In the following excerpt, Bridgewater finds that Enzensberger's first three verse collections evince the influence of such writers as Bertolt Brecht, Gottfried Benn, W. H. Auden, and others.
...
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In the following essay, Melin considers the significance of allusions in Der Untergang der Titanic (The Sinking of the Titanic) to Enzensberger's own life and works.
Commenting on the proble...
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In his review of Enzensberger's Kiosk and Selected Poems, which was translated from the German by Enzensberger and Michael Hamburger, Brady summarizes the poems in the collection and illuminate...
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In the following review, Enright declares Poems for People Who Don't Read Poems “pure poetry” and compares it to Bertolt Brecht's poetry in its precision.
It is scarcely...
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In this essay, Demetz surveys the themes and subjects of Enzensberger's firsth three volumes of poetry.
When Hans Magnus Enzensberger first published his poems he was immediately cast in the...
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In this essay, McCallum seeks an understanding of Enzensberger's anger and cultural criticism in Poems for People Who Don't Read Poems.
Poems For People Who Don't Read Poems is...
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In the following review, Hamburger analyzes the themes of Der Untergang der Titanic (The Sinking of the Titanic) and affirms the poem as “a celebration of bare survival.”
How intellig...
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In this review, Hamburger considers Die Furie des Verschwindens an excellent example of Enzensberger's work in poetry and politics despite its pessimistic views.
Sixteen years have passed si...
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In the following essay about Enzensberger's Der Untergang der Titanic (The Sinking of the Titanic) West analyzes Enzensberger's evocation of the experience aboard the sinking ship and th...
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In this essay, Grimm argues that Enzensberger is a practitioner of poetic anarchism, citing the author's fascination with anarchic events, movements, and historical figures, as well as his extr...
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In the following essay, Schultz and Enzensberger discuss his poetry, its hopeful themes, and his use of language in relation to power and politics.
Munich, July 1982. The windows of the large upsta...
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Critical Essay by Patrick Bridgewater
