its 'trap';moreover, he is criticalof a failureto differentiatebetween variousforms of non-democratic rule. Despite the undeniable importance of the political dimension, it would be onesidedto concentrateonly on thispartof Miller's writing.Her originaland powerful use of language is visible in the original texts: ten short poetic pieces that were initially intended to accompany collages. The use of simile is particularly remarkable:cars in the night are 'wie gltihende Zimmer';as a cross around a taxidriver 'sneck moves around, 'kommtJesus Iins Wankenwie eine Mausefalle'.The text beginning 'im Federhauswohnt ein Hahn', which contains a compound noun including 'Haus' in each of the firstfive lines, is particularlypowerful as it conjures up a sense of constrictionthat, given the fifthline 'im Eckhaus- die Patrouille',has to be linkedwith Muller'sown experiences. In fact, the definingfeatureof herwork is the way she has developed an individual style out of writing on the basis of her biographical experiences. In the interview she uses the term 'autofiktional' to describeherwork:it is fictionalyet at the same time based on her own life. Moreover, in parallel with her rejection of all-embracing political systems, she concentrates on detail as part of an aesthetic strategythat leads Brigid Haines, in the title of her clear and informativeessay, to characterizeher work as the 'micropolitics of resistance'.The linkbetween aestheticsand politics is also made clear in RicardaSchmidt'sessay'Metapher,Metonymie undMoral.HertaMillers Herztier'. InterestinglySchmidtdetectsa tendencytowardshomogenityin theuseofmetaphor that seems to mirrorthe dubiousequation of political systemsdetected by White. Two of the three remaining essaysnot referredto so far deal with the themes of memory (David Midgley)and morality(Dagmarvon Hoff). The third,by Margaret Littler, is a comparative study of the theme of the city in Muller's and Libuse Monikova'snovels. In a most incisivepiece of writingLittlershowshow, in keeping with post-modern thinking,for Miller the city is a 'diffuseand contradictory'place offeringspace to the individual, not least to women, as they seek to maintain their identity. This contrastsnot only with Monikova but also with Nineteen Eighty-Four, where Smith and Julia have to leave the city for their trystsif they are to hope to escape the notice of'Big Brother'. Finally,it should be noted that the bibliographicalsection of the volume restricts itself to the period I99 -98, building on previous bibliographies.It rounds off an excellent volume that fulfils its aim and that of the series by providing both an overviewand high-qualitymaterialfor the specialist. UNIVERSITY OF SUNDERLAND STUART PARKES TheRadical Subject: SocialChange andtheSelfinRecent German Autobiography. ByANDREW PLOWMAN. (Britishand IrishStudiesin German Languageand Literature,13) Bern, New York,and Frankfurta.M.: Lang. 1998. i68 pp. I7. In his introduction Andrew Plowman berates the reluctance of studies of New Subjectivity to address aesthetic questions and the tensions inherent in autobiography . He is equally critical of the general neglect by those critics focusing on autobiographyof social and political issues, and is thereforehimself determined to situatehis chosen texts in the historicalmoment of theirproduction, and to explore the significanceof that specificcontext for the discourseof autobiography.He does this in relationto five texts, allwrittenin the late I96os and 1970S,the firstof which is Bernward Vesper's Die Reise.Plowman argues that Marcuse and Reich are of central importance to this book, acting as the foundation for Vesper's criticismof post-warWestGerman societyand enablinghim to narratehis transformationfrom its 'trap';moreover, he is criticalof a failureto differentiatebetween variousforms of non-democratic rule. Despite the undeniable importance of the political dimension, it would be onesidedto concentrateonly on thispartof Miller's writing.Her originaland powerful use of language is visible in the original texts: ten short poetic pieces that were initially intended to accompany collages. The use of simile is particularly remarkable:cars in the night are 'wie gltihende Zimmer';as a cross around a taxidriver 'sneck moves around, 'kommtJesus Iins Wankenwie eine Mausefalle'.The text beginning 'im Federhauswohnt ein Hahn', which contains a compound noun including 'Haus' in each of the firstfive lines, is particularlypowerful as it conjures up a sense of constrictionthat, given the fifthline 'im Eckhaus- die Patrouille',has to be linkedwith Muller'sown experiences. In fact, the definingfeatureof herwork is the way she has developed an individual style out of writing on the basis of her biographical experiences. In...
Read full abstract