590 Reviews Lidice (I943) to demonstrate the comic potential ofHitler and theThird Reich: 'Es braucht sehr viel gutenWillen, diesem Roman etwas abzugewinnen' (p. 478). The weaknesses in Mann's literaryoutput aremirrored in thepersonal misfortunes of thisbasically generous and principled man. Thanks toextensive research inunpub lished archival sources, Flugge isable topresent amore detailed account thanhitherto possible of Mann's private life. In particular, he focuses onMann's twomarriages and at least a few of his countless love affairs.This not only throws a revealing light on some of theprotagonists and recurrent themes of the novels (Fluigge has a sharp eye for the interplay between lifeand art) but also heightens our awareness of thepain and humiliation caused by his domestic circumstances, especially during exile inNice and his finalyears inCalifornia. The contradictions are no less apparent in Mann's role as a public figure.The deservedly high esteem and moral authoritywhich he enjoyed because of his courageous opposition to Wilhelmine values, to theFirstWorld War, and toFascism and which turned him into a leading figurehead fordemocratic forces inGermany and Europe cannot disguise the fact thathe consistently underestimated Hitler and that, in the 1930s, he grew so dependent on his income fromSoviet sources thathe became an all-too-willing tool in thehands of his Communist paymasters and amere 'Popanz der Propaganda' (p. 335)-a bitterly paradoxical position foran intel lectualwho had once famously and influentiallywarned against thedanger of 'Geist' selling out to 'Macht'. Nevertheless, Fliigge insists that,however misguided invari ous ways, Mann deserves to be called a 'Widerstandskimpfer' (p. 304) since, unlike some others, he did not use exile just to ensure his own safety and a continuation of his literarywork but took a prominent part in the anti-Fascist struggle. Future editions of this stimulating and highly readable biography would benefit from an index and fuller referencing. Some of Fliigge's ideas also deserve further development, forinstance thedescription of Mann's fundamental aesthetic impulse as 'symbolistisch' (p. 200) or thecontention thathewas born before his time inaesthetic terms-that is, the suggestion that his love of dialogue and the literary fragment would have made filmhis natural art formhad he been born in a later age. Fliigge's portrait ofHeinrich Mann, warts and all, considerably enriches our knowledge and understanding of amajor, ifseriously flawed,writer who, unlike his younger brother Thomas (a somewhat unattractive figurehere), fell well shortof true literarygreatness. UNIVERSITY OF BATH IAN WALLACE Images ofAbsence: Death and theLanguage of Concealment in thePoetry ofRainer Maria Rilke. By MARIELLE SUTHERLAND. (Amsterdamer Publikationen zur Sprache und Literatur, i64) Berlin: Weidler. 2oo6. 302 pp. E44. ISBN 978-3 89693-46I-I. One can hardly think of a topicmore central to the poetry of Rainer Maria Rilke than death. Contemplations of death haunt his work from the early poems andMalte Laurids Brigge tohis very late elegies and finalpoems. This fact may not be surprising fora poet constantly contemplating the transcendent realm andman's relationship to it,but thedevelopment of his thinking on this topicmay not be so evident. Is death a threshold to the transcendent realm or is itpart of this earthly existence? Can the individual (and most particularly the artist) still find a death of his/her own in the modern, dehumanized world? How does Rilke's thinking about death develop as he progresses in his poetic work? It isprecisely this development across the breadth of Rilke's work thatMarielle Sutherland traces in her volume Images ofAbsence. This volume refines and extends Sutherland's earlier doctoral work. She is an insightful young scholar who has turned her considerable talents to investigations of Rilke in recent talks, including Oxford's seminar series 'Nach Duino'. MLR, I03.2, 2oo8 59I Sutherland's analysis of the scope of Rilke's work is especially perceptive. She moves fromRilke's early poetry, inwhich life and death are polarized (with death given theprivileged place), tohis attempts tounify lifeand death within poetry.Rilke eventually creates a language of poetic figures inwhich he 'forges a space for,and lends a voice to,death as thatwhich exceeds ordinary language' (p. 283). In his late work, particularly theDuineser Elegien, Rilke creates poetic figures that go beyond normal human articulation to touch upon the empty category of death...