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The literary scholar Alfrun Kliems explores the aesthetic
strategies of Eastern European underground literature, art, film
and music in the decades before and after the fall of communism,
ranging from the 'father' of Prague Underground, Egon Bondy, to the
neo-Dada Club of Polish Losers in Berlin. The works she considers
are "underground" in the sense that they were produced illegally,
or were received as subversive after the regimes had fallen. Her
study challenges common notions of 'Underground' as an umbrella
term for nonconformism. Rather, it depicts it as a sociopoetic
reflection of modernity, intimately linked to urban settings, with
tropes and aesthetic procedures related to Surrealism, Dadaism,
Expressionism, and, above all, pop and counterculture. The author
discusses these commonalities and distinctions in Czech, Polish,
Slovak, Ukrainian, Russian, and German authors, musicians, and
filmmakers. She identifies intertextual relations across languages
and generations, and situates her findings in a transatlantic
context (including the Beat Generation, Susan Sontag, Neil Young)
and the historical framework of Romanticism and modernity
(including Baudelaire and Brecht). Despite this wide brief, the
book never loses sight of its core message: Underground is no
arbitrary expression of discontent, but rather the result of a
fundamental conflict at the socio-philosophical roots of modernity.
This book explores the history of the Israeli Socialist
Organization Matzpen (compass) that splintered off from the
Communist Party of Israel in 1962. After the Six Day War of June
1967, Matzpen shook Israeli society, calling for a withdrawal from
the recently occupied territories, and placing itself outside the
national consensus. Even before the war, the group emphasised the
colonial dimension of the conflict between Israeli Jews and
Palestinian Arabs, which was irresolvable within the paradigm of
the nation-state. Matzpen instead advocated for Israel's
de-Zionisation and a socialist revolution in the Middle East in
order to both restore the rights of Palestinian Arabs and guarantee
the existence of Israeli Jews as a new Hebrew nation. However, in
the era after Auschwitz, when the Jewish world stood in almost
unanimous solidarity with the Jewish state, Matzpen's radical
perspective was at odds with the history and memory of the
Holocaust. Against this backdrop, this study places Matzpen's
political stance in its historical context and sheds new light on
the political culture of Israel.
This book explores the history of the Israeli Socialist
Organization - Matzpen (compass) - that splintered off from the
Communist Party of Israel in 1962. After the Six Day War of June
1967, Matzpen shook Israeli society, calling for a withdrawal from
the recently occupied territories, and placing itself outside the
national consensus. Even before the war, the group emphasised the
colonial dimension of the conflict between Israeli Jews and
Palestinian Arabs, which was irresolvable within the paradigm of
the nation-state. Matzpen instead advocated for Israel's
de-Zionisation and a socialist revolution in the Middle East in
order to both restore the rights of Palestinian Arabs and guarantee
the existence of Israeli Jews as a new Hebrew nation. However, in
the era after Auschwitz, when the Jewish world stood in almost
unanimous solidarity with the Jewish state, Matzpen's radical
perspective was at odds with the history and memory of the
Holocaust. Against this backdrop, this study places Matzpen's
political stance in its historical context and sheds new light on
the political culture of Israel.
Born in 1973, Ron Winkler is one of the leading poets of his
generation in Germany. "In his poetry he demonstrates in a
sometimes hilarious, sometimes unsettling way how an ever greater
part of what in the previous century we used to call 'reality' for
the sake of convenience, has been expanded and shrunk to a virtual
universe in which the tactile and audible are constantly zapped,
sampled, filtered and twittered. The consequence is that "on a word
level, our thought collapses into fragmented, labyrinthine and
ridiculously large-scale concepts". -Ard Posthuma
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