Tales of the German Imagination, from the Brothers Grimm to Ingeborg Bachmann, is a ‘collection of fantastical, strange and compelling stories from 200 years of German literature’. It ‘includes such literary giants as the Brothers Grimm, Kafka, Musil and Rilke, as well as many surprising and unexpected voices’.
The introduction has been written by translator Peter Wortsman, who has also edited the collection. In it, he states that ‘fear has indeed proven rich fodder for fantasy in the German storytelling tradition’, and that ‘the darkest German literary confections are such a pleasure to read because they are also spiked with humour – therein lies their enduring appeal’. Wortsman goes on to say that in editing the anthology, he has aimed to include stories and extracts ‘from a span of several centuries and from various literary movements born of crisis and doubt’.
Tales of the German Imagination is split into three separate parts, and includes predominantly male authors. In fact, Ingeborg Bachmann, mentioned in the title, is one of only two females featured in the collection. There are some other famous names amongst the authors – E.T.A. Hoffmann, Heinrich Heine and Rainer Maria Rilke, for example. The anthology begins with three stories by the Brothers Grimm – ‘The Singing Bone’, ‘Hansel and Gretel’ and ‘The Children of Hameln’, which is their telling of a tale more commonly known as ‘The Pied Piper of Hamelin’. Whilst these stories are relatively well known in the English speaking world, others from the less popular authors feel fresh and add a nice twist to such a collection.
The stories themselves provide a varied mixture of themes and styles. Some are told from the first person perspective and others from the third, and we are immersed into a variety of historical settings where we meet a whole host of diverse protagonists and bystanders. The settings too are diverse, from Germany to Italy and from the Netherlands to the United States. Several of the tales of much longer than others – ‘The Sandman’ by E.T.A. Hoffmann, ‘Rune Mountain’ by Ludwig Tieck and ‘Peter Schlemiel’ by Adelbert von Chamisso, for example, read more like novellas than short stories. The majority are standalone pieces, but several of the tales have been taken from longer works of fiction. Throughout, many different themes and literary elements have been made use of, from magic, the unexplained and the macabre to poverty, war and peace and the concept of madness.
The stories themselves have been nicely varied for the most part, and there is sure to be something to suit the tastes of even the most particular short story connoisseur. All relate to the human psyche in some way, and the most stunning and unsettling are provided by the Brothers Grimm, Georg Heym and Kurt Schwitters. Some of the tales are rather disturbed and the subject matter is not easy to read about at times, but the starkness of their telling and events certainly pack a punch. In Georg Heym’s ‘The Lunatic’, his protagonist ‘pranced about with two skulls stuck to his feet, like eggshells he’d just stepped out of and hadn’t yet shaken off… and then he stamped down, splotch, so the brains splattered nicely like a little golden fountain’. In Kurt Schwitters’ ‘The Onion’, the protagonist tells us: ‘It was a very momentous day, the day on which I was to be slaughtered… I had never yet in all my life been slaughtered’.
In some cases, the year in which the story was published is included below its title, but in others the life span of the author is included. This inconsistency is a little confusing at times, as is the way in which none of the stories have been included in a chronological order. Ordering the stories in such a way would have made it easy for the reader to see how the darker elements of German fiction have progressed as the years have passed. The biographical information pertaining to each of the authors has been tucked away in an appendix at the back of the volume, and it is a shame that these short yet informative paragraphs have not been paired with the stories themselves.