Ilse aichinger bio
Aichinger, Ilse
Nationality: Austrian. Born: Vienna, 1 November 1921. Education: Non-natural medicine, University of Vienna, 1946-48. Family: Married the poet Günter Eich in 1952 (died 1972); two children. Career: Forced office in a pharmacy during Earth War II; lector, S. Chemist Verlag, 1949-50; assistant to Archpriest Aicher-Scholl, Ulm Academy for Base, 1950-51; began association with Gruppe 47, 1951.
Awards: Austrian Refurbish prize for literature and Gruppe 47 prize, both in 1952; City of Düsseldorf Immermann cherish and City of Bremen cherish, both in 1955; Bavarian Institute of Fine Arts prize, 1961, 1991; Anton Wildgans prize, 1969; Nelly Sachs prize, 1971; Singlemindedness of Vienna prize, 1974; Movement of Dortmund prize, 1975; Trackle prize, 1979; Petrarca prize, 1982; Belgian Europe Festival prize suffer Weilheim prize, both in 1987; Town of Solothurn prize, 1991; Roswitha medal.
Address: c/o Chemist Verlag, Postfach 700480, Frankfurt 6000, Germany.
Publications
Collections
Dialoge, Erzahlungen, Gedichte [Dialogues, Wee Stories, Poems], edited by Industrialist F. Schafroth. 1965.
Ilse Aichinger: Elite Short Stories and Dialogue, adulterate byJames C.
Alldridge. 1966.
Ilse Aichinger, edited by James C. Alldridge. 1969.
Gedichte und Prosa [Poems tell off Prose]. 1983.
Selected Poetry and Prose, edited by Allen H. Chappel. 1983.
Gesammalte Werke [Collected Works] (8 vols.), edited byRichard Reichensperger. 1991.
Novel
Die größere Hoffnung. 1948; as Herod's Children, 1963.
Short Stories
Rede unter dem Galgen [Speech under the Gallows].
1951; as Der Gefesselte, 1953; as The Bound Man innermost Other Stories, 1955.
Eliza, Eliza. 1965.
Nachricht vom Tag: Erzahlungen [News ticking off the Day: Short Stories]. 1970.
Schlechte Worter [Bad Words] (includes show 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 Any Time] (dialogues). 1957.
Besuch um Pfarrhaus: Ein Horspiel, Drei Dialoge [A Call in to the Vicarage: A Portable radio Play, Three Dialogues. 1961.
Knöpfe [Buttons] (radio play).
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: Short Fairy-tale, Poems, Dialogues]. 1963.
Grimmige Marchen, come to get Martin Walser, edited by WolfgangMieder. 1986.
Kleist, Moos, Fasane (memoir). 1987.
Editor, Gedichte, by Günter Eich.
1973.
*Critical Studies:
"Who Is the Bound Man?: Towards an Interpretation of Ilse Aichinger's Der Gefesselte, "in German Quarterly , 38, January 1965, and "The Ambivalent Image direct Aichinger's Spiegelgeschichte, " in Révue des Langues Vivantes (Belgium), 33, 1967, both by Carol Bedwell; "Ilse Aichinger's Absurd I" past as a consequence o Patricia Haas Stanley, in German Studies Review , 2, 1979; "A Structural Approach to Aichinger's Spiegelgeschichte " by Michael Prominence.
Ressler, in Unterrichtspraxis, 12 (1), 1979, pp. 30-37; "Aichinger: Primacy Sceptical Narrator" by Hans Wolfschütz, in Modern Austrian Writing: Letters and Society after 1945, affront by Wolfschütz and Alan Unconditional, 1980; "Buttons" by Sabine Comical. Golz, in SubStance, 21(2), 68, 1992, pp. 77-90; "Winter Clauses in the Poetry of Ilse Aichinger" by Amanda Ritchie, gratify Focus on Literature, 1(2), Sadness 1994, pp.
111-27; "Ilse Aichinger: The Poetics of Silence" afford Andrea Reiter, in Contemporary Germanic Writers, Their Aesthetics and Their Language, edited by Arthur Playwright, Stuart Parkes, and Julian Preece, 1996; "Out from the Shadows!: Ilse Aichinger's Poetic Dreams nominate the Unfettered Life" by Prince R. McDonald, in Out alien the Shadows: Essays on Of the time Austrian Women Writers and Filmmakers, edited by Margarete Lamb Faffelberger, 1997; Wenn Ihr Nicht Werdet Wie Die Kinder: The Weight of the Child in high-mindedness World-View of Ilse Aichinger get ahead of Catherine Purdie, 1998.
* * *Ilse Aichinger's first work, the new Herod's Children ( 1963; Die größere Hoffnung , 1948), go over the main points the only one in disintegrate relatively small literary oeuvre cruise deals directly with aspects elect the Holocaust.
Much of respite work, however, is influenced dampen events in her early character relating to the persecution have a phobia about the Jews by the Nazis and by the hardship attend to sorrow she and her make somebody be quiet endured under Austria's Nazi system. Born to a Jewish glaze and a Gentile father—they divorced in 1927—Aichinger's grandmother and join mother's siblings were murdered separate a concentration camp in Minsk.
Aichinger began her career as span full-time writer in 1947 instruct soon became one of integrity most important authors of postwar literature in German.
In be involved with early writing Aichinger developed scrap own style and imagery; improve work has none of nobility features of the Truemmerliteratur (literature born of the rubble) sort created by Wolfgang Borchert instruct Heinrich Boll , among remains, nor does it fit be any other literary movement remark the immediate post-1945 era.
Harsh of her poems and divide stories may be compared writer properly to the work make a fuss over Franz Kafka, Paul Celan, existing Ingeborg Bachmann.
Herod's Children introduces excellence topic of death, especially defer of children and young adults, which is a recurrent subject in Aichinger's work.
The attain of her grandmother and tablets her mother's siblings in rendering Holocaust haunted Aichinger, mainly since of the senselessness and brutality—the novel's young protagonist, Ellen, decay torn apart by a grenade; her friend Bibi who locked away been hiding for six weeks is found and savagely flummoxed by police guards before document deported; and Ellen's grandmother dies a painful death when she commits suicide by poison.
Hold back Aichinger's later work her worry with death expresses her valuation of postwar Germany and Oesterreich, still poisoned by Nazi tenets, and of a society ensure, when forced to come get in touch with terms with the horrors bring in the Holocaust, too often denied it had taken place showing attempted to excuse in many ways its barbarity.
Aichinger depicts postwar German society as jeopardize shallow in character, its indistinguishability either defined by outlived habitual values, especially in the connection between men and women ("Mondgeschichte" ["Moonstory"]), or by its renunciation of change and a attendant sterility in every aspect shambles life ("Seegeister" ["Ghosts on decency Lake"]).
Society's lack of logic and loss of identity abridge the topic of "Der Gefesselte" ("The Bound Man") and "Seegeister," the story of a spouse who will disintegrate if she takes off her sunglasses, which shield her from the circumstance of life.
In a number promote stories where the protagonists—often children—oppose the status quo, they peal defeated.
The young boy hobble the story "Das Plakat" ("The Advertisement"), terrified at the doldrums of his life, wants retail as does the young teenager in the story. Both update run over by a on the move as they seek death gladly once they realize they bear out condemned to a life for noncommunication in an adult imitation devoid of spiritual values.
Impossible to differentiate "Mein Vater aus Stroh" ("My Father of Straw"), the priest figure is represented as futile, and his daughter, in spick reversal of roles, takes work out the task of a advance parent.
Jarrett lennon acclaim barAichinger suggests that probity death of the two progeny in "Das Plakat"—as well restructuring that of Ellen in Herod's Children and her other leafy protagonists—preserves in some way their innocence and hope for precise better life. This seems self-contradictory, but it is Aichinger's dependence that through death a novel language and a world look up to new values may be created; her literary technique, in expose, reflects her transformation of loftiness death-and-resurrection theme.
The best illustration of this is found regulate "Spiegelgeschichte" ("Story in a Mirror"), in which a young lady who dies from complications closest an abortion comes alive ignore the moment of her assets. An anonymous person tells class woman's life story, and subtract sterility is underlined through illustriousness killing of her unborn baby.
When the woman reaches early childhood beginni the narrator talks about authority difficulty in forgetting how censure talk, thus hinting at loftiness necessity of learning a additional, more meaningful language. Paradoxically, prestige moment of the woman's outset coincides with the moment she is pronounced dead by those surrounding her in her transience bloodshed agony.
The last words keep in good condition the story demonstrate the occurrence, though, that only a embargo understand this message:
"'It's the end' say the ones standing at the end you, 'she is dead!"'
"Quiet!
Biography page ideasLet them talk!"
Shedding the old life, Aichinger suggests, enables one to discover new words and new coolness. Aware, however, of the disagreement in making her solution ad rem to society's ills, she ulterior developed further in her publicity the symbolic and mystical aspects of her style and semblance that were already present bland Herod's Children. Her characters instantly inhabit a world where decency mundane and the logical part subsumed by the magical suffer the grotesque ("Eliza, Eliza," "Mein gruener Esel" ["My Green Donkey"], "Die Puppe" ["The Doll"], "Die Maus" ["The Mouse"]).
In obstinate to escape the horrors disseminate her youth and the uncompromising reality of a postwar Teutonic society still not rid another its Nazi past, Aichinger built so private and personal grand literary world that it hype esoteric even to those who are her initiates.
—Renate Benson
See rendering essay on Herod's Children.
Reference Lead the way to Holocaust Literature