Australian Literature In The German Democratic Republic

An account of fraught and complex cross-cultural literary exchange between two highly distinct - even uniquely opposed - reading contexts, Australian Literature in the German Democratic Republic has resonance for all newly global reckonings of the cultural Cold War. Working from the extraordinary records of the East German publishing and censorship regime, the authors materially track the production and reception of one country’s corpus as envisioned by another. The 90 Australian titles published in the GDR form an alternative canon, revealing a shadowy literary archive that rewrites Australia’s postwar cultural history from behind the iron curtain and illuminates multiple ironies for the GDR as a ‘reading nation’. This book brings together leading German and Australian scholars in the fields of book history, German and Australian cultural history, Australian and postcolonial literatures, and postcolonial and cross-cultural theory, with emerging writers currently navigating between the two cultures.

An account of fraught and complex cross-cultural literary exchange between two highly distinct - even uniquely opposed - reading contexts, Australian Literature in the German Democratic Republic has resonance for all newly global reckonings of the cultural Cold War. Working from the extraordinary records of the East German publishing and censorship regime, the authors materially track the production and reception of one country’s corpus as envisioned by another. The 90 Australian titles published in the GDR form an alternative canon, revealing a shadowy literary archive that rewrites Australia’s postwar cultural history from behind the iron curtain and illuminates multiple ironies for the GDR as a ‘reading nation’. This book brings together leading German and Australian scholars in the fields of book history, German and Australian cultural history, Australian and postcolonial literatures, and postcolonial and cross-cultural theory, with emerging writers currently navigating between the two cultures.

Stasiland tells true stories of people who heroically resisted the communist dictatorship of East Germany, and of people who worked for its secret police, the Stasi. Internationally hailed as a classic, it is ‘fascinating, entertaining, hilarious, horrifying and very important’ (Tom Hanks) and ‘a heartbreaking, beautifully written book.’ (Claire Tomalin). East Germany was one of the most intrusive surveillance states of all time. One in 7 people spied on their friends, family and colleagues. In ‘the most humane and sensitive way’ (J.M. Coetzee) Funder tells the true stories of four people who had the extraordinary courage to refuse to collaborate with the Stasi, and the price they paid. She meets Miriam Weber, who was imprisoned at 16 after scaling the Berlin Wall. She drinks with the legendary “Mik Jegger” of the Eastern Bloc who was ‘disappeared’. And she finds former Stasi men who defend their regime long past its demise, and yearn for the second coming of Communism. Stasiland won the Samuel Johnson Prize for best non-fiction published in English in 2004. It was a finalist for the Guardian First Book Award, the W.H. Heinemann Award, the Index Freedom of Expression Awards, The Age Book of the Year Awards, the Queensland Premier’s Literary Award and the Adelaide Festival Awards for Literature (Innovation in Writing). It is read in schools and universities in many countries, and has been adapted for CD and the stage by The National Theatre, London.

This cross-cultural study examines German-Australian relations by tracing patterns of representation in Australian writing. The imagological approach enables comparisons to be made among a wide range of texts and of authors as diverse as Martin Boyd, Dymphna Cusack, Thomas Keneally, David Martin, E.O. Schlunke, Patrick White. The most common German images and stereotypes found are those associated with rural environment and romantic imagination on the one hand, and with savagery and barbarity represented by Nazism on the other. The significance of such images often links up with Australian perception of the 'Old World' and its cultural legacy, thus being part of the process of Australian self-definition and self-understanding.