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Ulrike Meinhof on the Dead Wing - German Guerilla

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<str<strong>on</strong>g>Ulrike</str<strong>on</strong>g> <str<strong>on</strong>g>Meinhof</str<strong>on</strong>g> <strong>on</strong> <strong>the</strong> <strong>Dead</strong> <strong>Wing</strong><br />

From <strong>the</strong> period between June 16, 1972 and February 9, 1973:<br />

The feeling, <strong>on</strong>e’s head explodes (<strong>the</strong> feeling, <strong>the</strong> top of <strong>the</strong> skull will<br />

simply split, burst open)—<br />

<strong>the</strong> feeling, <strong>on</strong>e’s spinal column presses into <strong>on</strong>e’s brain<br />

<strong>the</strong> feeling, <strong>on</strong>e’s brain gradually shrivels up like, like dried fruit, for<br />

example—<br />

<strong>the</strong> feeling, <strong>on</strong>e is c<strong>on</strong>stantly, imperceptibly, flooded, <strong>on</strong>e is remotec<strong>on</strong>trolled—<br />

<strong>the</strong> feeling, <strong>on</strong>e’s associati<strong>on</strong>s are hacked away—<br />

<strong>the</strong> feeling, <strong>on</strong>e pisses <strong>the</strong> soul out of <strong>on</strong>e’s body, like when <strong>on</strong>e cannot<br />

hold water—<br />

<strong>the</strong> feeling, <strong>the</strong> cell moves. One wakes up, opens <strong>on</strong>e’s eyes: <strong>the</strong> cell<br />

moves; afterno<strong>on</strong>, if <strong>the</strong> sun shines in, it is suddenly still. One<br />

cannot get rid of <strong>the</strong> feeling of moti<strong>on</strong>. One cannot tell whe<strong>the</strong>r <strong>on</strong>e<br />

shivers from fever or from cold—<br />

<strong>on</strong>e cannot tell why <strong>on</strong>e shivers—<strong>on</strong>e freezes.<br />

To speak at a normal volume requires an effort like that necessary to<br />

speak loudly, almost like that necessary to shout—<br />

<strong>the</strong> feeling, <strong>on</strong>e falls silent—<br />

<strong>on</strong>e can no l<strong>on</strong>ger identify <strong>the</strong> meaning of words, <strong>on</strong>e can <strong>on</strong>ly guess—<br />

<strong>the</strong> use of sibilants—s, ß, tz, z, sch is absolutely unbearable<br />

guards, visits, <strong>the</strong> yard seems to be made of celluloid—<br />

headaches—<br />

flashes—<br />

sentence c<strong>on</strong>structi<strong>on</strong>, grammar, syntax—can no l<strong>on</strong>ger be c<strong>on</strong>trolled.<br />

When writing: two lines—by <strong>the</strong> end of <strong>the</strong> sec<strong>on</strong>d line, <strong>on</strong>e cannot<br />

remember <strong>the</strong> beginning of <strong>the</strong> first—<br />

The feeling, internal burnout—<br />

<strong>the</strong> feeling, if <strong>on</strong>e must say what’s wr<strong>on</strong>g, if <strong>on</strong>e wants to let it out, it’s<br />

like a rush of boiling water in <strong>the</strong> face, like, for example, boiling<br />

water that scalds forever, that disfigures—<br />

Raging aggressiveness, for which no outlet exists. That’s <strong>the</strong> worst.<br />

Keen awareness that <strong>on</strong>e cannot survive; a complete breakdown of<br />

<strong>the</strong> capacity to deal with this;<br />

Visits leave no trace. A half an hour later <strong>on</strong>e can <strong>on</strong>ly mechanically<br />

rec<strong>on</strong>struct whe<strong>the</strong>r <strong>the</strong> visit was today or last week.<br />

t h i s a n d o t h e r d o c u m e n t s a v a i l a b l e a t<br />

A ny t h e f o o t n o t e s i n t h i s d o c u m e n t h a v e b e e n a d d e d by t h e e d i t o r s –<br />

n<strong>on</strong>e of <strong>the</strong>m appeared in <strong>the</strong> original document<br />

271


Compared to this, bathing <strong>on</strong>ce a week means: a momentary thaw, a<br />

moment of rest—to stop for a couple of hours—<br />

The feeling, time and space rec<strong>on</strong>nect—<br />

<strong>the</strong> feeling of finding <strong>on</strong>eself in a house of mirrors, like in an<br />

amusement park—to stagger—<br />

Afterwards: incredible euphoria, that <strong>on</strong>e heard something—<br />

bey<strong>on</strong>d <strong>the</strong> acoustic day and night differentiati<strong>on</strong>—<br />

The feeling, time now flows, <strong>the</strong> brain expands again, <strong>the</strong> spinal<br />

column sinks down after some weeks.<br />

The feeling, as if <strong>on</strong>e’s skin is thickening.<br />

The sec<strong>on</strong>d time (December 12, 1973 until January 3, 1974):<br />

Ears buzzing. Waking up, <strong>on</strong>e feels as if <strong>on</strong>e has been beaten.<br />

The feeling, <strong>on</strong>e moves in slow moti<strong>on</strong>.<br />

The feeling, finding yourself in a vacuum, as if you’re encased in lead.<br />

Afterwards: Shock. As if an ir<strong>on</strong> plate had fallen <strong>on</strong> your head.<br />

Comparis<strong>on</strong>s, c<strong>on</strong>cepts that invade <strong>on</strong>e’s mind:<br />

(Psycho) shredding—<br />

The feeling of traveling through space packed into a barrel so that <strong>the</strong><br />

accelerati<strong>on</strong> causes your skin to flatten—<br />

Kafka’s penal col<strong>on</strong>y—The versi<strong>on</strong> with a bed of nails—<br />

A n<strong>on</strong>-stop rollercoaster ride.<br />

The radio: it offers minimal stress reducti<strong>on</strong>, like when <strong>on</strong>e, for<br />

example, reduces <strong>on</strong>e’s speed from 240 to 190.<br />

That everything exists in a cell that makes it in no obvious way<br />

different from any o<strong>the</strong>r cell—radio, furniture, plus newspapers,<br />

books—is actually by its implicati<strong>on</strong> ra<strong>the</strong>r aggravating: making<br />

any understanding between <strong>the</strong> pris<strong>on</strong>ers and people who do not<br />

know what silent isolati<strong>on</strong> is impossible.<br />

272 A ny t h e f o o t n o t e s i n t h i s d o c u m e n t h a v e b e e n a d d e d by t h e e d i t o r s –<br />

n<strong>on</strong>e of <strong>the</strong>m appeared in <strong>the</strong> original document


Also disorienting to <strong>the</strong> pris<strong>on</strong>er. (That it is white like a hospital cell,<br />

for example, <strong>on</strong>ly increases <strong>the</strong> terror, but mainly it is <strong>the</strong> silence. If<br />

<strong>on</strong>e lived <strong>the</strong>re, <strong>on</strong>e would paint <strong>the</strong> walls.) Clearly, <strong>on</strong>e who is in<br />

<strong>the</strong>re would ra<strong>the</strong>r be dead.<br />

Peter Milberg, who was in <strong>on</strong>e of <strong>the</strong>se things in Frankfurt-<br />

Preungesheim (“an empty medical wing”) subsequently accused his<br />

judge of “attempting” to kill him. This indicates that what is going<br />

<strong>on</strong> in <strong>the</strong>se places is simply a type of “executi<strong>on</strong>.”<br />

That is to say: A process of inner disintegrati<strong>on</strong> occurs—like<br />

something being dissolved in acid, which <strong>on</strong>e attempts to slow<br />

down by c<strong>on</strong>centrating <strong>on</strong> resistance, but nothing can stop it<br />

The complete destructi<strong>on</strong> of <strong>the</strong> pers<strong>on</strong>ality is insidious. Nobody<br />

exists outside of <strong>on</strong>eself in <strong>the</strong>se completely extraordinary<br />

circumstances.<br />

As means/method, it can quite clearly be compared, for instance, to<br />

that which <strong>the</strong>y use against <strong>the</strong> Tupamaros: to create in <strong>the</strong>m a<br />

state of nervous agitati<strong>on</strong> and ag<strong>on</strong>y, shortly before administering<br />

pentothal—which suddenly creates a feeling of relaxati<strong>on</strong> and<br />

euphoria. One expects <strong>the</strong> pris<strong>on</strong>er to lose self-c<strong>on</strong>trol.<br />

To babble.<br />

t h i s a n d o t h e r d o c u m e n t s a v a i l a b l e a t<br />

A ny t h e f o o t n o t e s i n t h i s d o c u m e n t h a v e b e e n a d d e d by t h e e d i t o r s –<br />

n<strong>on</strong>e of <strong>the</strong>m appeared in <strong>the</strong> original document<br />

273

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