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Die Beat Generation Und Der Neue Realismus in Der DDR

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Die Beat Generation Und Der Neue Realismus in Der DDR GDR Bulletin Volume 21 Issue 2 Fall Article 1 1994 "And the Beat Goes On": Die Beat Generation und der neue Realismus in der DDR Gerrit-Jan Berendse University of Canterbury Follow this and additional works at: https://newprairiepress.org/gdr This work is licensed under a Creative Commons Attribution-Share Alike 4.0 License. Recommended Citation Berendse, Gerrit-Jan (1994) ""And the Beat Goes On": Die Beat Generation und der neue Realismus in der DDR," GDR Bulletin: Vol. 21: Iss. 2. https://doi.org/10.4148/gdrb.v21i2.1135 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in GDR Bulletin by an authorized administrator of New Prairie Press. For more information, please contact cads@k- state.edu. Berendse: "And the Beat Goes On": Die Beat Generation und der neue Realismu GERRIT-JAN BERENDSE University of Canterbury "AND THE BEAT GOES ON": Die Beat Generation und der neue Realismus in der DDR Um einen Monat haben sie sich verpaßt: William S. Museen und Galerien den Bezug zur amerikanischen Burroughs und Wolf Biermann—an der Grenzanlage, Wirklichkeit der Nachkriegszeit verloren. Diese hätte die Ost- und West-Berlin einst trennte. Im Dezember sich hinter der Fassade des Ästhetizismus versteckt, so 1976 besuchte Burroughs Berlin, wo sich Biermann die Neutöner. Die Alternativen hießen u.a. Walt bekanntlich seit November nicht mehr aufhielt. Auf Whitman, Henry David Thoreau, Hermann Hesse und die Frage von Christopher Isherwood, welchen Kurt Schwitters, aber auch Buddha, die Jazz- Eindruck er von seinem ersten Besuch in der geteilten Trompeter und die drogenabhängigen Penner auf dem Stadt habe, antwortete sein amerikanischer Kollege Times Square.3 Burroughs entwickelte zusammen mit lakonisch: "Ich sah mir die Mauer an. Der Streifen dem Maler Brion Gysin Schreibtechniken des "cut- zwischen Ost und West wird von Tausenden von up" und "fold-in" und versuchte, Realien der Kaninchen bevölkert."1 Diese unpolitische Mauer- amerikanischen Gesellschaft neu zusammenzustellen. Betrachtung und die Tatsache, daß sich Biermann und Auch in der Beat-Lyrik setzte ein Wechsel der Burroughs Ende 1976 nicht begegnet sind, heißt Perspektive ein. Ginsbergs Anti-Hymne "Howl" ist nicht, daß die Beat-Einflüsse nicht schon längst ihren das bekannteste Beispiel für die Lust, Weg über die Mauer gefunden hätten. Diese waren Protestbewegung, "factual style" und neue Helden in gegen den Widerstand der Kulturfunktionäre in den Szene zu setzen: sechziger Jahren (wie in fast jedem Land) importiert und damals von etwa Wolf Biermann, aber ebenfalls Ich sah die besten Geister meiner 2 Uwe Greßmann, aufgegriffen worden. Ohne daß sie Generation vom jemals einen Beat-Autor zitiert hätten, war der Wahnsinn zerstört, hungernd in Einfluß der Nordamerikaner groß. Die Rezeption war hysterischer Nacktheit, eine strategische, die sich auf unterschiedliche Weise Sie schleppten sich durch die Straßen der gegen die Konventionen des sozialistischen Realismus Neger beim absetzte. Morgengrauen suchend nach zorniger William S. Burroughs war der Pate des Bedrängnis, literarischen Zweigs der Beat Generation, obwohl er Engelköpfige hipster verbrannten für den jegliche artistische Beziehung zwischen ihm und zum alten Beispiel seinen Freunden Allen Ginsberg und Jack himmlischen Anschluß an die sternigen Kerouac grundsätzlich ablehnte. In den sechziger Dynamo Jahren attackierte er mit Romanen wie Naked Lunch in der Maschinerie der Nacht (. .)4 (1959), The Soft Machine (1961), Nova Express (1964) und The Wild Boys (1969) den literarischen Die öfter als Einzug des amerikanischen Modernismus in den USA. Sein Umfeld war eine Postmodernismus bezeichnete Beat-Literatur war in Gegenkultur, die sich Beat, später Hip oder Pop erster Linie eine gegen den Status quo der "Squares" nannte. Dieser Anti-Modernismus, vorangetrieben gerichtete Anti-Haltung mit jugendlichem Elan.5 von einer Vorliebe für die Arbeiten von Ezra Pound Diesen Willen, den alten, pervertierten und einer Kritik an T.S. Eliot, hatte Burroughs Realismus in eine neue literarische Wertung der allerdings mit Ginsberg, Kerouac, aber auch vorgefundenen Realität zu transformieren, griff Wolf Lawrence Ferlinghetti und Gregory Corso gemein. Sie Biermann auf. Seine Rebellion setzte Anfang der suchten nach Alternativen in der kulturellen sechziger Jahre als Reaktion auf die Bemühungen der Tradition, um sich gegen einen vom amerikanischen DDR-Kulturpolitik, die Literatur und Kunst in starre Kunst-Establishment pervertierten Realismus stalinistische Bahnen zu lenken, ein. Er wetterte etwa abzusetzen. Der "Moloch" Modernismus hatte im mit seiner ersten, in West-Berlin erschienenen Kanon der literarischen Schulen und Akademien, der Publikation Die Drahtharfe (1965) gegen die Published by New Prairie Press, 1994 1 GDR Bulletin, Vol. 21 [1994], Iss. 2, Art. 1 2 GDR BULLETIN Vorherrschaft einer Vormoderne, die Bitterfelder Der Text, "an die alten Genossen," erinnert an die Wege ging und mit dem Bau der Mauer die Vielfalt anspruchsvollen Gedichte von Volker Braun der Traditionslinien der literarischen Moderne ("Provokation fur mich") und Rainer Kirsch ("Meinen blockierte. Seine Anti-Vormoderne introduzierte Freunden, den alten Genossen") aus jener Zeit. Sie literarische Abweichler wie Heinrich Heine, Friedrich üben sich ebenfalls im Grenzüberschreiten der Hölderlin, Georg Büchner und Francois Villon, aber Gefuhlslagen. auch den Postboten, die Verkäuferin und die Männer Ein anderer, heute fast vergessener, Vagant war von der Müllabfuhr in der Hauptstadt Berlin. Der Uwe Greßmann. Er verkörperte in den sechziger unmittelbare Einfluß liegt in der Themenwahl der Jahren sowohl den literarischen als auch den realen, Texte, die in der DDR der Sechziger ebenso tabu oder wie Hans Mayer schrieb: den intentionalen und waren, wie in den USA zehn Jahre davor: die existentiellen Außenseiter.7 Wie viele Autoren der Relativierung der Souvereinität des eigenen Staates Beat Generation ging er in der Nachkriegszeit auf die (sprich: Mauer-Thema), Sexualität, Herumtreiberei Suche nach einer "zweiten Welt." Die fand er, indem und Jazz-Musik. Einer der wichtigsten Leistungen der er Alltagserfahrungen und surreale Visionen schreibenden Beats wurde auch von Biermann kombinierte. Als Bote einer Berliner eingesetzt, nämlich die Befreiung des Ich aus der Welt Handelsorganisation durchstreifte Greßmann die der Fiktion. In dem als "Rücksichtslose Schimpferei" Viertel Mitte und Prenzlauer Berg, als Schriftsteller bezeichneten Text heißt es eingangs: "Ich Ich Ich / bin bewegte er sich in seiner Kosmogonie, in der sein voll Haß."6 Die radikale subjektive Sicht auf die Vogel Frühling, Faust, Gott und der Teufel Dinge ermöglichte einen direkteren Zugriff auf gleichzeitig regierten. Allerdings fällt bei ihm eine Realien, die nicht mehr als Abstrakta eingestuft Trennung zwischen Empirie und Fiktion nicht immer werden konnten. Diese Faktizität hinterließ in den leicht. Nachdem Biermann in der DDR mundtot "Buckower Balladen" ihre Spuren, als Biermann gemacht, andere leiser gestimmt wurden, ließ sich Oberflächenphänomene im Biotop DDR aus Greßmann nicht von seinen Weltentwürfen abhalten. analytischer, fast soziologischer Sicht analysierte. Die Devianz seiner zu Lebzeiten nur sporadisch Darin versucht er Außenseitertypen wie den veröffentlichten Gedichte wurde nicht als allzu riskant Drainage-Leger Fredi Rohsmeisl und angetrunkene eingeschätzt, vielleicht weil sie nichts mit dem Halbstarke gegen die Schönfärberei der Parteibonzen Realexistierenden zu tun haben schienen. 1965 wurde (die "Squares" der DDR) auszuspielen. Die es ihm sogar finanziell ermöglicht, freischaffend zu Demaskierung des "neuen Menschentypus" war ein werden. Ein paar Jahre später bekam er eine neue Versuch, eine alternative Geschichte der DDR zu Wohnung und einen Sitz im Deutschen schreiben. Die Außenseitertypen wurden vor allem im Schriftstellerverband. Bis zu seinem Tod, 1969, Urbanen aufgefunden und in den Liedern besungen— arbeitete er an seinem Vorhaben, Berliner Urbanität Biermanns Streifzüge durch die Großstadtviertel mit seinem kosmogonischen Entwürfen zu waren zahlreich. In seinen Chroniken aus den kombinieren. Ein Brief zum Entwurf des dann erst Berliner Stadtteilen Mitte und Prenzlauer Berg gab er 1978 erschienenen Poesiealbums gibt noch einmal dem Volk eine eigene Stimme. Eine eher Einblicke in seine Phantasien: konventionelle Schreibweise wählend, wurden Realien aus der DDR berichtet, die nicht das Prädikat "sozialistisch" verdienten. Schon der Versuch in Die Den Gegenstand des Titels bilden Kosmos Drahtharfe, der euphorischen Aufbau-Rhetorik in die und Stadt, wobei gesagt sein will: von Rede zu fallen, war Abweichung genug: welcher Seite aus wir die Stadt gleich dem Kosmos auch sehen; ob wir also die Räume eines Hauses betreten, uns darin häuslich Die Gegenwart, euch niederlassen und feststellen: ja das ist der Süßes Ziel all jener bittren Jahre Raum mit seinen möglichen Grenzen Ist mir der bittre Anfang nur, schreit (nämlich Wänden, Fenster . .) oder ob wir Nach Veränderung. Voll Ungeduld nachts auf der Straße das Sternbild "rotes Stürz ich mich in die Kämpfe der Klassen, Rathaus" mit eckigen Sternen schon von die neueren, die weiten leuchten sehen . hier wie da Wenn schon ein Feld von Leichen nicht können wir die Beobachtung machen: daß So doch ein wüstes Feld der Leiden wir Weite und Nähe des Alls schon in schaffen. wohnlicher Umgebung erleben können, ohne daß wir gezwungen wären, die Erde zu verlassen.8 https://newprairiepress.org/gdr/vol21/iss2/1
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