Writer Wolfgang Herrndorf committed suicide in the summer of 2013, at age 48. He was best known for his bestselling novel "Tschick", which garnered Herrndorf many literary accolades, even as he was diagnosed with a brain tumour shortly before its publication. Herrndorf documented his thoughts and the final years of his life in a blog, which has now been published as a book entitled "Arbeit und Struktur" ("Work and Structure", Rowohlt, Berlin 2013). The title is derived from a comment by one of many doctors (Herrndorf, in his diary, resorts to referring them by numbers), who had recommended "work and structure" as a way of confronting fear and despair. Yet, as reviewer Frank Berzbach observes, no matter how depressing the diary’s entries are getting, at no point does Herrndorf allow his suffering to wrest control of his life from him: "This, indeed, is a reason to read his book: so as to maintain the upper hand, come what may. So as not to be driven to madness, or to escapism."
Fairy tales seem quaint, imbued with the patina of a bygone age -- literary misfits in a modern world. Why, then, do they continue to be so remarkably popular? One reason is their appeal to timeless experiences, conflicts, and narratives that are intelligible across different traditions. In a new edition of a 1934 collection of 'modernized' fairy tales, which was first commissioned by Peter Davies (and has now been updated, with a new introduction, by Maria Tatar), much of the patina is stripped away from the olden stories -- and a significant dose of satire and black humour is added -- revealing just how much fairy tales can tell us also about the modern world. As reviewer Dieter Petzold observes, many of the modernized versions amplify the originals, by adding details that make their fictional world often seem 'more real' than the silhouette world of traditional folktales. And, perhaps more tellingly, virtually all modern writers take an ironic stance -- adding a layer of self-conscious awareness to the intrinsic strangeness of the worlds described.
The Berlin Review of Books aims to publish high-quality reviews of, and insightful essays based on, important recent books published in any language, with a focus on non-fiction. While it will often approach contemporary debates from a European perspective, it is open to intelligent contributions from around the globe. Our goal is to promote honest and knowledgeable debate of issues of real significance; for this reason, we are committed to financial and editorial independence. The Berlin Review of Books does not normally publish fiction or poetry, except by invitation.