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[1] [Apr 2007]

German language Rolf Dieter Brinkmann (1940, Vechta, Germany - 1975, London) was an important poet of German "Pop-Literatur", inspired by the American Beat Generation (Jack Kerouac, Allen Ginsberg) and other American poets like William Carlos Williams and Frank O'Hara. His poetry is filled with references to popular culture, from tango to Hollywood films. Brinkmann was opposed to literature that neglects aesthetics in favour of politics. He was, nevertheless, also a political author as evidenced by social criticism found in most of his texts.

Selected Works

  • Briefe an Hartmut 1974-1975 (1999) ISBN 3-498-00608-8
  • Erkundungen für die Präzisierung des Gefühls für einen Aufstand : Träume, Aufstände, Gewalt, Morde : Reise, Zeit, Magazin : die Story ist schnell erzählt (Tagebuch) (1987) ISBN 3-499-25169-8
  • Erzählungen (1985) ISBN 3-498-00493-X
  • Der Film in Worten : Prosa, Erzählungen, Essays, Hörspiele, Fotos, Collagen, 1965-1974 (1982) ISBN 3-498-00469-7
  • Godzilla (1968)
  • Gras (1970)
  • Keiner weiss mehr. Roman (1970)
  • Like a pilot : Rolf Dieter Brinkmann, selected poems, 1963-1970; translated by Mark Terrill (2001) ISBN 0-9657687-7-5
  • Die Piloten; neue Gedichte (1968)
  • Raupenbahn (1966)
  • Rolltreppen im August (1996)
  • Rom, Blicke (1979) ISBN 3-499-25094-2
  • Schnitte (1988) ISBN 3-498-00525-1
  • Standphotos : Gedichte, 1962-1970 (1970) ISBN 3-498-00461-1
  • Die Umarmung; Erzählungen; 2nd edition (1965)
  • Was fraglich ist wofür. Gedichte (1967)
  • Westwärts 1 & 2 : Gedichte (1975) ISBN 3-499-25063-2 ISBN 3-498-00528-6 (pbk.)


"The weird pleasure the Germans take in evoking horror can perhaps be ascribed to the excessive and very Germanic desire to submit to discipline, together with a certain proneness to Sadism. In 'Dichtung und Wahrheit' Goethe deplores the 'unfortunate pedagogical principle which tends to free children early in life from their fear of mystery and the invisible by accustoming them to terrifying spectacles'." This insight into the 'sublimity' of the German soul is put forward by Lotte Eisner, the famous film historian, in her epochal work on the German film of the 20’s, "The Haunted Screen". --Ingo Petzke 1992 via http://www.fh-wuerzburg.de/petzke/nosferatu.html [Oct 2005]

All of this combined make the early German cinema the natural birthplace of the horror film. --Tohill, Tombs (1994)

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