Here are 100 books that The Quest for Christa T. fans have personally recommended if you like
The Quest for Christa T..
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Even the purest of artists thrive under tension. For some artists, politics has provided a crucial source of tension which has led to great achievement. Usually, it doesn’t. Why? Because artists, like critics, are often poor at gauging political realities. (Artists are usually better off not getting involved with “ideological confusion and violence,” as Greenberg put it.) Occasionally, though, problems become so acute that being unserious about the world is not an option—the 1930s was like this for some, and maybe a second Trump presidency will have a similar effect on artists and critics today, although there is real room for doubt.
Although I love all her novels, this one is the easiest to love and recommend (and it is beautifully translated).
Anna Seghers hated the idea of “art & politics,” as though they were separable entities to be glued together. Seghers—Jewish, Communist, especially the latter—wrote this book quite literally on the run from the Nazis, in cafés in France, on ships in the Atlantic, and in Mexico, where she lived in exile during the war. But you would never know it; it is as fluidly written as anything she ever wrote. In general, Seghers thrived in high tension situations.
It is a detective story, love story, wartime journalism, yet very little happens. Kafka’s Castle minus the parables and mysticism. It is also one of the deepest reflections on the nature of writing and narrative I know.
INTRODUCED BY STUART EVERS: 'A genuine, fully fledged masterpiece of the twentieth century; one that remains just as terrifyingly relevant and truthful in the twenty-first'
An existential, political, literary thriller first published in 1944, Transit explores the plight of the refugee with extraordinary compassion and insight.
Having escaped from a Nazi concentration camp in Germany and a work camp in Rouen, the nameless narrator finds himself in the dusty seaport of Marseille. Along the way he was asked to deliver a letter to Weidel, a writer in Paris whom he discovered had killed himself as the Nazis entered the city.…
Even the purest of artists thrive under tension. For some artists, politics has provided a crucial source of tension which has led to great achievement. Usually, it doesn’t. Why? Because artists, like critics, are often poor at gauging political realities. (Artists are usually better off not getting involved with “ideological confusion and violence,” as Greenberg put it.) Occasionally, though, problems become so acute that being unserious about the world is not an option—the 1930s was like this for some, and maybe a second Trump presidency will have a similar effect on artists and critics today, although there is real room for doubt.
Ok, I cheated (already). This is not really about art, but it is about politics. There are some essays on art, but all of it is about how badly we have screwed up how we think about politics, especially in the United States.
We think and talk—incessantly, endlessly—about disparities between groups. What this book shows, from every angle, is that this way of talking and thinking is how exploiters want us to talk and think. Sounds counterintuitive, I know.
The point is to stop talking about disparities and disproportionalities of awfulness and start talking about class inequality. The point is also to say that addressing class inequality is addressing disparities, but not vice versa.
Denouncing racism and celebrating diversity have become central to progressive politics. For many on the left, it seems, social justice would consist of an equitable distribution of wealth, power and esteem among racial groups. But as Adolph Reed Jr. and Walter Benn Michaels argue in this incisive collection of essays, the emphasis here is tragically misplaced. Not only can a fixation with racial disparities distract from the pervasive influence of class, it can actually end up legitimising economic inequality. As Reed and Michaels put it, “racism is real and anti-racism is both admirable and necessary, but extant racism isn’t what…
Even the purest of artists thrive under tension. For some artists, politics has provided a crucial source of tension which has led to great achievement. Usually, it doesn’t. Why? Because artists, like critics, are often poor at gauging political realities. (Artists are usually better off not getting involved with “ideological confusion and violence,” as Greenberg put it.) Occasionally, though, problems become so acute that being unserious about the world is not an option—the 1930s was like this for some, and maybe a second Trump presidency will have a similar effect on artists and critics today, although there is real room for doubt.
I have to put Brecht on this list. Which Brecht? I don’t know, but I find myself coming back to the Journals more often than anything else. These record his responses to the world between 1934 and 1955, but the war years are the most gripping.
Once more, it is the seamlessness with which art and politics come together that characterizes Brecht’s achievement. Brecht is the touchstone, the rock, the ground to which I often return. Brecht’s prose—concrete, direct, transparent—has had more effect on me than any other author. I call it not just “getting to the point” but “getting it right.”
This book contains selected poems, plays, and prose by Bertolt Brecht taken from various points throughout his career. It includes translations of two prose works and provides some background information on Brecht's life and career.
Even the purest of artists thrive under tension. For some artists, politics has provided a crucial source of tension which has led to great achievement. Usually, it doesn’t. Why? Because artists, like critics, are often poor at gauging political realities. (Artists are usually better off not getting involved with “ideological confusion and violence,” as Greenberg put it.) Occasionally, though, problems become so acute that being unserious about the world is not an option—the 1930s was like this for some, and maybe a second Trump presidency will have a similar effect on artists and critics today, although there is real room for doubt.
If Brecht is my nature, so are Cézanne’s paintings. Clark understands Cézanne better than anyone else (and there is a vast literature on Cézanne). Was Cézanne a “political” artist? Clark shows that Cézanne—the pillar of modern art—thought seriously about painting his world. And his world was changing, mostly for the worse.
Part of that change involved two-dimensional pictures (literally and figuratively) altering our environment. Cézanne takes the flattening of experience as his subject; that’s Clark’s point—and we’ll never see Cézanne the same way again.
A penetrating analysis of the work of one of the most influential painters in the history of modern art by one of the world's most respected art historians.
For more than a century the art of Paul Cezanne was held to hold the key to modernity. His painting was a touchstone for Samuel Beckett as much as Henri Matisse. Rilke revered him deeply, as did Picasso. If we lost touch with his sense of life, they thought, we lost an essential element in our self-understanding.
I have chosen this area of literature because I enjoy expanding my horizons. I love to find out about stories from different cultures and different times that will open my eyes to things I would never have thought about before. The depth of the writing is important to convey the emotions felt by the characters. This is what inspires me in my writing and my book that I have chosen to highlight here is also a story of historical fiction, influenced by my experience of living in Slovakia and finding out from residents about how incredibly different life had been in their country.
Forty Autumns is the story of a family divided by the Berlin wall. One half is stuck behind it living a severely limited life,while the other is able to travel around West Germany and eventually to the USA. Willner put a huge amount of research into this story of her family and the depth of it connects to your emotions. Knowing that your side of the family has freedom, not just to travel but to live, while it is so difficult just to contact the rest of your family, will pull on your heartstrings, hoping that one day, they will be able to reunite.
In Forty Autumns, Nina Willner recounts the history of three generations of her family - mothers, sisters, daughters and cousins - separated by forty years of Soviet rule, and reunited after the fall of the Berlin Wall.
Shortly after the end of the Second World War, as the Soviets took control of the eastern part of Germany, Hanna, a schoolteacher's daughter, escaped with nothing more than a small suitcase and the clothes on her back. As Hanna built a new life in the West, her relatives (her mother, father and eight siblings) remained in the East. The construction of the…
I’m a Scottish journalist. In the 1980s, I studied German at Karl-Marx University in Leipzig, East Germany. It was a fascinating experience that changed my perceptions of the world. I didn’t become a communist, but I did begin to see that where you stand depends on where you sit and that principles are easy to maintain when it costs you nothing to do so. There was a bleak glamour to East Germany that I loved, and so I decided to set my first novel in the shadowy world of intense personal connections, underground artists, and unofficial informers that I’d found in Leipzig.
Kairos is the story of an affair between a late-middle-aged man and a young woman set in the dying days of the German Democratic Republic. The disappearing nation is almost incidental to the main plot, which charts the peaks and troughs of an unequal and sometimes abusive relationship. For me, this light touch says everything about what it was like to live in East Germany. People were mainly just getting on with their lives, as they do everywhere. The book’s closing chapters explore emotions that were too often overlooked in the rush towards reunification: the dismay and disorientation that afflicted many East Germans, especially older ones, as their institutions were dismantled and they became foreigners in their own land.
Eine ganz und gar epische Erzhlerin eine der kraftvollsten Stimmen der deutschsprachigen Gegenwartsliteratur. NZZ am Sonntag ber Jenny ErpenbeckDie neunzehnjhrige Katharina und Hans, ein verheirateter Mann Mitte fnfzig, begegnen sich Ende der achtziger Jahre in Ostberlin, zufllig, und kommen fr die nchsten Jahre nicht voneinander los. Vor dem Hintergrund der untergehenden DDR und des Umbruchs nach 1989 erzhlt Jenny Erpenbeck in ihrer unverwechselbaren Sprache von den Abgrnden des Glcks vom Weg zweier Liebender im Grenzgebiet zwischen Wahrheit und Lge, von Obsession und Gewalt, Hass und Hoffnung. Alles in ihrem Leben verwandelt sich noch in derselben Sekunde, in der es geschieht,…
I’m a professor of modern European history. But before that, my first loves were Star Wars, heavy metal, and comic books. When I started my degree, it only made sense to combine my love of popular culture with my academic interest in the Soviet Bloc states. Cultural history and the history of everyday life, examining the world through cars, comics, film, food, music, or whatever, provide us with a lens through which to see how people understood themselves and came to terms with the society around them, and for my work, to understand how those living under dictatorship resisted and carved out their own niche within a police state.
This is another book that drew me in with the title. I appreciated how McLellan fought the stereotype, advanced by some of her academic peers, of sexual repressiveness in East Germany. Though public discussions of sexuality were tightly controlled by the state, McLellan deftly shows that East Germany experienced a sexual revolution of its own.
Maybe not a revolution as loud and proud as in the West, challenging gender norms and sexual identities, but divorce rates soared as did birth rates outside marriage, nudism became a state-sanctioned activity, and erotica became increasingly available to the public and found in private collections.
McLellan’s narrative is fascinating, illuminating, and at times humorous, drawing on interviews, magazine publications, heterosexual and queer photography collections, films, and state-sponsored information guides and handbooks.
In the aftermath of the reunification of Germany one former dissident recalled nostalgically that under the East German regime 'we had more sex and we had more to laugh about'. Love in the Time of Communism is a fascinating history of the GDR's forgotten sexual revolution and its limits. Josie McLellan shows that under communism divorce rates soared, abortion become commonplace and the rate of births outside marriage was amongst the highest in Europe. Nudism went from ban to state-sponsored boom, and erotica became common currency in both the official economy and the black market. Public discussion of sexuality was,…
I'm the oldest granddaughter of Leora, who lost three sons during WWII. To learn what happened to them, I studied casualty and missing aircraft reports, missions reports, and read unit histories. I’ve corresponded with veterans who knew one of the brothers, who witnessed the bomber hit the water off New Guinea, and who accompanied one brother’s body home. I’m still in contact with the family members of two crew members on the bomber. The companion book, Leora’s Letters, is the family story of the five Wilson brothers who served, but only two came home.
A WWII P-51 pilot, lost in Germany during WWII, was not located by the Americans for decades. He left a widow and a baby daughter, who felt her father’s absence her whole life. The area where he fell became part of East Germany, so was inaccessible for decades. One local man buried his remains and cared for the grave for years.
This is the amazing story of how several people, speaking three different languages, eventually became a "society of the heart" through the internet and in person. The P-51 pilot's remains were brought home for a military burial.
The author takes the reader on a compelling odyssey, beginning with a wartime mystery which endured for nearly sixty years. A compelling and often gripping story of loss and discovery.
I grew up in Germany and have been living all over the globe since I was 18, including the US. I married a New Yorker 15 years ago. I am drawn to stories that combine both the German and American cultures — two worlds I feel at home in — and as reflected in my debut novel. The next one will take place between the US and East Germany - we had relatives on the other side of the Iron Curtain whom we visited frequently. I will never forget surprising my 17-year-old cousin sitting alone in the garden, crying… over a can of Coke that we had smuggled over the border to him.
Did you know that the beautiful German city of Dresden was part of what the Eastern Germans called ‘The Valley of the Clueless’? Dresden, along with another section in the north, wasn’t able to receive any broadcasts from the West German TV channels existing at that time. Tellkamp’s novel sheds light on the last decade of the German Democratic Republic, leading all the way up to its fall in 1989. None of its three protagonists are too likable, and this is exactly what I appreciate about Tellkamp’s writing. He isn’t afraid to sketch them as such. The speed of the novel varies, and I can’t lie: I have to say that some passages took me an effort to get through. Still, I’d recommend this book to anyone who wants to dwell in Tellkamp’s memories of a time long gone - and ironically, still so present.
In derelict Dresden a cultivated, middle-class family does all it can to cope amid the Communist downfall. This striking tapestry of the East German experience is told through the tangled lives of a soldier, surgeon, nurse and publisher. With evocative detail, Uwe Tellkamp masterfully reveals the myriad perspectives of the time as people battled for individuality, retreated to nostalgia, chose to conform, or toed the perilous line between East and West. Poetic, heartfelt and dramatic, The Tower vividly resurrects the sights, scents and sensations of life in the GDR as it hurtled towards 9 November 1989.
I was born in England, live in America, and write history books about Germany. I’ve published eight books in all (and co-edited two others), and I’m proud that two of them won prizes. I review books, too, in publications like the Guardian and the London Review of Books. History is how I make my living, but it is also a calling and a passion. I can’t imagine doing anything else. I have always enjoyed reading literature and find I am reading even more avidly since the pandemic. There are so many German novels I love it was hard to choose just five. I hope you enjoy my choices.
This is the best book I know (even better than a complex spy thriller!) about what the Berlin Wall meant to individual East Germans.
I first read this novel about divided lovers in a West German edition back in the 1980s, when the “other” Germany still existed. I have often used the book in classes since then because I like it so much, enjoying it more and more as I peeled back the layers, admiring how cleverly Christa Wolf interweaves the personal and political.
She talks about “this strange stuff called life,” and that is one of the things I most love about the book: how it makes things that are apparently obvious and familiar seem strange.
First published in 1963, in East Germany, They Divided the Sky tells the story of a young couple, living in the new, socialist, East Germany, whose relationship is tested to the extreme not only because of the political positions they gradually develop but, very concretely, by the Berlin Wall, which went up on August 13, 1961. The story is set in 1960 and 1961, a moment of high political cold war tension between the East Bloc and the West, a time when many thousands of people were leaving the young German Democratic Republic (the GDR) every day in order to…
