By Stephen Parker
This primary English language biography of Bertolt Brecht (1898-1956) in twenty years paints a strikingly new photograph of 1 of the 20th century's such a lot debatable cultural icons.
Drawing on letters, diaries and unpublished fabric, together with Brecht's clinical files, Parker deals a wealthy and mesmerizing account of Brecht's existence and paintings, seen in the course of the prism of the artist. Tracing his awesome existence, from his adolescence in Augsburg, during the First international warfare, his politicisation throughout the Weimar Republic and his years of exile, as much as the Berliner Ensemble's staggering productions in Paris and London, Parker exhibits how Brecht accomplished his transformative impact upon international theatre and poetry.
Bertolt Brecht: A Literary lifestyles is a robust portrait of an excellent, compulsively contradictory character, whose artistry left its lasting imprint on glossy tradition.
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Extra info for Bertolt Brecht: A Literary Life
Such works as the Five Orchestral Pieces were neither the music of the past nor the music of the future. "They belong rather more to the sort of music that has no more relation with yesteryear than it has with this or next. " Two years later, in a survey of new German music, Rosenfeld returned to Schoenberg. " But whereas these words could go either way, to a positive or a negative view, they seemed to want to do both simultaneously. T h e music remained head music, more impressive in the score than in the concert hall, but now Rosenfeld was trying, with palpable exertion, to view the experiments in a favorable light.
Evelyn Scott had nicknamed Hartley "the monk of fear," and Rosenfeld dreaded the thought of having the work in his home. He had promised five hundred dollars for it, and Hartley needed the money. Personal relationships continued amiable in spite of private doubts, and during the summer of 1921, Hartley showed Rosenfeld around London. When the time came for the sustained piece that appeared in 1924, Rosenfeld was as evenhanded as he could be. Although he felt the painter had not "immersed himself sufficiently deeply in his material," nor "been able to lose himself in his 'object,'" he nevertheless could begin his final paragraph: "Marvelous Hartley!
He especially noted Anderson's "acute sense of the separateness of life," a skill that brought such psychological orphans together. Such art had for Toomer "a sort of religious function. " T h e only other modern writer he publicly declared had influenced him was Waldo I7rank. " 38 In 1921, Toomer served briefly as the substitute principal of the Sparta Agricultural and Industrial Institute. He had never before been in the deep South, but he took the opportunity to investigate the black roots that were a small part of his heritage.