This first English language biography of Bertolt Brecht (1898–1956) in two decades paints a strikingly new picture of one of the twentieth century's most controversial cultural icons. First published in 2014 and now available in paperback, it was critically lauded and declared the definitive life of this great artist and writer.
Drawing on letters, diaries and unpublished
This first English language biography of Bertolt Brecht (1898–1956) in two decades paints a strikingly new picture of one of the twentieth century's most controversial cultural icons. First published in 2014 and now available in paperback, it was critically lauded and declared the definitive life of this great artist and writer.
Drawing on letters, diaries and unpublished material, including Brecht's medical records, Parker offers a rich and enthralling account of Brecht's life and work, viewed through the prism of the artist. Tracing his extraordinary life, from his formative years in Augsburg, through the First World War, his politicisation during the Weimar Republic and his years of exile, up to the Berliner Ensemble's dazzling productions in Paris and London, Parker shows how Brecht achieved his transformative effect upon world theatre and poetry.
Bertolt Brecht: A Literary Life
is a powerful portrait of a great, compulsively contradictory personality, whose artistry left its lasting imprint on modern culture.
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Kindle Edition
,
704 pages
Published
February 13th 2014
by Bloomsbury Methuen Drama
This book is not for the faint-hearted. The first English language biography of playwright and poet Bertolt Brecht for 20 years, it’s a long, meticulously researched and detailed account of this controversial and important figure of 20th century literary life, and a powerful evocation of the man and artist in his historical and political context. Exhaustive and scholarly, it is perhaps more for the specialist and serious student than the general reader, but the book cannot be faulted for its sco
This book is not for the faint-hearted. The first English language biography of playwright and poet Bertolt Brecht for 20 years, it’s a long, meticulously researched and detailed account of this controversial and important figure of 20th century literary life, and a powerful evocation of the man and artist in his historical and political context. Exhaustive and scholarly, it is perhaps more for the specialist and serious student than the general reader, but the book cannot be faulted for its scope and erudition. Drawing on letters, diaries, recently released archives and much previously unpublished material, it is a full and comprehensive biography, which references Brecht’s prodigious output of plays, poems, journalism, diaries and letters, as well as his medical records. The minutiae of his life are set against the turbulent first half of the 20th century, and situate him firmly in his place and time. From a purely personal point of view I found it a heavy-going read, but it is an important book which will certainly become an essential resource for all Brecht enthusiasts and full deserving of a 5* review.
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For the anti-Fascist emigre, the USA's continuing neutrality in the war was deeply frustrating. He could not forget the 'butchery 15,000 kilometers away, which is deciding our fate across Europe at its broadest point, is only an echo in the hubbub of the art-market here.' At a time when Nazi Germany was destroying Europe, Brecht, his status diminished to picaresque survivor, had become a bit-player in the capitalist swindle. Brecht concluded a letter to his translator Hoffman Hays: 'The worst of
For the anti-Fascist emigre, the USA's continuing neutrality in the war was deeply frustrating. He could not forget the 'butchery 15,000 kilometers away, which is deciding our fate across Europe at its broadest point, is only an echo in the hubbub of the art-market here.' At a time when Nazi Germany was destroying Europe, Brecht, his status diminished to picaresque survivor, had become a bit-player in the capitalist swindle. Brecht concluded a letter to his translator Hoffman Hays: 'The worst of it is that everybody here is trying to convert himself and everybody else into a hundred per cent American in record time, it makes me feel rather seasick.' Brecht was himself congenitally incapable of the rapid assimilation that was so much part of the US success story. He observes: 'Odd, I can't breathe in this climate. The air is totally odourless, morning and evening, in both house and garden. There are no seasons here. It has been part of my morning routine to lean out of the window and breathe in fresh air; I have cut this out of my routine here. There is neither smoke nor the smell of grass to be had.' After the splendid richness of the air at Marlebaeck, Brecht recoiled from the garish excesses of Hollywood, amusing himself by looking for price tags on trees and hills: 'You are constantly either a buyer or a seller, you sell your piss, as it were, to the urinal. Opportunism is regarded as the greatest virtue, politeness becomes cowardice.' In a 'state set up directly by the bourgeoisie, which is not for one moment ashamed of being bourgeois,' Brecht had recourse, as we have suggested, to the restrained public manner of a 'Chinese' politeness.
He recorded his life as a jobbing scriptwriter in the cycle, 'Hollywood Elegies,' a typically ironic and laconic take on a genre normally associated with rueful responses to loss. The elegy became a staple. The most famous piece in the cycle is 'Hollywood': 'Every day, to earn my daily bread / I go to the market where lies are bought / In hope / I take up my place among the sellers.' For Brecht, everything in California had been commodified, any sense of history and culture lost in a society where only the market, lubricated by credit, counted. Brecht reflected upon Shelly's words about the City of London: 'I / Who live in Los Angeles and not in London / Find, on thinking about Hell, that it must be / Still more like Los Angeles'. When he showed the elegies to his friend Hans Winge, an Austrian writer who worked in an underwear factory, Winge remarked: 'It's as if they'd been written from Mars.' Brecht and Winge formed the view that this 'detachment' was not a 'peculiarity of the writer's, but a product of this town.' It was the product of Brecht's sharp perspective upon an extraordinary place: 'These houses don't become someone's property by being lived in, but by means of a cheque, the owner doesn't so much live in them as have them at his disposal. The houses are extensions of garages.' The US attitude to money revealed for Brecht a mentality of 'colonial capitalism': 'You get the impression that everybody here is where he is just to get away. They are only in the USA to make money. It is nomadic theatre, by people on the move for people who are lost. Time is money, prefabricated types are assembled, rehearsals are a matter of patching things together. Nobody lives in the colonies.'
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It was a little daunting, looking at a 700+ page book, a biography of a German playwright, but the research and presentation of Bertolt Brecht's life is thorough and meticulous.
This isn't your average, summer beach reading biography. This is a comprehensive look at a political playwright of 'epic theatre,' and a Marxist. One nice thing about a biography of a writer is thatthe writer often leaves a trail of thoughts, writ
This review originally published in
Looking For a Good Book
. Rated 3.75 of 5
It was a little daunting, looking at a 700+ page book, a biography of a German playwright, but the research and presentation of Bertolt Brecht's life is thorough and meticulous.
This isn't your average, summer beach reading biography. This is a comprehensive look at a political playwright of 'epic theatre,' and a Marxist. One nice thing about a biography of a writer is that the writer often leaves a trail of thoughts, written and shared. The work here is in gathering those thoughts by and about Bertolt Brecht. The fact that Brecht was under surveillance by the FBI during his time in America in the late 1940's gives us additional glimpses of his actions and friends.
While I commented on another biography recently that there was a lack of information about the subject, this particular volume goes a bit in the other direction. There may actually be more here than I need to get a fairly comprehensive look at how this writer developed. In particular, his early life gives me more detail than I felt necessary. It is true, of course, that every moment in a person's life builds upon the previous moment and develops who the person becomes, but we don't necessarily need to relive every moment when looking back on someone's life.
Because my familiarity with Brecht is through his works written for the stage, it wasn't until we started to look at his theatrical involvements that I was truly drawn in. This is certainly not a fault of author Stephen Parker, but rather what it was I wanted to know about the man. To give us less would certainly feel incomplete if the information is at hand.
I learned a great deal about Brecht, and most definitely I will view his works in a new light, given what was presented here. What did I learn? ...Where do I start? I learned that "Improbable as it now sounds, Brecht's rise to fame began as a patriotic war correspondent" according to Parker. I learned that Brecht wrote a good deal of poetry -- my favorite of those included in this book is "The Mask of Evil":
On my wall hangs a Japanese carving
The mask of an evil demon, decorated with gold lacquer.
Sympathetically I observe
The swollen veins of the forehead, indicating
What a strain it is to be evil.
He also wrote nearly fifty film treatments while living in Hollywood; and considered himself to be an expert sexual operator (the latter a trait he may have picked up from his father).
I learned...well, let's face it...I learned a great deal. From his personal and professional partnerships, to his politics, to his theatrical works. Parker is incredibly thorough here and I can't imagine a year gone by in Brecht's life that we don't learn about what Brecht was doing or fearing or struggling against. And of course it all comes to play in his writing -- which is the whole point of reading a biography.
The book is a little dry at times. I did struggle, especially early, to get through this, but ultimately, I'm very glad this information is available and that I read it. I'm actually quite interested in seeing some of Brecht's plays again, given my new knowledge, and while his works may not be produced a great deal in my area, I am also eager to re-read his plays.
Looking for a good book? The biography,
Bertolt Brecht:A Literary Life
by Stephen Parker, may truly only appeal to dedicated theatre aficionados and hard-core biography readers, but the research is exhaustive and the presentation thorough.
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