Worked against the “western consumption shit”: Thomas Brasch, in March 1991 in Cafe Kyril in Berlin (East)
Photo: AKG/Susanne Schleyer
Every unfortunate family is unhappy in their own way. It is not entirely absurd to use the East German family of artists Brasch as an example when it comes to illustrating the truth of this sentence. Thomas Brasch was born 80 years ago as the oldest of a total of four children, as the son of Jewish exile, who moved from England to the Soviet zone of Germany after the end of the war and are committed to building the first socialist state on German soil; The father becomes a high -ranking party official, the mother journalist.
As a young man, Thomas briefly studied journalism and dramaturgy at the film academy, he wants to become a poet. He is thrown out by both universities for “existentialist views”. His theater work “Looking at this country” that deals with the Vietnam War makes it to the dress rehearsal, then it is banned. In 1968, as an 23-year-old, he distributed leaflets with which he protests against the invasion of the Soviets in Prague. He comes into jail, then he is put into production as a milling machine. In 1975 there was its first poetry publication, a narrow booklet in the popular GDR series »Poeterei Ealbum«. The ribbon will only experience a second edition after 1990.
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As early as 1976, the real socialist German state had the unbogidous young writer left: Brasch moved to West Berlin together with his partner, actress Katharina Thalbach, from Berlin, capital of the GDR. There they tried immediately to take the GDR author labeled as “rebellious” as “dissidents”.
If his experiences as a citizen of the GDR were also disappointing: Thomas Brasch did not want to leave the utopia of successful socialism all his life. Neither to be able to live in one society, the stuffy, stuffy, petty bourgeois socialism, nor in the other, the no less lying capitalist, which was no less lying, false glamor, and in the end no less unfree: that was one of the topics of which the poet was , Translator, filmmaker and theater author Brasch was driven. His stories are repeated in his stories, essays, diary notes about breaking up on social constraints and a dull working world, not to be able to become self -determined. The individual has no chance: in the GDR, whose collective ideology assimilates every one who does not succeed in avoiding the access of the state and its organs quickly; And not even in the FRG, where it is the money and the “western consumption shit” (brasch), which mature and destroy every own thoughts.
In the band “You have to run against the wind”, which contains Brasch’s collected prose, the texts from the estate also find the satire “The Bathing Regulations” written in 1964, which consists of “ten”. In it, the 19-year-old author already makes fun of conformity and every form of attracting the individual in the collective. In the 5th commandment (“You should swim with your same”)) it says: “Those who come together in a team demonstrate their belonging to her by wearing the swimmer of the same color.” . Their natural enemy, in turn, are the “non -swimmers”, as shown in the 6th commandment: “Your main opponents (…) keep their fingers against them, even if you should swallow water.”
Brasch’s prose debut “The sons die before the fathers” can also be considered criticism of the unfortunate state of the GDR, but must also be understood as a result of resignation. The book could not appear in the form provided by the author in the GDR. So, mediated by Heiner Müller, it was published in the Federal Republic in 1977, in the then very left Rotbuch-Verlag.
When the television journalist and documentary filmmaker Georg Stefan Troller searched Brasch in his new home in West Berlin to make a film portrait about him and succeeded in the journalist, to take a lot of cancellation when dancing in his apartment, Troller had to confirm that in writing that he will not use the scene. Brasch: “Would be even more beautiful. Dissident Brasch dances while German workers starve. “
Brasch wrote for the theater in the west and made the feature films “Angel from Iron” and “The Passenger”. But his willingness to adapt to the German cultural business continued to be desired. In 1987 he wrote, hosting a disagreement with the literary critic Marcel Reich-Ranicki, in the »FAZ«: »All past conflicts between me and various institutions in my country were always conflicts about like socialism, never about an alternative to him (…) The fact that I live in West Berlin does not mean that I have backed up to the supporter of the money society. «
In January 1989, nine months before the so -called Wallfall, the election held to the Berlin House of Representatives, in which the right -wing extremists had received over seven percent of the votes, he commented on the “taz” as: “Nazis, cowards and idiots . You have been chosen. The city in which I live has been disfigured. Rabble chose rabble. Now I understand why nobody is allowed to trust the people to whom he has grown. “And in the poem” Prelimination II “, in the early 1990s for his” Romeo and Julia “editing” Love Death “, these verses are found : »I am my own people. You are united in the club that judges and the Henkt. «To this day, his memorable acceptance speech, which he held, has also been unforgettable when he received the Bavarian Film Award endowed with DM 50,000 in 1982, and that with The beautiful sentence ends: “I thank the conditions for your contradictions.”
The German feuilletons make it easy with the poet who died in autumn 2001. They do what they have always liked to do: they reduce the loving, drinking, drinking, eloquent and with bitter humor criticism of leather jackets, a mixture of beautiful gem and professional provocateur, like the extremely bad biopic Tat, which was created a few years ago: “Good looking, cool, woman hero, rebel, dissident” (SWR), “angry and rebellious” (“Süddeutsche Zeitung”), “A kind of pop star” (Deutschlandfunk Kultur), “he was brilliant, Incidentally, lived excessive «(arte),» a melancholic radical «(» focus «),» an artist in a leather jacket and with a cigarette, beautiful, sad, angry «(BR). Or they use the pathetic phrase: “Someone writes about his life” (SWR), “he embodied German-German tornness like few others” (Arte).
Do me a favor: don’t let the posthumen mythization of the person of the artist, who is always an indifference to his work at the same time. Read his texts anyway. Even if this 880-page Klopper, which contains printed and unintended prose from the estate during his lifetime, takes a little reading time. If that is too much, you can start with the collected poems (1030 pages) that have already been published in 2013. A short out of the estate goes like this: “The rhymes are nice they lie to you/ that makes them similar to your two countries/ they force you and they fit/ what do you still want to change on both”.
Thomas Brasch: “You have to run against the wind”. Collected prose. Ed. V. Martina Hanf. Suhrkamp, 877 pages, born, € 42;
Thomas Brasch: “They call that scream”. Collected poems. Ed. U. M. Martina Hanf u. Kristin Schulz. Suhrkamp, 1029 p., Br., € 35.
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