MLR, 99.3, 2004 843 focus on autobiographical places (Ernst Ribbat). Fascinating here is the use made of the newly published Tagebiicher 1936-1966 (Frankfurt a.M.: Insel, 2000). The second section offersvarious perspectives on individual works or genres. Two pieces deal with short stories: Gottsche himself offersa sensitive analysis of the modernity of short prose pieces throughout her career, and Ostbo examines configurations ofnarra? tive voice against the backdrop of theories of 'Kurzprosa'. In a detailed piece Ludwig Volker analyses Kaschnitz's response to death in her poetry,focusing particularly on a number of characteristic motifs,while Hubert Ohl offersa fascinating insight into the poet Peter Huchel's role as editor of the idiosyncratic volume of her Gedichte (1975), showing how clearly he brought out her radical edge and (although Ohl does not say this) how much sharper he was in editing Kaschnitz's work than she herself was. Much ofthe volume concentrates inevitably on the short stories, covering a fairrange of material, but an interesting piece by Ulrike Schlieper also brings Kaschnitz's large output of 'Horspiele' into focus. A final section of 'discursive constellations' contains Monika Albrecht's spirited attempt to read against the grain of Kaschnitz's concept of gender identity and some unpublished correspondence introduced by Renate Knoll. One of the drawbacks of a volume composed like this is a certain amount of inevitable overlap. It might also have been interesting to see more pieces which took on and compared work from various genres, as a good deal ofthe theoretical background to the short story form which appears here will be familiar to readers from elsewhere. However, out of these same aspects come certain interesting effects.The presentation of childhood comes to the fore in a number of pieces, with the fine prose text Haus der Kindheit (1956) as a kind of touchstone for the volume as a whole. A number of pieces set out to uncover the fractures and slippages beneath the surface of her work. Respondingto a questionnaire in 1964 Kaschnitz claimed: 'Kunstlerische Wahrheit ist Treue zu sich selbst und zu seiner Zeit'. Kaschnitz's diligent mining of her own experience in her fictional form is well-worked ground, but one of the strongest argu? ments to emerge from the volume as a whole is her commitment to her own time, her 'Zeitgenossenschaft' (Gottsche), and her attempt to make writing active in bringing about a more humane world. This volume will be invaluable in bringing her work to a wider, and perhaps a new, audience. New College, Oxford Karen Leeder Die Kunst des Verrats: Der Prenzlauer Berg und die Staatssicherheit. By Alison Lewis. Wiirzburg: Konigshausen & Neumann. 2002. 272 pp. ?36. ISBN 38260 -2487-7 (pbk). Since the opening ofthe Stasi filesthere has been no shortage of articles and books on the influence of this insidious state organ on various social groups. Many ofthe studies published in the early 1990s, however, tended to offerrather black and white images of the formerGDR, sacrificing historical objectivitytoan understandable sense ofmoral outrage. Indeed, such images persist in a number of recent high-profile works such as Anna Funder's Stasiland (London: Granta, 2003). Die Kunst des Verrats provides an excellent and timely corrective to these accounts, subtly exploring the relationship between the GDR's Ministeriumfiir Staatssicherheit and the 'underground' artists of the Prenzlauer Berg scene. Focusing largely on the roles of Sascha Anderson and Rainer Schedlinski, the Stasi's two key Inoffizielle Mitarbeiter in the Prenzlauer Berg, Lewis examines the development of the organization's involvement in the GDR's alternative culture. Particularly fascinating is her account ofthe confusing and at times paradoxical rela? tionship both men, but in particular Anderson, had with the MfS. Anderson's entire 844 Reviews file,much of which has only just become available, is analysed in conjunction with his recently published, and controversial, autobiography, Sascha Anderson (Cologne: DuMont , 2002). On the one hand, Lewis highlights the ways in which Anderson's Stasi handlers manipulated him in an attempt to depoliticize all aspects of the scene, from its illegal readings and samizdat magazines to its contact with West German journal? ists and publishing houses. We learn, for example, how Anderson was encouraged to...