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By Stuart Taberner

The profound political and social adjustments Germany has passed through considering the fact that 1989 were mirrored in a very wealthy diversity of latest writing. modern German Fiction makes a speciality of the debates that experience formed the politics and tradition of the recent Germany that has emerged from the second one half the Nineteen Nineties onwards and provides the 1st complete account of key advancements in German literary fiction inside of their social and historic context. every one bankruptcy starts off with an outline of a critical subject, comparable to East German writing, West German writing, writing at the Nazi prior, writing by way of girls and writing through ethnic minorities. The authors mentioned contain GГјnter Grass, Ingo Schulze, Judith Hermann, Christa Wolf, Christian Kracht and Zafer Senocak. those informative and obtainable readings building up a transparent photograph of the vital subject matters and stylistic issues of the simplest writers operating in Germany this present day.

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Extra info for Contemporary German Fiction: Writing in the Berlin Republic

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In the subsequent decade, this critique continued, albeit recast in slightly different terms as an assault on the self-congratulatory moralising at the core of what Cora Stephan termed the Betroffenheitskult (cult of moral affectedness). A brief comparison reveals striking similarities in the rhetorical tropes, patterns and discursive strategies deployed in literary debates through the ages. Specifically, it is noteworthy how grandiose claims to occupy the moral and aesthetic high ground in respect of the future path for literature are often accompanied by attempts by the successful combatants to draw a line under a given historical epoch by attacking its alleged dominant mode.

While literature was regarded as in unequal competition with the new media, publishers were not slow to exploit the changed landscape to their advantage. And, of course, the very different mode of the visual media imposed its own format on the presentation of writers and their texts, producing enticing or, just as often, salacious portraits of the author as ‘media star’ which were, in effect, ‘teasers’ with scant attention paid to the literary merits of the work of fiction. 33 In retrospect, the second half of the 1990s appears to have witnessed a boom in new writing.

9. Botho Strauß, ‘Anschwellender Bocksgesang’, Der Spiegel (8 February 1993), 202–7. Literary debates since unification 37 10. See Roger Woods, ‘Affirmative Past versus Cultural Pessimism: The New Right Since Unification’, German Life and Letters, 58:1 (2005): 94–107. 11. , Debating Enzensberger: Great Migration and Civil War (T¨ubingen: Stauffenberg, 1996) and Stuart Parkes, Understanding Contemporary Germany (London and New York: Routledge, 1997), 198–201. 12. See Sally Johnson and Stephanie Suhr, ‘From “Political Correctness” to Politische Korrektheit: Discourses of “PC” in the German Newspaper Die Welt’, Discourse and Society, 14:1 (2002): 49–68.

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