier roofs out of sheer delight in liberation. Down there the river is lovely as it counters brightness by making faces. In my dreams I catch flies to give my freedom sovereignty. Juni Liebe Margot Schroeder, Ich hatte mich sehr mit Ihrem Brief gefreut, habe aber in den letzten zwei Monaten alles vemachlaessigt , weil ich, zum Teil im Hospital, zum Teil zu Hause mit einer nicht eindeutig ge- klaerten Krankheit herumgelegen habe.
Jetzt bin ich endlich soweit, dass ich mich wieder Menschen und Dingen zuwenden kann. Ihr Brief klang so positiv, besonders in Bezug auf die "neuge- wonnene Arbeitswut" und Ihr Bemuehen, die Lyrik wieder unter das Volk zu bringen. Auch dass Sie das Trinken ganz aufgegeben haben, finde ich sehr bewundernswert. Sind Sie den "Alcoholics Anonymous" beigetreten, die es, soviel ich weiss, auch drueben gibt, oder tun Sie das ganz auf eigene Faust? Dass Sie Heimweh nach New York haben, empfand ich als ein ruehrendes Paradox, denn eigentlich ist dies doch die Sammel- stelle fuer die Heimatlosen aus aller Welt.
Wenn Sie wirklich einmal wiederkommen und etwas mehr Zeit haben, wuerde ich mich gerne mit Ihnen unterhalten. Anbei die hoffentlich endgueltige Uebersetzung Ihres Gedichts, mit dem ich urspruenglich einige Schwierigkeiten hatte. Dies hier ist das Resultat einer Kollektivarbeit in unserer Ueber- setzungsgruppe eine Unterabteilung der New Yorker Wigs , in der Jedes Mitglied nicht nur Kritik sondern auch konstruktive Aenderungsvorschlaege beizutragen versucht.
Ich erwaehnte in meinem Brief, dass unsere hiesige Gruppe an einer Zusammenarbeit in- teressiert waere und dass ich selbst einige Uebersetzungen von Gedichten, darunter ein paar von Ihnen, einsenden koennte. Darauf habe ich nie eine Antwort bekommen, aber ich koennte es natuerlich nochmal versuchen und einfach die fertigen Produkte mit einem kurzen Begleitbrief abschicken. Es wird Sie vielleicht nicht allzu sehr iMwwundem, dass ich auch von der Fjord Press nichts mehr gebeert habe, nachdem ich sie bat, mir eine Erklaerung fuer die Ablehnung Ihres Buches zu geben.
Jetzt warte ich auf eine eigene Veroeffentlichung in deutscher Sprache, eine kurze Erzaehlung, die diesen Monat in einer Anthologie im Verlag Gudula Lorez erscheinen soll. Die Rueck- kehr zur deutschen Sprache ist ein eigenartiges Erlebnis fuer mich, denn es taucht beim Schreiben sehr viel "unbewaeltigte Vergangenheit" in mir auf.
Vielleicht schicke ich Ihnen gele- gentlich mal etwas. Yesterday I thought of death just like that as a photo finish as I sometimes think when I've come to the end of a run. For the moment relishing gardens poppies and larkspur for the moment tempted to pee from up high on the lowlier roofs out of sheer delight in liberation. Down there the river is lovely making faces against the light. In my dreams I catch flies to let my freedom reign supreme. I no longer believe in flying and yet how my mirror-reversed head uses the window as an altar at night when the moon gets softly rubbed by chimneys at night when uncorked laughter falls off the balconies.
From the scars of our love I fashioned tenderness when I tried it on it was too tight. I have gained in volume The crazy noise survival TDuilds ever new arterial roads inside me. And yet I ask you every night i are you asleep already? Dovm there the river is lovely making faces against the light. In my dreams I catch flies to train my freedom in being boss.
You the voice of the people your wallpaper falls down when you sing "but when a neighbor knocks you stop s inging. How good you say nothing falls up bending your body your knees are bad. You changed me when I was wet you dug up trenches you gathered potatoes you carte d rubble away and how many fed off the palms of your hands but you would stroke only once in a while your white curtains.
We both did not solve it. You are as small as a Star. Your last spring is the first light infinity for me. I shall from year to year be less cold than you Mother. My dreams of you now that you are dead as though our bodies were one. But sometimes you fall you fall down before me and I can not Step across you. I can not take you away. I stand before you knowing I have to find other ways. I have gained in volume The crazy noise survival "builds ever new arterial roads inside me. You the voice of the people your wallpaper falls down when you sing but when a neighbor knocks you stop singing.
My dreams of you now that you are dead as though our hodies were one. Ich freue mich, dass es Ihnen gesundheitlich wieder besser geht. Es ist schon ein Kreuz: Leider bin ich wieder einmal aus meiner Euphorie gefallen und damit auch aus meiner Arbeitswut. Kurz, ich werde sprachlos. Es Ist schwer, einen Job zu finden. Ich muss einfach Geduld haben. Eine lyrisch derart verdichteter Text braucht seine Zeit. Manchmal weiss ich wirklich nicht mehr, wo mir der Kopf steht. Ich denke, diesmal wird es Sie erreichen.
Die nackten Tatsachen des Klaus Ender von Klaus Ender (2004, Gebunden)
I met Margot Schroeder when she was here on a reading tour two years ago and subsequently tried to place her Vogelspinne with a small American publisher who unfortunately went out of business. I will write to her again soon and send her a copy of this letter. Enclosed are three translations of poems from die angst ist baden gegangen and nichts faellt nach obenT I did not include the Originals because I was sure they would be easily accessible to you.
MS has seen these transla- tions in earlier versions which she liked. However, I believe the enclosed, which contain minor variations, are more faithful to the Originals. I hope you will be able to use them. Ich selbst bin in einem ziemlich besch Aber ich hatte im August ein paar sehr anregende Wochen in Deutschland, hauptsaechlich Berlin, wo sich viele erfreulichd per- soenliche Kontakte ergaben.
Erst nach meiner Rueckkehr bin ich in ein tiefes schwarzes Loch gefallen. Ich glaube, dass Sie so etwas aus eigener Erfahrung kennen. Irgendwie, irgendwann kommt man meist da wieder heraus, aber waehrnad es anhaelt, geht man sich selbwr grenzenlos auf die Nerven. Inzwisthen alles Gute fuer Sie. I am enoloalng trgnalatlon will almoat certalnly be costly-- an3 w them back wlth your comment. Because the Jew "is an exile from his own country and an exile even from himself," Delmore claimed, "yet he survives the annihilating fury of history.
He must dedicate himself to poetry, although no one eise seems likely to read what he writes; and he must be indestructible as a poet until he is destroyed as a human being. In the modern world, poetry is alienated; it will remain indestructible as long as the faith and love of each poet in his vocation survives.
Unlike Eliot's celebrated call for the "extinction of personality," Delmore's far more ominous injunction that the poet would have to be "destroyed as a human being" in the Service of his art was the disastrous culmination of an idea that could be said to have origi- nated with his early hero Rimbaud: One myth widely credited in A. But that he also knew the waste and futility of that myth is evident from the consolation he took in his art.
And it was more; poetry animatcd the ast, imbue d it wit h form and a new, higher reality. Fatigue had formed pools of shadow under his eyes. Since prolonged abuse of Dexedrine tends to cause depression and fatigue — while, in Del- 1 more's case, exacerbating insomnia — he found it more and more I difficult to extricate himself fro m thg cycle nf mnnd s which had afflicted him since childhood. It was out of sheer desperation that he concentrated on such matters as the New Jersey house, which now stood abandoned and vandahzed. Rebellion for its own sake, as practiced by those whom Delmore called the San Francisco Howlers— Ginsberg and the "Beat" movement— however unpalatable, at least served to confirm the adversary character of American literature.
The leading motive of classical American literature and of twentieth Century writing has been a criticism of American life. Sometimes the criticism has had a native basis: And sometimes, in expatriate writers like Henry James and T. Eliot, the actuality of American life has been criticized by being compared with the culture of the Old World.
But since the Second Worid War and the beginning of the atomic age, the consciousness of the creative writer, however detached, has been confronted with the spectre of the totalitar- ian State, the growing poverty and helplessness of Western Europe, and the threat of an inconceivably destructive war which may annihilate civilization and mankind itself.
Clearly when the future of civilization is no longer assured, a criticism of American life in terms of a contrast between avowed ideals and present actuality cannot be a primary preoc- cupation and source of inspiration. To criticize the actuality upon which all hope de- pends thus becomes a criticism of hope itself. Gruenthal during the years in Baptistown, but he tended to break off treatment whenever he was discouraged.
There were times when the psychiatrist himself ac- knowledged that "Httle or nothing could be done, " although he seemed to hold out hope for Delmore's eventual recovery. In keep- ing with the Freudian eclecticism Dr. Gruenthal proclaimed as his method, he agreed to take on Elizabeth as a patient, hoping to mediate between them.
Gruenthal that she had hoped to acquire confidence jin herseif by marrying an established literary figure. His gathering fury erupted in an ugly scene at one of the Black- murs' Christmas parties, when he accused Elizabeth of flirting with Ralph Ellison, who had offered to light her cigarette. Delmore grabbed her by the arm and hustled her into another room, where he began a loud harangue audible to the embarrassed guests.
On another occasion, Elizabeth insisted on driving home from a party because Delmore was drunk, and got out of the car when he refused. The extraordinary story of Delmore's bid for a professorship at Princeton has been told in Humboldts Gift substantially as it oc- curred, apart from a few fictional embellishments. I really want the Job very much. Don't you think I ought to get the offer in writing as soon as possible?!
Bellow's novel provides a vivTd chronicle of this mad, inventive plot. Once he had tenure, he calculated, he could ask the Ford Foundation to underwrite a chair in the English Department — Delmore to be the first appointee. He had resigned from Partisan Review, lost his Job at Perspectives when the Ford Foundation curtailed its budget, and no longer had any prospects at Princeton. When the University of Chicago invited him to teach there for a term, Delmore accepted without hesitation, and in March he and Elizabeth went to live in Hyde Park. Teaching at the university had been "very nice, up to a point — reached after the first four weeks," he wrote Arthur Mizener later in the year.
Delmore was by now so poor that he couldn't manage the ex- pense involved in Coming to New York. He worried that his friends would think he was avoiding them, or suppose he was "brooding over some sHght. Delmore tried to make a wan comedy of his troubles, and predicted he would end up fleeing to Guatemala pursued by creditors. He tended to write about movies from a literary and self-consciously intellectual point of view, characterizing Mary Pickford's beauty by some lines from Keats, citing Yvor Winters on "the fallacy of pseudo-reference," or examining the discrepan- cies between films and the books from which they had been adapted; but he was also capable of discussing the technical aspects of the films themselves, and the methods of various directors.
Wo wird einst des Vandermueden Letzte Ruhestaette sein? Unter Palmen In dem Sueden? Unter Linden an dem Rhein? Immerhin l Mich wird lamgeben Gotteshlmmel, dort wie hier. Where shall I, from wanderlng weary, For my final rest recllne? Under llndens on the Rhlne? Will my grave be dug by strangers SomeiAiere In a desert land? Or shall I be near an ocean, Restlng on a shore of sand? If 2, 3t 8? U7t IST 59t 56, 57t 53, 6k, 65, 7l4. Die Wahlesel Zum Lazarus: Diesseits und jenseits des Rheins Ewigkeit wie bist du lang Bimini?
Water all over, agitated watorl As the? Por you at least are solid ground. In the first place, he has a lot of brains, a 4uality which is nowadays extremely rare among Gerzaan literatl. Heiners Images are flowing with- out being pumped up, and this must certainlv be realized by evoryona who marely skims through the Book of Songs. Gentlemen, ara you forgetting altogether that Heine Is a German lyrlcal poet next to whom only Goethe 's naxne may be mentloned, and that the lyric Is a speolfically German form of poetry?
To the rest of us miserable people NatTire has fortunately given only one back, and thus we have to fear the blows of fate only from one slde. But poor Heine has two backs: He can- not feign for five rainutes, for twenty lines, nor lie for a day, for half a page. He should stay away from it.. Registers as law student at the unlversity of Bonn. Schlegel sees Heine 's firat verses and encourages hlm.
Retums to the universlty of Goet- tingen. Heine moves to Munich and tries to obtain a professorial chair for literary history at the unlversity. Many of liis German friends see liim in Paris. An ancient ballad haimts my heart And echoes through my head. Chilled is the air as the dusk darkens: The peak'of a mountaln sparkies, Vlvld as sunset glows. Wondrous upon that moiontain peak Is a malden, wondrous fair: The gold of her diamonds flashes, As she combs the gold of her hair. She combs It with a comb of gold, And she slngs, as she combs her hair, A Strange enchanting melody Beyond all hope and despair.
The boatsman in his little boat Listens, Struck by fear: Staring aloft he cannot see The rocks come rushing near. Amid the waves overwhelming him River and song were one. And this is what, singing and shining, The Lorelei have always done. In hls flrst Paragraph he says: The voices of his opponenta are gi? Nowadays we frequently hear the reproachful 0. I do not thinic that it deserves the naijje of a prose poem, because the prose is far froui pootic. If you think it is all rip;nt, I shall go on with the rest which should not take more than a week. April n, Daar Mr.
Thls is about the best I could do with the "Dance Poem". As to the text itself, I wonder whother one should not dare to prune off a few super- fluoua adjectives, superlatives and redundant phrases. I did eliminate soxae occasionally, but tho rest 1 nust leave to your discrotlon.
I would think the ratio is about! I BXd looking forward to continue with niy Heine curriculum which is beginning to fill at least one of xny educational gaps, aside from the pleasure it gives xae. I only wish there was a little more time left. Jixst as an exaKiple: Or do you have a better Suggestion? On re-reading both the English and the German, I round thafc it is not always easy to appreciate the dapth of his Vision which is often disgiiised by an apparontly superficial form or Condensed to such an extent that the thought appears fragmcntary. May 7, D ar Ur.
With klnd rogardat yours. Olarandon - Garman taxtbook wlth Engl! Und wenn du bis Abend nicht fertig bist. I just want to make it clear that I would not even object to greater libertles taken with the text as long as the new product preserved the spirit of the original. Perhaps I shall get a Chance to make a brief outline for you before I see you again. It would be helpful if you could also put down sonie of the Points you would llke to discuss so that I could Orient my- self aocordingly. You oan write to ray home address if you feel llke it. With many good wishes. Rilke was so rlght to wlthdraw into hls fortress-llke tower of lauzot.
I fool that our only salvation lies in the deteruined effort to uso whatever time we have in serving our essential purpose: I was onizy enough to translate a fow into E'ngllsh so far nobody eise has tried that , and I am sending you three of them, hoping that you may find them moaningful. March 29, Dear Ur. Introduction to Donx Qulxote: Sees Cervantes as a true servant of King and Church. Cressida Troilxxs this play as the figures of Greek and lets them app fore the critlcs it could neither Heine sees it as ridiculing irony Comic muse It and Cressida: Amusing critique of Samuel Johnson and Shakespeare who in Heiners opinion praised this lady too extravagantly.
Hoine syrapathizes with the other "Heinrich" and says: The prologue to the picture series contains some nice passaffes. Hambtirg 13 Honnenatieg 27 Sehr geehrter Herr Brach! Auf Jhr freundliches Schreiben vom Of coursc, the erltlc hae the rlfht to condem ft work If the playwrleht falle to comr-unicate his Ideae in tne aotual stage presentation, but tho fact that Mr. KoGarten Is an outstanrlnp exainplo, nie aumaary of Kr. It is a beautiful plece of work. It seems to ae that your llnes do not run qulte smoothly or gracefuUy eoough. To pay now, I would have to borrow from the bank, -yhich I will 3la:?
Gruenthal, Please excuse nie for not wrltlng you until now. I've etarted to do 80 eeveral tiraes and did not continue becauee I had nothing to report which did not add. Before saying mcre about my wlfe and myself, I had better say Bomething about Mrs. However , there is a prlmary problem --which i6,Ithink, mot'e serious in tranelating Rilke than a gocd many other poets — which can be illustrated by the very first line of the Duino Elegies and which hes been translated: Eut I can understand cf course that as a poet this might naturally not be what interested Hrs.
To return to the patholo. I don't know, of course If the p?? We taiked oi borrowlng fro- Ellzabeth's mothir fo? Soriowing alain when there Is no probable prnspecto. Ky only -course now. And iinally I have more of a feellng of assurance about ray own ability to v. To be literary again, l-ime. April 8, Dear Dr. However now there hae been an accumulation of raaterlal which would require at leaet three voluraee of the New Directions annual. Gruenthal translate some other poeme by Rilke for The ivew Republic. You will be able to Judge if this is a good idea of not, given the likelihood that a certain amount of correspondea between Mrp.
Gruenthal and myself mav be necessary: I need not mention the difficultiee we have in coraT. March 7, Dear Dr. If s not eo much honesty or the like whlch makee me feel uncomfortable about takltoe furth2? ThI briefest exaSple leTeent ence whlch le the object of much eatirical resentmJn?: Sperry will be much appreciated.
Dear Miss G-ruenthal-G-regory, I personally would be very Interested in seeing your translatlon of a Rilke story, "Ewald Tragy" when you have finished working on its translation. You know this book? The sale of the volume s in that series, whioh included Valery, Appolinaire, etc. I of tea thought that the educated American Just did not like the word "Selected" whioh is curious since it seems to have high regard in England. As we discovered in connection with a volume of the works of Supervielle, working with a good many translators is an enormous project in itself.
The Valery tolume to whioh you refer I think was possible only because Mr. Laughlin is himself something of a Valery scholar and was willing to give to the book far more time, over a per- iod of years, than a publisher is able usually to expend on any one volume. I didn't mean to go into all of cur problems, but I did want you to know that we will think about your Suggestion.
In the meantime, good luck with your poetry translations and I shall look forward to receiving a story when you have oom- pleted it. I am returnlng herewlth your translations of Rilke whlch we have been holdlng, wlth Mr. Laughlln's gratltude as well as my own at your patlence up to now. We are anxlous to do some more Publishing of Rilke, but have not yet flgured out how thls oan be effected.
Laughlln Is now In Indla, and I know that he has taken a number of manusoripts wlth hlm for readlng, probably Includlng your translatlone of Rllkef On hls return toward the end of the month, I shall be glad to bring your letter to hls attention and let you know. We are negotlat- Ing further for a selected translatlons volume wlth Insel Verlag in Germany, but the acoumulatlon of man- uscripts and the edlting of the volume would take a long time. Sincerely yours, Robert M. I am extremely pleased to hear that the Chicago Review will be reprlntlng some of your Rilke translatlons. I wleh that we cotLLd say that New Dlrectlons was de- flnltely plannlng a volume of selected Rilke translatlons which woul: We will look forward to seelng it.
It would be a lovely thing to print as a whole over. Gruenthal, Plocse forgive this Short note. I thlnk the hyperbole xn the last line of the last poem a little too strong. We are ihterested in your work, however, and invite you to sulanit more in the future. Unfortunately translations, with the limitation of Space for poetry in the Review, have to be really striking in order to merit Publishing.
Although the first three poets are not contemporary poets modern translations should have, I believe, a contemporary ring to them, Ihe Rilke poems I very much enjoyed reading as you rendered them. In the one from the Book Of Hours, despite the fact that it oorresponded to the original, I was bothered by the jingle for I am distorted where I am thwarted.
At a later dato it is possible that we may be able to use translations, these last two or others you would care to submit. NevT York 25, N. I thought the translation quite good, though it would need a little retouching, and of course the story is interesting as an exaniple of iUlke's prose efforts.
Unfortunately, it is just too long. I would like to see thia published, lliSngh Offhand I canH think of just where. Thank you f or trying us again with those translations from Rilke. I think your English is capable, though it would be miraculous if there were anybody whatever using our tongue virtio could give a quite adequate version of the nuances and distinctiveness of his phrases, The main fact is that we have got to the point that we don't often use translations of verse.
Often we have something which is good enough for readers who do not know the original, but it is almost impossible to please those who do. The fault is largely mine and 1 can only plead busyness. However, if at all possible, I will try to avoid breaking them up since I would myself prefer seeing them appear together. I imagine you have already looked into this for their projected publication in the New Directions volume.
It would be best, however, if you could obtain specific permission for us to reprint these two poems. And I imagine, too, that it would be best if this permission could be had as soon as possible. If there is a Chance of the poems going into the next issue the mid-winter one we would have to have such permission by the first week in December.
May I also ask if you could send us a brief Vita from which we could make up a Short passage for our notes on contributors? Besides biographical Infor- mation and other publications, etc,, it might be use- ful to include the facts as to whether, when, and where, these poems may soon be reprinted in book form.
Biank you for your patience. Inzwischen haben wir uns aber Fernruf: Frankfurt am Main Nr. Da in dieser Ausgabe weder das Jahr der Veroeffentlichung noch Copyrights angegeben sind, nehme in an, dass sie auch zu den sogenannten "Raubdrucken gebeert, die Sie in einem Ihrer Briefe erwaehnten. Falls Sie selbst irgendwelche Vorschlaege bezueglich noch nicht uebersetzter Prosa haben, waere ich Ihnen ausserordentlich dankbar. In March you returned my Rilke translations wlth the coitiment that you found them "sensitive and interest ing" but not quite finished.
Since you did not men- tion any such restrictions, I would like to submit some Heine poems in my adaptation, hoping that you may find the one or the other suitable for publication. January 2, Ut. Dear Miss Porter, I heard from Peter Gruenthal that you had been for some tlme, and I hope that you are now rully recovered and not too terrlbly overloaded wlth work. Of course, I appreclate your objections against printing it as a whole, but I had thought tliat the first part, cocjplete in itself, miglit have been suitable for publication.
I canH teil you how moved I was when I opened my manuscript and found your letter with your extensive not- atlons In lt. I certalnly dld not expect you to do an editorlal Job on my v;ork, although I am convlnced of the need for it. How about trying the word "teased"? By the way, do you happen to know when it was written? I was moved that there the whole h pleased and decided all over again never was another writer like hira in ry of writing and poetry. May 25f Mr. Therefore they agreed to roy having it published elsewhare in the mean- tiise.
The Story consists of two parts. New York 24, N. A few days after Christmas Vx. Rice died of injuries received in an automobile accident and we have no way of knowing whether your manuscript was returned or whether it was ever received, We certainly try to take the best of care of all man- uscripts and rarely have any difficulty. Since yours was mailed Dec. We are very sorry about this and Vx. Ransom would be very glad to see your work if you can send a copy.
We have examined your English Version of 15 Rilke poems, but I regret to say that we are imable to consider their publication. This plan, of course, obYiates the publication of the work of other Rilke translations. Curley Accent Unlversity Station Urbana, Ing my Rilke translations, I fully appreciate the time and eflort involved in deciding on a work like this.
December 3I, Mr. I personally am slightly concerned about him, since 1 would not like hlm to accompany Mr. Laughlin on another trip to Asia this is apparently what happened to my other Rilke translatlons last year or, what might be worse, to remain buried in some editorial desk. Friedrich Michael of the Insel-Verlag in- formed me that the rights for this short novel are still available, and I do not want to lose too much time in trying to find a publisher for it.
November nicht rascher beantwortet worden ist. Pur England haben wir die Rechte an die Hogarth Press gegeben. Damit sind hoffentlich alle Punkte Ihres Schreibens erle- digt.
November 21, Mr. They vvould like you to send them two copies of the issue in which the poous will appear. Enclosed I am sending you some notes on myself , a copy of a lotter by Kdna St. I foiind that the "Annunciatlon" in particular needed quite a lot of retoucliing, and I believe it is now xauch rnore aocurate as well as poetically laore sucoessful than it was in ita first stage. Maybo that will mako this in- tangible pcrsonage laatoi-ialize like tho deus ex machina.
Sie nennen den Verlag New Directions, der uns bekannt ist. I suppose it will ba easier for you to judge the laerit of the story and tho trans- lation once you have read it as a whole Today I received a letter froxn Mr. Fixier of the Chicago Review in which he informs me that he has aocepted my translations of two Kilke poeaas for his next issue. Laughlin agree to my adding a few tentative words about a projected publication of a Rilke volume by New Directions? Therefore I would greatly appreciate an early reply froia you. Wuerden Sie liiich bitte darueber informieren, was in Bezug auf Copyrights dazu erforderlich ist.
Ich waara Ihnen ausserordentlich dankbar, wenn Sie mir moeglichst umgehend Bescheid geben koennten, da dia beiden ersterwachnton Gedichte in der naechstan Ausgabe der Chicago Review im Dezember erscheine!! The bulk of litterature on Rilke, viiiioh by far exceeda that of his own writings, seoms to testify to his continued and spreading influence. Alao the recent revival of iii"uropean litterature through Inexpensive paper- bound editions makes me feel certaln that a re-introduction to Rilke would fit into a general oontemporary trend.
The seoond part doals with liis lonelineas and be- wildennent in tho artiotic centcr of Uunich where ho puts himself at the nsorcy of the "great litorati'' who troat him as an inferior bolng. Laughlin directly, and I hesitated to wrlte to either you or him, because I did not want to imposo on anybody's time.
But if , as you say, Mr, Laughlin is so far behind in his edltorial schedule that there seems to be little Chance for his evaluating the translations at any predictable time, It would perhaps be better to have them returned to me so that I luight try to place them somewhere eise. I know what a nuisance it is to analyze other people's problema patiently when you are imputient to get ready Tor your own work, One should leave the analyzing to the analjrats who, after all, are well rewarded for their troubles.
We would llke to hold on to Km. Bertolt Brecht - P. IIoveml er Lieber Doktor! Mit Karin haben wir auch schon verhandelt. Sie war bisher nicht bereit, allein nach Berlin zu koimrien. Jch hoffe, dass es mir gelingt, Peter wirklich hierher zu bringen. I wished when I read U? There came into my mind often, for no obvious reason at all. Not that you are imitating Goette" nSt even that I am I— but perhaps you will understand why that poem cLe into'. Sincerely yours, Bdna St.
George rublee Honorary Chairmen Dr. Leland Rex Robinson President Dr. Henry Smith Leiper Secretary Mr.