Writing after Hitler: The Work of Jakov Lind

By Andrea Hammel; Silke Hassler et al. | Go to book overview

7
Writer without a Home: The Reception of
Lind’s Work in Germany and Austria

URSULA SEEBER

THE parameters that shaped the reception of Lind’s work in Germany are vividly recalled in his own tribute to another exile, Milo Dor:

Unter den literarischen Solisten der Gruppe 47 zu Berlin anno 1962
gab es nahrhafte Kost. Der neue Grass, das letzte von Weiss, die
Blüten von Böll, Perlen von Bachmann und, soweit ich mich entsinnen
kann, auch das erste von Jandl … Eine fast heile Welt deutscher und
deutschschreibender Anti-Hitler-Literati, die sich iiber die Vergan-
genheit, über jüngste deutsche Vergangenheit entweder Sorgen oder
lustig machten. Deutschschreibende Ausländer, die sich weder für die
Verbrechen von Buchenwald noch der Wehrmacht zu entschuldigen
brauchten, gab es anno 62 nur drei. Der Berliner Schwede Weiss, der
jugoslawische Wiener Milo Dor und meine Person.

Among the literary soloists of the Gruppe 47 in Berlin in 1962 there
was some edifying material; the new Grass, the latest from Weiss,
the blossoming of Böll, Bachmann’s pearls and, as far as I can recall,
the first words of Jandl … They were an almost holy world of
German and German-speaking anti-Hitler literati who were either
concerned about Germany’s recent past or made fun of it. There
were only three German-writing foreigners in 1962 who needed to
apologise neither for the crimes of Buchenwald nor for those of the
German army: the Swedish Berliner Weiss, the Yugoslav Viennese
Milo Dor and myself. (Lind 1995b: 101)

In a passage that also recalls his own literary debut in Germany, Lind presents a self-portrait which would be inadequately described

-113-

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