Walter Benjamin: Selected Writings, Volume 1: 1913-1926
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Specificatii
Walter Benjamin was one of the most original and important critical
voices of the twentieth century, but until now only a few of his
writings have been available in English. Harvard University Press
has now undertaken to publish a significant portion of his work in
definitive translation, under the general editorship of Michael W.
Jennings. This volume, the first of three, will at last give
readers of English a true sense of the man and the many facets of
his thought. (The magnum opus of Benjamin's Paris years, The
Arcades Project, has been published in a separate volume.) Walter
Benjamin emerged from the head-on collision of an idealistic youth
movement and the First World War, which Benjamin and his close
friends thought immoral. He walked away from the wreck scarred yet
determined to be considered as the principal critic of German
literature. But the scene, as he found it, was dominated by
talented fakes, so--to use his words--only a terrorist campaign
would I suffice to effect radical change. This book offers the
record of the first phase of that campaign, culminating with One
Way Street, one of the most significant products of the German
avant-garde of the Twenties. Against conformism, homogeneity, and
gentrification of all life into a new world order, Benjamin made
the word his sword. Volume I of the Selected Writings brings
together essays long and short, academic treatises, reviews,
fragments, and privately circulated pronouncements. Fully
five-sixths of this material has never before been translated into
English. The contents begin in 1913, when Benjamin, as an
undergraduate in imperial Germany, was president of a radical youth
group, and take us through 1926, when he had already begun, with
his explorations of the world of mass culture, to emerge as a
critical voice in Weimar Germany's most influential journals. The
volume includes a number of his most important works, including Two
Poems by Friedrich HOlderlin, Goethe's Elective Affinities, The
Concept of Criticism in German Romanticism, The Task of the
Translator, and One Way Street. He is as compelling and insightful
when musing on riddles or children's books as he is when dealing
with weightier issues such as the philosophy of language, symbolic
logic, or epistemology. We meet Benjamin the youthful idealist, the
sober moralist, the political theorist, the experimentalist, the
translator, and, above all, the virtual king of criticism, with his
magisterial exposition of the basic problems of aesthetics.
Benjamin's sentences provoke us to return to them again and again,
luring us as though with the promise of some final revelation that
is always being postponed. He is by turns fierce and tender,
melancholy and ebullient; he is at once classically rooted, even
archaic, in his explorations of the human psyche and the world of
things, and strikingly progressive in his attitude toward society
and what he likes to call the organs of the collective (its
architectures, fashions, signboards). Throughout, he displays a
far-sighted urgency, judging the present on the basis of possible
futures. And he is gifted with a keen sense of humor. Mysterious
though he may sometimes be (his Latvian love, Asia Lacis, once
described him as a visitor from another planet), Benjamin remains
perhaps the most consistently surprising and challenging of
critical writers.
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