Reviewed by: Die Kunst der Einfachheit: Standortbestimmungen in der deutschen Gegenwartsliteratur: Judith Hermann — Peter Stamm — Robert Seethaler by Nadine Wisotzki Heide Kunzelmann Die Kunst der Einfachheit: Standortbestimmungen in der deutschen Gegenwartsliteratur: Judith Hermann — Peter Stamm — Robert Seethaler. By Nadine Wisotzki, Transcript Verlag, 2021. 224 pp. €40. ISBN 978–3-8376–5832–3. This book by literary and cultural historian Nadine Wisotzki concentrates on Einfachheit, simplicity, as an aesthetic currency and strategy for re-evaluating a problematic struggle against ambiguity identified in contemporary cultural criticism (see for example Thomas Bauer, Die Vereindeutigung der Welt, 2018). The study takes a focused approach by looking at selected fiction in German in the new millennium. Wisotzki posits with Hans-Ulrich Gumbrecht, one supervisor of this doctoral thesis-turned-book, that the present, fragmented and oddly removed from a human experience, is defined by latency, a curious delay between an event and our reaction to it. As a result of this, ontologically essential concepts like complexity or simplicity require a more differentiated, deeper exploration before we can discuss our present times with the heightened sense of an 'offene Zukunft' that Wisotzki claims they might provide (p. 47). Consequently, Wisotzki attempts a cultural-historical survey of the usage of the term Einfachheit in recent aesthetic history, with the aim of developing 'eine Ästhetik für die Gegenwart' (p. 77) that is based on artistic representation of Einfachheit as a central paradigm. Literature, as so often, serves as a third space where an exemplary analysis of Einfachheit as a cultural, socio-philosophical concept and aesthetic strategy becomes possible. The study consists of five chapters and is generally well-balanced in its presentation of the historical aesthetic usage of the term Einfachheit and its three main semantic applications in public cultural discourse. This is [End Page 216] complemented by analysis and close readings of three contemporary authors, Judith Hermann, Peter Stamm and Robert Seethaler. Chapter 1 provides an illuminating panoramic view of the way the term 'simplification' figures today in Western European intellectual and aesthetic discourse. The author highlights its use in the context of lifestyle ('Rustikalität', p. 19), values ('Idee des Unverfälschten und Wertstabilen', ibid.) and the existential authenticity for which humans strive. Here, Wisotzki formulates her main goal, which is to examine simplicity as a topos that is no longer too vague for rigorous literary criticism. Chapter 2 pursues this goal convincingly with a highly condensed yet inspired summary of how the term Einfachheit has been employed in the arts either to celebrate order, clarity and modesty or, conversely, to scorn banality and stupidity. Wisotzki's lexical and semantic overview of the term's usage (pp. 43–47) and her pairing of typologies of Einfachheit ('einfach-vielfach'/'eindeutigmehrdeutig'/'klar-undurchsichtig', p. 49) are particularly useful. Chapter 3 is meant to offer the bridge between cultural history and the close reading in the following chapters and provides my only point of criticism of an otherwise excellently executed study. Wisotzki's approach here is somewhat reductive in parts and too much interdisciplinary referencing (from Bauhaus via Voltaire to Malewitsch) is packed into too few pages. Also, the rather broad reach from Kafka's 'littérature mineure' (Guattari/Deleuze) via an excursion into Englishspeaking short story writing (E. A. Poe, Hemingway, Carver) to a summative critique of postmodern superficiality and the verdict that 'Einfachheit hat offensichtlich ganz unterschiedliche Qualitäten' [simplicity clearly has very different qualities, p. 75] could have been refocused on German-language writing traditions for more stringency. Ingo Schulze's eponymous novel Simple Stories (1998) should at least have been mentioned and could have been used as a segue into a more detailed discussion of the conflation of genres which characterizes German writing at the intersection of complex historical developments and social utopias of simplicity. What follows is a varied discussion of aspects of reduction, silence and linguistic austerity as narrative strategy in Judith Hermann's novels and short story collections (Chapter 4). By analysing the mixed reception of Hermann's work, Wisotzki emphasizes our society's inability to cope well with the absence and withholding of explanations and reasoning. The insightful reading of Peter Stamm's novels or stories through the...