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Jugend
German
- GenresFictionGerman Literature
146 pages, Hardcover
First published January 1, 1976
4 people are currently reading
310 people want to read
About the author
Wolfgang Koeppen
68 books42 followersWolfgang Arthur Reinhold Koeppen (June 23, 1906 – March 15, 1996) was a German novelist and one of the best known German authors of the post-war period.
Koeppen was born out of wedlock in Greifswald, Pomerania to Marie Köppen, a seamstress who also worked as a prompter at the Greifswald theater. He did not have contact with his father, ophthalmologist Reinhold Halben, who never formally accepted the fatherhood. In 1920, Koeppen left Greifswald permanently, and after 20 years of moving about, settled in Munich, living there the remainder of his life.
He started out as a journalist. In 1934 his first novel appeared while he was in the Netherlands. In 1947, Koeppen received a book contract to rewrite the memoirs of the philatelist and Holocaust survivor Jakob Littner (born 1883 in Budapest, died 1950 in New York City). The resulting novel caused some controversy based on whether Koeppen was given a written manuscript to guide his work on Littner, and the novel never sold well. In 1992, a new edition was published, which led to the discovery of Littner's original text. In 2000, Littner's original manuscript was published in English and in 2002, in German.
In 1951, Koeppen had published his novel Tauben im Gras (Pigeons on the Grass), which utilized a stream of consciousness literary technique and is considered a significant work of German-language literature by Germany's foremost literary critic Marcel Reich-Ranicki. "Das Treibhaus" (1953) was translated into English as "The Hothouse" (2001) and was named a Notable Book by the "New York Times" and one of the Best Books of the Year by the "Los Angeles Times." Koeppen's last major novel Der Tod in Rom (Death in Rome) was published in 1954. In the ensuing years, Koeppen found it difficult to complete longer works.
Between 1962 and 1987, Koeppen received numerous literary prizes in the Federal Republic of Germany. In 1962 he was awarded the Georg Büchner Prize.
Koeppen was born out of wedlock in Greifswald, Pomerania to Marie Köppen, a seamstress who also worked as a prompter at the Greifswald theater. He did not have contact with his father, ophthalmologist Reinhold Halben, who never formally accepted the fatherhood. In 1920, Koeppen left Greifswald permanently, and after 20 years of moving about, settled in Munich, living there the remainder of his life.
He started out as a journalist. In 1934 his first novel appeared while he was in the Netherlands. In 1947, Koeppen received a book contract to rewrite the memoirs of the philatelist and Holocaust survivor Jakob Littner (born 1883 in Budapest, died 1950 in New York City). The resulting novel caused some controversy based on whether Koeppen was given a written manuscript to guide his work on Littner, and the novel never sold well. In 1992, a new edition was published, which led to the discovery of Littner's original text. In 2000, Littner's original manuscript was published in English and in 2002, in German.
In 1951, Koeppen had published his novel Tauben im Gras (Pigeons on the Grass), which utilized a stream of consciousness literary technique and is considered a significant work of German-language literature by Germany's foremost literary critic Marcel Reich-Ranicki. "Das Treibhaus" (1953) was translated into English as "The Hothouse" (2001) and was named a Notable Book by the "New York Times" and one of the Best Books of the Year by the "Los Angeles Times." Koeppen's last major novel Der Tod in Rom (Death in Rome) was published in 1954. In the ensuing years, Koeppen found it difficult to complete longer works.
Between 1962 and 1987, Koeppen received numerous literary prizes in the Federal Republic of Germany. In 1962 he was awarded the Georg Büchner Prize.
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Displaying 1 - 6 of 6 reviews
June 13, 2016
one of the best books in German post 1945, you want to understand & see the soul of these people, read it and be aware ....
March 8, 2015
„Youth: Autobiographical Writings“ is a dizzying experience. The style is typical for Wolfgang Koeppen: He skilfully uses the Montage-technique, which shares some similarities with the stream-of-consciousness-technique in Modernist writing. Impressions, scraps and emotions are woven into a dense text. Scenes from a Pre-, Inter- and Post-World War I Germany hit the reader with the force of a tank. While the titular story follows a more or less stringent story, many of the scenes are lavishly told associative pieces on war, decay, death and growing up. The translator Michael Hofmann does a splendid job; side-by-side comparisons of the text show that he grasps the intricacies of the text. In his introduction, he portrays Koeppen, who he knew personally, as a hard-working and destitute writer, a “silent, broody author”. The text is autobiographical, but without any knowledge on the writer this might be hard to discern. Hofmann describes the style of the book as such:
A simple description what “Youth” is about does not do it justice. Just as youth is confusing, abstruse, incomprehensible, awkward and complicated, so is the pastiche we are presented with. Sentences heaped on sentences filled with descriptions of the horrors of the Great War, the aching sense of isolation and desperation teenager feel they have the monopoly on, first experiments in love and loss. “Youth” was first published in 1976, a late work of the then 70-year-old. Some of his experiences are universal, some romanticized, some a nihilistic portrayal of growing up during times of war. So to speak, he is a much more suitable proto-member of the Lost Generation, living in and through the Great War and not having the chance of comfortably choosing to be an expatriate. In a way, he is the younger brother to most of more famous writers of the Lost Generation, such as Remarque. Koeppen is eight when the Great War begins, twelve when it ended in 1918. He describes the feeling of being trapped in a war-torn country:
The narrative also focuses on Koeppen’s budding love for literature. After he witnessed the First World War in the small village of Ortelsburg, he returned to school in 1919. Koeppen worked in bookshops and attended lectures at the University of Greifswald later on. There are several stories and articles in newspapers by him. As is normal for many writers, he spends most of his time reading:
A young man, drunk on prose and poetry during and after times of war is an eye-sore to the system. It is reassuring to know that he made it through.
The second story in this thin volume is more closely related to the travel writing Koeppen used to commit to in his later years. Michael Hofmann likens it to a refreshment after the bombardment of the titular story, “something plain and uncomplicated and benign”. It reads exactly like that. Once Upon A Time in Masuria is missing the fierce descriptions, the high-brow literary techniques, yes, even the subject matter. It is a short text of vignettes, revelling in nostalgia.
What I liked best about this book are Koeppen’s monumental sentences, often spanning more than a page. While it is easy to get lost in them, it is a welcome change to be treated to such well-crafted and immersive sentences. Before reading Youth, Koeppen was still a name I knew about, especially from my German AP courses during the Abitur. Tauben im Gras is widely regarded as one of the best post-war works of German literature. I always wanted to read a complete work by him rather than just fragments, now this English translation finally enabled me to do exactly that. What a pleasure!
Youth: Autobiographical Writing will be published Nov 18 2014 by Dalkey Archive Press. I received a free copy in exchange for a review through Netgalley.
“Whether a sentence is a beautifully landscaped torrent going on for several pages or a dumbly insolent “I was Germany’s future” or one of Koeppen’s patented “or maybe…” constructions, sidestepping into freedom, it is all scrupulously managed, supple, cadenced, sumptuously lexical, expressive prose.”
A simple description what “Youth” is about does not do it justice. Just as youth is confusing, abstruse, incomprehensible, awkward and complicated, so is the pastiche we are presented with. Sentences heaped on sentences filled with descriptions of the horrors of the Great War, the aching sense of isolation and desperation teenager feel they have the monopoly on, first experiments in love and loss. “Youth” was first published in 1976, a late work of the then 70-year-old. Some of his experiences are universal, some romanticized, some a nihilistic portrayal of growing up during times of war. So to speak, he is a much more suitable proto-member of the Lost Generation, living in and through the Great War and not having the chance of comfortably choosing to be an expatriate. In a way, he is the younger brother to most of more famous writers of the Lost Generation, such as Remarque. Koeppen is eight when the Great War begins, twelve when it ended in 1918. He describes the feeling of being trapped in a war-torn country:
“(…) I thought I want to run away from this town, away from this country, flee, flee, and I traipsed in with everyone and found my seat.”
The narrative also focuses on Koeppen’s budding love for literature. After he witnessed the First World War in the small village of Ortelsburg, he returned to school in 1919. Koeppen worked in bookshops and attended lectures at the University of Greifswald later on. There are several stories and articles in newspapers by him. As is normal for many writers, he spends most of his time reading:
“Libraries attracted me. I haunted them, greedy and addicted. I was in love with the people who worked in them. I was irresistible, the librarians were helpless. They did my bidding. They opened their shelves to me, they parted from their treasures. I surrounded myself with script. I guzzled type. I forgot myself. I sat in the public square like a drunkard. The alphabet swept me away. I was a caution to the city. I was an irritation.”
A young man, drunk on prose and poetry during and after times of war is an eye-sore to the system. It is reassuring to know that he made it through.
The second story in this thin volume is more closely related to the travel writing Koeppen used to commit to in his later years. Michael Hofmann likens it to a refreshment after the bombardment of the titular story, “something plain and uncomplicated and benign”. It reads exactly like that. Once Upon A Time in Masuria is missing the fierce descriptions, the high-brow literary techniques, yes, even the subject matter. It is a short text of vignettes, revelling in nostalgia.
What I liked best about this book are Koeppen’s monumental sentences, often spanning more than a page. While it is easy to get lost in them, it is a welcome change to be treated to such well-crafted and immersive sentences. Before reading Youth, Koeppen was still a name I knew about, especially from my German AP courses during the Abitur. Tauben im Gras is widely regarded as one of the best post-war works of German literature. I always wanted to read a complete work by him rather than just fragments, now this English translation finally enabled me to do exactly that. What a pleasure!
Youth: Autobiographical Writing will be published Nov 18 2014 by Dalkey Archive Press. I received a free copy in exchange for a review through Netgalley.
July 3, 2022
fein, schmerzlich, fiebrig glänzend, unstet, herausragend
June 2, 2017
KOEPPEN, Wolfgang: „Jugend“, Frankfurt 1976
Eines der besten Bücher des 20. Jahrhunderts von Suhrkamp. Koeppen erzählt die Jugendzeit eines Knaben in der ersten Hälfte des 20. Jahrhunderts. Aus ärmlichen Verhältnis von einer alleinerziehenden Mutter großgezogen kommt er in eine Militärschule. Die Verhältnisse vor und während des Ersten Weltkriegs erzählt aus der Sicht eines Jugendlichen. Ärmliche Zeiten. „…der Tisch … an dem wir saßen, wenn meine Mutter da war und wir etwas zu essen hatten, oder an dem wir nur saßen, wenn wir nichts zu essen hatten.“ (Seite 61) Er berichtet, dass die Mutter den Kasten mit dem Brot versperrte. Er aber öffnete ihn mit einem Behelfsschlüssel „und ich nahm das Brot und biss in das Brot und stopfte das Brot in mich hinein, und es würgte mich, weil meine Mutter weinen würde.“ (Seite 61) Verhältnisse, wie sie die heutige Jugend (Gott sei Dank) nicht mehr kennt und so in Erinnerung behalten wird.
Auch wie er seine Jugend selbst sieht: „Ich war jung, aber ich war mich meiner Jugend nicht bewusst. Ich spielte sie nicht aus. Sie hatte keinen Wert. Es fragte auch niemand danach.“ (Seite 127)
Der Schreibstil ist für einen heutigen Leser gewöhnungsbedürftig. Manche Sätze gehen über einen ganzen Absatz. Heutige Dichter würden diesen Inhalt in mehreren Sätzen ausdrücken. Man muss sich erst „einlesen“ um konzentriert der Handlung folgen zu können.
Eines der besten Bücher des 20. Jahrhunderts von Suhrkamp. Koeppen erzählt die Jugendzeit eines Knaben in der ersten Hälfte des 20. Jahrhunderts. Aus ärmlichen Verhältnis von einer alleinerziehenden Mutter großgezogen kommt er in eine Militärschule. Die Verhältnisse vor und während des Ersten Weltkriegs erzählt aus der Sicht eines Jugendlichen. Ärmliche Zeiten. „…der Tisch … an dem wir saßen, wenn meine Mutter da war und wir etwas zu essen hatten, oder an dem wir nur saßen, wenn wir nichts zu essen hatten.“ (Seite 61) Er berichtet, dass die Mutter den Kasten mit dem Brot versperrte. Er aber öffnete ihn mit einem Behelfsschlüssel „und ich nahm das Brot und biss in das Brot und stopfte das Brot in mich hinein, und es würgte mich, weil meine Mutter weinen würde.“ (Seite 61) Verhältnisse, wie sie die heutige Jugend (Gott sei Dank) nicht mehr kennt und so in Erinnerung behalten wird.
Auch wie er seine Jugend selbst sieht: „Ich war jung, aber ich war mich meiner Jugend nicht bewusst. Ich spielte sie nicht aus. Sie hatte keinen Wert. Es fragte auch niemand danach.“ (Seite 127)
Der Schreibstil ist für einen heutigen Leser gewöhnungsbedürftig. Manche Sätze gehen über einen ganzen Absatz. Heutige Dichter würden diesen Inhalt in mehreren Sätzen ausdrücken. Man muss sich erst „einlesen“ um konzentriert der Handlung folgen zu können.
May 4, 2019
Two short works about (or inspired by?) the childhood and youth of Koeppen. The title piece is variously terrifically compacted, almost like a stream of consciousness inventory, or more normally narrative, but very fine narrative. The shorter piece is more straightforward—more objective and less interior.
October 23, 2014
Nihilistic is a too simple (and overused) word to describe the world of Keoppen. A German Thomas Berhnard in the sense that everything around him, the society, nature, culture, even himself is the source of profound disgust and the object of (eternal) condemnation. I loved every single sentence of it and I'm sure I will re-read this and devour other Koeppen's translated works as soon as possible.
Displaying 1 - 6 of 6 reviews