Introduction

Leeder, Karen

doi:10.1179/007871909x475544

Cited by 3 publications

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“…It is noticeable that many younger (East) German writers seem to try to find order amidst the post-1989 change, or 'chaos', by constructing straightforward narratives, or, to quote Karen Leeder, a 'meticulous realism as ["authenticity's"] narrative counterpoint'. 72 I would therefore like to suggest that Meyer challenges some of his colleagues' conservatism by looking at the 'chaos ', or what Meyer has also referred to as the 'mediale[s] Gewitter' ('media thunderstorm') of our lives, 73 through the eyes of socially marginalized characters. 74 This has two implications: first, he questions what our contemporary reality is, 75 what authenticity is, 76 which allows him to reflect on broader literary processes through the situatedness of his subject matter; and second, questions of 'alienation' or a 'sense of dislocation' often associated with life in post-1989 East Germany, although this is also often related to a 'new global state of dislocation', 77 here, on the authenticity of one's experiences; the well-established metaphor of the mirror, 80 which runs through the novel and which highlights questions of reality, people's perceptions and perspectives, but also the issue of control depending on which the side of the mirror one finds oneself, is also implied here.…”

Section: My Perception Of Meyer's Style Thus Ties In With Transnationmentioning

confidence: 99%

‘A Saxon who's learnt a lot from the Americans’: Clemens Meyer in a Transnational Literary Context

Matthes¹

2018

Comparative Critical Studies

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In recent years, Clemens Meyer has emerged as the literary voice of societal underdogs. Initially celebrated as the ‘tattoo-man of German literature’ (Elmar Krekeler) whose ‘rough’ East German background seemed to have certified the authenticity of his subject, with his growing success, Meyer has managed to shake off the exclusive, and somewhat limiting, label of ‘East German writer’ with its often specifically provincial associations. The publication of his latest novel Im Stein (2013), which, translated as Bricks and Mortar (2016), was longlisted for the Man Booker International Prize in 2017, has finally led to Meyer's recognition as a more highbrow writer whose work has entered the transnational literary field. In his novel, Meyer self-consciously references world literary predecessors who have inspired him (for example Dos Passos and Hemingway) but adapts these literary models to develop a singular style that goes beyond mere intertextual allusions. My reading of Im Stein, a multi-voiced novel that revolves around organized prostitution in an unnamed East German city post-1989, thus ties in with recent debates focussing on the notion of ‘world literature’. Following Gayatri Chakravorty Spivak's thoughts on ‘singularity’ in relation to world literature, I argue that it is precisely Meyer's engagement with the specificity of his subject matter through writing ‘transnationally’ that allows the author to achieve ‘singularity’. This then paves the way for his work's ‘universalizability’ and, consequently, for Meyer's conscious adaptation of his work to world literature.

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Section: My Perception Of Meyer's Style Thus Ties In With Transnationmentioning

confidence: 99%