Rumors and Secrets in Stifter's

OVER YOUR DEAD MOTHER: RUMORS AND SECRETS IN STIFTER’S “TOURMALINE” OVER YOUR DEAD MOTHER: RUMORS AND SECRETS IN STIFTER’S “TOURMALINE” AUTHOR • NICOLA BEHRMANN ARTIST • ANDERS DICKSON Malgré sa confiance de pouvoir créer un chef-d’œuvre descriptif simple et clair, Adalbert Stifter fait de son œuvre Tourmaline le plus obscur et le plus complexe Despite his confidence that he could create a simple conte de la collection Roches multicolores de 1892. and lucid masterpiece of descriptive narration, Adalbert Cet article suit la trace du dynamisme cryptographique Stifter’s “Tourmaline” turned out to be the most obscure qui sape la cohérence, ainsi que la possibilité d’une fin and complex tale in his story-collection Many-Colored fermée que l’auteur réaliste essaye de fournir. La de- Stones (1852). This essay traces the cryptological drive scription abondante des détails apparemment super- undermining the coherence and closure the realist nar- flus, les nombreuses lacunes narratives, ainsi que les rator attempts to provide. Stifter’s abundant description différentes rumeurs compliquent le compte-rendu du of seemingly superfluous details, the numerous narrative vrai incident. On peut expliquer les interruptions et les gaps and various rumors confuse any sufficient account fuites dans le conte comme des indices de la présence of what really happened. The breaks and leaks in sto- cachée du travail de deuil. L’intention pédagogique qui rytelling can be understood as indices leading to a sub- dirige la façon selon laquelle Stifter raconte une his- merged work of mourning. The pedagogical intention toire se retourne contre lui à travers l’apport incessant organizing Stifter’s meticulous story-telling not only in des signes commémoratifs ou des fragments commé- this story turns upon itself through the incessant sup- moratifs. Non seulement ce type de pédagogie ne peut ply of these commemorative indices or fragments. Not pas trouver un mode narratif efficace, mais il sape aussi only is such pedagogy unable to find an efficient narra- la capacité de l’instructeur-narrateur d’arriver en ac- tive mode, it also consistently undermines the authority cord avec son propre conte. whereby the instructor-narrator might come to terms Nicola Behrmann obtient un doctorat de l’Université with his own tale. de New York en 2010. Elle est maître de conférences en Nicola Behrmann (Ph.D. 2010, New York University) allemand à l’Université Rutgers. Ses recherches incluent is Assistant Professor of German at Rutgers University. des thèmes comme la théorie littéraire, les études sur le Her research touches on literary theory, gender stud- genre, l’avant-garde, le réalisme allemand et la littéra- ies, avant-garde studies, German realism, and literature ture de l’exil. Actuellement, elle est en train de réviser in exile. She is currently editing the collected works of les œuvres complètes de l’expressionniste Emmy Hen- Expressionist writer and poet Emmy Hennings. She has nings, écrivaine et poète. Elle publie aussi sur Hugo published articles on Hugo Ball, Walter Benjamin, Ber- Ball, Walter Benjamin, Berthold Brecht, Franz Kafka et thold Brecht, Franz Kafka, and Frank Wedekind. Frank Wedekind. Anders Dickson transferred in 2008 from the Wiscon- En 2008, Anders Dickson passe de l’Université du Wis- sin university system to the Academy of Fine Arts Karl- consin à l’Académie des beaux-arts de Karlsruhe sous sruhe, class of Daniel Roth. He is working to establish a la direction de Daniel Roth. Son travail actuel consiste system of symbols like a language in which to examine à formuler un système de symboles, comme un langage, and share his views. pour pouvoir s’exprimer et partager ses perspectives. • ISSUE 2-1, 2011 • 20 BEHRMANN & DICKSON 21 • ISSUE 2-1, 2011 • OVER YOUR DEAD MOTHER: RUMORS AND SECRETS IN STIFTER’S “TOURMALINE” DISAPPEARANCE ported by transferential circuits of delivery and return, a In 1852, every evening between five and nine after offi- coded and encrypted message that, nevertheless, centers cial hours, school principal Adalbert Stifter assiduously on pedagogy: worked on the compilation of his story collection Bunte [It is about a man who] no longer understands life, Steine (Many-Colored Stones). Although almost every when he abandons that inner law which is his stead- story he prepared had been previously published and fast guide along the right path, when he surrenders ut- only needed to being transcribed, Stifter found himself terly to the intensity of his joys and sorrows, loses his caught in a revision compulsion. Unable to complete foothold, and is lost in regions of experience which for more than three pages in clean copy a day, he continued the rest of us are almost wholly shrouded by mystery. to beg his publisher Gustav Heckenast to allow him time (128; emphasis mine) 1 for more thorough revisions. He advised Heckenast What exactly could children learn from a moral lesson to recognize the improvements he had already made that concerns a proper understanding of things and at as invaluable, and think of Goethe’s Iphigenie, which the same time cannot be unraveled? What is the relation 2 the master had transcribed five times. Reluctantly, he between the moral lesson, Stifter’s striving for transpar- submitted “Katzensilber” (“Muscovite”) and “Berg- ency and lucidity, and the obscurity and inaccessibility kristall” (“Rock Crystal”), and by the end of July, when this tale, nevertheless, unfolds? he began with the revisions of “Der Pförtner im Her- renhause,” now published under the title “Tourmaline,” According to many of his critics, Stifter got lost in the Stifter complained again that all he needed was time in meticulous and seemingly superfluous description of 5 order to turn this story into a “simple, lucid, and in- objects and furniture in “Tourmaline,” His first bi- timate masterpiece.”3 However, “Tourmaline” not only ographer Alois Raimund Hein found that the story became the “darkest” and most obscure piece in Stifter’s lacked consequence, poetic justice, and complete clo- 6 petrified tales—a sort ofhapax legomena that can only sure (322). Walter Benjamin diagnosed a strange Ver- cumbrously be called back into its order—it also lacks schwiegenheit (muteness) under the surface of abundant the very transparency, lucidity, and smoothness he tried description and called the speech of Stifter’s characters to achieve in his meticulous rendering and rasping. We an “exposition of feelings and thoughts in an acousti- are not being asked to read this text, but to read in it, cally insulated space” (112). Stifter himself once stated “as in a letter bearing sad news” (Stifter 1986). What that he experienced any lack of description as painful kind of letter does this story contain? What message is and was immensely concerned with the filling, if not the enclosed in the letter? To whom is it directed? fulfillment, of narrative gaps and voids, remainders of his Beschreibungswut (description mania) which had One of the intended addressees of Bunte Steine was been left unattended.7 Although the narrator opens up Stifter’s foster daughter Juliane Mohaupt, the so-called the apartment of the pensioner or Rentherr in Vienna “wild child,” who received a copy of Bunte Steine on and provides a meticulous description of its interior, we her twelfth birthday. The dedication, which reiterates do not gain access into the protagonists’ inner turmoil fatherly advice given to her in the recent past, indicates or moral conflicts. TheRentherr’s study, in which he en- that the book should be interpreted as a didactic mes- gages in painting, crafting, playing music, collecting, ar- 4 sage. Stifter understood the transmission of the paternal chiving, writing, and reading, is curiously covered with lesson implicated in his stories as immaculate inception, his private collection of poster portraits of that he terms which shifted from orality to textuality and is consti- “famous men,” together with a number of ladders and tuted as a commemorative letter Juliane was supposed armchairs on wheels that allow an intimate viewing of to remember whenever she tried to escape the “good.” each of the portraits. This odd collection turns the pri- The obscure pedagogy that is en route in “Tourmaline,” vacy and seclusion of this room into an epigone’s mirror however, appears to have lost its frame or hold. Dressed space for narcissistic fantasies. The nonsense category up as a letter of mourning, the course of the story is sup- • ISSUE 2-1, 2011 • 22 BEHRMANN & DICKSON of “famous men” inevitably induces an endless collecting of portraits that transgresses the spatial limits of a private apartment. The private room of the Rentherr’s wife that centers on a painting of the Virgin and Child receives equal descriptive energy. Framed by a curtain, and again framed by the sculpture of an angel holding the curtain the image unfolds a mise en abyme structure of pure feminin- ity. The wife appears to be completely immersed in the description of the rooms she inhabits, subsumed by the overbearing image of the Virgin. What is the intention of this detailed account? Instead of delivering the key to the Rentherr’s psyche via description of his environment, Stifter actually locks us out from any further insight or conclusion. At no point does the narrator indicate that he has knowledge of the circumstances surrounding the characters. Not even the proper name and background of his main protagonist are disclosed, but only subject to rumors: This man was known in the house as der Rentherr, but hardly anyone could say whether he was so called because he lived on a pension or because he was em- ployed in a revenue office. The latter, however, could of the […] wife, not a soul had heard a word of her not be the case, because if so he would have had to go since the day of her disappearance, nor indeed has she to his office at fixed times, whereas he was at home at ever returned” (146).

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