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Prolegomena 1 Notes Prolegomena 1. See Walkowitz, “The Location of Literature,” p. 533. 2. Adelson, The Turkish Turn in Contemporary German Literature, p. 23. 3. See Madsen, “World Literature and World Thoughts,” p. 58. I am drawing on Madsen’s thoughts on Auerbach further down the text as well. 4. Lukács, Entwicklungsgeschichte des modernen Dramas, p. 10, 12. Translation is mine. 5. Lukács, “Zur Theorie der Literaturgeschichte,” p. 32. Translation is mine. 6. Moretti, “The Soul and the Harpy,” p. 11. 7. Lukács, The Theory of the Novel , p. 72–73. 8. Moretti, Modern Epic, p. 6. 9. Moretti, “The Soul and the Harpy,” p. 9. 10. Steiner, Extraterritorial , p. 11. 11. Moretti, Modern Epic, p. 6. 12. Moretti, Graphs, Maps, Trees, p. 57. 13. Ibid., p. 64. 14. Seyhan, Writing Outside the Nation, p. 9. 15. Said, Culture and Imperialism, p. 337. 16. See Rushdie, “Günter Grass,” p. 277. 17. See Said, “Refl exions on Exile,” p. 174. 18. Prendergast, “The World Republic of Letters,” p. 23. 19. Levin, “Literature and Exile,” p. 62. 20. Brandes, The Emigrant Literature, p. vii. 21. Levin, “Literature and Exile,” p. 62. 22. Auerbach, “Philology and Weltliteratur,” p. 17. 23. Said, Culture and Imperialism, p. 386. 24. Bhabha, The Location of Culture, p. 5. 25. Ibid., p. 12. 26. Damrosch, What is World Literature? p. 283. On the concept of Weltliteratur, see also Prendergast (ed.), Debating World Literature; Moretti, “Conjectures on World Literature” and Graphs, Maps, Trees; and Thomsen’s forthcoming Mapping World Literature: International Canonization and Transnational Literatures. 27. Cooppan, “World Literature and Global Theory,” p. 33. The shaping force of the local in world literature and migration literature is precisely what makes 206 ● Notes them differ from what we could term “global literature,” that is, a literature constructed on McDonald’s restaurants, airport transit halls, Starbuck cafés, and Hilton hotels. 28. See Said, Culture and Imperialism, p. 82. 29. Chambers, Migrancy, Culture, Identity, p. 5. 30. Sommer, Fictions of Migration, p. 6. Translation is mine. 31. Walkowitz, “The Location of Literature,” p 534. 32. Bauman, Globalization, p. 1–2, my italics. 33. See Deleuze and Guattari, “Rhizome,” p. 25. 34. Lukács, The Theory of the Novel, p. 121. 35. Ibid., p. 78. 36. Ibid., p. 39, 60. 37. Bergson, Creative Evolution, p. 11. 38. Lukács, The Theory of the Novel , p. 121. 39. Ibid., p. 124. 40. Ibid., p. 122. 41. Deleuze, Proust and Signs, p. 163. 42. Lukács, The Theory of the Novel, p. 76. 43. Moretti, Modern Epic, p. 214. 44. Bergson, Creative Evolution, p. 318–319. 45. See Deleuze, “Bergson’s Conception of Difference,” p. 40. 46. Bergson, Creative Evolution, p. 51. 47. Bergson, Time and Free Will, p. 134. 48. Lukács, The Theory of the Novel, p. 60. 49. Deleuze, Logic of Sense, p. 174. 50. Deleuze and Guattari, “Rhizome,” p. 25. 51. Ibid., p. 21. Chapter 1 1. Grass, “Speech to a Young Voter Who Feels Tempted to Vote for the N.P.D.,” p. 55–56. 2. Michael Hollington and Hanspeter Brode both recognize the connection between Grass’s experience of proper migration, his unconventional educational trajectory, and his intellectual and artistic fl exibility and mobility. Hollington: “The most important thing about this stage of Grass’s development seems to be that he did not resume the normal middle-class educational progression from Abitur to university; instead, he became nomadic, working fi rst as a farmhand in the Rhineland, then in a potash mine near Hildesheim, then as a stonema- son’s apprentice in Düsseldorf,” Grass. The Writer in a Pluralist Society, p. 7. Brode: “In Grass is thus united an absence of inherited constraints of thought with intellectual mobility, both a result of the petty bourgeois start conditions,” Grass, p. 12. This and subsequent translations of Brode are mine. 3. Grass, “Shame and Disgrace,” p. 32, 34. The English translation overlooks the adjective “unveränderlich” (irrevocable), which Grass uses in relation to the Notes ● 207 reasons for the war. The feeling of irrevocability is important, as it explains Grass’s rather pragmatic view of his own uprooting and loss of hometown. 4. Grass, “Short Speech by a Rootless Cosmopolitan,” p. 7. 5. Grass, “Speech to a Young Voter,” p. 58. 6. Rushdie, “Günter Grass,” p. 279. 7. Adorno, Minima moralia, p. 87. 8. Rushdie, “Günter Grass,” p. 280. 9. Adorno, “Cultural Criticism and Society,” p. 34. In fact, Adorno reasserts, refl ects upon, and modifi es his initial statement in later texts such as “Engagement,” Negative Dialectics, “Die Kunst und die Künste” and “Zur Dialektik von Heiterkeit.” 10. Grass, “Writing after Auschwitz,” p. 99. 11. Ibid., p. 104–105. 12. Ibid., p. 102. 13. Grass, “The Tin Drum in Retrospect or The Author as Dubious Witness,” p. 26. 14. Ibid., p. 27. 15. Said, “Refl ections on Exile,” p. 173. 16. Hollington, Günter Grass, p. 45. 17. Said, “Refl ections on Exile,” p. 182. 18. Ibid., p. 183. 19. Alter, Rogue’s Progress. Studies in the Picaresque Novel, p. 84. 20. Reddick, The ‘Danzig Trilogy’ of Günter Grass, p. 58. 21. Ibid., p. 65. 22. Ibid., p. 218. 23. Hollington, Günter Grass, p. 78–79. 24. Reddick, The ‘Danzig Trilogy’ of Günter Grass, p. 203. 25. Bhabha, The Location of Culture, p. 218. 26. Brode, Günter Grass, p. 59, 62. 27. Moretti, The Way of the World, p. 35. 28. Brode, Günter Grass, p. 62. 29. Hollington, Günter Grass, p. 2, 3. 30. Ibid., p. 54. 31. Cunliffe, “Aspects of the Absurd in Günter Grass,” p. 95. 32. Reddick, The ‘Danzig Trilogy’ of Günter Grass, p. 16. 33. Neuhaus, Günter Grass, p. 20. This and subsequent translations of Neuhaus are mine. 34. Croft, “Günter Grass’ Katz und Maus,” p. 121. 35. Brode, Günter Grass, p. 22f. 36. Steiner, “The Hollow Miracle,” p. 100. 37. Bromley, Narratives For a New Belonging, p. 100. 38. Hollington, Günter Grass, p. 5. 39. Ibid., p. 36. 40. Ibid., p. 68. 41. Grass, Fünf Jahrzehnte, p. 15. Translation is mine. 208 ● Notes 42. Bohrer, “Erinnerungslosigkeit,” p. 18–19. This and subsequent translations of Bohrer are mine. 43. Ibid., p. 21. 44. Ibid., p. 11–12. 45. Benjamin, “On the Concept of History,” p. 396. 46. Bromley, Narratives For a New Belonging, p. 7. 47. Benjamin, “On the Concept of History,” p. 395. 48. Bromley, Narratives For a New Belonging, p. 97. 49. Kundera, The Art of the Novel, p. 11–12. 50. Lukács, The Theory of the Novel, p. 33. 51. Grass, Dokumente zur politische Wirkung, p. 225. My translation. Michael Hollington also remarks: “The concept of history as ‘absurd process’ has a good deal in com- mon with Sartre’s ‘contingency,’ and indeed the problems of the individual charac- ters in Dog Years in coming to terms with their place in history are expressed in existentialist terms. Grass calls the protagonists of Döblin’s novels ‘heroes against absurdity;’ the characters of Dog Years search for an ‘authentic’ identity in the midst of a radically diseased historical process,” Günter Grass, p. 75. 52. Steiner, “The Nerve of Günter Grass,” p. 34. 53. Ibid., p. 34–35. 54. Hans Ulrich Gumbrecht: “‘production of presence’ points to all kinds of events and processes in which the impact that ‘present’ objects have on human bodies is being initiated or intensifi ed,” Production of Presence: What Meaning Cannot Convey, p. xiii. Gumbrecht also speaks of the presence effect as a violence that forces itself upon us and characterizes it as “experiencing the things of the world in their preconceptual thingness,” p. 118. 55. The quote is taken from George Steiner, “The Nerve of Günter Grass,” p. 35, in which Steiner comments on his 1959 essay. 56. Steiner, “The Nerve of Günter Grass,” p. 33. 57. Reddick, The ‘Danzig Trilogy’ of Günter Grass, p. 82–83. 58. Benjamin, “The Storyteller,” p. 146. 59. Adorno, “The Position of the Narrator in the Contemporary Novel,” p. 30–31. 60. Ibid., p. 30. 61. Kundera, The Art of the Novel, p. 7. 62. Brooks, “The Storyteller,” p. 76. It must be mentioned, though, that Brooks’s purpose actually is to explore the survival of the oral tradition in the literary culture of the nineteenth century: “I fi nd it signifi cant that the work of Balzac, the fi rst novelist to be fully aware of the new conditions of an industrializing and commodifi ed literature, very often stages situations of oral communication where the exchange and transmission of narrative is at issue,” p. 78–79. 63. Neuhaus, Günter Grass, p. 6, 11. 64. Miles, Günter Grass, p. 140. 65. Deleuze, “The Simulacrum and Ancient Philosophy,” p. 258. 66. Steiner, “The Nerve of Günter Grass,” p. 33. 67. Freud, Civilization and its Discontents, p. 81. Notes ● 209 68. Adorno, Aesthetic Theory, p. 21. 69. Rushdie, “Günter Grass,” p. 280. 70. Reddick: “Interestingly enough, Grass has said that he is more attached to Dog Years than to any of his other prose works—but for the very reason that it did not quite come off (‘es ist oft misslungen’), and because it is the ‘least rounded’ (‘das unfertigste’) of his books,” The ‘Danzig Trilogy’ of Günter Grass, p. 269. 71. Adorno, “The Position of the Narrator,” p. 33–35, my italics. Chapter 2 1. Kundera, “La francophobie, ça existe,” p. 249. This and subsequent translations of this text are mine. 2. I thank Peter Bugge for directing my attention to this connection between nar- rative voice, emigration, and stylization of one’s public image. See Bugge, “Clementis’s Hat; or, Is Kundera a Palimpsest?” 3. As to Kundera’s biography, I am indebted to Jan Culík,ˇ http://www2.arts.gla.
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