The first book to examine the connection between gender and memory in Grass's oeuvre, which is especially timely in light of current concerns about male privilege.

In this extraordinary memoir, Nobel Prize-winning author Günter Grass remembers his early life, from his boyhood in a cramped two-room apartment in Danzig through the late 1950s, when The Tin Drum was published. During the Second World War, Grass volunteered for the submarine corps at the age of fifteen but was rejected; two years later, in 1944, he was instead drafted into the Waffen-SS. Taken prisoner by American forces as he was recovering from shrapnel wounds, he spent the final weeks of the war in an American POW camp. After the war, Grass resolved to become an artist and moved with his first wife to Paris, where he began to write the novel that would make him famous. Full of the bravado of youth, the rubble of postwar Germany, the thrill of wild love affairs, and the exhilaration of Paris in the early fifties, Peeling the Onion--which caused great controversy when it was published in Germany--reveals Grass at his most intimate.

The concept of Heimat with its seemingly pre- or anti-modern connotations of rootedness in a place of origin is central to a critical understanding of German history and culture. Over the course of the past fifteen years, scholars across a range of disciplines have found new ways to examine the changing notions of Heimat – its multifaceted cultural, literary, and visual history, its gendered connotations, and its national and ideological appropriations. This anthology is the first to examine cultural manifestations of Heimat by giving special consideration to issues of memory and space. The contributions to this volume challenge static notions of place often associated with Heimat. Instead, they explore the social and cultural production of places of belonging as they emerge in literary and visual narratives ranging from 1800 to 2000 and beyond. Although the anthology includes historical perspectives on Heimat, its overall objective is not to trace its cultural or literary history, but to place this complex term into new conceptual contexts. Drawing attention to manifestations of Heimat within German literary and cultural studies provides a rich ground for exploring the transformation of locality in trans/national contexts.

INTERNATIONAL BESTSELLER • Hailed for its coiled eroticism and the moral claims it makes upon the reader, this mesmerizing novel is a story of love and secrets, horror and compassion, unfolding against the haunted landscape of postwar Germany. "A formally beautiful, disturbing and finally morally devastating novel." —Los Angeles Times When he falls ill on his way home from school, fifteen-year-old Michael Berg is rescued by Hanna, a woman twice his age. In time she becomes his lover—then she inexplicably disappears. When Michael next sees her, he is a young law student, and she is on trial for a hideous crime. As he watches her refuse to defend her innocence, Michael gradually realizes that Hanna may be guarding a secret she considers more shameful than murder.

This manuscript argues for the importance of Günter Grass as a political thinker in addition to his status as a novelist and public intellectual, capable of forming ethical responses to contemporary issues like neoliberalism and place of the petit bourgeoisie in social life. I define Grass’s trajectory as a thinker through his novels and speeches. Primarily, I draw attention to the role memory plays in Grass’s thought: that his work represented an intellectual and aesthetic response to the role Nazism continued to play in West German politics in the post war era. To Grass, Nazism represented a resurgent threat unaddressed following the end of World War II. Later, Grass amended his concept of memory politics to address neoliberal capitalism, reiterating his radicalism and affirming the need for German society to resist the rise of extreme ideologies.

Examines textual representations of the consciousness of men responsible for committing Holocaust crimes. The Mind of the Holocaust Perpetrator in Fiction and Nonfiction examines texts that portray the inner experience of Holocaust perpetrators and thus transform them from archetypes of evil into complex psychological and moral subjects. Employing relevant methodological tools of narrative theory, Erin McGlothlin analyzes these unsettling depictions, which manifest a certain tension regarding the ethics of representation and identification. Such works, she asserts, endeavor to make transparent the mindset of their violent subjects, yet at the same time they also invariably contrive to obfuscate in part its disquieting character. The Mind of the Holocaust Perpetrator in Fiction and Nonfictioncontains two parts. The first focuses on portraits of real-life perpetrators in nonfictional interviews and analyses from the 1960s and 1970s. These works provide a nuanced perspective on the mentality of the people who implemented the Holocaust via the interventional role of the interviewer or interpreter in the perpetrators’ performances of self-disclosure. In part two, McGlothlin investigates more recent fictional texts that imagine the perspective of their invented perpetrator-narrators. Such works draw readers directly into the perpetrator’s experience and at the same time impede their access to the perpetrator’s consciousness by retarding their affective connection. Demonstrating that recent fiction featuring perpetrators as narrators employs strategies derived from earlier nonfictional portrayals, McGlothlin establishes not only a historical connection between these two groups of texts, whereby nonfictional engagement with real-life perpetrators gradually gives way to fictional exploration, but also a structural and aesthetic one. The book bespeaks new modes of engagement with ethically fraught questions raised by our increasing willingness to consider the events of the Holocaust from the perspective of the perpetrator. Students, scholars, and readers of Holocaust studies and literary criticism will appreciate this closer look at a historically taboo topic.

From Books Cover: Gunter Grass has been wrestling with Germany's past for decades now. In this new novel Grass examines a subject that has long been taboo - the suffering of Germans during World War II. It is the story of the sinking of the Wilhelm Gustloff, a former cruise ship turned refugee carrier, by a Soviet submarine in January 1945. Some 9,000 people, most of them women and children fleeing from the advancing Red Army went down in the Baltic Sea, making it the deadliest maritime disaster of all time. Grass's narrator is one of the few survivors, a middle-aged journalist who live in Berlin. Born to an unwed mother on a lifeboat the night of the attack, Paul Pokriefke tries to piece together the tragic events. While his mother Tulla sees her whole existence in terms of that calamitous moment, Paul wishes their life could have been more normal, less touched by the past. For his teenage son Konrad, who dabbles in the dark, far-right corner of the internet, the Gustloff embodies the denial of Germany's wartime agony.

The profound political and social changes Germany has undergone since 1989 have been reflected in an extraordinarily rich range of contemporary writing. Contemporary German Fiction focuses on the debates that have shaped the politics and culture of the new Germany that has emerged from the second half of the 1990s onwards and offers the first comprehensive account of key developments in German literary fiction within their social and historical context. Each chapter begins with an overview of a central theme, such as East German writing, West German writing, writing on the Nazi past, writing by women and writing by ethnic minorities. The authors discussed include Günter Grass, Ingo Schulze, Judith Hermann, Christa Wolf, Christian Kracht and Zafer Senocak. These informative and accessible readings build up a clear picture of the central themes and stylistic concerns of the best writers working in Germany today.

A major contribution to Grass scholarship that looks at his career as a whole and identifies four phases or stages of his writing in terms of communicative strategy and style.

New essays for students of German's best-known living author and his works, including The Tin Drum.