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5J                   MODERN  GERMAN"  LITERATURE

of the last Versttcb] that heroic will to survive which is the secret
of West Germany's place in the world today. And clearly Vor
Augm must be ranged with the ^achkricfflitenitur* Stylistically -
though in the three sketches grouped as Obmchiesiscbe Prosa we
have colourful vignettes of Piontek's Upper Silesian homeland -
the prose is shorn and clipped to staccato sentences and dialogue,
while the language is often that of the commonest speech, so that
all this constitutes a challenge to established narrative style.

Apart from being a painter and a sculptor KITH SCHAUMANN
(1899- ) *s popular as poet and novelist. She is a convert to
Catholicism, and thus it is natural that there should be a strong
religious element in her work* as in the verse volumes Dcr Knospen-
grwid (i9*4)> &as Passional (2926), Ar Rclwt/Mg (l*)*!}* &** Tenne
(1931), and Dcr Siefflritig (1937), There are post-war moods of
sadness in Klt{$f mid Trosf (1947)* Her prose fiction blends the
ideals of home, the tasks of wife and mother, with her symboliza-
tion of Church legend and ritual, as in the nine stories of Der
hlfihentk Stab (19*9). MARIF, U:ISK KAST:I jxrrx (1901- ) collected her
poems from a period of twenty years in Gediebte (1947). The feel-
ings of the war and its aftermath come out strongly in her work,
as in Totentatn^ (2946). She proves her mastery of free rhythms
above all in Zukunpsmasik (2950), Of her novels IJehe btfjnnt tends
to autobiography; GttstawCwrlwt (1950) is devoted to the life and
times of the French painter who in 1871 was exiled for his par-
ticipation in the revolution against the government of Thiers (la
Commune). DBA SCH&FKR (1900- ) is best known for her verse
(p* 54j)> but she has also written fiction (Dk Kastemtttkwspe, 1948;
IJmrgleichliche Rose> 1948; Immortelle 1949). She is well known for
her Htrsphh*

There is a hard note of personal experience - he was an American
prisoner of war - in the verse of GONTKR IUCH (^907- ); it begins
with Gedicbto (1930). In Abffk$ne Gd&fte (1948) the poefs life in
the prisoners7 camp is described with unrelenting realism. It reeks
of filth - as no doubt the camp did; but there are moments of relief
as in the strange poem Pfanfitedtonrijypt which begins with *Die
Trockenmilch der Firm* Harrison Rro/bers^ \ Cbikaftf* savours the
eating of the succulent one eighth per prisoner, and then goes
back in nostalgic memory to the smell of the kitchen in child-
hood's years and the clutching of mothers apron - *Qb Qfemvarme,
Mutterwdrme... * The limit is reached in Lairim with its third