Introduction
1. See Walter Laqueur, Weimar: A Cultural History 1918-1933 (New York: G. P. Putnam's Sons: 1974), pp. 41-77. Laqueur corrects the popular one-sided view of Weimar culture as purely leftist by also analyzing the right-wing intellectuals (pp. 78-109), but the only imaginative writer of any stature he can adduce on the Right is Ernst Jünger. [BACK]
2. Alfred Döblin, in his afterword to the reprint edition of Berlin Alexander-platz ("Nachwort zu einem Neudruck," BA 509). All translations are mine unless otherwise indicated. [BACK]
3. "Krisis des Romans: Zu Döblins 'Berlin Alexanderplatz,'" Die Gesellschaft 7 (1930), pp. 562-66. Now in Walter Benjamin, Gesammelte Schriften, vol. 3, ed. Hella Tiedemann-Bartels (Frankfurt: Suhrkamp, 1972), pp. 230-36. [BACK]
4. Jost Hermand and Frank Trommler see in pre-World War I Expressionism the roots of the utopianism common in the early years of the Republic. Die Kultur der Weimarer Republik (Munich: Nymphenburger Verlagshand-lung, 1978), 36-40. [BACK]
5. The German title actually means "No Quarter Given." See below, Chapter 4, n. 1. [BACK]
6. See Heidi Thomann Tewarson, Alfred Döblin: Grundlagen seiner Ästhetik und ihre Entwicklung, 1900-1933 (Bern: Peter Lang, 1979), pp. 58 and 83-84, for an intelligent exposition of the implicit parallels between Wang-lun and Wallenstein on the one hand and Wilhelmian Germany before and during the war on the other. [BACK]
7. See Helmut Kiesel, Literarische Trauerarbeit. Das Exil- und Spätwerk Alfred Döblins (Tübingen: Max Niemeyer, 1986), pp. 207-9. [BACK]