Heinrich Böll died in 1985 at the age of 67, and his literary reputation quickly began to fade. Throughout the 1970's Böll was the "Good German" - the moral mouthpiece of post-war Germany, a mantle now assumed by Guenter Grass. But already in the 1970's Böll began to irritate the political and cultural establishment by speaking out against the "anti-terror hysteria" that swept West Germany in the wake of the German Autumn. By the time of his death, he was seen by many as a kind-hearted, but hopelessly naive, Gutmensch (closest English equivalent is do-gooder) whose novels and stories reflected their time and had more historical, rather than literary, value.
Checking on Amazon I was saddened to find that only a collection of his stories and the novel The Clown (Ansichten eines Clowns -1963) are still in print in English translation. You can't find Group Portrait with Lady (Gruppenbild mit Dame -1971) , the novel which earned him the Nobel Prize for Literature.
Now there is a chance that Böll's reputation will be restored with a new 25 volume collected works ( Kölner Ausgabe). Literary historians, critics and the reading public will have the opportunity to reevaluate Heinrich Böll, and, with luck, some of his works may be retranslated and reissued in the US. Already the new collection has sparked renewed interest in Böll's last novel, completed only weeks before his death, which was dismissed by the critics at the time: Frauen vor Flußlandschaft (Women in a River Landscape), which I don't believe was ever translated into English. The critic Walter van Rossum, writing in Freitag, sees a forgotten masterpiece:
In jedem Kapitel präsentiert Böll ein neues Tableau mit Bonner Herrschaften: Ministrable und Minister gar, Veranstalter des Wirtschaftswunders, Täter und Opfer in wechselnder Konstellation - sämtlich vereint in einem Geschäftsgang, den man Politik nennen könnte, genauso gut könnte man von einer Dauerintrige mit mobilen Seilschaften sprechen. Man wird übrigens bis zum Ende nicht genau erfahren, worum sich die Intrigen spinnen. Man hat sogar den Eindruck, die Spinner selbst hätten den Überblick verloren. Und es ist großartig, wie Heinrich Böll es schafft, niemals zum Kern von irgendetwas vorzustoßen. Aus dem einfachen Grund: Es gibt keinen. Böll erzählt nicht die Geschichte einer Verschwörung, um sie am Ende aufzudecken. Er erzählt von der Verschwörung als Lebensform der Macht.
Böll was not writing a roman à clef about political corruption in Bonn. The Catholic Böll rather saw a perversion of the moral universe in the abuse of power by politicians. In his words he wanted to portray
Bonn als Ort der Zerstörung des Christlichen (Bonn as the place where Christian beliefs are destroyed). In this case Frauen vor Flußlandschaft sounds like a worthy successor to Wolfgang Koeppen's postwar masterpiece about Bonn Das Treibhaus (The Hothouse). Van Rossum suspects that Böll's final novel was dismissed by the literary establishment because it exposed some very uncomfortable truths about German society, which the establishment critics (especially the "Pope" of German literary criticism, Marcel Reich-Ranicki) were unable - or unwilling - to face.
Sie (die Literaturkritik) hat einem literarischen Meisterwerk die Kunstleistung abgesprochen, um die Wahrheiten dieses Buches nicht ertragen, nicht tragen zu müssen.
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