He was born in theFree City of Danzig (nowGdańsk, Poland). At age 17, he wasdrafted into the military and served from late 1944 in theWaffen-SS. He was taken as aprisoner of war by US forces at the end of the war in May 1945. He was released in April 1946. Trained as a stonemason and sculptor, Grass began writing in the 1950s. In his fiction, he frequently returned to the Danzig of his childhood.
Grass was born in theFree City of Danzig on 16 October 1927, to Wilhelm Grass (1899–1979), aLutheranProtestant of German origin, and Helene Grass (née Knoff, 1898–1954), aRoman Catholic ofKashubian-Polish origin.[8][9] He identified asKashubian.[10][11][12] Grass was raised a Catholic and served as an altar boy when he was a child.[13] His parents had a grocery store with an attached apartment in Danzig-Langfuhr (now Gdańsk-Wrzeszcz). He had a younger sister, Waltraud, born in 1930.[14]
Grass's childhood home in Danzig (nowGdańsk, Poland) in 2010
Grass attended the DanziggymnasiumConradinum. In 1943, at age 16, he became aLuftwaffenhelfer (Air Force "helper"). Soon thereafter, he was conscripted into theReichsarbeitsdienst (Reich Labour Service). In November 1944, shortly after his 17th birthday, Grass volunteered forsubmarine service withNazi Germany'sKriegsmarine, "to get out of the confinement felt as a teenager in his parents' house", which he considered stuffy Catholic lower middle-class.[15][16]
After the Navy refused him, he was called up for the10th SS Panzer Division Frundsberg in late 1944.[17][18] Grass did not reveal until 2006 that he was drafted into theWaffen-SS at that time.[19] His unit functioned as a regularPanzer Division, and he served with them from February 1945 until he was wounded on 20 April 1945. He was captured inMarienbad (now Mariánské Lázně, Czech Republic) and sent to a USprisoner-of-war camp inBad Aibling, Bavaria.[20]
The books are collectively called theDanzig Trilogy and focus on the rise ofNazism and howWorld War II affected Danzig (now Gdańsk, Poland). It had been separated from Germany after World War I and was designated as theFree City of Danzig (Freie Stadt Danzig).[22]
Dog Years (1965) is considered a sequel of sorts toThe Tin Drum, as it features some of the same characters.[23] It portrays the area's mixed ethnicities and complex historical background in lyrical prose that is highly evocative.[24]
The Tin Drum established Grass as one of the leading authors of Germany. It set a high bar of comparison for all of his subsequent works, which critics often compared unfavorably to this early work.[25] In West Germany of the late 1950s and early '60s, the book was controversial. The city ofBremen revoked a prize it bestowed on Grass because of what its leaders considered the "immorality" of his debut novel.[20] When Grass received the Nobel Prize in literature in 1999, the Nobel Committee stated that the publication ofThe Tin Drum "was as if German literature had been granted a new beginning after decades of linguistic and moral destruction".[26]
The 1977 novelThe Flounder (Der Butt) is based on the folktale of "The Fisherman and His Wife", and deals with the struggle between the sexes. It has been read as an anti-feminist novel. In the novel the magical flounder of the folk tale represents male triumphalism and the patriarchy. It is caught by a group of 1970s feminists, who put it on trial. The book interrogates male-female relations from the past and the present through the relationship between the narrator and his wife who, like the wife in the folk tale, insatiably craves more.[27] Although the book could be read as a defense of women and a denunciation of male chauvinism, it was largely harshly critiqued and rejected by feminists. They rejected its portrayal of violence, sexualization and objectification, and what they perceived asmale narcissism andgender essentialism.[28]
InMy Century (Mein Jahrhundert, 1999) Grass covered many of the 20th-century's brutal historic events, conveyed in short pieces of a few pages by year, forming a mosaic of expression.
In 2002, Grass returned to the forefront of world literature withCrabwalk (Im Krebsgang). This novella, one of whose main characters first appeared inCat and Mouse, was Grass's most successful work in decades. It dealt with the events of a refugee ship, full of thousands of Germans, being sunk by a Soviet Russian submarine, killing most on board. It was one of a number of works since the late 20th century that have explored the victimization of Germans in World War II.[29]
In 2006, Grass published the first volume in a trilogy of autobiographic memoirs. TitledPeeling the Onion (Beim Häuten der Zwiebel), it dealt with his childhood, war years, early efforts as a sculptor and poet, and finally his literary success with the publication ofThe Tin Drum. In a pre-publication interview, Grass revealed for the first time that he had been a member of theWaffen-SS, and not only served as aFlakhelfer (anti-aircraft assistant), as he had long claimed. On being asked about his decision to make a public confession, he answered: "It was a weight on me, my silence over all these years is one of the reasons I wrote the book. It had to come out in the end."[30]
In response to the interview and the book, many critics accused him of hypocrisy for having hidden this part of his past, while simultaneously being a strong voice for ethics and morality in the public debate.[30] The book was praised for its depictions ofthe German postwar generation, and the social and moral development of a nation burdened simultaneously by destruction and a deep sense of guilt.[31] Throughout the memoir, Grass plays with the frailty of memory, for which the layers of the onion are a metaphor. Grass second-guesses his own memories, throws his own autobiographical statements into doubt, and questions whether the person inhabiting his past was really him. This struggle with memory comes to represent the struggle of the German people during the same period with Germany's Nazi past.[32]
He published the second volume of the trilogy,The Box (German:Die Box) in 2008; and the third,Grimms Wörter (Grimm's Words), the title referring to theBrothers Grimm'sDeutsches Wörterbuch (German Dictionary), in 2010.
Grass's work is centered on World War II and its effects on Germany and the German people. He critiques the forms of ideological reasoning that undergirded the Nazi regime. He uses the location of the city of Danzig/Gdańsk and its ambiguous historical status between Germany and Poland to stand as a symbol of the ambiguity between and among ethnic groups. Grass's ancestry includes both German and Slavic family members, some of whom fought on opposite sides of the war. His works also show a sustained concern for the marginal and marginalized subjects, such as Oskar Matzerath, the dwarf inThe Tin Drum, whose body was considered an aberration unworthy of life in the Nazi ideology, or theRoma andSinti people deemed impure and unworthy by the Nazis and subjected to eugenics and genocide, as were the Jews.[33][34]
Grass's literary style combines elements ofmagic realism with a penchant for questioning. He complicates questions of authorship by intermingling realistic autobiographical elements withunreliable narrators and fantastic events or happenings that create irony or satirize events to form social critiques.[35][36]
Grass's work has tended to divide the critics into those who have considered his experiments and style to be sublime and those who have found it to be tied down by his political posturing. American critics, such asJohn Updike, have found the mixture of politics and social critique in his works to diminish its artistic qualities.[37] In his various critiques of Grass's works, Updike wrote that Grass had been consumed by his "strenuous career as celebrity-author-artist-Socialist" and said about one of his later novels that "he can't be bothered to write a novel; he just sends dispatches ... from the front lines of his engagement". Even if frequently critical of Grass, Updike considered him to be "one of the very, very few authors whose next novel one has no intention of missing".[38]
Grass's literary style has been widely influential.John Irving called Grass "simply the most original and versatile writer alive". According to Mews, critics have noted parallels between Irving'sA Prayer for Owen Meany (1989) andThe Tin Drum.[39] Similarly,Salman Rushdie has acknowledged a debt to Grass's work, particularlyThe Tin Drum; in addition, Mews has said parallels to Grass's work have been pointed out in Rushdie's own oeuvre.[40]
Grass was for several decades a supporter of theSocial Democratic Party of Germany and its policies. He took part in German and international political debate on several occasions. DuringWilly Brandt's chancellorship, Grass was an active supporter. Grass criticized left-wing radicals and instead argued in favor of the "snail's pace", as he put it, ofdemocratic reform (Aus dem Tagebuch einer Schnecke, literally "from the diary of a snail"). Books containing his speeches and essays have been published throughout his literary career.[20]
In the 1980s, Grass became active in thepeace movement and visitedCalcutta for six months.[20] A diary with drawings was published asZunge zeigen, an allusion toKali's tongue.
During the events leading up to thereunification of Germany in 1989–90, Grass argued for the continued separation of the two German states. He asserted that a unified Germany would be likely to resume its role as belligerent nation-state. This argument estranged many Germans, who came to see him as too much of a moralizing figure.[30]
In 2001, Grass proposed the creation of a German-Polish museum for art lost to other countries during the War. TheHague Convention of 1907 requires the return of art that had been evacuated, stolen or seized. Some countries refused to repatriate some of thelooted art.[41][42]
Grass in 2006
On 4 April 2012, Grass's poem "What Must Be Said" (Was gesagt werden muss) was published in several European newspapers. Grass expressed his concern about the hypocrisy of German military support (the delivery of a submarine) ofIsrael, which might use such equipment to launch nuclear warheads againstIran, which "could wipe out theIranian people". And he hoped that many would demand "that the governments of both Iran and Israel allow an international authority free and open inspection of the nuclear potential and capability of both." In response, Israel declared himpersona non grata in that country.[43][44][45]
According toAvi Primor, president of theIsrael Council on Foreign Relations, Grass was the only important German cultural figure who had refused to meet with him when he served asIsraeli ambassador to Germany. Primor noted: "One explanation for [Grass']s strange behavior might be found in the fact that Grass (who despite his poem is probably not the bitter enemy of Israel that one would imagine) had certain personal difficulties with Israel that were not necessarily of his own making." Primor said that during Grass's earlier visit to Israel, he
"was confronted with the anger of an Israeli public that booed him in successive public appearances. To be sure, the Israeli protestors were not targeting Grass personally and their anger had nothing at all to do with his literature. It was the German effort to establish cultural relations with Israel to which they objected. Grass, however, did not see it that way and may well have felt personally slighted."[46]
On 26 April 2012, Grass wrote a poem criticizing European policy in the treatment of Greece in theEuropean debt crisis. In "Europe's Disgrace", Grass accuses Europe of condemning Greece to poverty, a country "whose mind conceived Europe".[48][49]
Just a few days before he died, Grass completed his last book,Vonne Endlichkait. The title is inEast Prussian dialect, the native dialect of Grass, and means "About Finitude". According to his publisher Gerhard Steidl, the book was "a literary experiment", combining short prose texts, poems, and pencil drawings by the writer.[50] The book was published in August 2015.
Grass with the West German ChancellorWilly Brandt, 1972
Grass received dozens of international awards; in 1999, he was awarded the highest literary honour: theNobel Prize in Literature. TheSwedish Academy noted him as a writer "whose frolicsome black fables portray the forgotten face of history".[7] His literature is commonly categorized as part of the German artistic movement known asVergangenheitsbewältigung, roughly translated as "coming to terms with the past."
Representatives of the city ofBremen joined to establish the Günter Grass Foundation with the aim of establishing a centralized collection of his numerous works, especially his many personal readings, videos and films. The Günter Grass House inLübeck houses exhibitions of his drawings and sculptures, and an archive and a library.[53]
In 1992, he received the Hidalgo Prize, awarded by the National Association of Spain"Presencia Gitana", in recognition of his defense of theRomani People.[54]
In 2012, Grass received the European of the Year award from the European Movement Denmark (Europabevægelsen), honoring his political debates in European affairs.[55]
Grass'sprisoner of war record, indicating Waffen-SS membership
In August 2006, in an interview to theFrankfurter Allgemeine Zeitung about his forthcoming book,Peeling the Onion, Grass said that he had been a member of theWaffen-SS in World War II.[19] Before that, he was thought to have been a typical member of the "Flakhelfer generation", one of those too young to see much fighting or to be involved with the Nazi regime beyond its youth organizations.[56] On 15 August 2006,Spiegel Online published three 1946 documents from US forces verifying Grass'sWaffen-SS membership.[57]
After an unsuccessful attempt to volunteer for theU-boat fleet in 1942, at age 15, Grass had been conscripted into theReichsarbeitsdienst (Reich Labor Service). He was called up for theWaffen-SS in 1944. Grass was trained as a tank gunner and fought with the10th SS Panzer Division Frundsberg until its surrender to US forces atMarienbad.[58][59]
In 2007, Grass published an account of his wartime experience inThe New Yorker, including an attempt to "string together the circumstances that probably triggered and nourished [his] decision to enlist."[59] To theBBC, Grass said in 2006: "It happened as it did to many of my age. We were in the labour service and all at once, a year later, the call-up notice lay on the table. And only when I got to Dresden did I learn it was the Waffen-SS."[60]
As Grass was for many decades an outspoken left-leaning critic of Germany's failure to deal with its Nazi past, his statement caused a great stir in the press.Rolf Hochhuth said it was "disgusting" that this same "politically correct" Grass had publicly criticizedHelmut Kohl andRonald Reagan'svisit to a military cemetery atBitburg in 1985, because it contained graves ofWaffen-SS soldiers.[30] In the same vein, historianMichael Wolffsohn accused Grass of hypocrisy in not earlier disclosing his SS membership.[61]Joachim Fest, a biographer of Adolf Hitler, remarked on Grass's disclosure:
"After 60 years, this confession comes a bit too late. I can't understand how someone who for decades set himself up as a moral authority, a rather smug one, could pull this off."[62]
Others defended Grass, saying his involuntaryWaffen-SS service came very early in his life, resulting from his being drafted shortly after his seventeenth birthday. They noted he had always—after the war was lost—been publicly critical of Germany's Nazi past. For example, novelistJohn Irving criticized those who would dismiss the achievements of a lifetime because of a mistake made as a teenager.[63]
Grass's biographerMichael Jürgs [de] described the controversy as resulting in "the end of a moral institution".[64]Lech Wałęsa initially criticized Grass for keeping silent about hisWaffen-SS membership for 60 years. He later withdrew his criticism after reading Grass's letter to the mayor of Gdańsk, saying that Grass "set the good example for the others."[65] On 14 August 2006, the ruling party of Poland,Law and Justice, called on Grass to relinquish his honorary citizenship of Gdańsk.Jacek Kurski, a Law and Justice politician, said, "It is unacceptable for a city where the first blood was shed, where World War II began, to have a Waffen-SS member as an honorary citizen."[66] But, according to a 2010 poll[67][68] ordered by city's authorities, the vast majority of Gdańsk citizens did not support Kurski's position. The mayor of Gdańsk,Paweł Adamowicz, said that he opposed submitting the affair to the municipal council because it was not for the council to judge history.[69]
In 1954 Grass married Anna Margareta Schwarz, a Swiss dancer, which ended in divorce in 1978. He and Schwarz had four children: Franz (born 1957), Raoul (1957), Laura (1961), and Bruno (1965). They separated in 1972, and he began a relationship with Veronika Schröter, with whom he had a daughter, Helene (1974). He also had a daughter, Nele (1979), with Ingrid Kruger.
In 1979 he married Ute Grunert, an organist, to whom he was married up until his death.[20] He had two stepsons from his second marriage, Malte and Hans. He had 18 grandchildren at his death.[20][70]
Grass spent summers on a Danish island, spring and summer in southern Portugal, and was a fan of football clubSC Freiburg.[71][72]
A pipe smoker for most of his adult life, Grass died at the age of 87 of a lung infection on 13 April 2015 in aLübeck hospital.[73][74][75] He was buried in a private family observance on 29 April inBehlendorf, 15 miles south of Lübeck, where he had lived since 1995.
American novelistJohn Irving delivered the main eulogy at a memorial service for Grass on 10 May in theTheater Lübeck. Among those who attended were German PresidentJoachim Gauck, former ChancellorGerhard Schröder, federal Commissioner for CultureMonika Grütters, film directorVolker Schlöndorff, andPaweł Adamowicz, mayor of Gdańsk.[76][77] Grütters, in remarks to mourners, noted that, through his work, Grass championed the independence of artists and of art itself.[78] Adamowicz said Grass had "bridged the chasm between Germany and Poland", and praised the novelist's "unwillingness to compromise".[79]
Murdoch, Brian (1982),Sisyphean Labours, which includes a review ofHeadbirths, or, The Germans are Dying Out, inCencrastus No. 9, Summer 1982, p. 46,ISSN0264-0856
^"Outrage in Germany".Der Spiegel. 4 April 2012. Retrieved4 April 2012.Günter Grass, Germany's most famous living author and the 1999 recipient of the Nobel Prize in literature...
^Harding, Luke; Sherwood, Harriet (8 April 2012)."Outcry as Gunter Grass poem strongly criticises Israel".The Hindu. Chennai, India. Retrieved8 April 2012.During his long literary career, Gunter Grass has been many things. Author, playwright, sculptor and, unquestionably, Germany's most famous living writer. There is the 1999 Nobel Prize and Mr. Grass's broader post-war role as the country's moral conscience...
^"Günter Grass nie żyje. Noblista miał 87 lat".Gazeta Wyborcza. 13 April 2015. Retrieved13 April 2014.Pytany o tożsamość narodową, mówił, że jest Kaszubą. (Asking about his ethnicity, he always said that he's Kashubian)
^"Porträt: Der unbequeme Nationaldichter".Focus. 13 April 2015. Archived fromthe original on 24 September 2015. Retrieved13 April 2014.Aber wenige haben auch soviel einstecken müssen wie der Kaschube aus Danzig. But, just few people had to take flak like the mustachioed Kashubian from Danzig (now Gdańsk, Poland)
^O'Neill, Patrick (2009). "The Exploratory Fiction of Günter Grass". In Taberner, S. (Ed.). (ed.).The Cambridge Companion to Günter Grass. Cambridge University Press.
^Finch, Helen (2009). "Günter Grass and Gender". In Taberner, S. (Ed.). (ed.).The Cambridge Companion to Günter Grass. Cambridge University Press.
^Krimmer, E. (2008). "'Ein Volk von Opfern?' Germans as Victims in Günter Grass'sDie Blechtrommel andIm Krebsgang".Seminar: A Journal of Germanic Studies.44 (2). University of Toronto Press.:272–290.
^Arnds, P. O. (2004).Representation, subversion, and eugenics in Günter Grass'sThe Tin Drum. Camden House.
^Taberner, S. (Ed.)., ed. (2009).The Cambridge Companion to Günter Grass. Cambridge University Press.
^Braun, R. (2008).Constructing Authorship in the Work of Günter Grass. Oxford University Press.
^Arnds, P. O. (2009). "Günter Grass and Magical Realism". In Taberner, S. (Ed.). (ed.).The Cambridge Companion to Günter Grass. Cambridge University Press.
Mews, Siegfried (2008).Günter Grass and His Critics: From The Tin Drum to Crabwalk. Studies in German Literature. Rochester, New York: Camden House.ISBN978-1-57113-062-4.OCLC181424200.
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