READING HEINRICH HEINE

288 Notes to pages 247–257
6 Georg Heym, ‘Ophelia’, Dichtungen und Schriften, ed. Karl Ludwig Schneider,
3 vols. (Munich and Hamburg: Heinrich Ellermann, 1960–64), vol. I,
p. 160.
7 See John Felstiner, Paul Celan. Poet, Survivor, Jew (London and New Haven:
Yale University Press, 1995), p. 36.
8 Ursula Krechel, Nach Mainz! (Munich: dtv, 1983), p. 29
9 Alfred Andersch, ‘Hans Magnus Enzensberger, “Landesprache”’ in Über Hans
Magnus Enzensberger, ed. Joachim Schickel (Frankfurt am Main: Suhrkamp,
1970), pp. 68–7.
10 Wolf Biermann, Verdrehte Welt – das seh’ ich gern (Munich: dtv, 1985), p. 109.
Celan made the same pilgrimage with Nelly Sachs, see Felstiner, Paul Celan,
p. 159.
11 Biermann, Verdrehte Welt,p.108
12 Wolf Biermann, ‘Brief an Robert Havemann’ in Nachlaß I (Cologne: Kiepenheuer
& Witsch, 1977), pp. 7–20: ‘Icouldn’t understand the words, but you
can judge the attitude from the tone of the music. Somehow the raucous,
agitatory character of these songs confused me, made me feel envious and
rejected . . . Envious because I thought “How lucky they are! They are singing
in a key that is really mine too, but which I can’t get into, the key of public
political struggle, the rhythm of people on the street who are moved and move
independently”’ (p. 10).
13 Biermann, Nachlaß I,p.471.See also ‘Deutsches Misere (Das Bloch-Lied)’, in
Biermann, Preußischer Ikarus (Munich: dtv, 1981), pp. 201–8.
14 Uwe Timm’s novel Heißer Sommer (Königstein: Autoren Edition, 1977), is an
unlikely and extreme case of such a search for Italian solidarity after the collapse
of the student movement.
15 Kruse, Reuter and Hollender (eds.), “Ich Narr des Glücks”, pp.96–101.
16 Günter Kunert, Fremd daheim (Munich: Hanser, 1990), p. 75.
17 Peter Rühmkorf, WerLyrik schreibt ist verrückt. Alle Gedichte 1953–75 (Reinbek
bei Hamburg: Rowohlt, 1979), p. 133.
18 Ibid., p. 133.
19 Peter Rühmkorf, TABU I. Tagebücher 1989–1991, (Reinbek bei Hamburg:
Rowohlt, 1995), p. 116. Rühmkorf’s insight is confirmed by Würffel’s account
of the aporetic relation between the political and the private subject in Heine:
see Der produktive Widerspruch,p.209.
20 Rühmkorf, TABU I,p.171.
21 Ibid., p. 174.
22 Rühmkorf, Dreizehn deutsche Dichter,pp.7–34.
23 Peter Rühmkorf, Mein Lesebuch (Frankfurt am Main: Fischer, 1986), pp. 45–51.
24 See Rühmkorf, TABU I,pp.20, 24–8.
25 Peter Rühmkorf, Irdisches Vergnügen in g (Reinbek bei Hamburg: Rowohlt,
1959), reprinted in Gesammelte Gedichte, subsequently WerLyrik schreibt ist
verrückt, p.44.
26 Peter Rühmkorf, Die Jahre die Ihr kennt (Reinbek bei Hamburg: Rowohlt,
1972), p. 7.