Michael Hofmann is a poet and translator from German of books by Thomas Bernhard, Jenny Erpenbeck, Günter Grass, Franz Kafka, Joseph Roth and Patrick Süskind, among many others. He teaches at the University of Florida. He has contributed dozens of poems to the LRB since 1980 and more than sixty pieces, on subjects including Stefan Zweig, Bohumil Hrabal, Halldór Laxness, Caspar David Friedrich and boarding schools.
Zbigniew Herbert, noted lover of Golden Age Dutch painting, decided one day to break with his well-trodden pilgrimages to his favourite museums in Rotterdam and Amsterdam. Instead, he ventured into the Dutch countryside for a view of what one might call the hinterland of so many of those dim, flat, dampish paintings (the landscapes, at any rate). ‘It is reasonable,’ he contends...
César Vallejo is Yeats’s poet with the sword upstairs. Everything about him seems to burn with intensity. He burned through zarzuela Spanish, making it into a language of monosyllables, blurts, inventions, contradictions, arcane legal and medical terms. (The Mexican scholar Ilan Stavans says he made it more American. Maybe, and not because he was trying to be John Berryman avant...
In ‘Dream Song 364’, quite close to the end of the sequence, John Berryman’s avatar/protagonist Henry is once more being remorselessly flattered. He has surely read everything there is to read. (One thinks of Mallarmé’s opening line from ‘Brise Marine’, ‘La chair est triste, hélas! et j’ai lu tous les livres.’) Not so, Henry...
Nativity TrailVenusian TaleNaivety ThrallVolatilised Atoll
National Treble-TrillVanuatu TriviaNaturist ...
We are a small part of a shrinking thing, tail to a dwindling dog, or that thing that, in Yeats, is fastened to the dying animal. The heart; the soul. The dying animal is the English department, perhaps the humanities as a whole.
Michael Hofmann talks to Declan Ryan about his first new collection in almost two decades, One Lark, One Horse.
Documentary has customarily been regarded as a genre duty-bound to deal in facts. But the only duty Herzog has ever felt as a filmmaker is, as he puts it, to ‘follow a grand vision’.
Kafka wrote that, were it not for the final act, Michael Kohlhaas would be ‘a thing of perfection’, which is a diplomatic way of saying that Kleist absolutely butchers it. In fact, one of the many...
Many poets end up having a hard life but W.S. Graham went out of his way to have one. His dedication to poetry, about which he seems never to have had a second thought, was remorseless, and his instinct,...
Remarque apparently knew that The Promised Land would be his last novel, and meant it to be one of his finest, perhaps his masterwork.
Jakob Wassermann, who published nearly a book a year for the last thirty years of his life but died broke and exhausted, soon to be forgotten, on 1 January 1934 at the age of sixty, was well...
‘Literature should be naked,’ Peter Stamm writes. Words should never obscure the story, ‘its warmth, its form, its vitality’. It’s form that critics in Germany and...
On Tuesday, 17 October 1911, 18-year-old Rudolf Ditzen, the future Hans Fallada, got up before dawn to meet his schoolfriend Hanns Dietrich von Necker at a tourist spot outside Rudolstadt in...
As any adult can tell you – or any adult not given over entirely to mawkish and convenient notions of innocence – children are born spies. Every parent (previously an independent...
The two central facts about Malcolm Lowry are that he wrote and that he drank. He drank while writing – or possibly he wrote while drinking. When he died in June 1957 after downing a lethal...
Between 1951 and 1954, Wolfgang Koeppen published three scathing, disillusioned novels ridiculing the notion of a new start and a clean slate for West Germany. At the time, perhaps as many as 80...
Michael Hofmann’s poetry is a lament for a lost world. Some years ago, in an article on Frank O’Hara, he talked about New York no longer being the thrilling place it had been in the...
With Joseph Roth, you begin – and end – with the prose. The great delight of this Austrian novelist, who wrote in the Twenties and Thirties, lies in his strange, nimble, curling...
At the age of 48, after thirty years of lecturing on German literature and writing radio plays, Gert Hofmann began to produce disconcerting novels. Michael Hofmann, his son, the poet, confronted...
‘I was not myself. I was just anyone.’ The person who says ‘I’ in Michael Hofmann’s earlier poems is uncertain, diffident, angry; he seems both gnarled and youthful,...
This German novel has waited nearly forty years for its English translator. Michael Hofmann fell in love the moment the Good Fairy told him about it, and set out to liberate it from the thorn...
Wim Wender’s very pleasurable Paris, Texas (1984) is both an American movie and a European film. Its creative pedigree is mixed – all through the credits: the German Wenders as...
Attentive readers of the Guardian’s news pages will already know about Arabesques. A 1986 report from Jerusalem told readers of a first novel by a 36-year-old writer which was making a big...
In his autobiographical papers, Surely you’re joking, Mr Feynman?, the Nobel Prize-winning physicist, Richard Feynman, describes being piqued by an article in Science about how well...
The acrimony in Michael Hofmann’s book is that of a son towards his father. Like a family photograph album, the sequence ‘My Father’s House’ records the son’s growth...
There remains a most decided difference – indeed it grows wider every year – between what Philip Larkin calls ‘being a writer’, or ‘being a poet’, and managing...
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