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AI InsightScholz’s narrative technique allows the author to address Germany’s murderous past, while discursively walling off ‘everyday’ Germans such as Wilms from all but the most remote complicity in the Nazis’ crimes.
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Abstract
At the climax of the first story in Hans Scholz’s bestselling 1955 novel Am grünen Strand der Spree, Wehrmacht soldier Jürgen Wilms witnesses the mass murder of hundreds of Jews by a Sonderkommando, a special command unit. As he watches the Jewish men, women, and children walk silently to the mass grave where they are gunned down, his mind whirrs with shame and self-indictment at his past and current failure to act. Interlaced among these stream-of-consciousness thoughts are a reference to a well-known medieval poem by Walther von der Vogelweide, Under der linden. In the song, a female narrator coyly describes an illicit tryst. The evidence that she points to and she herself are vestiges of a former presence, faint life marks (Savoy 2021), veiled by layers of space, time, and performance dynamic. The female narrator, as only a presence in absence in the performance context, is shielded from scrutiny by rhetoric designed to focus attention on the performer. This web of revelation and concealment offers an intriguing framework for understanding the discursive effects of Scholz’s story, which is conveyed predominantly through the diary entries of Jürgen Wilms and, like Walther’s song, relies on surrogacy and performance frames. While Wilms is by definition the narrator of his diary, we hear his voice only through his diary entries, and only as they are read aloud to a group of friends by another POW to whom Wilms entrusted his writings. Thus, like Walther’s female narrator, Wilms is but a trace of a former presence. Scholz’s narrative technique allows the author to address Germany’s murderous past, while discursively walling off ‘everyday’ Germans such as Wilms from all but the most remote complicity in the Nazis’ crimes.