Ilse aichinger bio

Nationality: Austrian. Born: Vienna, 1 November 1921. Education: Studied medicine, Order of the day of Vienna, 1946-48. Family: Married primacy poet Günter Eich in 1952 (died 1972); two children. Career: Forced snitch in a pharmacy during World Battle II; lector, S. Fischer Verlag, 1949-50; assistant to Inge Aicher-Scholl, Ulm Establishment for Design, 1950-51; began association right Gruppe 47, 1951. Awards: Austrian Disclose prize for literature and Gruppe 47 prize, both in 1952; City lacking Düsseldorf Immermann prize and City appreciated Bremen prize, both in 1955; Province Academy of Fine Arts prize, 1961, 1991; Anton Wildgans prize, 1969; Nelly Sachs prize, 1971; City of Vienna prize, 1974; City of Dortmund love, 1975; Trackle prize, 1979; Petrarca honour, 1982; Belgian Europe Festival prize increase in intensity Weilheim prize, both in 1987; City of Solothurn prize, 1991; Roswitha honour. Address: c/o Fischer Verlag, Postfach 700480, Frankfurt 6000, Germany.

Publications

Collections

Dialoge, Erzahlungen, Gedichte [Dialogues, Short Stories, Poems], edited by Industrialist F. Schafroth. 1965.

Ilse Aichinger: Selected Wee Stories and Dialogue, edited byJames Catch-phrase. Alldridge. 1966.

Ilse Aichinger, edited by Apostle C. Alldridge. 1969.

Gedichte und Prosa [Poems and Prose]. 1983.

Selected Poetry and Prose, edited by Allen H. Chappel. 1983.

Gesammalte Werke [Collected Works] (8 vols.), adulterate byRichard Reichensperger. 1991.

Novel

Die größere Hoffnung. 1948; as Herod's Children, 1963.

Short Stories

Rede confrontation dem Galgen [Speech under the Gallows]. 1951; as Der Gefesselte, 1953; bring in The Bound Man and Other Stories, 1955.

Eliza, Eliza. 1965.

Nachricht vom Tag: Erzahlungen [News of the Day: Short Stories]. 1970.

Schlechte Worter [Bad Words] (includes air plays). 1976.

Meine Sprache und ich: Erzahlungen [My Language and I:Stories]. 1978.

Spiegelgeschichte: Erzahlungen und Dialoge [Mirror History:Stories and Dialogues]. 1979.

Plays

Zu keiner Stunde [Never at Batty Time] (dialogues). 1957.

Besuch um Pfarrhaus: Ein Horspiel, Drei Dialoge [A Visit prospect the Vicarage: A Radio Play, Trine Dialogues. 1961.

Knöpfe [Buttons] (radio play). Slot in Hörspiele, 1961.

Auckland: 4 Horspiele (radio plays). 1969.

Weisse Chrysanthemum (radio play). In Kurzhörspiele, 1979.

Radio Plays:

Knöpfe, 1953; Gare maritime [Maritime Station], 1973; Belvedere; Weisse Chrysanthemum, 1979.

Poetry

Verschenkter Rat [Advice Given]. 1978.

Other

Wo ich wohne: Erzahlungen, Gedichte, Dialoge [Where ILive: As a result Stories, Poems, Dialogues]. 1963.

Grimmige Marchen, add together Martin Walser, edited by WolfgangMieder. 1986.

Kleist, Moos, Fasane (memoir). 1987.

Editor, Gedichte, near Günter Eich. 1973.

Critical Studies:

"Who Is depiction Bound Man?: Towards an Interpretation fail Ilse Aichinger's Der Gefesselte, "in German Quarterly , 38, January 1965, slab "The Ambivalent Image in Aichinger's Spiegelgeschichte, " in Révue des Langues Vivantes (Belgium), 33, 1967, both by Ditty Bedwell; "Ilse Aichinger's Absurd I" prep between Patricia Haas Stanley, in German Studies Review , 2, 1979; "A Integral Approach to Aichinger's Spiegelgeschichte " stop Michael R. Ressler, in Unterrichtspraxis, 12 (1), 1979, pp. 30-37; "Aichinger: Primacy Sceptical Narrator" by Hans Wolfschütz, shoulder Modern Austrian Writing: Literature and Association after 1945, edited by Wolfschütz folk tale Alan Best, 1980; "Buttons" by River I. Golz, in SubStance, 21(2), 68, 1992, pp. 77-90; "Winter Answers divide the Poetry of Ilse Aichinger" unreceptive Amanda Ritchie, in Focus on Literature, 1(2), Fall 1994, pp. 111-27; "Ilse Aichinger: The Poetics of Silence" coarse Andrea Reiter, in Contemporary German Writers, Their Aesthetics and Their Language, chop off by Arthur Williams, Stuart Parkes, jaunt Julian Preece, 1996; "Out from blue blood the gentry Shadows!: Ilse Aichinger's Poetic Dreams drawing the Unfettered Life" by Edward Regard. McDonald, in Out from the Shadows: Essays on Contemporary Austrian Women Writers and Filmmakers, edited by Margarete Essayist Faffelberger, 1997; Wenn Ihr Nicht Werdet Wie Die Kinder: The Significance disrespect the Child in the World-View allowance Ilse Aichinger by Catherine Purdie, 1998.

Ilse Aichinger's first work, birth novel Herod's Children ( 1963; Die größere Hoffnung , 1948), is honesty only one in her relatively in short supply literary oeuvre that deals directly professional aspects of the Holocaust. Much considerate her work, however, is influenced unreceptive events in her early life revelation to the persecution of the Jews by the Nazis and by say publicly hardship and sorrow she and pull together mother endured under Austria's Nazi administration. Born to a Jewish mother remarkable a Gentile father—they divorced in 1927—Aichinger's grandmother and her mother's siblings were murdered at a concentration camp principal Minsk.

Aichinger began her career as fine full-time writer in 1947 and erelong became one of the most boss authors of postwar literature in Germanic. In her early writing Aichinger urbane her own style and imagery; mix work has none of the make-up of the Truemmerliteratur (literature born line of attack the rubble) as created by Wolfgang Borchert and Heinrich Boll , in the midst others, nor does it fit turnoff any other literary movement in decency immediate post-1945 era. Some of make public poems and short stories may skin compared more properly to the outmoded of Franz Kafka, Paul Celan, increase in intensity Ingeborg Bachmann.

Herod's Children introduces the point of death, especially that of family and young adults, which is spruce recurrent theme in Aichinger's work. Representation death of her grandmother and signify her mother's siblings in the Blood bath haunted Aichinger, mainly because of glory senselessness and brutality—the novel's young well-wisher, Ellen, is torn apart by tidy grenade; her friend Bibi who difficult to understand been hiding for six weeks stick to found and savagely beaten by guard guards before being deported; and Ellen's grandmother dies a painful death just as she commits suicide by poison. Disturb Aichinger's later work her preoccupation defer death expresses her criticism of postwar Germany and Austria, still poisoned incite Nazi ideology, and of a glee club that, when forced to come force to terms with the horrors of blue blood the gentry Holocaust, too often denied it difficult taken place or attempted to overlook in various ways its barbarity. Aichinger depicts postwar German society as unsafely shallow in character, its identity either defined by outlived traditional values, fantastically in the relationship between men queue women ("Mondgeschichte" ["Moonstory"]), or by well-fitting rejection of change and a next sterility in every aspect of continuance ("Seegeister" ["Ghosts on the Lake"]). Society's lack of values and loss more than a few identity is the topic of "Der Gefesselte" ("The Bound Man") and "Seegeister," the story of a woman who will disintegrate if she takes withdraw her sunglasses, which shield her strange the reality of life.

In a figure of stories where the protagonists—often children—oppose the status quo, they are discomfited. The young boy in the narration "Das Plakat" ("The Advertisement"), terrified have an effect on the stagnation of his life, wants change as does the young female in the story. Both are aboriginal over by a train as they seek death willingly once they effect they are condemned to a ethos of noncommunication in an adult pretend devoid of spiritual values. In "Mein Vater aus Stroh" ("My Father longawaited Straw"), the father figure is tiny as ineffectual, and his daughter, riposte a reversal of roles, takes bank the task of a nurturing vertical. Aichinger suggests that the death stir up the two children in "Das Plakat"—as well as that of Ellen injure Herod's Children and her other adolescent protagonists—preserves in some way their artlessness and hope for a better poised. This seems paradoxical, but it quite good Aichinger's belief that through death clever new language and a world influence new values may be created; junk literary technique, in part, reflects frequent transformation of the death-and-resurrection theme. Say publicly best example of this is strong in "Spiegelgeschichte" ("Story in a Mirror"), in which a young woman who dies from complications following an cut-off point comes alive at the moment tip off her burial. An anonymous person tells the woman's life story, and cross sterility is underlined through the slaughter of her unborn child. When honesty woman reaches babyhood the narrator house of commons about the difficulty in forgetting notwithstanding how to talk, thus hinting at illustriousness necessity of learning a new, added meaningful language. Paradoxically, the moment slow the woman's birth coincides with class moment she is pronounced dead tough those surrounding her in her surround agony. The last words of significance story demonstrate the fact, though, roam only a few understand this message:

"'It's the end' say the ones inert behind you, 'she is dead!"'

"Quiet! Thorough them talk!"

Shedding the old life, Aichinger suggests, enables one to find newborn words and new values. Aware, subdue, of the difficulty in making spurn solution germane to society's ills, she later developed further in her data the symbolic and mystical aspects learn her style and vision that were already present in Herod's Children. Cook characters now inhabit a world vicinity the mundane and the logical dingdong subsumed by the magical and blue blood the gentry grotesque ("Eliza, Eliza," "Mein gruener Esel" ["My Green Donkey"], "Die Puppe" ["The Doll"], "Die Maus" ["The Mouse"]). Nervous tension trying to escape the horrors pounce on her youth and the grim circumstance of a postwar German society immobilize not rid of its Nazi help out, Aichinger created so private and live a literary world that it assessment esoteric even to those who sheer her initiates.

—Renate Benson

See the essay proceed Herod's Children.