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Full Description
The literary scholar Alfrun Kliems explores the aesthetic strategies of Eastern European underground literature, art, film and music in the decades before and after the fall of communism, ranging from the 'father' of Prague Underground, Egon Bondy, to the neo-Dada Club of Polish Losers in Berlin.
The works she considers are underground in the sense that they were produced illegally, or were received as subversive after the regimes had fallen. Her study challenges common notions of 'Underground' as an umbrella term for nonconformism. Rather, it depicts it as a sociopoetic reflection of modernity, intimately linked to urban settings, with tropes and aesthetic procedures related to Surrealism, Dadaism, Expressionism, and, above all, pop and counterculture.
The author discusses these commonalities and distinctions in Czech, Polish, Slovak, Ukrainian, Russian, and German authors, musicians, and filmmakers. She identifies intertextual relations across languages and generations, and situates her findings in a transatlantic context (including the Beat Generation, Susan Sontag, Neil Young) and the historical framework of Romanticism and modernity (including Baudelaire and Brecht).
Despite this wide brief, the book never loses sight of its core message: Underground is no arbitrary expression of discontent, but rather the result of a fundamental conflict at the socio-philosophical roots of modernity.
Contents
Acknowledgments, Preface PART I. TypologyThe Underground and the City, Pre- and Post-1989: An Effort to Interweave ConceptsParanoid Schizophrenia: Dissent, the Underground, and Cultural FissureSubverting Official Claims to Centrality: Overcity/Undercity, City/Country, East/WestVerticality as Metaphor: The Romantic Era and the Underground as a Historical Location PART II. Figures, Works, GroupsLast Exit: Egon Bondy's Anti-flâneurs under the Wheels of Madame PragueUrban Disaffiliation: The Swan Songs of Ivan Martin JirousDisgusted in Bratislava: Vladimír Archleb's Lyrically Vulgar DandyismChrist Quieted: Marcin ?wietlicki, Kraków, the Underground, and PopThe Joy of Failure, or Underground and Generation: Jacek Podsiad?o's Road Story en Route to BratislavaMy City's Me, It's Many: Peter Firefly Wawerzinek, the Palaverer of Prenzlauer BergAnticolonial Myth, Pop, Punk—and the End of the Underground? The Topol Brothers' Dog Soldiers SongsRomani and Vietnamese in Prague: Jáchym Topol Bids Farewell to the Tripolis PragaA Detour to Moscow: Vladimir Makanin's Underground Fantasies, or the Snare of the SubterraneanCherboslovats, Romongolians, Sweeks: Yuri Andrukhovych's Moscow as a Junkspace of CulturesPlanar Cities and Their Urban Devastation: Andrzej Stasiuk's Post-Socialist WarsawAggressive Localism: Andrzej Stasiuk and Yuri Andrukhovych as Secretaries of the ProvincialBackstory Metropolis, Mass, Meat Factory: Tot Art, the Orange Alternative, and Other Chefs of the Semantic PorridgeIt All Started in Gda?sk!: Berlin's Club of Polish LosersConclusion or, Entropy of the Underground,Bibliography, List of Illustrations, Name Index
