By Hans Magnus Enzensberger
Hans Magnus Enzensberger is a poet, dramatist, essayist and translator. it is a great number of 3 later essays on battle and violence. he's additionally a Georg Buchner Prize recipient; there's a assortment on bibliotik compiling those winners.
"A robust ebook that are meant to have enormous effect on these able to go away ideological luggage behind."
-- East Bay convey Books
In Civil Wars, Hans Magnus Enzensberger, Germany's such a lot astute literary and political critic, chronicles the worldwide adjustments happening because the results of evolving notions of nationalism, loyalty, and neighborhood. Enzensberger sees comparable forces at paintings worldwide, from America's racial uprisings in l. a. to the outright carnage within the former Yugoslavia. He argues that past ways to type or generational clash have failed us, and that we're now faced with an "autism of violence": an inclination towards self-destruction and collective madness.
Known around the globe as an essayist, journalist, poet, translator, and dramatist, Hans Magnus Enzensberger is the writer of many books, together with Europe, Europe; serious Essays; Politics and Crime; The Sinking of the enormous; chosen Poems; and The awareness undefined. He lives in Munich.
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Extra resources for Civil Wars: From L.A. to Bosnia
W hat gives today’s civil wars a new and terrifying slant is the fact that they are waged without stakes on either side, that they are wars about nothing at all. This gives them the characteristics of a political retrovirus. We have always regarded politics as a struggle between opposing interests, not only for power, for resources and for better opportunities, but also in pur suit o f wishes, plans and ideas. A nd although this power-play invariably results in bloodshed and is often unpredictable, at least the intentions of those involved are usually obvious.
But I didn’t. I don’t think the thought occurred to me. It was as if time had dramatically slowed down, and each second had a distinct beginning and end, like a sequence of images on a roll of film, and I was mesmerized by each image I saw . . W ith that first exchange, some kind of threshold had been crossed, some notional boundary: on one side of that boundary had been a sense of limits, an ordinary understand ing— even among this lot— of what you didn’t do; we were now someplace where there would be few limits, where the sense that there were things you didn’t do had ceased to exist .
This is a consequence of the pathological self lessness that Hannah Arendt diagnosed. Every halfwit 54 C iv il W ar with a petrol-filled beer bottle in one hand and his other arm raised in a Hitler salute can hope to make the front page of the New York Times, and watch his previous night’s work on the evening news: burning houses, mutilated corpses, late-night sittings and crisis commit tees. This is how television works: as a single, huge piece of graffiti, an artificial replacement for the autisticallyshrunken ego.