Summer 2001 | Issue 2
- No tags were found...
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
The Berlin Journal<br />
A NEWSLETTER FROM THE AMERICAN ACADEMY IN BERLIN • NUMBER TWO • SUMMER <strong>2001</strong><br />
IN THIS ISSUE<br />
Jenny Holzer<br />
on her Permanent<br />
Exhibition of Maxims<br />
in Berlin’s Neue<br />
Nationalgalerie<br />
plus:<br />
Gerald Feldman<br />
Richard Holbrooke<br />
Charles Maier<br />
Ward Just<br />
ATTILIO MARANZANO
The<br />
American<br />
Academy<br />
in Berlin<br />
Trustees of<br />
the American Academy<br />
Honorary Chairmen<br />
Thomas L. Farmer<br />
Henry A. Kissinger<br />
Richard von Weizsäcker<br />
Chairman<br />
Richard C. Holbrooke<br />
Vice Chairman<br />
Gahl Hodges Burt<br />
President<br />
Robert H. Mundheim<br />
Treasurer<br />
Karl M. von der Heyden<br />
Trustees<br />
Gahl Hodges Burt<br />
Gerhard Casper<br />
Lloyd Cutler<br />
Jonathan F. Fanton<br />
Thomas L. Farmer<br />
Julie Finley<br />
Vartan Gregorian<br />
Jon Vanden Heuvel<br />
Karl M. von der Heyden<br />
Richard C. Holbrooke<br />
Dieter von Holtzbrinck<br />
Dietrich Hoppenstedt<br />
Josef Joffe<br />
Stephen M. Kellen<br />
Henry Kissinger<br />
Horst Köhler<br />
John C. Kornblum<br />
Otto Graf Lambsdorff<br />
Nina von Maltzahn<br />
Klaus Mangold<br />
Erich Marx<br />
Robert H. Mundheim<br />
Robert Pozen<br />
Volker Schlöndorff<br />
Fritz Stern<br />
Kurt Viermetz<br />
Alberto W. Vilar<br />
Richard von Weizsäcker<br />
Klaus Wowereit<br />
The 20th Century is disappearing<br />
into History.<br />
But did it begin in 1900<br />
and span 100 years?<br />
Or did it start with WWI<br />
and end with the Fall of the<br />
Wall? Historian Charles Maier<br />
Letters of Hans Arnhold<br />
are a rare discovery made by<br />
Fellow Gerald Feldman. In<br />
January 1948, Hans Arnhold<br />
received a letter from a Weimar-period<br />
colleague – and<br />
fomer Nazi Reich Economics<br />
Jenny Holzer’s dramatic<br />
installation this spring at<br />
the Neue Nationalgalerie<br />
was such a success that it<br />
will return to the museum<br />
this fall as part of the permanent<br />
collection. Here,<br />
THE BERLIN JOURNAL<br />
A Record of Ideas<br />
and Visions<br />
As we launch the Hans Arnhold<br />
Center’s fourth exhilarating year,<br />
we continue to seek ways of making<br />
the Academy’s activities known to<br />
a largercommunityofcolleagues,<br />
media, benefactors, and interested<br />
members of the public. We’ve conceived<br />
The Berlin Journal to complement<br />
both our website www.americanacademy.de<br />
and the traditional<br />
fall publication of a Tagesspiegel<br />
supplement, showcasing the work<br />
of upcoming Berlin Prize Fellows.<br />
More substantial than a conventional<br />
institutional newsletter, our<br />
»newsletter as journal,« is a selective<br />
and subjective record of life and<br />
letters at the Academy. We will report<br />
on the accomplishments of our<br />
Richard Holbrooke<br />
Reflections on the vicissitudes of<br />
humanitarian intervention Page 10<br />
The Notebook<br />
of the American Academy Page 4<br />
Life and Letters<br />
at the Hans Arnhold Center Page 7<br />
In this <strong>Issue</strong><br />
fellows, the brilliant array of scholars,<br />
artists, and policy makers who<br />
visit us each year – from recent Berlin<br />
exhibitions of work by Jenny<br />
Holzer and Sarah Morris to the<br />
many scholarly colloquia and lectures<br />
by Academy scholars.<br />
Finally, each issue features substantial<br />
and original texts, many of<br />
them inspired by the eighty or so<br />
evenings of lectures, readings, and<br />
discussions that take place on the<br />
Wannsee each year. As a journal of<br />
ideas and information, we hope<br />
that The Berlin Journal provides an<br />
inspiring glimpse into the dynamism<br />
of our young institution and<br />
will motivate its readers to support<br />
its mission.<br />
argues that the modern<br />
worldis better demarcated<br />
by examining the years<br />
1860 to 1980, a period with<br />
more historical coherence<br />
than the notion of the<br />
»short century.« Page 12<br />
Minister – Kurt Schmitt. A<br />
remarkably frank and short<br />
correspondence followed.<br />
Gerald Feldman presents the<br />
fascinating exchange, places<br />
it in its context, and reads<br />
between the lines. Page 17<br />
in conversation with Henri<br />
Cole, she shares some of<br />
her thoughts on Mies van<br />
der Rohe’s building and<br />
how she conceived the<br />
work during her year at<br />
the Academy. Page 15<br />
Ward Just<br />
Preview of a novel-in-progress<br />
he began to write in Berlin Page 26<br />
On the Waterfront<br />
Press reviews of our program Page 21<br />
Sneak Preview<br />
The Fall <strong>2001</strong> Fellows Page 25<br />
The BerlinJournal<br />
A Newsletter from the American Academy in Berlin<br />
Published at the Hans Arnhold Center<br />
Number Two · <strong>Summer</strong> <strong>2001</strong><br />
Edited by Gary Smith<br />
•<br />
Managing Editors:<br />
Teresa Go · Miranda Robbins<br />
Contributing Editors:<br />
Becky Gilbert · Heidi Philipsen<br />
Illustrations: Natascha Vlahovic<br />
Design: Hans Puttnies<br />
Advertising: Renate Pöppel<br />
Subscription Manager: Christian Oelze<br />
Email: journal@americanacademy.de<br />
Subscriptions: $15 per annum<br />
All Rights Reserved<br />
Contributors<br />
to this issue<br />
Henri Cole is Fannie Hurst Poet-in-Residence<br />
at Brandeis University. He was a Berlin Prize<br />
Fellow in the fall of 2000. Artist Jenny Holzer<br />
lives and works in Hoosick, New York.<br />
Gerald Feldman who was a Berlin Prize Fellow<br />
in 1998, directs the Institute of European<br />
Studies at University of California, Berkeley.<br />
He is preparing a major study, History of the<br />
Allianz Insurance Company.<br />
Richard C. Holbrooke has served as USPermanent<br />
Representative to the UN and Ambassador<br />
to Germany. He is partner and Vice<br />
Chairman at Perseus LLC, and Chairman of<br />
the American Academy.<br />
Ward Just lives alternately in Vineyard<br />
Haven and in Paris. The political novelist<br />
and former foreign correspondent was a<br />
Berlin Prize Fellow in the spring of 1999.<br />
Charles Maier is Krupp Professor of European<br />
Studies and Director of the Center for European<br />
Studies at Harvard University and<br />
chairs the Academy’s Berlin Prize Committee.<br />
The American Academy<br />
in Berlin<br />
Executive Director<br />
Gary Smith<br />
Office Manager, N.Y.<br />
Jennifer Montemayor<br />
External Affairs Director<br />
Renate Pöppel<br />
Program Director<br />
Paul Stoop<br />
Fellows Services Director<br />
Marie Unger<br />
Fellows Selection Coordinator<br />
Teresa Go<br />
The American Academy in Berlin<br />
Am Sandwerder 17-19 · 14109 Berlin<br />
Tel. (+ 49 30) 80 48 3-0<br />
Fax (+ 49 30) 80 48 3-111
AMERICAN ACADEMY<br />
The Notebook of the Academy<br />
Leadership in New York<br />
The Academy Welcomes Robert H. Mundheim<br />
hen founding President Everette Dennis left to help establish a<br />
W new foundation, the American Academy was poised to enter its<br />
second phase, a period of consolidation. Our new President, Robert H.<br />
Mundheim, is impeccably qualified to help us meet the challenges ahead.<br />
These include sharpening our academic profile through a refinement of<br />
the prize selection process, professionalizing the entrepreneurial management,<br />
and making the institution, which has already received major<br />
President Robert H. Mundheim<br />
media coverage, even more familiar<br />
to academics, cultural leaders, and<br />
professional decision makers.<br />
It was Lloyd Cutler who proposed<br />
drafting Bob Mundheim, a distinguished<br />
attorney and financial<br />
expert whom he had worked with<br />
during the Carter Administration<br />
(and unsuccessfully tried to recruit<br />
into his law firm several times over<br />
the years). Their closest collaboration<br />
had been in the wake of the<br />
Iranian hostage crisis, as part of a<br />
team that had improbably »negotiated<br />
the return of our Iranian hostages<br />
on honorable and advantageous<br />
terms in the most complex, delicate,<br />
and exciting financial transactions<br />
of modern times.«<br />
An Ideal<br />
Spiritus Rector<br />
Mundheim had become an equally<br />
effective Dean of the University of<br />
Pennsylvania Law School, where he<br />
has taught since 1965, and a much<br />
sought after general counsel, who<br />
after 1992 participated in the turnaround<br />
of Solomon Brothers.<br />
Mundheim’s career is marked<br />
by accomplishment in the private<br />
and public sectors as well as in the<br />
academic world – thus making him<br />
an ideal spiritus rector for an institution<br />
that demands keen intellectual<br />
sensibilities as well as the ability to<br />
deploy the considerable corporate<br />
and governmental experience of its<br />
Board of Trustees.<br />
Born in Hamburg in 1933, Robert<br />
Mundheim’s career as an attorney<br />
has spanned over forty years since<br />
his graduation from Harvard Law<br />
School in 1957. Those years included<br />
an early stint in the Kennedy<br />
Administration as a special counsel<br />
to the Securities and Exchange<br />
Administration, many years as the<br />
University Professor of Law and<br />
Finance at the University of Pennsylvania,<br />
General Counsel to Treasury<br />
Secretaries Michael Blumenthal<br />
and William Miller in the Carter<br />
Administration, and Co-Chairman<br />
of the New York law firm Fried,<br />
Frank, Harris, Shriver & Jacobson.<br />
Currently Of Counsel at Shearman<br />
& Sterling – a law firm with four offices<br />
in Germany – Mundheim has<br />
always committed a significant<br />
amount of time to supporting nonprofit<br />
institutions in leading roles.<br />
At present he is President of the<br />
Appleseed Foundation, a trustee<br />
of the New School University, and a<br />
director of the Salzburg Seminar.<br />
He himself says that he has »always<br />
felt that it is important for active<br />
practitioners to find time to give to<br />
public interest work.«<br />
Academy Chairman Richard Holbrooke,<br />
himself a negotiator of fabled<br />
ability, stated that »there is no<br />
question that the American Academy<br />
in Berlin has made a coup of<br />
major proportion by bringing a<br />
man of Bob Mundheim’s ability<br />
and background to help negotiate<br />
the next phase of its existence. His<br />
vast experience and talents will<br />
help ensure that the American Academy<br />
becomes the preeminent, and<br />
certainly most effective voice in<br />
transatlantic cultural and intellectual<br />
affairs.«<br />
4
American Generosity<br />
Resounds in Berlin<br />
Arts Patron Vilar Endows Music Fellowship Program<br />
THE BERLIN JOURNAL<br />
our months after delivering<br />
a talk on philanthropy<br />
F<br />
and opera at the Hans Arnhold<br />
Center, Alberto Vilar has joined the<br />
American Academy’s Board of<br />
Trustees and underwritten a longterm<br />
music fellowship program.<br />
Presenting his generous donation<br />
of over four million dollars, Vilar<br />
said that his »goal is to extend the<br />
reach of the classical performing<br />
arts and make them available to a<br />
larger audience than ever before.<br />
Through this gift, I hope to introduce<br />
a new generation of outstanding<br />
American artists to Berlin’s<br />
musical audiences. At the same time,<br />
I am confident that the American<br />
musical repertoire will benefit immensely<br />
by having some of its best<br />
and brightest stars learn from and<br />
exchange ideas with the luminaries<br />
of Berlin’s musical scene.« Beginning<br />
this fall, the Alberto Vilar<br />
Music Fellowships will bring exceptional<br />
American composers of classical<br />
music, performing artists, and<br />
experts working in music and technology<br />
to Berlin each semester.<br />
In addition, an annual Alberto<br />
Vilar Distinguished Fellowship will<br />
be awarded to a performer or composer<br />
for a short-term residency in<br />
Berlin to work with a major Berlin<br />
orchestra or other musical venue.<br />
Both programs will deepen the<br />
Academy’s relationships with Berlin’s<br />
major musical institutions. An<br />
outstanding selection jury – including<br />
Michael Kaiser of the John F.<br />
Kennedy Center for the Performing<br />
Arts, Lorin Maazel of the Bavarian<br />
Alberto Vilar and Conductor Daniel Barenboim<br />
in the Academy’s Library<br />
Radio Symphony Orchestra, Tod<br />
Machover of the Massachusetts Institute<br />
of Technology, Marta Casals<br />
Istomin of the Manhattan School<br />
of Music, and Gary Graffman of the<br />
Curtis Institute of Music – will ensure<br />
the program’s success.<br />
Alberto Vilar founded Amerindo<br />
Investment Advisors, Inc. in 1980<br />
to manage institutional portfolios<br />
exclusively invested in emerging<br />
technology growth stocks. No one<br />
would have known at that time how<br />
auspicious this would be for the future<br />
of classical music. Many of the<br />
companies Amerindo significantly<br />
invested in – Microsoft, Oracle,<br />
Cisco, America Online, Yahoo!, and<br />
ebay – became household names.<br />
Continued on Page 20<br />
MIKE MINEHAN<br />
ichard C. Holbrooke’s<br />
R<br />
return as Chairman of the<br />
American Academy in Berlin has<br />
brought two immediate benefits.<br />
First, Ambassador Holbrooke provides<br />
the Academy with remarkable<br />
visibility within the highest<br />
echelons of the political, diplomatic,<br />
and corporate worlds. He is,<br />
moreover, an energetic and effective<br />
champion, recently cementing<br />
an agreement with the philanthropist<br />
Alberto Vilar to ensure that<br />
music will be a cornerstone in the<br />
Academy's program.<br />
Ambassador Holbrooke has had<br />
a distinguished career in public service.<br />
In the past decade, he has served<br />
as the United State’s Ambassador<br />
to Germany (1993-1994) and the<br />
U.S. Permanent Representative to<br />
the United Nations, a post from<br />
which he stepped down early this<br />
year. A cabinet member in the Clinton<br />
administration, he played a<br />
A Foreign Affair<br />
Founder Richard C. Holbrooke Returns<br />
as Academy Chairman<br />
5<br />
central role in shaping American<br />
foreign policy as well as the nation’s<br />
response to such humanitarian crises<br />
as AIDS. As Assistant Secretary<br />
of State for Europe (1994-1996), he<br />
was the chief architect of the 1995<br />
Dayton Peace Accords that ended<br />
the war in Bosnia, later serving as<br />
President Clinton's Special Envoy<br />
to Bosnia and Kosovo. As a private<br />
citizen he also served as a pro-bono<br />
Special Envoy to Cyprus.<br />
In the corporate world, Ambassador<br />
Holbrooke has held senior<br />
positions at two leading Wall Street<br />
firms, Credit Suisse First Boston<br />
and Lehman Brothers, in addition<br />
to an important position at American<br />
Express. This year Ambassador<br />
Holbrooke has taken on several<br />
major tasks in both the private and<br />
public sectors.<br />
He is building upon his Wall Street<br />
experience in joining Perseus LLC,<br />
the Washington-based merchant<br />
bank founded by financier Frank<br />
Pearl, as partner and Vice Chairman.<br />
He also joined the board of AIG and<br />
the advisory councils of Coca-Cola<br />
and AOL Time Warner. Ambassador<br />
Holbrooke continues to lead in<br />
the fight against AIDS, an issue to<br />
which he gave priority during his<br />
tenure at the U.N, as the unpaid<br />
President and CEO of the Global<br />
Business Council on H.I.V. & AIDS.<br />
He belongs to several major nonprofit<br />
boards, including the National<br />
Endowment for Democracy,<br />
the Museum of Natural History in<br />
New York, the International Rescue<br />
Committee, and Refugees International,<br />
chairing the latter two. He is<br />
also a Counselor at the Council on<br />
Foreign Relations, where he is preparing<br />
a book-length study of American<br />
diplomacy.<br />
Ambassador Holbrooke’s visit to<br />
the American Academy this Spring<br />
was accompanied by a flurry of interviews<br />
and raised a host of foreign<br />
policy questions affecting European-<br />
U.S. relations. Among these were<br />
missile defense (covered in the Berliner<br />
Zeitung and on wire services);<br />
the torpidity of the E. U. bureaucracy<br />
(The Financial Times); and the<br />
implications for Europe of the new<br />
Bush administration’s foreign policy<br />
(Der Spiegel). In a public interview<br />
held at Continued on Page 25
Capital Infusion<br />
J. P. Morgan Underwrites<br />
Financial Policy Focus in Berlin<br />
s the American Academy<br />
A<br />
enters its fourth year, public<br />
policy issues will become an increasingly<br />
important part of its profile.<br />
It attained a major step toward defining<br />
this profile when it announced,<br />
together with the global investment<br />
bank J. P. Morgan, the establishment<br />
of the J. P. Morgan International<br />
Prize in Financial Policy<br />
and Economics.<br />
The annual prize is the first of its<br />
kind in the realm of finance. It will<br />
allow American economists and financial<br />
professionals to pursue a<br />
research project and interact with<br />
German corporate and government<br />
officials on significant financial policy<br />
issues facing Germany, Europe,<br />
and America.<br />
While in residence at the Hans<br />
Arnhold Center for terms ranging<br />
from four weeks to one semester,<br />
J. P. Morgan Fellows will lecture and<br />
help the Academy expand its forum<br />
for economic and financial policy<br />
issues. Announcing the new fellowship<br />
program at a press conference<br />
on Wall Street in February, Academy<br />
Chairman Richard C. Holbrooke<br />
underscored both the Academy’s<br />
mission of strengthening German-<br />
American relations and the prize’s<br />
ability to forge a much needed link<br />
between academic knowledge and<br />
practical relevance.<br />
»We are very pleased that J.P.<br />
Morgan has taken the lead in supporting<br />
this initiative, as we feel it is<br />
important to recognize the contribution<br />
made by those in the field of<br />
finance to our social and cultural<br />
environment. By bringing such expertise<br />
to Berlin on a regular basis,<br />
we are underscoring the increasing<br />
role of Germany’s capital in establishing<br />
policy in these areas for<br />
their nation as well as the European<br />
Union.«<br />
Walter Gubert, Chairman of<br />
the J.P. Morgan Global Investment<br />
Bank, articulated the strategic relevance<br />
of the fellowship for the bank’s<br />
intellectual self-understanding:<br />
The Hans Arnhold Center hosted a symposium<br />
which brought a team of medical experts from the<br />
Mayo Clinic together with leading health care experts<br />
from throughout Germany. Co-moderated<br />
by the President of the German Science Council,<br />
Prof. Karl Max Einhäupl, and Mayo Trustee Prof.<br />
Rolland E. Dickson, the symposium had two ambitions:<br />
first, to articulate the Mayo Clinic’s particular<br />
health care opportunities for a German specialist<br />
public, and second, to create a high-level transatlantic<br />
dialogue in key policy areas.<br />
During the day-long convocation, initiated and<br />
generously made possible by the Anna-Maria and<br />
Stephen Kellen Foundation, the visitors engaged<br />
around seventy specialists on issues such as the division between the private and public<br />
sector; the need for strategies of interaction between research, education, and health care;<br />
the implications of research in aging and geriatric health; and a host of diagnostic, therapeutic,<br />
and ethical issues raised by genomic practice.<br />
The differences in American and German frames of reference was emphasized by Prof.<br />
Stefan Mundlos (Humboldt University, Institute for Medical Genetics), who referred to the<br />
lessons of Germany’s specific history, and warned of the potential stigmatization of certain<br />
groups as they become more defined by shared genetic traits. The intense and productive<br />
exchanges during the symposium underscored the importance of continuing to focus on<br />
health policy questions in transatlantic dialogue.<br />
AMERICAN ACADEMY<br />
»Creating this prize extends our<br />
expertise in finance from client activity<br />
to the public and academic<br />
realms in Germany. As a worldwide<br />
investment bank we recognize the<br />
effects of increased globalization<br />
and the importance of bringing<br />
countries in Europe and America<br />
closer together in all aspects.«<br />
Academy President Robert Mundheim<br />
especially thanked Kurt Viermetz<br />
– a founding trustee of the<br />
American Academy who, in his<br />
many years at J.P. Morgan, has been<br />
the most important German in U.S.<br />
banking – for his help in bringing<br />
about an especially timely and promising<br />
collaboration.<br />
Possible projects might compare<br />
Anglo-Saxon and continental models<br />
on regulatory issues, for example<br />
or investigate other areas of direct<br />
relevance to Berlin policymaking,<br />
including global and transatlantic<br />
exchange rates; the convergence of<br />
European capital markets and stock<br />
exchanges; national and pan-European<br />
tax and pension reform; competing<br />
policy models for economic<br />
restructuring; and European integration.<br />
A distinguished panel of experts<br />
reviews applicants for the prize.<br />
It includes: Rüdiger Dornbusch of<br />
the Massachusetts Institute of<br />
Technology; Benjamin Friedman<br />
of Harvard; Richard J. Herring, of<br />
the University of Pennsylvania’s<br />
Wharton School; Horst Siebert,<br />
of the Kiel Institute of World Economics;<br />
and Charles Maier, of<br />
Harvard University.<br />
Trustees On Board<br />
Gregorian, Kornblum, Pozen, and Vilar Elected<br />
our new board members<br />
F<br />
– Vartan Gregorian, John C.<br />
Kornblum, Robert C. Pozen, and<br />
Alberto Vilar – will strengthen the<br />
American Academy’s Board of Trustees<br />
and support its efforts in the<br />
academic, foundation, business<br />
and philanthropic communities.<br />
Each of the new trustees has a history<br />
of commitment to non-profit<br />
institutions as well as considerable<br />
leadership experience. Vartan<br />
Gregorian, President of the Carnegie<br />
Corporation of New York, and former<br />
president of both the New<br />
York Public Library and Brown<br />
University, brings to the board his<br />
invaluable background in cultural<br />
and academic institutions, in addition<br />
to an intimate knowledge of<br />
foundations.<br />
John C. Kornblum, a former career<br />
foreign service officer and an<br />
abiding supporter of the Academy<br />
during his term as U.S. Ambassador<br />
to Germany, will continue to<br />
advise the Academy on public policy<br />
and business matters from Berlin,<br />
where he will remain as Chairman<br />
of the investment bank Lazard<br />
& Co. GmbH. Ambassador Kornblum<br />
recently contributed a collection<br />
of four hundred volumes to the<br />
Hans Arnhold Center’s library.<br />
Robert C. Pozen, a chief investment<br />
executive of Fidelity Investment,<br />
brings an experience in different<br />
worlds that is extremely attractive<br />
to the Academy. He taught<br />
law at New York University, served<br />
as associate general counsel to the<br />
Securities & Exchange Commission,<br />
and practiced law in Washington<br />
before joining Fidelity Investments.<br />
The philanthropist, music lover,<br />
and financier Alberto Vilar, has<br />
already made an contribution of<br />
lasting impact to the Academy.<br />
Vilar, founder of Amerindo Investment<br />
Advisors, recently donated<br />
four million dollars to establish a<br />
long-term program for classical<br />
music. The gift has been reported<br />
extensively in the German press<br />
and is eagerly looked forward to<br />
by Berlin’s musical community.<br />
6
THE BERLIN JOURNAL<br />
Life and Letters at the Hans Arnhold Center<br />
Profiles in Scholarship<br />
The Berlin Projects<br />
of the Academy’s Springtime Fellows<br />
The Class of Spring <strong>2001</strong> (from left): Ellen Hinsey, Christoph Wolff, Margaret L. Anderson,<br />
Stephanie Snider, James Sheehan, Kathleen N. Conzen, Mark Harman, Hillary Brown, Caroline<br />
Fohlin and Jeffrey Eugenides.<br />
Margaret L. Anderson<br />
After extensive work on the political<br />
history of imperial Germany,<br />
including the themes of Kulturkampf<br />
and democratic institutions, historian<br />
Margaret Lavinia Anderson of<br />
the University of California at Berkeley<br />
found a new theme in an unlikely<br />
source: a historical novel by Franz<br />
Werfel. The Forty Days of Musa Dagh<br />
(1933) fictionalizes the attempt of<br />
the German Protestant pastor, Johannes<br />
Lepsius, to prevent the destruction<br />
of the Armenians during<br />
the First World War by pleading<br />
with Enver Pasha, the Ottoman<br />
War Minister. Lepsius, who later<br />
edited a forty-volume documentation<br />
of German foreign policy, had<br />
a long history of commitment to<br />
the Armenian cause. While at the<br />
Academy, Anderson drew on extensive<br />
archives in Berlin and Halle<br />
to document Lepsius’s efforts on<br />
behalf of the Armenians. Her study<br />
explores both the history of the early<br />
human rights movement and its<br />
entanglement with imperialism<br />
and decolonization.<br />
MIKE MINEHAN<br />
7<br />
Martin Bresnick<br />
Composer Martin Bresnick,<br />
whom Fanfare Magazine has called<br />
an »eminence grise to some of the<br />
more successful younger composers<br />
around« and »a champion synthesizer<br />
of disparate materials,« took a<br />
leave from the Yale School of Music<br />
in 1998, when he received the first<br />
Charles Ives Living Award, a threeyear<br />
grant from the composer’s<br />
estate, administered by the American<br />
Academy of Arts and Letters.<br />
Bresnick’s Berlin residency coincided<br />
with the release of a two-disc<br />
set of his works, which the New York<br />
Times described as »tough, thorny,<br />
clear, elegant, thoughtful, and difficult<br />
to pin down.« Bresnick’s Berlin<br />
Prize also brought his musical »significant<br />
other« to the Hans Arnhold<br />
Center: Australian concert pianist<br />
Lisa Moore, a gifted interpreter<br />
of his composed work, who gave<br />
several performances while at the<br />
Academy. She also performed an<br />
evening with poet-in-residence<br />
Ellen Hinsey.<br />
Hillary Brown<br />
Architect and native New Yorker<br />
Hillary Brown used her Bosch Public<br />
Policy Fellowship at the American<br />
Academy to study European environmentally<br />
progressive building<br />
legislation and administration. In<br />
recent years, Germany has led Europe<br />
in setting forward models of<br />
sustainable development, among<br />
them the ecological approach to<br />
the design and construction of<br />
buildings. A sophisticated suite of<br />
public policies, performance standards,<br />
and regulatory measures are<br />
influencing the form, techniques,<br />
and aesthetics of architecture.<br />
Though the United States lags<br />
significantly behind Europe in promulgating<br />
equivalent policies,<br />
Brown herself has fought hard to<br />
increase awareness of them. She is a<br />
founder of the Office of Sustainable<br />
Design and Construction in New<br />
York City, which works to introduce<br />
energy- and resource-efficient features<br />
into the city’s public facilities.<br />
Brown brought to Berlin her fifteenyear-long<br />
career in city government,<br />
a decade of professional architecture<br />
practice, and years of teaching<br />
at the Yale and Columbia graduate<br />
schools of architecture.<br />
Judith Butler<br />
Philosopher Judith Butler, a leading<br />
theorist on gender and identity<br />
issues, returned to Berlin this spring<br />
as a Distinguished Senior Visitor at<br />
the Academy. In a talk at the Hans<br />
Arnhold Center she probed contemporary<br />
debates on new forms of<br />
kinship and gay marriage. She also<br />
lectured on »intersexual allegories«<br />
at the Freie Universität Berlin and<br />
held a public conversation with<br />
choreographer Sasha Waltz about<br />
the piece »Bodies« performed at<br />
the Schaubühne. Butler is a professor<br />
of comparative literature at the<br />
University of California, Berkeley.<br />
Her most recent book, Antigone’s<br />
Claim has just been published in<br />
German by Suhrkamp.
Kathleen N. Conzen<br />
In 1817, American Secretary of<br />
State John Quincy Adams warned<br />
potential German immigrants that<br />
they »must cast off the European<br />
skin, never to resume it, or be disappointed<br />
in every expectation of<br />
happiness as Americans.« University<br />
of Chicago historian Kathleen<br />
N. Conzen has dedicated her career<br />
to examining the acculturation of<br />
the six million Germans who arrived<br />
in the United States before 1916.<br />
In particular, she studies the extent<br />
to which areas as diverse as religious<br />
life, agrarian ideology, urban<br />
mass culture, and political attitudes<br />
were influenced by German culture.<br />
Two published works, Immigrant<br />
Milwaukee: Accomodation and<br />
Community in a Frontier City, 1836-<br />
1860 and Making Their Own America:<br />
Assimilation Theory and the German<br />
Peasant Pioneer are case studies<br />
in the cultural cross-fertilization of<br />
mass immigration. While at the<br />
Hans Arnhold Center, Conzen collaborated<br />
with Willi Paul Adams<br />
of the Freie University’s Kennedy<br />
Institute on a compendium of texts<br />
documenting German-American<br />
political debates between the American<br />
Revolution and 1916.<br />
Jeffrey Eugenides<br />
When writer Jeffrey Eugenides<br />
came to Berlin two years ago under<br />
the auspices of the DAAD, the success<br />
of his 1993 debut novel was<br />
still fresh. Even J. K. Rowling, author<br />
of the famed Harry Potter books,<br />
revealed that »the last great book I<br />
read was The Virgin Suicides,« one<br />
encomia among many for a novel<br />
that had already won distinguished<br />
fiction awards from the Whiting<br />
Foundation, and the American<br />
Academy of Arts and Letters among<br />
others. New York Times critic Michiko<br />
Kakutani described the novel as<br />
»by turns lyrical and portentous,<br />
ferocious and elegiac« and called it<br />
»a small but powerful opera in the<br />
unexpected form of a novel.« His<br />
stories were included in Granta’s<br />
collection Best of Young American<br />
Novelists and in The New Yorker’s<br />
special issue Twenty Writers for the<br />
21st Century. During Eugenides’<br />
time in Berlin, the new German<br />
capital has begun to insinuate itself<br />
into his work, both in review essays<br />
and short stories. His soon-to-becompleted<br />
second novel takes the<br />
reader far beyond the city, but the<br />
plot’s genetic underpinnings were<br />
time and again at the forefront of<br />
public discussions at the Hans Arnhold<br />
Center during his year at the<br />
Academy.<br />
Caroline Fohlin<br />
That financial systems are shaped<br />
in part by the influence of political<br />
and legal environments and<br />
even historical accident is a key premise<br />
underlying the research of Cal-<br />
Tech economist Caroline Fohlin.<br />
Since completing her doctorate at<br />
Berkeley in 1994, she has published<br />
widely on the history of German<br />
banking during industrialization.<br />
Most recently she expanded her<br />
research on the rise of interlocking<br />
AMERICAN ACADEMY<br />
directorates in imperial Germany<br />
into a database that details relationships<br />
in corporate governance<br />
between German industry and<br />
commercial banking in Germany<br />
between 1895 and 1912. She simultaneously<br />
pursued a broader historical<br />
study of the implications of<br />
financial system design.<br />
While at the American Academy<br />
she worked on two monographs,<br />
New Perspectives on the Universal<br />
Banking System in the German Industrialization<br />
and Financial System<br />
Design and Industrial Development:<br />
International Patterns in Historical<br />
Perspective.<br />
Mark Harman<br />
Reading great literature in translation<br />
is an act of faith; one must<br />
trust that the work is true both to<br />
the author’s language and spirit.<br />
The finesse required of the translator<br />
is perhaps most appreciable<br />
when two markedly different interpretations<br />
of the same text are compared.<br />
Translator and literary scholar<br />
Mark Harman spent two terms<br />
Martin Bresnick and Lisa Moore<br />
Break in our Bösendorfer<br />
ELLEN HINSEY<br />
at the Academy pursuing the enigma<br />
of Franz Kafka, an author to whom<br />
he had already devoted considerable<br />
attention. Harman’s translation<br />
of The Castle was hailed by The<br />
Boston Review as »truer to Kafka’s<br />
imagination than the earlier version,«<br />
and he received the first Lois<br />
Roth Award from the Modern Language<br />
Association in 1999 for his<br />
translation work.<br />
A professor of German and English<br />
at Elizabethtown College, he<br />
has published critical essays on<br />
other modernists as well, James<br />
Joyce not least among them. At the<br />
Academy, Harman shared his<br />
theory that a rich »autobiography«<br />
of Kafka may be gleaned through<br />
an attentive and critical reading of<br />
his fiction.<br />
Ellen Hinsey<br />
Paris and Berlin are cities of abiding<br />
resonance for American writers,<br />
and to some, they serve as portals<br />
to other destinations as well.<br />
Paris-based poet Ellen Hinsey,<br />
whose poems are marked by a preoccupation<br />
with Eastern European<br />
literature and a passion for travel<br />
and languages, used her stay at the<br />
Hans Arnhold Center to work on a<br />
first novel.<br />
Hinsey’s poems have appeared<br />
in numerous newspapers and journals,<br />
among them The New Yorker,<br />
New York Times, The Paris Review,<br />
and The Missouri Review. Her first<br />
volume of poetry Cities of Memory<br />
won the Yale Younger Poets Prize<br />
in 1996. Fellow-poet James Dickey<br />
has written admiringly: »with her<br />
quiet and deep involvement in<br />
other places and tongues, her truerunning<br />
imagination, Ellen Hinsey<br />
comes to rest in many ways and<br />
places. Though not native-born to<br />
these, she is at the center of them<br />
just the same, by virtue and talent<br />
one of the best kinds of human<br />
being: the perceptive voyager, the<br />
sympathetic and vivid stranger.«<br />
Her second volume of poetry,<br />
Vita contemplativa, is forthcoming<br />
this fall.<br />
8
THE BERLIN JOURNAL<br />
Christopher Kojm<br />
It has become commonplace for<br />
Europeans to question America’s<br />
dominant role in international affairs.<br />
The nation’s economic, technological<br />
and military advantages,<br />
not to mention its cultural influence<br />
on adversaries and allies alike, are<br />
impressive – and unsettling – to<br />
many. As a Bosch Public Policy Fellow<br />
at the Academy, Christopher<br />
Kojm investigated European perceptions<br />
and responses to this<br />
American hegemony and its implications<br />
for American policymakers.<br />
Mr. Kojm, a former Bosch Fellow<br />
with extensive policy experience in<br />
Washington, currently serves as<br />
Deputy Assistant Secretary of State<br />
for Intelligence Policy and Coordination<br />
in the State Department’s<br />
Bureau of Intelligence & Research.<br />
Kojm’s study is especially timely<br />
given the recent change of administrations,<br />
which has dramatically<br />
effected the European view of American<br />
power and altered its perception<br />
of the degree to which the<br />
European Union and European<br />
governments influence American<br />
foreign policy.<br />
Colette Mazzucelli<br />
Philosophers, writers, and policy<br />
makers have debated the geopolitical<br />
potential of cyberspace almost<br />
since the term was first coined by<br />
William Gibson in 1984. Bosch<br />
Public Policy Fellow Colette Mazzucelli<br />
draws on this debate and<br />
applies it to a strategic area of government<br />
interest in her project<br />
Educational Diplomacy via the Internet:<br />
Defining the American Interest<br />
within a Transatlantic Policy Dialogue<br />
on Kosovo.<br />
Mazzucelli holds a doctorate<br />
in comparative government from<br />
Georgetown and serves as Co-President<br />
of the Robert Bosch Alumni<br />
Association. Her seminar at the<br />
Hans Arnhold Center provided a<br />
glimpse into how state-of-the-art<br />
technologies such as video conferencing<br />
and internet streaming<br />
OBrother,WhereArtThou<br />
Sander L. Gilman in Search of Jurek Becker<br />
The life of Jurek Becker spanned six decades of sweeping political changes<br />
in his homeland and in Germany. Born in Lódz, Poland in 1937, Becker<br />
witnessed major events of the twentieth century; among the defining phases<br />
in his life were his childhood in the Lódz ghetto, the concentration camp at<br />
Ravensbrück, life in post-war East Berlin, and West-German exile.<br />
By the time of his death in 1997, Jurek Becker had authored numerous<br />
novels and screenplays, including his best-known work, Jacob the Liar, published<br />
in 1968 and acclaimed on both sides of the Iron Curtain. Becker was<br />
a friend of Berlin Prize Fellow Sander Gilman, who spent his year at the<br />
Hans Arnhold Center preparing a biography of him. Gilman’s investigation<br />
adds a personal dimension to his scholarly work.<br />
The cultural and literary historian Sander Gilman is himself a prolific<br />
writer, to date the author or editor of over sixty books. His most recent monograph,<br />
Making the Body Beautiful: A Cultural History of Aesthetic Surgery was<br />
published by Princeton University Press in 1999.<br />
For twenty-five years he was a member of the humanities and medical faculties<br />
at Cornell University and for six years of the faculty of the University<br />
of Chicago. Since Fall 2000 he has been Distinguished Professor of the Liberal<br />
Arts and Medicine at the University of Illinois at Chicago and Director<br />
of its Humanities Lab, a new type of structure that will further collaborative<br />
research and training in the humanities.<br />
Fiona MacCarthy characterized Making the Body Beautiful in the New York<br />
Review of Books as »a strange, macabre and often richly comic story of shifting<br />
desires. His book shows a dazzling European erudition.« The breadth<br />
of Gilman’s knowledge was not lost on his colleagues at the Hans Arnhold<br />
Center, who nicknamed him »The Internet« because of his uncanny ability<br />
to answer questions intelligently on any subject. The biography of Becker is<br />
due to appear next fall.<br />
9<br />
MATTHEW GILSON<br />
enable colleagues in cities from<br />
New York to and Pristina to confer<br />
on breaking crises, specifically the<br />
recent escalation in Macedonia.<br />
Adam Posen<br />
Adam Posen, Senior Fellow at the<br />
Institute for International Economics<br />
in Washington (IIE), has been<br />
involved in the study of the German<br />
economy since working at the<br />
Bundesbank and Deutsche Bank as<br />
a Robert Bosch Foundation Fellow<br />
in 1992. This year, as a Bosch Public<br />
Policy Fellow at the Academy, he<br />
completed an investigation of Germany’s<br />
persistently high rate of unemployment<br />
and the degree to<br />
which this problem has influenced<br />
German international economic<br />
policies. Before joining the IIE, Posen<br />
spent three years at the Federal<br />
Reserve Bank of New York, analyzing<br />
German economic developments<br />
for Federal Reserve Board<br />
members and top management<br />
there.Mostrecently,hehasauthored<br />
Restoring Japan’s Economic Growth<br />
and co-authored Inflation Targeting:<br />
Lessons from the International<br />
Experience. Another work, Disciplined<br />
Discretion: Monetary Targeting<br />
in Germany and Switzerland (coauthored),<br />
is the most widely-cited<br />
study in English of German economic<br />
policy and has been excerpted<br />
in Bundesbank publications. The<br />
monograph resulting from his stay<br />
at the Hans Arnhold Center, Germany<br />
in the World Economy after<br />
EMU, will be presented this fall at<br />
the Academy.<br />
James Sheehan<br />
Distinguished Stanford historian<br />
and DaimlerChrysler Fellow James<br />
Sheehan has already turned two<br />
previous fellowship years in Germany<br />
into major works: German<br />
History 1770-1866 (supported by<br />
the Wissenschaftskolleg zu Berlin)<br />
and Museums in the Modern Art<br />
World: From the End of the Old Regime<br />
to the Rise of Modernism (Humboldt<br />
Prize). Continued on page 24
AMERICAN ACADEMY<br />
Mission Possible<br />
Peacekeeping and the United Nations<br />
By Richard C. Holbrooke<br />
Ambassador Richard C. Holbrooke, returning in<br />
May 2000 from a UN tour of Africa – including the<br />
Congo, Sierra Leone, and Ethiopia – stopped by<br />
Germany to make the case for humanitarian intervention.<br />
Indeed, it is among the most urgent issues<br />
in foreign policy today and will become a public<br />
policy focus in future programs at the Academy.<br />
O<br />
ne of the new issues that will bind<br />
our countries together is our mutual<br />
interest in peacekeeping. Peacekeeping,<br />
especially UN peacekeeping, is being challenged<br />
today in a fundamental way.<br />
I arrived here directly from Asmara, Eritrea<br />
and Addis Ababa in Ethiopia after an intense,<br />
grueling eight-day, eight-nation UN Security<br />
Council Mission to seven African states. Our main<br />
objective on the mission originally was to assess<br />
the prospects for deploying UN peacekeepers in<br />
the Congo, but it was framed by two other crises<br />
– in Sierra Leone and the Horn of Africa. I will<br />
assert that what happens in this part of the world<br />
cannot be ignored by Americans or by Europeans<br />
and that a little bit of effort early is a lot better<br />
than a lot of effort later.<br />
Many say that while such crises are terrible,<br />
there is nothing we can or should do about them.<br />
But I believe that on every level – political, humanitarian,<br />
strategic, financial, moral – we cannot<br />
turn away. Financially the cost of the consequences<br />
of a war – famine, the need for refugee<br />
relief and reconstruction, and the grave threat<br />
of spreading disease – is much greater than the<br />
cost of trying to prevent it. From a moral and<br />
humanitarian point of view, we cannot turn<br />
away. From a political point of view, we can<br />
make a difference if we engage.<br />
The UN is many things, but it was conceived<br />
in the ashes of the war that destroyed Europe to<br />
be primarily and centrally a conflict prevention<br />
and conflict resolution organization. This is still<br />
the core responsibility of the UN. The stakes are<br />
very high in Sierra Leone and the Congo and Kosovo<br />
and East Timor. How the UN and the world<br />
community respond to the situations there will<br />
have huge ramifications for peacekeeping<br />
throughout the world and determine whether<br />
whether the world looks to the UN at all to do<br />
peacekeeping. There has been extensive criticism<br />
of the UN effort in Sierra Leone. Both policy<br />
makers and the press are asking tough questions<br />
about whether the UN was prepared for the crisis.<br />
Sierra Leone, like Bosnia before it, is an example<br />
of what happens when the parties to a peace<br />
settlement violate that settlement, wreaking<br />
havoc on everyone – peacekeepers and civilians<br />
alike.<br />
The question is even more fundamental: what<br />
is the future of UN peacekeeping? The world has<br />
a choice in Sierra Leone. And, what happens<br />
there will also affect the UN’s approach to the<br />
Congo, although I believe that decisions on the<br />
Congo should be made independent of, while at<br />
the same time drawing lessons from, the crisis in<br />
The longer the United<br />
Nations fails to live up to its<br />
potential, the longer the<br />
innocents will suffer, the<br />
greater the danger that we<br />
will be sucked in later<br />
Sierra Leone. I want to be clear on another point:<br />
Sierra Leone, the Congo, or Ethopia/Eritrea, appalling<br />
as they are, cannot be viewed as a metaphor<br />
for all of Africa. Despite these legitimately<br />
well-publicized disasters in Africa, there are<br />
plenty of success stories, for example ECOWAS<br />
in the West African states, and the South African<br />
Development Council in Southern Africa.<br />
All of this – the good, the bad, the ugly –<br />
needs to be drawn on in the difficult coming days<br />
and weeks of policy making for the international<br />
community. This a continent which, from a distance,<br />
seems to be aflame from across its entire<br />
breadth but, in fact, is dealing with separable,<br />
discreet, and identifiable crises.<br />
We specifically need to address the Congo,<br />
where history – from King Leopold's ghost to<br />
10<br />
Mobutu’s legacy – hangs heavy over the country.<br />
Perhaps no African state has had more difficulty<br />
in overcoming its past. Last year, under<br />
the leadership of President Chiluba of Zambia,<br />
eight nations came together in his capital, Lusaka,<br />
to sign the Lusaka Peace Accords. It is a good<br />
agreement, an African solution to an African<br />
problem. The UN has committed itself to supporting<br />
it, and part of that commitment will involve<br />
peacekeeping troops.<br />
I certainly do not disagree that UN peacekeeping<br />
has fundamental problems. In Sierra<br />
Leone the UN deployed a force that was too inexperienced<br />
and insufficiently capable. Deployments<br />
were very slow. This troubles me greatly<br />
in regard to the Congo, where both President<br />
Museveni of Uganda and President Kagame of<br />
Rwanda have urgently called for UN troops to<br />
take over Kisangani.<br />
I remain committed to trying to make UN peacekeeping<br />
effective, which if done right, is vital.<br />
It can be successful. We have many examples:<br />
Cyprus today, still divided and beginning the<br />
process of accession to the EU, would not be the<br />
peaceful (but tense) island it is today were it not<br />
for UN forces. The UN peacekeepers played indispensable<br />
roles in bringing stability, independence,<br />
and progress to other areas like Eastern<br />
Slovenia and Croatia. They played critical roles<br />
in Namibia, Macedonia, Mozambique, and I<br />
commend them highly for the work they are<br />
doing in East Timor.<br />
The UN is certainly not going to be the answer<br />
to every crisis. Sometimes as in Bosnia, the bulk<br />
of the forces are not UN. The initial deployment<br />
in East Timor, for example, was not a UN peacekeeping<br />
deployment. Although authorized by<br />
the UN, it was a regular military force led by a<br />
very powerful Australian contingent, backed up<br />
by British, French, American, Philippine and<br />
Korean troops. When they had things under<br />
control, they transitioned from a multinational<br />
force to a UN force. Some of the same troops<br />
stayed and put on blue berets.<br />
The UN and regional leaders should and must<br />
work hand in glove. Sometimes regional organizations<br />
should take the lead with UN support,
as in East Timor. In other cases, the UN should<br />
lead with regional support. Among the world's<br />
regional organizations, there is no doubt about<br />
which one is the most powerful and the most<br />
effective. It is NATO. The Atlantic Alliance remains<br />
indispensable to stability.<br />
The question for us is not whether or not that<br />
Alliance is strained. It is not. It is a strong organization<br />
and the strongest strategic relationship<br />
in the world. It has survived every challenge of<br />
the Cold War and made a transition to a post-<br />
Cold-War context, adding three new members<br />
and taking on incredibly difficult responsibilities<br />
in Bosnia and Kosovo. There are many crises<br />
in the world. The Atlantic Alliance is not one of<br />
them. On the contrary, Bosnia is one of the great<br />
success stories of international peacemaking<br />
and peacekeeping. The United States, Germany,<br />
France, and the United Kingdom – and<br />
even Russia in the Contact Group, in the Dayton<br />
negotiations, and in the subsequent period –<br />
have kept the peace for five years with no casualties.<br />
Much more slowly than we want but unmistakably,<br />
the country is beginning to knit together.<br />
Germany has, as a result of that effort,<br />
been able to see a sharp reduction in the number<br />
of refugees from the Balkans, so the benefits far<br />
THE BERLIN JOURNAL<br />
outweigh the costs so generously undertaken.<br />
Kosovo, of course, is a much more difficult situation,<br />
but it is much earlier in the process, and a<br />
similar commitment by all the countries involved<br />
is essential for it to succeed. Peace in Kosovo<br />
is far from assured at this point as an enduring<br />
outcome. But, if the United States, Germany,<br />
and our NATO Allies make the commitment,<br />
I am sure that we will be able to persevere.<br />
Africa is not part of the NATO area of responsibility.<br />
Africa is more difficult. It is far away.<br />
Its logistics are harder. The Congo, for example,<br />
is about two-hundred times the size of Kosovo,<br />
and there are no roads. The rivers have silted up,<br />
and there are few communications. No amount<br />
of external United Nations or international forces<br />
can ever bring peace to the Congo. It has to<br />
be the parties themselves, assisted by the international<br />
community. No one is arguing that a<br />
Bosnia/Kosovo-type operation would be desirable<br />
or possible in the Congo. Nonetheless, we<br />
cannot turn away from it. In order to make it<br />
work, the UN Secretariat is going to have to do a<br />
better job.<br />
We will propose to the UN far-ranging reforms<br />
for the way its peacekeeping office is financed,<br />
structured, and administered. Absent the<br />
reform, UN peacekeeping will be on a collision<br />
course. But reform, if carried out, should be<br />
able to deal with the simple fact that demand for<br />
peacekeeping is far outpacing the UN's capacity.<br />
Reform cannot wait. The talk about peacekeeping<br />
reform brings to mind Bismarck’s<br />
famous observation that conquering armies –<br />
or rebel groups for that matter – will not be halted<br />
by the power of eloquence. Words are important<br />
and have meaning, but the time is here<br />
for action.<br />
We should remember that peacekeeping in its<br />
core, whether it is in Bosnia or Kosovo or Cyprus<br />
or East Timor or Africa, is about more than<br />
maintaining the credibility of the great powers.<br />
It is about protecting innocents from suffering.<br />
It is about providing people with the opportunity<br />
to reach reconciliation and rebuild their<br />
lives. It is about people.<br />
The longer the United Nations fails to live<br />
up to its potential, the longer we allow peacekeeping<br />
shortcomings to go unfixed, the longer<br />
the innocents will suffer, the greater the danger<br />
that we will be sucked in later – in a more costly<br />
way. I hope we will not turn away from the<br />
daunting tasks ahead of us at this particularly<br />
challenging moment.
AMERICAN ACADEMY<br />
NATASCHA VLAHOVIC<br />
H<br />
How Long was the Twentieth Century?<br />
ow will historians deal with the century that has<br />
just concluded? What narratives or interpretations will they<br />
construct to make sense of the last hundred years? Will the twentieth<br />
century cohere as a historical epoch? Twentieth-century history as<br />
such, I believe, will serve as a framework for what I call moral narratives<br />
but not as a chronological framework for thinking about politics and society.<br />
The problems it presents do not arise just because of ragged beginning<br />
and end points, such that 1914 and 1989 seem to open and close the political<br />
story, at least of Western history. Nor is the difficulty<br />
a result of the fact that internal caesuras, such<br />
as the defeat of fascism and the end of the world wars,<br />
might be viewed as so deeply dividing the Western<br />
narrative, at least, that the 1900s as a whole retain<br />
little»structural« unity. Rather, to focus on the twentieth<br />
century as such obscures the most encompassing<br />
Modern Times began around 1860 and fell apart in the late 1960’s<br />
By Charles S. Maier<br />
Charles S. Maier, Krupp Foundation Professor<br />
of European Studies and Director of the Center for<br />
European Studies at Harvard University, chairs the<br />
Berlin Prize committee of the American Academy in<br />
Berlin, where he delivered this paper in a seminar.<br />
12<br />
or fundamental sociopolitical trends of modern world development,<br />
these have followed a different trajectory through time, providing the territorially<br />
anchored structures for politics and economics that were taken<br />
for granted between 1860 and 1980, but have since begun to decompose.<br />
To focus on the twentieth century as a historical era obscures important<br />
developmental patterns that are better understood as products of a<br />
chronological period that began deep in the nineteenth century and then<br />
effectively concluded two to three decades before the century formally<br />
ended. As an argument about periodization, the<br />
thesis thus proposes that a cluster of developments<br />
I label territorialization and deterritorialization<br />
claim a degree of significance usually taken for<br />
granted. But, the twentieth century will not disappear<br />
as a historical reference point. Historians<br />
of the physical sciences, of music, of painting and
THE BERLIN JOURNAL<br />
a resource for governance; third co-opted the<br />
new leaders of finance and industry, science<br />
and professional attainment into a ruling cartel<br />
alongside the still powerful but no longer supreme<br />
representatives of the landed elite; and finally,<br />
they developed an industrial infrastructure<br />
based on the technologies of coal and iron as<br />
applied to long-distance transportation of goods<br />
and people, and the mass output of industrial<br />
products assembled by a factory labor force.<br />
Indeed, it was probably this technological tranarchitecture<br />
certainly use the label 20th-Century<br />
– validly so, given the fundamental innovations<br />
in all these fields between about 1905 and 1910.<br />
Perhaps most indelibly, the twentieth century<br />
has become synonomous with the narratives of<br />
moral atrocity that continue to transfix intellectuals<br />
and the public alike. For western intellectuals<br />
the twentieth century does not refer primarily<br />
to a chronological unit. Rather it constitutes<br />
a sort of moral epoch, a passage of time<br />
fundamentally characterized by war and viollence,<br />
i.e. by political killing, or, as Isaiah Berlin<br />
summarized it, as »the worst century there has<br />
ever been.«<br />
How Long Was<br />
the Nineteenth Century?<br />
This essay takes up, however, not the moral<br />
narrative of the twentieth century but the more<br />
structural theme of territoriality, which spills<br />
across the century’s chronological limits. When<br />
cited by historians, centuries are like Procrustes’<br />
famous bed: the Greek innkeeper either<br />
stretched his guests if they were too short or<br />
chopped them down if they were too long for<br />
the sleeping accommodations that were offered.<br />
By and large, historians of the West have<br />
stretched the 1800s into the »long nineteenth<br />
century,«extending it until WorldWar I.<br />
Europeanists, at least, have conceived of it as<br />
the century marked by industrial development,<br />
the triumph of the modern nation state, the advent<br />
of mass democracy, the partition of much<br />
of what would later come to be called the Third<br />
World, and finally by a superb confidence in economic<br />
and moral progress. As a pendant to this<br />
»long nineteenth century,« finally terminated<br />
by World War I, Eric Hobsbawm’s concept of a<br />
»short twentieth century« offers the advantage<br />
of accommodating the long nineteenth although<br />
it stops a decade ago in 1989. But European narratives<br />
serve less well the chronologies of African<br />
and Asian histories, whose caesuras have to do<br />
either with the impact of the West or indigenous<br />
developments that followed diverse rhythms.<br />
The twentieth century as such is not very useful,<br />
in fact, for understanding world historical<br />
development. I would propose instead that a<br />
coherent epoch of world development began in<br />
the sixth and seventh decades of the last century<br />
– say for the sake of simplicity around 1860 –<br />
and that its technological, cultural, and sociopolitical<br />
scaffolding began to corrode and fall<br />
apart in the late l960s, initiating a process of<br />
profound transformation in which we are still<br />
caught up.<br />
In a work that has fallen into undeserved oblivion,<br />
the historian Robert Binkley took account<br />
of this global transition sixty-five years ago in<br />
Realism and Nationalism, 1852-1871. Here he<br />
pointed out that political territories or national<br />
units had undergone a great crisis of confederal<br />
organization, abandoning – in a process of widespread<br />
civil wars – their traditional decentralized<br />
structures of politics for more administratively<br />
and territorially cohesive regimes. In the United<br />
States of the Civil War era; in Meiji Japan; in the<br />
German Confederation and the states of Italy; in<br />
the emerging halves of the Habsburg empire; in<br />
the British organization of India; in Canada,<br />
Mexico, Thailand, and later in the Ottoman empire;<br />
national societies were reforged in a rapid<br />
and often violent transformation; which first<br />
strengthened central government institutions<br />
at the expense of regional or confederal authority;<br />
second required that internal as well as external<br />
military capacity be continually mobilized as<br />
13<br />
NATASCHA VLAHOVIC<br />
sition that was responsible for the simultaneity<br />
of such geographically dispersed changes.<br />
What historians and political scientists have<br />
tended to take for granted until recently was<br />
that, common to all these national reorganizations,<br />
was an enhanced concept of territory as<br />
a source of national energy and power, administrative<br />
cohesion and economic resource. Not<br />
that historians have not dealt with frontiers,but<br />
they have done so primarily for the Roman Empire<br />
or in the context of the post-Westphalian,<br />
seventeenth-century state system, which secured<br />
the principle of sovereignty and renewed the<br />
preoccupation with fortified frontiers that had<br />
marked antiquity.<br />
Western statesmen and publics of the late<br />
nineteenth century believed that they must<br />
reinforce the frontiers anew. And not only geographical<br />
frontiers. Social and class upheaval at<br />
home as well as renewed international competition,<br />
compelled a renewed fixation on social<br />
enclosures of all sorts: boundaries that separated<br />
nation from nation, church from state, public<br />
from private, household from work, alleged<br />
male from reputed female roles.<br />
Modernity<br />
Came Through Energy<br />
But what further characterized mid-nineteenth<br />
century development was that, even as a<br />
new class of political leaders believed they must<br />
reestablish frontiers anew, they also emphasized<br />
that national power and efficiency rested on the<br />
saturation of space inside the frontier. The major<br />
concept was that of »energy.« National space<br />
was to be charged with »energy«, with prefectural<br />
presence, new railroads and infrastructure,<br />
mass-circulation newspapers, telegraphic communication<br />
and the possibilities of electrical<br />
power in general. The metaphors of contemporary<br />
physics provided a conceptual analogue. By<br />
the 1870s James Clerk Maxwell’s equations related<br />
electrical and magnetic fields and assigned<br />
every point in space a quantity of energy that<br />
emanated from the center. Territories, too, had<br />
a center: the national capital from which political<br />
and economic energy radiated outward. (In contrast,<br />
today’s metropolises are wired to each other,<br />
not their national hinterland, and conceived as<br />
suspendedinaworldnetworkofcapitalandlabor.)<br />
What were the resources of territoriality?<br />
First, quite simply, extent. Indeed, by the end<br />
of the century, territorial ambitions were extended<br />
to overseas empires, and geopolitical theorists<br />
divided over whether maritime or landed
AMERICAN ACADEMY<br />
extension offered more power. Population was<br />
obviously a resource and so, too, was economic<br />
development.<br />
I cite these developments because they<br />
proved fundamental to the collective organization<br />
of economics resources and political power<br />
for over a century – not the twentieth century,<br />
but rather the hundred or so years extending<br />
from the 1860s to the 1970s.<br />
The era of economic nationalism and protective<br />
tariffs starting in the l870s; the subsequent<br />
drive to annex overseas territory; the formation of<br />
long-term alliances during peace time, and the<br />
ratcheting up of the arms race that preceded the<br />
First World War; the ideological polarization<br />
between a Marxist Left and a militarist Right,<br />
thereafter between communism and fascism,<br />
and finally between Soviet power and its Atlantic<br />
alliance. These were the stages of historical development<br />
within this long era of territoriality.<br />
Identity Space and Decision Space<br />
Are No Longer Identical<br />
It is true that the Marxist Left sought to challenge<br />
the premises of territoriality and appeal<br />
to a revolutionary internationalism. Eventually,<br />
however, Communists achieved power only by<br />
accepting the premises of territorial power and<br />
development and building socialism within<br />
individual countries or by virtue of a new sort<br />
of imperial organization. Social Democrats<br />
emerged from their inter-war defeats convinced<br />
that the nation-state offered an appropriate fulcrum<br />
for democratic emancipation. They benefited<br />
from the fact that, by the 1940s, representatives<br />
of the industrial working class were co-opted<br />
into the power-sharing arrangements from<br />
which they had been largely excluded before.<br />
Common to all the changes that took place<br />
from the 1860s on, up through and beyond the<br />
admittedly important critical divides of 19l4<br />
and 1945, however, remained perhaps the fundamental<br />
premise of collective life, namely that<br />
what we can term »identity space« was coterminous<br />
with »decision space«; that is, that the<br />
territories to which ordinary men and women<br />
tended to ascribe their most meaningful public<br />
loyalties (indeed thus superseding competing<br />
supranational religious or social class affiliations)<br />
also provided the locus of resources for assuring<br />
their physical and economic security. This once<br />
familiar congruence no longer exists. Identity<br />
space and decision space are no longer seen as<br />
identical. Territoriality no longer suffices as a<br />
decisive resource; it is a problematic basis for<br />
collective political security and increasingly<br />
irrelevant to economic activity. Of course there<br />
are fierce exceptions where ethnic groups insist<br />
on hegemony. But renunciation of the Golan is<br />
probably more the sign of the times than claims<br />
for Kosovo.<br />
When and why did the territorial imperative<br />
loosen its grip? The coordinates of political and<br />
economic coordination created in the l860s<br />
began to dissolve in the l970s, a process that<br />
social scientists endeavored to grasp then as<br />
»interdependence,« and more recently as »globalization.«<br />
The processes that undermined the<br />
earlier epoch of territoriality were marked by<br />
a succession of world-wide crises beginning in<br />
the late l960s: the United States’ involvement<br />
in the Vietnam war and the protests it unleashed;<br />
the American unwillingness to continue<br />
upholding the international monetary regime;<br />
the emergence of new economic contenders<br />
whether through industrialization or the exploitation<br />
of their hold on world oil supplies; the<br />
breakdown of relatively easy collaborative industrial<br />
relations in Europe and the Americas; and<br />
shortly thereafter, the emergence of militant<br />
social movements among students, women<br />
and anti-nuclear protesters; and finally by the<br />
collapse of state socialism and planned economies<br />
during the 1980s, systems even more vulnerable<br />
to the seismic changes underway than the<br />
market economies that enjoyed a renewed vigor<br />
on a post-territorial and post-Fordist basis.<br />
14<br />
NATASCHA VLAHOVIC<br />
Indeed, the collapse of communist regimes<br />
in 1989-90 and the end of the Cold War rivalry<br />
can be seen as the most spectacular political<br />
consequence of the weakening of territorial<br />
politics. It had been the state socialist regimes,<br />
after all, that were most committed to controlling<br />
politics, economics and ideology on the<br />
basis of territory and frontiers (most tangibly<br />
in East Germany), and also most heavily invested<br />
in the aging processes of heavy industry that<br />
had characterized the territorial era.<br />
For just as a qualitative change of technological<br />
possibilities for mastering space and its extension<br />
had facilitated the political transformations<br />
of the century after 1860, so the very technological<br />
transformations of the last thirty years have<br />
tended to make physical space a less relevant<br />
resource. The age of coal and iron, and then, too,<br />
of hydrocarbon chemistry, of oil and electricity,<br />
of aluminum and copper as well as steel – all<br />
still epitomized even in the l950s and l960s –<br />
was overlaid in fact, and in the public imagination<br />
– by the technologies of semiconductors,<br />
computers, and data transmission – with a<br />
new accepted basis for creating private wealth.<br />
The concept of hierarchically organized Fordist<br />
production (based on a national territory) was<br />
supplanted by the imagery, if not always the<br />
reality, of globally co-ordinated networks of information,<br />
mobile capital, and migratory labor.<br />
Our Fin-de-siecle<br />
came sometime after 1968<br />
The political result has been to transform<br />
the major political division of our times. This<br />
separates those who envisage their future prospects<br />
based on non-territorial markets or<br />
exchange of ideas, and those who insist that territoriality<br />
can be reinvigorated as the basis for<br />
economic and political security – whether on<br />
the basis of provincial regionalism, or supranational<br />
organization, or by harsher measures of<br />
ethnic homogeneity or territorially and religiously<br />
based politics. As is so often the case in<br />
history, the outlines of an earlier epoch become<br />
visible only as they dissolve: the famous owl of<br />
Minerva takes wing at dusk.<br />
My claim is that the fundamental transitions<br />
historians associate with modern history were<br />
based on the consolidation – and then the ending<br />
or at least a profound crisis – of territoriality.<br />
The century familiar to those of us who are at<br />
least middle aged began shortly after the midl800s<br />
and began to decompose, I believe, a generation<br />
ago. Sometime between l968 and the end<br />
of the l980s, we lived through our own fin de siècle.
THE BERLIN JOURNAL<br />
MIKE MINEHAN<br />
Flesh Against Steel<br />
The Art of Inscribing Maxims in Mies van der Rohe’s Museum without Walls<br />
A Conversation between Henri Cole and Jenny Holzer<br />
As Berlin Prize Fellows in Spring <strong>2001</strong>, artist<br />
Jenny Holzer and poet Henri Cole had many<br />
late-night conversations in the library of the<br />
Hans Arnhold Center. The following is an excerpt<br />
of a public conversation held in February.<br />
Their main subject is Holzer’s site-specific<br />
installation in Mies van der Rohe’s Neue<br />
Nationalgalerie, a work consisting of amberlighted<br />
digital text. Holzer was the first Philip<br />
Morris Distinguished Artist at the Academy.<br />
Cole contributed an essay to the forthcoming<br />
catalogue of the show.<br />
Henri Cole: When you undertook the installation<br />
at the Neue Nationalgalerie – a project so large in<br />
scale, cost, and logistical complexity – what was the<br />
most you hoped for?<br />
Jenny Holzer: I began because I wanted to see<br />
the artwork. I was afraid of the project immediately<br />
because the building was perfect, utterly<br />
self-sufficient, and didn’t seem to need me at all.<br />
After many site visits, I was able to imagine the<br />
installation, and I persevered because I wanted<br />
to know if I was accurate in my imaginings.<br />
I never have a chance to practice my installations,<br />
and as a result I don’t see my works until they’re<br />
done. I am happy that the building was generous<br />
with me.<br />
Did you start by writing a text or think in terms of<br />
space?<br />
In Berlin, I saw the space first. I could tell that<br />
the building would be fine once the museum<br />
was cleared of temporary walls. After a month<br />
of visits, I thought I could do something with the<br />
ceiling because – slow student that I am – I’d<br />
finally realized that the roof dominates. When I<br />
recognized the roof, I thought this was the place<br />
where I could join the architect. This was the<br />
15<br />
place he was strongest, the place I could salute<br />
him and not be killed. So, I understood something<br />
of the space, and then spent much time<br />
avoiding the new text. You helped me complete<br />
the writing finally. The text was done about five<br />
days before it had to go up.<br />
Are you more comfortable visualizing space<br />
than writing?<br />
I can see space; I barely can write.<br />
Since you are not a painter or a sculptor in any<br />
traditional sense, it’s hard for me to picture you<br />
working in a studio. How did you work in Berlin?<br />
I was delighted by the invitation to work at the<br />
Neue Nationalgalerie, but the pleasure was followed<br />
by fear and much walking around the<br />
building. Most mornings I would try to write in<br />
the peace of the Academy. At my New York farm
I practice my habit, which is the addiction to office<br />
work. I answer e-mails, put paper in the fax,<br />
bother my good staff, organize, find materials,<br />
anything other than write. This habit can be useful<br />
because my projects require much management.<br />
Eventually I return to writing. In Berlin,<br />
I went to the museum at least thirty times early<br />
on. Later I could revisit the space by closing my<br />
eyes. Strangely enough, I can see in 3-D. I’d go<br />
somewhere quiet, shut my eyes, patrol the museum<br />
again and check my notions. For this project,<br />
I lost my nerve and resorted to computer graphics<br />
in case I was dead wrong.<br />
Did the computer graphics accurately reproduce the<br />
image in your head?<br />
The computer graphics were so good that I was<br />
anxious that they would be superior to the exhibition.<br />
Eventually I thought the installation was<br />
better because it changes itself and its environment,<br />
it moves and the movement can be liquid.<br />
At times, the installation is quite rigorous, logical<br />
and linear, and at other moments it is a lazy river<br />
with eddies, and this wasn’t entirely possible in<br />
the computer.<br />
AMERICAN ACADEMY<br />
Do you want your texts to make a stronger claim on<br />
the viewer than the physical presence of your installations?<br />
Or to put it another way, should the viewer<br />
be reading or looking first?<br />
Sometimes reading can be all-important, and<br />
here in Berlin, I would have guessed that the text<br />
would be co-equal with the formal and the material<br />
parts of the installation, but I am not certain it<br />
is. It is embarrassing for me to talk about my<br />
own work, so I squirm now, but in the museum,<br />
it felt as if something was passing over the skin or<br />
acting on the whole body, more than an act of<br />
plain reading. So the text was necessary but<br />
perhaps subordinate.<br />
When I am teaching poetry, I always hope my students<br />
will respond to the formal body of a poem, by considering<br />
its music, its arrangement on the page and the<br />
drama of language, before they reduce it to theme<br />
and content. It seems to me a museumgoer can respond<br />
similarly when viewing your installations.<br />
Because I don’t have great facility with language,<br />
I need to have part of the meaning and the experience<br />
come from the space, from the motion and<br />
the color, as well as the words.<br />
I have two questions in connection with the text,<br />
»OH,« presented in the Nationalgalerie. Firstly,<br />
was it intentional to have a warm, personal text<br />
about motherhood to contrast with Mies van der<br />
Rohe’s cool, steel and glass structure? And secondly,<br />
did you hesitate at all to use such extremely personal<br />
material in a large public piece?<br />
I barely had started »OH« when I came to Berlin,<br />
and wasn’t certain what to do with it, but after I<br />
decided to work on that ceiling, it made sense to<br />
show this text and others that treat flesh against<br />
the steel. I wanted writing about people on the<br />
black metal. Even though the new text isn’t purely<br />
autobiographical, there’s enough of myself that I<br />
thought somewhere between twice and a thousand<br />
times about even finishing the writing, much<br />
less displaying it.<br />
Do you feel this text is different from others? I heard<br />
someone say at the opening that it was more »written,«<br />
as opposed to »spoken.« Is this true?<br />
It probably is. A lot of my other texts were, well,<br />
blurted rather than written. I used to sit at the<br />
Academy and imagine you working for hours at<br />
your desk in your room, and I thought this the<br />
most frightening thing in the world: to be alone<br />
in a room trying to write. I wondered what would<br />
happen if I attempted that instead of practising<br />
one of my avoidance activities. Maybe it’s not<br />
good when someone who is not a writer spends<br />
more time writing.<br />
When Jenny Holzer received the Academy’s<br />
first Philip Morris Distinguished<br />
Artist fellowship in the fall of 2000, she intended<br />
to use Berlin as a geocultural vantage<br />
point for already-commissioned current<br />
work. She soon found inspiration in<br />
Berlin itself, however, specifically in the<br />
architecture of Ludwig Mies van der Rohe’s<br />
Neue Nationalgalerie.<br />
Last February’s dramatic installation inscribed<br />
the ceiling with thirteen beams of<br />
moving electronic texts. At night, it illuminated<br />
a previously dark corner of Berlin’s<br />
Kulturforum. The ocher letters of her<br />
text, »OH,« shone from Mies’ glass building<br />
and seemed to run into the sky, and<br />
Holzer’s text – always at the forefront of<br />
her art – competed with the sheer beauty<br />
of illuminating the architectural masterpiece.<br />
During the exhibition’s opening<br />
week, Holzer also projected texts on<br />
Hans Scharoun’s Philharmonie as well as<br />
on a number of important new Berlin<br />
buildings by Renzo Piano, Axel Schultes,<br />
and Daniel Libeskind.<br />
A great success, the installation was<br />
bought by the Friends of the Neue Nationalgalerie<br />
and will return to Berlin in January<br />
2002. At that time a catalogue documenting<br />
the work will be published by Dumont<br />
and The American Academy. The book is<br />
supported by Philip Morris Kunstförderung,<br />
which also helped underwrite the<br />
exhibition.<br />
ATTILIO MARANZANO<br />
You’ve said that your preferred themes are sex,<br />
death and war. Would you add anything to that list<br />
today?<br />
I don’t know whether those three are the preferred<br />
themes, but they come back time and again.<br />
This is embarrassing to say in public, but I believe<br />
I’m also sneaking up on love. That gives me pause.<br />
Did you intend for there to be a dialogue between<br />
your works at the Neue Nationalgalerie and the<br />
Reichstag?<br />
At the Reichstag, I was given the politicians’ entrance,<br />
but I couldn’t imagine what to show parliamentarians<br />
going to work. I reviewed my writing<br />
and also considered composing something<br />
new, but then said no. Eventually I thought to present<br />
many speeches delivered since the first discussions<br />
of whether to construct the Reichstag,<br />
all the way through Bonn debates about whether<br />
it would be right to return to the building. Once I<br />
had that concept, I made a long, thin electronic<br />
column with text on four sides. One side faces<br />
out so that anyone walking by can see speech. The<br />
Reichstag piece is different from the work for the<br />
Nationalgalerie. Continued on page 23<br />
16
THE BERLIN JOURNAL<br />
T<br />
Two German Businessmen<br />
he National Socialist regime was not only criminal<br />
but also revolutionary. One of its revolutionary »achievements«<br />
was to destroy a bourgeois big business culture and order<br />
which, however badly shaken by Germany’s dismal history between 1914<br />
and 1933, was nevertheless still intact when the National Socialists came<br />
to power. Berlin was surely its most important center, and here Jewish<br />
bankers and bankers of Jewish origin played a distinguished and respected<br />
role as business leaders and men of affairs.<br />
One such banker was Hans Arnhold (1888-1966), the fourth of the five<br />
children born to Georg (1859-1926) and Anna (1860-1917) Arnhold. The<br />
banking house Gebr. Arnhold was formed in Dresden in 1864 by Ludwig<br />
Philippson and Max Arnhold. The firm prospered as the leading private<br />
bank in Saxony, opened a branch office in Berlin in<br />
1907 and eventually as Gebr. Arnhold Dresden–<br />
Berlin became one of the largest five private German<br />
banks. While Max Arnhold had no children, the<br />
four sons of his nephew Georg Arnhold – Adolf<br />
(1884-1950),Heinrich(1885-1935),Kurt(1887-<br />
1951) and Hans (1888-1966) – joined the firm as<br />
The Postwar Correspondence of Hans Arnhold and Kurt Schmitt<br />
By Gerald D. Feldman<br />
Gerald D. Feldman, who was a Berlin<br />
Fellow in 1998, directs the Institute of European<br />
Studies at University of California, Berkeley.<br />
He is preparing a major study, History<br />
of the Allianz Insurance Company.<br />
17<br />
partners. Hans, the youngest brother, took over the increasingly important<br />
Berlin office, after receiving his training as a banker, both in Hamburg and<br />
the US. It was in the 1920s that Hans Arnhold built the Wannsee villa which<br />
now houses the American Academy in Berlin.<br />
Thanks to its solid and skillful management, Gebr. Arnhold weathered<br />
the great inflation of the postwar years and kept its doors open in the banking<br />
crisis of 1931. Indeed, Gebr. Arnhold expanded by entering into an<br />
community of interest (Interessengemeinschaft) with the banking house<br />
of S. Bleichröder, rescuing it in the process. Not surprisingly, Hans Arnhold<br />
was a trusted figure, active in the big business and high politics of<br />
Germany’s capital city. He was involved in important transactions, for<br />
example, for the Allianz Insurance Co. and collaborated with its General<br />
Director, Kurt Schmitt. He also had the confidence<br />
of Chancellor Heinrich Brüning, who asked him<br />
in 1931, in the midst of the great economic and<br />
political crisis, to approach Kurt Schmitt about<br />
Hans Arnhold with wife Ludmilla and daughters Ellen<br />
Maria and Anna-Maria in the 1920s at the entrance to<br />
his Wannsee villa, today The Hans Arnhold Center.
taking over the position of Finance Minister.<br />
Schmitt declined the invitation, but the role assigned<br />
to Hans Arnhold is some measure of his<br />
high status.<br />
All this ceased to matter after 1933. To be sure,<br />
Kurt Schmitt, who served as Reich Economics<br />
Minister from June 1933 until the summer of<br />
1934, believed he had secured Hitler’s agreement<br />
to the principle »there is no Jewish question in<br />
the economy,« but found that the Party was not<br />
willing to respect such principles. Reichsbank<br />
President Hjalmar Schacht replaced Schmitt<br />
after the latter became ill,serving until 1937. He<br />
too opposed anti-Jewish measures in the economy<br />
on the grounds that they would hurt the recovery<br />
at home and Germany’s economic relations<br />
abroad.<br />
Forced Departures<br />
and Fellow Travellers<br />
Nevertheless, the forces working to expel the<br />
Jews from the economy were hard at work from<br />
the beginning. In January 1934 the Saxon Nazi<br />
Leader, Gauleiter Mutschmann, who felt a particular<br />
hatred toward the Arnholds because he<br />
had been denied credit in earlier years in view of<br />
his questionable reputation, used trumped-up<br />
charges to indict Adolf and Dr. Heinrich Arnhold<br />
of fraud and bribery. It was made clear to the<br />
Arnholds that if they did not abandon their<br />
Saxon business, Mutschmann would spare no<br />
effort to force them to leave. Heinrich Arnhold<br />
died as a consequence of this persecution. Both<br />
the lower and higher courts exonerated the brothers<br />
in every respect. By the end of 1935, Gebr.<br />
Arnhold was driven from Saxony by the regional<br />
Nazi leadership, and the Dresden based<br />
business was sold to the Dresdner Bank.<br />
Unhappily, however, the family still thought<br />
it had a future in Germany and chose to concentrate<br />
its efforts in Berlin. By 1937, Kurt Arnhold<br />
was the only brother still active in running the<br />
remaining firm in Berlin. By 1938, it became<br />
apparent that to maintain a normal business<br />
was impossible. He was forced to sell the assets<br />
of the Banks to the Dresdner Bank and finally<br />
fled as the last member of the family at the end<br />
of November of 1938 across the border to Holland.<br />
Hans Arnhold had already left Germany<br />
for France in 1933 and escaped to the United<br />
States after the outbreak of the war, where he<br />
continued the tradition of the family by building<br />
up the Investment Banking firm Arnhold<br />
and S. Bleichroeder, Inc. His house on the Wannsee<br />
was taken over by Schacht’s spineless successor,<br />
Walther Funk.<br />
AMERICAN ACADEMY<br />
Kurt Schmitt’s fate was a very different one<br />
from that of Hans Arnhold. His brief career in<br />
government was not a happy one. While not free<br />
of anti-Semitic sentiments when it came to Jewish<br />
journalists and lawyers, he found the anti-Semitic<br />
measures of the government distasteful and<br />
increasingly dangerous and felt a strong bond<br />
with some of his Jewish colleagues, especially<br />
the banker Otto Jeidels of the Berliner Handelsgesellschaft,<br />
who fled to America and later became<br />
a Vice-President of the Bank of America.<br />
Also, he seems to have worried that the regime<br />
was driving Germany toward war, a policy he<br />
viewed as mistaken, despite his nationalist sentiments,<br />
his honorary appointment as an SS Brigadeführer<br />
and an odd enthusiasm for wearing<br />
the uniform on certain official occasions.<br />
Whatever the case, the American Ambassador<br />
WilliamE.DoddreportedfavorablyonSchmitt’s<br />
views in his published diaries. Moreover, Schmitt<br />
seems to have been happy to have the excuse of<br />
his bad health to leave public office and return<br />
to the world of business in 1935. He became the<br />
General Director of the Munich Reinsurance Co.<br />
(Münchener Rückversicherungsgesellschaft),<br />
which was closely connected with Allianz and<br />
which he managed with great energy until the<br />
end of the war.<br />
A complicated personality, Schmitt continued<br />
to have contact with Hitler and other powerful<br />
figures in the regime, but also tried to gain the<br />
release of Pastor Martin Niemöller and took care<br />
of his son. While pursuing the business interests<br />
and expansion of his company throughout the<br />
war he also became increasingly disaffected with<br />
the regime, feelings undoubtedly promoted by<br />
the loss of his two sons. His very mixed record<br />
made him a particularly difficult denazification<br />
case. He was brought before a variety of tribunals<br />
between 1945 and 1948, and he finally ended up<br />
among the »lesser-implicated«. His desire to<br />
collect testimonials was undoubtedly an important<br />
motive in his decision to write to Hans Arnhold<br />
on January 22, 1948 in a letter demonstrating<br />
a peculiar mixture of obligatory sensitivity<br />
to the delicacy of the situation along with<br />
irrepressible self-pity:<br />
Gut Tiefenbrunn, January 22, 1948<br />
Dear Herr Arnhold!<br />
By pure chance I happened to mention you<br />
recently in a conversation about old times with<br />
Privy Councilor Gassner of Brown Boveri and learned<br />
of your fate. I only wish today with these lines to<br />
say that I happily remember our common work for<br />
Allianz. I will not bore you today with news about<br />
18<br />
Kurt Schmitt<br />
my circumstances. Before I do that, I first want to<br />
know whether you remember me. For, after everything<br />
that has happened in these frightful years, it<br />
would not be surprising, if you have drawn a line<br />
under these years that lie in the past. When my<br />
friend Otto Jeidels left Germany – I believe in 1937 –<br />
I tried to console him with the words, »we will all<br />
envy you yet.« I would be very happy to hear from<br />
you, and am with best regards, Yours<br />
Dr. Kurt Schmitt<br />
Arnhold’s moving reply, obviously typed by<br />
himself on a machine without umlauts – in itself<br />
a commentary on the relationship between the<br />
physical and spiritual burdens of even a fortunate<br />
refugee – is a monument to the German-<br />
Jewish bourgeois culture torn asunder by National<br />
Socialism.<br />
New York, March 25, 1948<br />
Dear Herr Dr. Schmitt,<br />
I have just received your friendly letter. I must<br />
confess that I was very happy to receive your greetings<br />
because they come from a person whom I have always<br />
highly valued for his honesty and his strong<br />
creative power and his collegiality. I also confess<br />
that your letter made me somewhat melancholy<br />
because it demonstrated to me that one still has a<br />
false picture over there concerning the situation<br />
here and especially concerning the fate of the many<br />
refugees.<br />
You are right that I often would like to draw a line<br />
under the past, but when one has lived in Germany<br />
for fifty years and has had good friends and was<br />
attached to the beauty of Germany, then it is just not<br />
so simple to draw this line. I was in Europe in 1946-<br />
1947, but I did not step upon German soil because I<br />
did not want to see the destroyed country and all the
THE BERLIN JOURNAL<br />
misery. I also do not correspond much, and if I reply<br />
extensively to your friendly letter, then it is one of the<br />
few exceptions.<br />
I say that I am made somewhat melancholy by<br />
the remembrance of you. Today we know how much<br />
better it perhaps would have been if you had responded<br />
with a »yes« instead of with the words »it is too<br />
early,« when I was commissioned in 1931 to contact<br />
you as to whether you would accept the position of<br />
Reich Finance Minister. Perhaps Germany would<br />
have been spared the fearful years about which you<br />
spoke if you had placed yourself at the disposal of the<br />
government then instead of only doing so under the<br />
Nazi regime in 1934. I know that you did so in the<br />
best faith and most complete love of the Fatherland,<br />
but it must be said that you made a mistake. Do not<br />
take it ill if I write this and add to it that there is no<br />
one who has not make mistakes, including myself,<br />
and perhaps I would have also made some if I had<br />
not been one of the persecuted.<br />
I [would like to] say that I was also astonished.<br />
You quote your words to Dr. Otto Jeidels »we will all<br />
envy you some day«, and you believe that this day is<br />
now at hand. If you mean by that the peace that Dr.<br />
Jeidels has found in his quiet grave on the Buergenstock<br />
far »from all partisan hate and favor,« then<br />
you are right. But if you mean the fate of those driven<br />
from Germany, then you have a completely false picture.<br />
You only hear of the very few who have managed<br />
to gain a foothold here or in other parts of the world<br />
and believe that you can generalize their fate. Believe<br />
me, most of them, strewn over the entire world, fight<br />
hard from dawn to dusk for their existence, and one<br />
hears daily about new misery on the part of many of<br />
those who once happily lived in Germany. I know<br />
that things are very, very bad for countless numbers<br />
in Germany, and I try myself to help old friends there;<br />
but I believe, that things still are much worse for the<br />
largest portion of the refugees. Not even to mention<br />
the unending misery that has overtaken many<br />
through the cruel death that was the fate of many<br />
relations left behind in Europe. The one thing that<br />
the refugees have to be sure of is their freedom of<br />
thought, and that is worth a great deal.<br />
Forgive me please, dear Herr Dr. Schmitt, if in my<br />
reply to your friendly letter I have become detailed<br />
and somewhat serious. Please do not consider it an<br />
unfriendliness but rather as a discussion which I –<br />
as I said – must have sometime with a person from<br />
whom I can expect understanding, after I have<br />
otherwise corresponded with practically no one.<br />
Write to me, if you so interpret my letter as I meant<br />
it, and write to me please a bit about yourself, for it<br />
interests me. I do not forget your friendly attitude<br />
toward me in the years of your official activity.<br />
With friendly greetings,<br />
Yours, Hans Arnhold<br />
Schmitt replied almost immediately, recounting<br />
his own travails since 1934, his connections<br />
with Resistance figures, and his difficult denazification<br />
and forced inactivity. He also sought to<br />
justify and explain his refusal of the Finance and<br />
Economics ministries before 1933 as well as his<br />
acceptance of the Economics Ministry post<br />
under Hitler.<br />
Gut Tiefenbrunn, April 1, 1948<br />
Dear Herr Arnhold,<br />
Your letter of March 25 has given me unspeakable<br />
happiness. I hasten to answer it immediately.<br />
Insofar as the picture I have of the situation in<br />
America and above all the fate of the many refugees<br />
is concerned, you should be convinced that I have, if<br />
not an absolutely correct, then still an approximate<br />
picture.Iknowhowmuchisconnectedwiththehomeland<br />
that, to a great extent, became dear to them<br />
and old friends, and that one cannot simply forget<br />
one’s youth and the years of one’s creativity.<br />
It was precisely here that one finds the insanity of<br />
Hitler’s policy, that it refused to recognize so many<br />
good Germans and, in its madness, did such bitter<br />
injustice to them. But there is one thing you all have,<br />
as you yourself say, the freedom of thought and, I may<br />
add, of personality, while we have lived now for 15<br />
years in a kind of prison. From the time of my withdrawal<br />
from office in 1934, I did not know what one<br />
intended to do with me. I took in the son of Pastor<br />
Niemöller; I had to openly take a stand against the<br />
policy in many matters; there was Dodd’s book, in<br />
which I was severely compromised with the National<br />
Socialists (I enclose an excerpt); I lost many<br />
friends, for whom I had found places in the Munich<br />
Reinsurance Co., on July 20, 1944. And thereafter?<br />
I was repeatedly arrested. As a former minister, I<br />
was [classified as] a major culprit. My assets are<br />
blocked. Even today I may not work, not even on my<br />
The Hans Arnhold Villa at Lake Wannsee in 1928<br />
19<br />
estate, although my services are necessary in every<br />
nook and cranny. I would help with full fervor in the<br />
creation of a United States of Europe, in whose<br />
establishment I see the only possible basis for an<br />
economic recovery and for a final true banning of<br />
war inside Europe, in any case in western Europe.<br />
But my case is still not terminated. The denazification<br />
has been carried through in the lower court. All the<br />
witnesses have confirmed the best about me. No<br />
stone was thrown at me. But I was Reich Economics<br />
Minister in 1933-34. At that time, without my<br />
having any hand in the matter, I stupidly received<br />
the honorary rank of an SS-Brigadeführer. I was<br />
therefore formally declared to be »less incriminated.«<br />
That has still not been legally confirmed<br />
today, and my fate therefore still hangs in the<br />
darkness described above.<br />
You remind me of an episode that I had completely<br />
forgotten, namely that I should have become Reich<br />
Finance Minister in 1931. At one time Brüning himself<br />
proposed me for the Reich Economics Ministry.<br />
If I turned it down at that time, then it was not because<br />
of my political position, but rather out of lack<br />
of desire to leave my beautiful Allianz to go into politics,<br />
but in general also because of the justified feeling<br />
at that time, that the activity would have stood on<br />
weak and short-term legs given the constitution of<br />
the parties and their short-sighted egotistical fight<br />
among themselves. When Göring offered me the<br />
Reich Economics Ministry in the summer of 1933,<br />
Isaidtomyself – ingeneral,afterconsultating,among<br />
others, Jeidels, who has expressly confirmed this to<br />
me – that what was involved was saving the German<br />
economy from madness and international<br />
complications. It seemed to me worth the sacrifice.<br />
When I saw after ten months – to which many<br />
friends have also testified under oath – that I could<br />
not accomplish this and that my decree, which I<br />
even managed to get from Hitler himself, that »there
is no Jewish question in the economy,« would not<br />
be respected by his own party and its Gauleiters,<br />
then I left again. Those are the facts.<br />
Dear Herr Arnhold, I certainly do not take ill your<br />
precious lines, even if you criticize me. On the contrary,<br />
I am pleased. It is human to err. What I wanted<br />
and the views I represented cannot be condemned by<br />
any American.<br />
Believe me that despite this I do not contest my fate.<br />
I know of and suffer for the fate of so many other persons,<br />
and I know that even my friend Jeidels had to<br />
bear much bitterness despite all his successes.<br />
I hope to get another letter from you soon. Even if<br />
our connection at that time was a purely business<br />
one and under the circumstances was not of the kind<br />
I had, for example, with Jeidels, still your letter has<br />
caused me to write to you today in a more personal<br />
and detailed way. I hope to learn more about your<br />
personal situation in your next letter and am<br />
for today, with my heartiest greetings,<br />
Yours Dr. Kurt Schmitt<br />
Schmitt’s view of the politics of Weimar was,<br />
of course, not untypical of German businessmen.<br />
Hans Arnhold was a conservative businessman<br />
too, and Schmitt had good reason to expect that<br />
Arnhold would sympathize with his remarks.<br />
What divided the two men was not politics or<br />
Weltanschauung but history, as the next two letters<br />
of this exchange demonstrate. Whereas<br />
Arnhold was preoccupied, as his reply to Schmitt<br />
shows, with trying to deal with the discontinuities<br />
in his life and coming to terms with the<br />
threatening and alien world that was entering<br />
the Cold War, Schmitt found himself trying to<br />
dig his name and honor out of the moral ruin<br />
left by the »Third Reich«.<br />
New York, May 4, 1948<br />
Dear Herr Dr. Schmitt,<br />
Your letter of April 1 just arrived along with the<br />
enclosures, which are naturally of great interest to me.<br />
I have read Ambassador Dodd’s Diary. The book<br />
does not tell me anything new about the various personalities,<br />
and I always knew about your position<br />
during the regime, especially about the honorable<br />
motives which led to the false step in 1934. But as I<br />
have already written to you: Who does not at times<br />
make a mistake? What is only important is that one<br />
recognizes it and has the courage to admit to it, and<br />
that you also have shown – in contrast to Dr. Schacht<br />
who, in my view, despite his cleverness, his courage<br />
and his fight against Hitler, has no right to be cynical<br />
and arrogant.<br />
I am naturally very sorry that you personally now<br />
have such disagreeable circumstances, and if I can<br />
help to make them easier, then please turn to me.<br />
AMERICAN ACADEMY<br />
I can understand that you find it oppressive to be<br />
inactive, but I believe, that – if there is no war – the<br />
worst times are past and the reconstruction of western<br />
Europe will go more quickly than one assumes.<br />
You want to hear something about me: Well,<br />
there is not much to tell. I have tried to build up a<br />
small banking business here under the names Arnhold<br />
and S. Bleichroeder, Inc., but I have not really<br />
succeeded because, first of all, I have lost something<br />
of my strength, and second, I am not young enough<br />
for this land, and third, because there is a great deal<br />
of bureaucracy here also, and I am totally unsuitable<br />
for it. I have along with this a small ceramics factory,<br />
and even though I am no industrialist, the building<br />
up of this factory has still given me much pleasure.<br />
All in all, I have grown up too much in a free, individualist<br />
capitalism to be able to go along with the<br />
present methods, where in the final analysis everything<br />
will be directed from the state in all the countries.<br />
Just as the achievements of the French Revolution<br />
have been spread about the entire world, so in<br />
the final analysis also those of the Russian Revolution<br />
will spread over the world. With that, I think, we<br />
will experience a kind of state socialism everywhere,<br />
and I only hope that it will not be bound up, as in<br />
Russia, with terror and deprivation of freedom.<br />
I travel tomorrow to Europe, but I do not believe<br />
that I can decide to travel to Germany, although<br />
many people write that I still should come.<br />
With many friendly greetings, Yours,<br />
Hans Arnhold<br />
*<br />
Gut Tiefenbrunn, July 22, 1948<br />
Dear Herr Arnhold,<br />
I have not acknowledged your letter of May 4th;<br />
many sincere thanks! You were so friendly as to offer<br />
to help me in my affair, should this be possible. It is<br />
still not finally settled. I hope to achieve complete<br />
vindication. Among other things, the question of my<br />
motives in taking over the ministry plays a role, even<br />
if a great number of witnesses, among them the deceased<br />
Vice-President of the Bank of America, Jeidels,<br />
have unambiguously expressed their opinions. Still,<br />
a sworn statement from you would be very desirable.<br />
You write in your letter that you are aware that I, to<br />
put it simply, wanted to protect the German economy.<br />
I was also not a member of the Party at that time,<br />
and I only became one in the false belief that I could<br />
strengthen my influence. The year in which I held<br />
office was a ceaseless struggle. Already after half a<br />
year, I recognized the futility of the situation and<br />
this recognition led to my collapse on June 28, 1934.<br />
I have been told from many sides, especially from<br />
Jewish businessmen and merchants, that they have<br />
viewed my appointment in this way and in no other<br />
and that many hopes were buried with my departure.<br />
That was even to be read in foreign newspapers.<br />
I would be most obligated if you would confirm this<br />
in the form of a sworn statement as soon as possible.<br />
Were you in Europe or even in Germany?<br />
Best Greetings, Yours Kurt Schmitt<br />
The correspondence between Hans Arnhold<br />
and Kurt Schmitt available to me concludes with<br />
this last letter. Whether the requested testimonial<br />
on Schmitt’s behalf was sent and whether the<br />
two men ever corresponded again or met, prior<br />
to Schmitt’s death in 1950, remains to be<br />
researched.<br />
I wish to express my sincere gratitude to the<br />
granddaughter of Kurt Schmitt – Frau Vera Krainer –<br />
for placing this correspondence at my disposal.<br />
The material is located in the Firmenhistorisches<br />
Archiv, Allianz AG, Munich. G.F.<br />
Alberto Vilar<br />
Continued from Page 5<br />
Today, Amerindo manages around nine billion<br />
dollars in the fastest-growing sectors of the U.S.<br />
economy.<br />
In the world beyond business, Alberto Vilar<br />
is acclaimed for his generous support of education,<br />
healthcare, and the classical performing<br />
arts, both in the U.S. and Europe. He has supported<br />
the Metropolitan Opera, Carnegie Hall,<br />
the Mariinsky Opera & Ballet Company, the Royal<br />
Opera House, Covent Garden, Glyndebourne<br />
Opera House, La Scala, Bayreuth, Baden-Baden,<br />
the Salzburg Music Festival, and the Vienna<br />
State Opera, among others.<br />
Indeed, his major donations to musical institutions<br />
have made him into the most generous philanthropist<br />
in our time supporting the classical<br />
performing arts, especially opera. A frequent visitor<br />
to Berlin in the 1970s, today Alberto Vilar<br />
sees rich potential in the reunified city’s three<br />
opera houses, its several world-class orchestras,<br />
and such superb conductors as Daniel Barenboim,<br />
Kent Nagano, Christian Thielemann, and<br />
Sir Simon Rattle.<br />
His donation to the American Academy reinforces<br />
the substance of last spring’s lecture, in<br />
which he urged a strengthening of private initiatives<br />
and philanthropic funding of the arts. His<br />
message that private funding must grow significantly<br />
in Europe or the quality and quantity of<br />
the arts will decline has resonated throughout<br />
Germany. Invited by the German federal government,<br />
Alberto Vilar will be lecturing this fall on<br />
how successful joint undertakings by public and<br />
private patronage can save the heritage.<br />
20
THE BERLIN JOURNAL<br />
On the Waterfront<br />
H<br />
»Heimat« in Exile<br />
Bernhard Schlink lectures on Utopia<br />
eimat is a term without<br />
a counterpart in English. This<br />
makes one suspect that the evervacillating<br />
sentiments corresponding<br />
to it are a genuinely German<br />
concern. Nowhere does the need<br />
for Heimat seem stronger; nowhere<br />
is it more discredited and tainted<br />
with shame than here. Following<br />
1945 Germans preferred to view<br />
themselves as citizens of the world,<br />
who declared civil society – which<br />
appeared free of suspicion – to be<br />
their homeland. Or, as Hanseats,<br />
Bavarians, and Saarlanders, they<br />
slipped away from the pitfalls of<br />
national identity by retreating into<br />
a regional one. Thus Heimat became<br />
a word primarily used by associations<br />
representing displaced Germans<br />
and was strongly suspected of being<br />
revisionist well into the 1980s.<br />
This troubling word served as<br />
the starting point for writer and law<br />
professor Bernhard Schlink’s lecture<br />
at the American Academy.<br />
Sometimes it seemed as if the special<br />
problems associated with the<br />
German Sonderweg had also to be<br />
explained to an American audience.<br />
The Academy, which arose from an<br />
initiative by Richard Holbrooke following<br />
the Allies’ departure from<br />
Berlin, is a place where the worlds<br />
of scholarship, literature, and the<br />
arts come together. Who could be<br />
more qualified for this »intellectual<br />
By Jörg Magenau<br />
airlift« than Bernhard Schlink?<br />
With his novel The Reader, the story<br />
of a young man who falls in love<br />
with a former concentration camp<br />
guard, he became the first German<br />
author to head the American bestseller<br />
list. On this evening, he revealed<br />
that the concept of Heimat<br />
will play a crucial role in his next<br />
novel.<br />
Situated in a villa on Lake Wannsee<br />
formerly belonging to the banker<br />
Hans Arnhold, and just one year<br />
after its founding, the Academy<br />
could be described as »venerable.«<br />
Listeners gather in an illustrious,<br />
salon-like,semi-privateatmosphere.<br />
C<br />
Morals vs. the Arts<br />
In America, Guardians of Public Decency Threaten Public Support<br />
an it be true?Robert Mapplethorpe’s<br />
homoerotic photographs<br />
are already considered<br />
too obscene to be exhibited in the<br />
US with the aid of public money.<br />
When the expert Robert Brustein<br />
came to the American Academy to<br />
talk about the culture battle raging<br />
the States, it sounded like a nineteenth-century<br />
drama. Brustein,<br />
artistic director of the American<br />
Repertory Theatre in Cambridge,<br />
By Claudia Keller<br />
Theguestlistcontainsrepresentatives<br />
from the business world, politics,<br />
the media and culture; a cosmopolitan<br />
Berlin not yet in existence.<br />
Although the guests are primarily<br />
Germans, English is the official language.<br />
Schlink, too, gave his lecture<br />
in English. The unfamiliarity of<br />
the situation can also be seen as an<br />
ironic subcommentary on the topic<br />
of discussion: Heimat seen as homesickness,<br />
phantom aches, and the<br />
result of a loss can first be made tangible<br />
in unfamiliar surroundings<br />
and in a foreign language. And thus<br />
»exile« was the answer to the first<br />
question as to what the place of<br />
Heimat might be.<br />
Excerpt from the Berlin edition of the<br />
Frankfurter Allgemeine Zeitung of<br />
December18, 1999. Bernhard Schlink’s<br />
Academy lecture was recently published by<br />
Suhrkamp as Heimat als Utopie.<br />
Massachusetts, explained that the<br />
fight is over allocation of public support<br />
by the National Endowment of<br />
the Arts (NEA).<br />
Christian factions have pressured<br />
Congress to cut the NEA’s budget<br />
downto$ 100 million, from $170<br />
million. Their reasoning: a great<br />
amount of the art it supports doesn’t<br />
pass the »propriety-test« enacted<br />
by law. And this in a country where<br />
there are no limits in revealing the<br />
intimacies of its President’s private<br />
life! The NEA is no mere institution<br />
of public art support in the US. It is<br />
its very center.<br />
The current debate turns on the<br />
question of whether a democratic<br />
government is responsible for creating<br />
a sphere where the arts can<br />
flourish independent of political<br />
and economic reasoning. Brustein<br />
has a solution. He suggests that arts<br />
funding be taken completely out of<br />
the hands of the government and<br />
secured instead by a new concept of<br />
Robert Brustein<br />
royalties. Royalties should be extended<br />
from 75 to 150 years after the<br />
original publication of a work of<br />
art. The gains made during the later<br />
period should then be devoted to<br />
supporting the arts. It is only to be<br />
hoped that by then, fewer »guardians<br />
of public morality« will feel<br />
they have to protect the people<br />
from the good, the true, and the<br />
beautiful.<br />
Der Tagesspiegel, June 17, 2000<br />
BURKHARD PETER<br />
21
AMERICAN ACADEMY<br />
Big City Fascination<br />
New York’s Sarah Morris Exhibits at Hamburger Bahnhof<br />
DC<br />
is so unsexy and unglamorous,«<br />
declared Sarah<br />
Morris at the press conference<br />
announcing her show at the Hamburger<br />
Bahnhof. The public greeted<br />
the comment with nods of approval,<br />
but we might hesitate before<br />
taking her words at face value. Her<br />
series of sixteen paintings is simply<br />
called »Capital.«<br />
These,andtheaccompanyingnineteen-minute<br />
film, with its fast cuts<br />
and hard underlying rhythms (to a<br />
soundtrack by LiamGillick),guide<br />
the visitor around importantsitesin<br />
the American capital: the White<br />
House; the green spaces in front of<br />
The Capitol; the WashingtonPost<br />
Building;theWatergate complex;<br />
By Nicola Kuhn<br />
the Dupont Circle subway station.<br />
These are interspersed with images<br />
of politicians, joggers, subwayusers.<br />
There’s even Clinton landing<br />
by helicopter.<br />
Well,thesubjectsaren’tespecially<br />
sexyorglamorous,butSarahMorris<br />
surfs so elegantly over the smooth<br />
surfacesofpowerthattheysuddenly<br />
seem stylish and desirable, like a lavishly<br />
marketed object of consumption.<br />
The 33-year-old American is a<br />
master of packaging.<br />
Her abstract paintings reveal<br />
nothing but the cool facades of buildings,<br />
laconically referred to in their<br />
titles: »L’Enfant Plaza,« »Dulles,«<br />
»Federal Triangle.« Sarah Morris<br />
remains persistently concerned,<br />
HANS PUTTNIES<br />
not with what lies behind, but with<br />
what delicately lies before. And in<br />
making this intelligent decision,<br />
she fascinates even the most critical<br />
observers. Her paintings hold out<br />
the promise of enlightened pleasure,<br />
skillfully mingling sensual experience<br />
with a highly rational approach.<br />
The New Yorker mastered an academic<br />
vocabulary of semiotics and<br />
structuralism before focusing on<br />
artistic praxis. The theoretical underpinnings<br />
are evident in her painting,<br />
which unfolds from a sober<br />
calculation of axes. The individual<br />
color-fields are separated by thick<br />
bars, marked off by cellophanetape<br />
before they are coated with<br />
highly glossy varnish. There’s no<br />
trace of artistic flourish here.<br />
Morris holds the Academy’s first<br />
Philip Morris Arts Fellowship for<br />
Emerging Artists and worked in a<br />
S<br />
Brother Aaron<br />
Conductor Michael Tilson Thomas on Copland<br />
omeone like American<br />
conductor Michael Tilson<br />
Thomas would have been perfect<br />
for the Berliner Festspiele, which<br />
has a culture of portraying individual<br />
composers. He is enthusiastic<br />
about his subject and knows how to<br />
inspire people. But Tilson Thomas<br />
is not among the guests, nor is<br />
»his« composer Aaron Copland.<br />
Hence, it is to the credit of the<br />
American Academy that Tilson<br />
Thomas was lured to Berlin at least<br />
for a lecture. As part of the »America’s<br />
Voices« series, he spoke in the<br />
overcrowded Academy quarters on<br />
Lake Wannsee about Copland –<br />
and, in doing so, revealed himself<br />
to be a brilliant entertainer.<br />
One always has to smile, said Tilson<br />
Thomas, when the »national<br />
composer« Copland is played at<br />
events like the Republican convention.<br />
The gentlemen of the right<br />
wing apparently don’t know whose<br />
music they are using as a »patriotic<br />
sound-bed.« As a »gay Jewish left<br />
By Frederik Hansen<br />
guest-studio in the Künstlerhaus<br />
Bethanien. Those who hoped that<br />
her stay in Berlin would influence<br />
her work are bound to be disappointed.<br />
The American remains<br />
true to her cultural background.<br />
We can only add that this is fortunate,<br />
since her work is markedly<br />
strong in this realm.<br />
In a conversation with her cameraman<br />
David Daniel she candidly<br />
explains: »I guess I like to be malleable<br />
in that way. I like things that<br />
function across fields, for different<br />
purposes simultaneously. I don’t<br />
have any problems with being<br />
produced.« Such a sentence can<br />
probably only be understood in an<br />
American Pragmatist context. But<br />
the art emerging from that selfdefinition<br />
has proved seductive<br />
everywhere.<br />
Der Tagesspiegel, June 2, <strong>2001</strong><br />
extremist,« Copland wouldn’t<br />
exactly have matched their target<br />
group. He succeeded in grasping<br />
America in his music, said Tilson<br />
Thomas in his lecture.<br />
Only he did it in his own way.<br />
The result: modern, contemporary<br />
music in which Yiddish songs are<br />
represented, along with jazz. His<br />
music catches the sound of New<br />
York street life. Tilson Thomas<br />
describes the composer as rooted<br />
in the Jewish-American tradition,<br />
caught in the tension between<br />
modernism and lost tradition.<br />
His insistence on these roots illustrate<br />
– like his brilliantly sharp interpretation<br />
of Copland’s Piano<br />
Variations of 1930 – more than just<br />
a close relationship to him as a<br />
pupil. This conductor feels a congeniality<br />
of spirit with the »revolutionary<br />
and outcast.« Alas, during<br />
this visit, his words won’t be translated<br />
into sounding deeds in a Berlin<br />
concert hall.<br />
Der Tagesspiegel, September 10, 2000<br />
22
Jenny Holzer<br />
Continued from page 16<br />
My response is completely formal,<br />
which is to say that one work is horizontal<br />
and the other is vertical.<br />
That’s a shorter and better answer.<br />
Also, one uses a deeply personal text,<br />
while the other is public and political.<br />
One is in a place where you expect to<br />
find art, and the other is in a place<br />
where you don’t. In the United States,<br />
we would never expect to find contemporary<br />
art in the Capitol. Yet both<br />
installations contain amber light.<br />
I know you often use other colors.<br />
Amber came from a process of elimination.<br />
Red is too cruel for the<br />
museum or the Reichstag. Green or<br />
blue would have turned both into<br />
fish bowls. White is too ethereal,<br />
too pure, but the yellow is warm,<br />
somewhat neutral, and rather<br />
like fire. Amber seemed the best<br />
choice for each place.<br />
You make very large public installations,<br />
but you are not even one percent<br />
a public person. Do you find this difficult<br />
to reconcile?<br />
At the very least it is bizarre, because<br />
I would rather never get out<br />
from under the bed.<br />
Critics sometimes say artists have two<br />
or three identifying markers that shape<br />
and distinguish their work. Do you<br />
think your work has one identifying<br />
marker?<br />
Though I don’t manage to say the<br />
unspeakable well enough, finally<br />
something is shown, revealed. A way<br />
I work is by putting words in public<br />
spaces. I have a sense of how to<br />
place text in front of people on the<br />
street or in much-frequented buildings,<br />
and these words may recall<br />
events that have to do with me.<br />
And here is a marker: that women<br />
should not be killed, not be harmed<br />
so often.<br />
You often use high-tech, post-modern,<br />
industrial materials associated more<br />
THE BERLIN JOURNAL<br />
with news and advertising. By combining<br />
them with your intimate, sometimes<br />
erotic, texts, are you being ironic?<br />
No, I don’t much like irony. The<br />
choice of electronics has to do with<br />
utility, in part. News appears on<br />
electronic displays because people<br />
tend to look at moving lights. I put<br />
my content in signs, or project with<br />
Xenon on buildings, because eyes<br />
follow. If I want to address the public,<br />
I have to be where people linger,<br />
and these media hold people. It is<br />
easier to discuss the practical, but<br />
yes, the erotic or at least the sensual<br />
is present, and I hope irony is not.<br />
In your writing, there are many styles:<br />
a plain journalistic style, a high biblical<br />
style, a tender minimalist style and<br />
a violent descriptive style.<br />
There are funny phrases, and then<br />
depending on the application,<br />
I might need text that is matter-offact,<br />
how a reporter might write. At<br />
other times, the writing should be<br />
inflammatory. The »OH« text has<br />
several registers as I try to get to the<br />
heart of the matter. I need different<br />
styles.<br />
Let me just give two examples from the<br />
new text. There is the tender voice that<br />
says something like, »You are easy to<br />
track and fun to hunt.«<br />
And this contrasts sharply with the<br />
terrible harshness of, »Girls are found<br />
awake or with eyes burst down holes<br />
open or made new rabbit frozen or<br />
flailing blood sneaks or ass rains ruined<br />
on an infant with a sucker throat<br />
gagged or mewling still love aside on<br />
the bed waits.«<br />
That was the terror paragraph in<br />
the middle of an otherwise rather<br />
soft text.<br />
What was your greatest fear in coming<br />
back to Berlin to build the Nationalgalerie<br />
installation?<br />
I was afraid I could not do the subject<br />
justice, that I wouldn’t be able<br />
to speak well enough about what it<br />
is for women or for little girls to be<br />
assaulted. That was worse than fear<br />
of architecture.<br />
Kunst bereichert unser Leben.<br />
Von Symphonien zur Malerei. Vom Theater zum Tanz.<br />
Seit über 40 Jahren unterstützt Chase die visuellen und darstellenden Künste.<br />
Begabte und aufstrebende Talente werden ebenso gefördert wie renommierte Stätten<br />
der Kunst. Chase glaubt fest daran, daß Kunst etwas ist, wovon die gesamte<br />
Gesellschaft profitiert.<br />
Chase Manhattan Bank AG, Grüneburgweg 2, 60322 Frankfurt am Main<br />
Telefon: (069) 7158-0 Telefax: (069) 7158-2209<br />
www.chase.com<br />
Copyright © <strong>2001</strong> The Chase Manhattan Corporation. All rights reserved.
Berlin Prize<br />
Fellows<br />
Continued from page 9<br />
AMERICAN ACADEMY<br />
The project he pursued at the American<br />
Academy, What It Means to<br />
be a State: A History of Sovereignty in<br />
20th Century Europe, builds upon<br />
his interest in how contemporary<br />
Europe is transforming itself as well<br />
as the conviction that, both at the<br />
beginning and end of the 20th century,<br />
Germany was one of Europe’s<br />
»exemplary« states.<br />
Stephanie Snider<br />
One measure of Berlin’s present<br />
attractiveness may well be the circa<br />
hundred applications submitted<br />
for the single Philip Morris Emerging<br />
Artist Fellowship. The program’s<br />
appeal is enhanced by the<br />
resources of the Künstlerhaus Bethanien,<br />
an artists’ center with which<br />
the Academy collaborates.<br />
This year’s award went to New<br />
York artist Stephanie Snider, who<br />
received her MFA in sculpture from<br />
Yale in 1998 and has taught at both<br />
her alma mater and Ohio University.<br />
Snider described her work as<br />
»primarily about desire: its conundrums,<br />
its tensions, my own emotional<br />
attachment to it, and especially<br />
the space it literally occupies.«<br />
Her recent installations explore the<br />
architectural ramifications of emotion,<br />
»creating sites that map anxiety,<br />
confusion, obsessive sorts of<br />
love, puzzles, and the psychological<br />
tricks our minds play on us.«<br />
She was quite visible in Berlin during<br />
her fellowship year, collaborating<br />
with the artist group Berlin-<br />
Kopenhagen in a week-long project<br />
entitled »Wet Dreams.« Together<br />
with artists Rodney Graham and<br />
Mathew Hale, she publicly produced<br />
multi-layered monotypes in a<br />
gallery near her Kreuzberg studio.<br />
Some of these prints have entered<br />
the Academy’s nascent art collection.<br />
Two exhibitions of her Berlin<br />
work are scheduled for Fall <strong>2001</strong>.<br />
Alex Katz<br />
Alex Katz’s Berlin residency as<br />
Philip Morris Distinguished Artist<br />
underscored both the intensity of<br />
German interest in his work and his<br />
ability to paint prolifically. Scores<br />
of peers, students, and critics turned<br />
out for his public presentations,<br />
which included a workshop with<br />
local artists at a Dresden gallery, a<br />
discussion with Luc Tuymans at a<br />
Berlin’s Galerie Barbara Thümm,<br />
and his Academy talk, held at Berlin’s<br />
contemporary art museum,<br />
the Hamburger Bahnhof.<br />
Katz painted a series of landscapes<br />
from his window at the Hans Arnhold<br />
Center that captured the light<br />
and aridity of Berlin’s lakeside winter.<br />
After returning to New York,<br />
he presented the Academy with a<br />
large silk-screen portrait of his wife<br />
and muse, Ada Katz. A small exhibition<br />
at the Hans Arnhold Center,<br />
supported by the Philip Morris<br />
A Regular, Renaissance Kind of Guy: Artist Alex Katz<br />
Kunstförderung, showed a range<br />
of portraits and landscapes. Indeed,<br />
it has often been remarked that<br />
Katz is »a poet’s artist,« as testified<br />
by his long, productive filiations<br />
with John Ashbery, Robert Creeley,<br />
Frank O’Hara, and others (his son<br />
Vincent is also a noted poet).<br />
As such, he and Ada were ideal and<br />
active members of Academy’s community<br />
of scholars and artists. They<br />
will surely return to Germany in<br />
2002 for the major Katz retrospective<br />
at the Bonn Bundeskunsthalle.<br />
Christoph Wolff<br />
No American scholar has had<br />
greater impact on contemporary<br />
German musicology than Daimler-<br />
Chrysler Fellow and Harvard professor<br />
Christoph Wolff. Not only<br />
has he recently published major<br />
studies of Mozart and Johann Sebastian<br />
Bach, but in 1999 he rediscovered<br />
in Kiev the vast archives of<br />
the Berlin Sing-Akademie – a trove<br />
of some five thousand manuscripts<br />
said to have vanished in 1943.<br />
The collection had been moved<br />
from Berlin to Silesia for storage,<br />
after which all trace of it vanished.<br />
Wolff came across the collection in<br />
1999 while doing research in Kiev.<br />
The composers in the five-thousandmanuscript<br />
trove form a Who’s who<br />
of late-Baroque and early-Classical<br />
German music.<br />
Some weeks after Wolff made his<br />
discovery known, however, the<br />
Ukrainian conductor Blaschkov announced<br />
that he had been acquainted<br />
with the collection for thirty<br />
years, and had already performed<br />
some of its pieces with the Kiev<br />
Chamber Orchestra.<br />
Wolff’s work shows how a sober<br />
scholar can extract precious knowledge<br />
from old scores. Finding, buried<br />
in the piles, a motet by J.S. Bach’s<br />
uncle, Johann Christoph Bach, transcribed<br />
in J.S. Bach’s own hand,<br />
VIVIEN BITTENCOURT<br />
24
THE BERLIN JOURNAL<br />
Wolff sees this as more than a transcription,<br />
asserting that it is the<br />
music that Johann Sebastian selected<br />
for his own funeral. The motet<br />
itself is known and has been performed,<br />
but none were aware of its significance<br />
as funeral music: Bach<br />
bows before his musical ancestors<br />
for a last time.<br />
Focused on the period between<br />
the 15th and 20th centuries, Wolff<br />
is using the archives as the basis for<br />
his current research on music and<br />
bourgeois culture in late-18th and<br />
early-19th-century Berlin. Professor<br />
Wolff’s term at the Hans Arnhold<br />
Center coincided with his appointment<br />
as Director of the Bach<br />
Archives in Leipzig.<br />
Highlights of his stay in Berlin included<br />
a lecture-recital of previously<br />
unperformed Mozart fragments<br />
Holbrooke<br />
Continued from page 5<br />
theAcademy’sHansArnholdCenter<br />
with New York Times correspondent<br />
Roger Cohen, Ambassador Holbrooke<br />
elucidated a vision of foreign<br />
policy rather different from<br />
that of the current Administration,<br />
while remaining moderate in his<br />
criticism. He is acknowledged in<br />
Germany as »one of the best connoisseurs<br />
of Europe« in America<br />
(Berliner Zeitung). His sobriety and<br />
erudition continue to steer the Academytowardaprogramthatreflects<br />
urgent policy concerns.<br />
Three years ago, it was Holbrooke<br />
who first urged the Academy to begin<br />
its program with fellowships<br />
and a major conference devoted to<br />
citizenship and migration policy.<br />
We will continue, with his guidance,<br />
to plan a vigorous public policy<br />
profile, complementing the Academy’s<br />
strong focus on the arts,<br />
humanities, and social sciences<br />
with special programs addressing<br />
urgent humanitarian, political, and<br />
environmental issues. Now, thanks<br />
to his encouragement of Alberto<br />
Vilar, there will be music as well.<br />
that provide fascinating insights into<br />
the composer’s musical plans and artistic<br />
choices. Together with a performance<br />
by the Manon Quartet, Wolff<br />
discussed the composer’s method of<br />
working by focusing on this unusually<br />
large body of unfinished pieces.<br />
In addition, Wolff gave a talk in<br />
Schloß Bellevue at the invitation of<br />
German President Johannes Rau,<br />
and a press conference with Ukrainian<br />
President Leonid Kuchma to<br />
announce the return of the Sing-<br />
Akademie archives to Berlin.<br />
Musicologists in the audience<br />
looked thoughtfully at the slideprojection<br />
of the score, the elderly<br />
Johann Sebastian’s shaky notes,<br />
and the Ukrainian Conservatory’s<br />
inventory-stamp, and left satisfied<br />
with the somewhat sensational<br />
finding.<br />
reater emphasis on public<br />
G affairs highlights the fourth<br />
year at the Hans Arnhold Center.<br />
The Berlin Prize Fellows for the Fall<br />
<strong>2001</strong> will include Jewish Studies<br />
scholar Daniel Boyarin (University<br />
of California at Berkeley), writer<br />
Aris Fioretos (New York/Berlin),<br />
art historian Evonne Levy (University<br />
of Toronto), literary scholar<br />
Richard C. Maxwell (Valparaiso<br />
University), and poet and translator<br />
Christopher Middleton (Emeritus,<br />
University of Texas at Austin).<br />
Jules Feiffer immortalized the intellectual elan he encountered while<br />
visiting Berlin and the American Academy last fall. He came for the launch<br />
of America’s Voices, a two-month-long American cultural festival conceived<br />
by philanthropists Bill Rollnick and Nancy Ellison. The American Academy<br />
and the US Embassy hosted a dozen American writers, filmmakers, performers,<br />
and cultural notables in conjunction with the festival. The cartoonist<br />
and writer spent a week in residence on the Wannsee.<br />
Sneak Preview<br />
Named Fellowships Enhance<br />
Berlin Prize Program<br />
This semester will also inaugurate<br />
a number of named fellowships.<br />
Two such fellowships will honor<br />
the daughters of Hans and Ludmilla<br />
Arnhold. Anthropologist Vincent<br />
Crapanzano (Graduate Center,City<br />
UniversityofNew York) has been<br />
awarded the first Ellen Maria Gorrissen<br />
Fellowship and literary scholar<br />
Katie Trumpener (University of<br />
Chicago) has been designated the<br />
Anna-Maria Kellen Fellow.<br />
Two endowments will ensure that<br />
journalists and economists are always<br />
in residence at the Academy.<br />
New Yorkers writer Jane Kramer is<br />
the first Holtzbrinck Fellow in Journalism<br />
at the Academy. Recipients<br />
of the J.P. Morgan International<br />
Prize in Finance and Economic Policy<br />
are Richard Freeman (Harvard<br />
University/London School of Economics)<br />
and Kenneth E. Scott<br />
(Stanford University Law School<br />
Emeritus).<br />
The first Alberto Vilar Music<br />
Fellow will be composer Michael<br />
Hersch (New York) and the Philip<br />
Morris Emerging Artist for the academic<br />
year <strong>2001</strong>-2002 is Sue de<br />
Beer (New York). Bosch Public<br />
Policy Fellows during the fall are<br />
Barbara Balaj (World Bank, Washington,<br />
D.C.), Richard Locke (Massachusetts<br />
Institute of Technology),<br />
and Adam Posen (Institute for<br />
International Economics, Washington,<br />
D.C.).<br />
Distinguished Visitors include<br />
sociologist Nathan Glazer (Harvard<br />
University Emeritus), Harold<br />
Levy, (Chancellor, New York City<br />
Board of Education) and author<br />
Susan Sontag (New York). The new<br />
Fellows will be welcomed at a lakeside<br />
reception at the Academy in<br />
the presence of Germany’s President<br />
Johannes Rau.<br />
25
G<br />
reenwood rose and stood stiffly looking beyond<br />
the balcony to the water. A two-man scull was ghosting<br />
alone a hundred yards out. A patch of mallards rose and<br />
skittered away, settling on the far side of the scull. Weather<br />
approached from the northeast, exactly as they had predicted on the<br />
morning news, the American woman with the long legs and leisurely<br />
diction, all the time in the world to connect the Bermuda High<br />
with the Warsaw Low, and look what’s happening here in Atlanta.<br />
It would be dark in thirty minutes, the sun too weak to pierce the<br />
dark vein of cloud. Across the lake the lights came on in the villas<br />
back on the yacht basins, the yellow glow<br />
nervous on the irregular surface of the<br />
water, waffling now in the breeze. The<br />
brightlycolored sails of the yachts disappeared<br />
as the light failed. He imagined<br />
cooks in caps and starched aprons, and a<br />
table laid for a family of five, grace said,<br />
conversation slow to begin.The first few<br />
minutes of the meal, it was so quiet you<br />
could hear the clocks tick. People in this<br />
part of the world did not like to talk while<br />
they ate; never begin a second job until<br />
you have finished the first.<br />
•<br />
The two-man scull changed course<br />
and headed for home. He had met the<br />
scullers, two retired accountants in their<br />
fifties, fit as mountaineers, taciturn as<br />
owls. They always drank a beer in the tavern<br />
on the corner when they finished<br />
with the boat, and Greenwood was often<br />
there at the same time. The accountants<br />
were slick with sweat and exhilarated<br />
from their rowing, drinking their beer<br />
straight sown and then waiting patiently<br />
for the barman to draw them another, a<br />
process that took five minutes. They had<br />
no interest in discussing their sculling or<br />
their families, and were uninterested in<br />
what drew Greenwood to their country.<br />
They were happy to lecture him on the<br />
superior security arrangements of Europe,<br />
plans that allowed a faithful employee to<br />
work until he was fifty-five and then<br />
retire with money enough to live on,<br />
and time to scull whenever he wished<br />
and take vacations in Spain during the<br />
worst of the winter weather, and set aside money for the children as<br />
well. Wasn’t it wise for the old to make way for the young? And<br />
the state provided, as it had every right to do. It seemed pointless to<br />
inquire whether they missed their accounting. When eventually<br />
they asked Greenwood what he did before he retired – he was<br />
older than they were and surely drew a pension of some kind – and<br />
he replied that he was a filmmaker engaged<br />
in accounting of a personal nature,<br />
they lost all interest.<br />
•<br />
AMERICAN ACADEMY<br />
The water darkened as the clouds lowered; and then Greenwood<br />
smiled, watching the little passenger ferry make its slow transit<br />
beyond the mallards. That meant the time was four-forty-four precisely,<br />
only six minutes to go in the twenty-minute run from Kladow<br />
to Wannsee, the passengers already collecting their shopping<br />
bags and briefcases, already looking toward shore, already anticipating<br />
the evening meal. This was usually the time he put away his<br />
work and made for the tavern down the street from the train station,<br />
careful to snitch the Herald-Tribune from the library downstairs for<br />
reading material in case the scullers were not talkative, or talkative<br />
only with each other. He enjoyed<br />
sitting at the far end of the bar with<br />
his beer and the newspaper, a leisurely<br />
sixty-minute read. During the<br />
first weeks of his residence, Greenwood<br />
invited some of the others in<br />
the House to join him but they never<br />
did, fearing distraction from their<br />
work, and perhaps fearing also that<br />
such an occasion might become a<br />
habit or worse, a ritual. Everyone<br />
knew that the winter months at<br />
Wannsee were disorienting, the sun<br />
disappearing for weeks at a time and<br />
the weather raw. A frigid mist arrived,<br />
the sullen breath of the Baltic, and at<br />
those times the weight of the past<br />
was palpable.<br />
•<br />
In the winter it was recommended<br />
that one remain with oneself, living<br />
with circumspection, resisting temptation.<br />
The staff told lurid tales of<br />
previous residents who disappeared<br />
as early as three in the afternoon, returning<br />
to dinner befuddled and hilarious;<br />
and sometimes not returning<br />
until late in the evening accompanied<br />
by new friends, trailing the<br />
usual noise and disorder. More than<br />
once the police became involved<br />
owing to altercations at the tavern, a<br />
terrible embarrassment for the House.<br />
The Rector was embarrassed,<br />
though no charges were ever filed.<br />
Of course there was no publicity<br />
because the House was under the<br />
protection of the government, all courtesies extended to the scholars,<br />
writers, and other intellectual authorities from America. But<br />
there was no mistaking the smirk of the police lieutenant as he laid<br />
the disagreeable facts. Under the influence of drink, the Americans<br />
were worse even than the teenage skinheads who loitered drunkenly<br />
at the train station harassing commuters. At any event, Greenwood<br />
FadeOut<br />
ByWard Just<br />
During his stay on the Wannsee in Spring 1999,<br />
novelist Ward Just began work on The Mexican Church.<br />
This is a fragment from his novel-in-progress.<br />
HANS PUTTNIES<br />
was not tempted that afternoon. He<br />
had more work to do, and he had<br />
laid away plenty of vodka in the tiny<br />
fridge under the sink.
The<br />
American<br />
Academy<br />
in Berlin<br />
The Berlin Prize<br />
Fellowships<br />
2002—2003<br />
The American Academy in Berlin<br />
invites applications for its Berlin Prize<br />
Fellowships for the 2002-2003 academic year.<br />
The Academy is a private, non-profit center for<br />
the advanced study of culture and the arts,<br />
public policy, finance and economics, historical<br />
and literary research. It welcomes younger<br />
as well as established scholars, artists, and professionals<br />
who wish to engage in independent<br />
study in Berlin for an academic semester or, in<br />
special cases, for an entire academic year.<br />
Specially designated fellowships include the<br />
Bosch Fellowship in Public Policy, the Daimler-<br />
Chrysler Fellowship, the Ellen Maria Gorrissen<br />
Fellowship, the Holtzbrinck Fellowship in Journalism,<br />
the Anna-Maria Kellen Fellowship, the<br />
J.P. Morgan International Prize in Economics<br />
and Finance Policy, the Guna S. Mundheim<br />
Fellowship in the Visual Arts, the Philip Morris<br />
Emerging and Distinguished Artist Awards,<br />
and the Alberto Vilar Music Fellowships.<br />
The Academy, which opened its doors in<br />
September 1998, occupies the Hans Arnhold<br />
Center,a historic lakeside villa in the Wannsee<br />
district of Berlin. The Academy also schedules<br />
public lectures, seminars, and performances<br />
that bring Fellows together with Berlin's cultural,<br />
academic, and business communities.<br />
U.S. citizens or permanent residents based<br />
in the United States are eligible to apply.<br />
Fellows are expected to be in residence at the<br />
Academy during the entire term of their<br />
award. The Academy offers furnished apartments<br />
suitable for individuals and couples,<br />
and limited accommodations for families with<br />
children. Benefits include a monthly stipend,<br />
round-trip airfare, housing at the Academy,<br />
and partial board. Stipends range from $3000<br />
to $5000 per month.<br />
Application forms are available from the<br />
Academy or can be downloaded from its web<br />
site (www.americanacademy.de). Applications<br />
must be received in Berlin by November 1, <strong>2001</strong><br />
(Emerging Artist applications are due December<br />
1, <strong>2001</strong>). Candidates need not be German<br />
specialists, but their project description should<br />
explain how a residency in Berlin will contribute<br />
to their professional development.<br />
Applications will be reviewed by an independent<br />
selection committee following a peer<br />
review process. The 2002-2003 Fellows will be<br />
chosen in January 2002 and publicly announced<br />
in early spring.<br />
The American Academy in Berlin<br />
Am Sandwerder 17-19 · D-14109 Berlin, Germany<br />
Telephone (+4930) 804 83-0 · Fax (+4930) 804 83-111<br />
applications@americanacademy.de