By Julian Preece (auth.)
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Extra info for Baader-Meinhof and the Novel: Narratives of the Nation / Fantasies of the Revolution, 1970–2010
Only the businessman Ulrich, who is accompanied to the gathering by wife and teenage daughter, appears to have thrived, but his verbal combativeness suggests that he is overcompensating for his switch in allegiance. The Reader ends with Michael’s cringing failure to find common ground with Hanna’s surviving Jewish victim after Hanna has killed herself on the eve of her release from jail. Jörg, who is sentenced to a longer term behind bars than Hanna, makes it out of jail only because he is going to die in a few months.
No single moment caught onlookers’ imagination more than Meinhof’s leap from the window of the library in the Institute for Social Research in Miquelstrasse in the Dahlem district of West Berlin on May 14, 1970. The incident is rendered memorably in Uli Edel’s film. 13 An American historian sees the leap as rich in meaning for both the principal individuals: The leap was patently metaphorical: Baader plunged into precarious freedom. Meinhof [ . . ] leapt into an entirely new life of danger and notoriety, in which bombs replaced words as her main weapons.
53 If one reads the next dozen years from 1965 to 1977 through the iconography of Viva Maria! , which anticipates the literary and cinematic portrayal of the actions it perhaps helped inspire, one can see that Röhl had a point. RAF members too were more likely to be interested in film and acting than in writing. One of Ensslin and Baader’s two accomplices in the Frankfurt arson attacks in 1968 was Horst Söhnlein, who ran Munich’s Action Theatre, which competed with Fassbinder’s troupe in the underground of the Bavarian avant-garde.
Baader-Meinhof and the Novel: Narratives of the Nation / Fantasies of the Revolution, 1970–2010 by Julian Preece (auth.)