Durs Grünbein was born in Dresden in 1962 and grew up there.[1] He studied Theater Studies in East Berlin, to which he moved in 1985.
Since the Peaceful Revolution nonviolently toppled the Berlin Wall and Communism in the German Democratic Republic in 1989, Grünbein has traveled widely in Europe, South-West Asia, and North America, and sojourned in various places, including Amsterdam, Paris, London, Vienna, Toronto, Los Angeles, New York City, and St. Louis. He lives in Berlin and, since 2013, in Rome.
His production comprises numerous collections of poetry and prose—essays, short narrative-reflexive prose, aphorisms, fragments, diary annotations and philosophical meditations—as well as three librettos for opera. He has translated classic texts from Aeschylus and Seneca, and a variety of authors, including John Ashbery, Samuel Beckett, Wallace Stevens, Henri Michaux, and Tomas Venclova.[2]
His works have been translated into many languages, including Russian, Italian, English, French, Spanish, Swedish, and Japanese. His book Ashes for Breakfast: Selected Poems, translated by Michael Hoffmann, was shortlisted for the Griffin Poetry Prize in 2006.
Grünbein was awarded numerous national and international awards, including the Georg Büchner Prize (Germany's most prestigious literary recognition, which he received in 1995, aged thirty-three), the Friedrich Nietzsche Prize, the Friedrich Hölderlin Prize, the Berlin Literature Prize, the Premio Internazionale di Poesia Pier Paolo Pasolini and the Tranströmer Prize.
He has been a regular contributor to Frau und Hund – Zeitschrift für kursives Denken, edited by the academy's rector, the painter Markus Lüpertz.
Grünbein's third opera, Die Weiden, had its premiere on 8 December 2018 at Wiener Staatsoper, which commissioned the opera from Austrian composer Johannes Maria Staud and Grünbein.[7] Following Berenice in 2004 for the Munich Biennale and Die Antilope in 2014 for Lucerne Festival, Die Weiden is the third opera Grünbein has written in collaboration with Staud. Staud and Grünbein were booed at the premiere.[8]
Since the publication of his first collection of poems in 1988, Durs Grünbein has emerged as "Germany's most prolific, versatile, successful and internationally renowned contemporary poet and essayist",[9] a "poet of world significance"[10] and one of "the key figures shaping the contemporary scene",[11] alongside, for instance, Ulrike Draesner, Raul Schrott, and Marcel Beyer.[12]
Conceiving poetry as a means of memorial, historical, and aesthetic exploration, Grünbein arguably, draws not only on his biography, but on a deep sense of history and far-ranging erudition to produce sardonic poems and essays, bristling with unusual perceptions and inventive expressions".[13]
Whereas the intersection of literature and science, aesthetics and evolution, as well as the poetic elaboration of the existential experience in the GDR were the main focus of the critically acclaimed first collections of poetry, Grauzone morgens (1988), Schädelbasislektion (1991), Falten und Fallen (1994), since the middle 1990s, and especially since the collection Nach den Satiren (1999), classical antiquity figures prominently in Grünbein's poems and essays.
"As in his poetry, in his essays, too", observes Michael Eskin, "Grünbein succeeds in artfully interweaving autobiography and memoir with a host of broader concerns ranging from questions of history, science, and medicine, to question of ethics, aesthetics, and politics, with special attention to the continued relevance of the past – Greek and roman antiquity in particular – in and to the contemporary world, as well as the inevitable interpretive malleability of the past in the light of our ever-evolving present".[14]
The poet's dialogue with the ancient legacy is more complex even than his own reflection suggests and most scholars assume. Besides interviewing past and present, some poems also engage with the gap between the past and its poetic figuration.[15]
Grünbein's works on Descartes' philosophy and its significance for the poetic subjectivity have been praised by prominent critics and thinkers for their depth and remarkable style, "one capable of conducting powerful and original thought with no loss of lyric intensity", notices Don Paterson.[16]
George Steiner's opus magnum The Poetry of Thought (2011) is dedicated to "Durs Grünbein, poet and Cartesian".[17]
Michael Eskin: Poetic Affairs: Celan, Grünbein, Brodsky. Stanford, CA: Stanford University Press, 2008.
Michael Eskin/Karen Leeder/Christopher Young (eds.): Durs Grünbein. A Companion. Berlin/Boston: De Gruyter 2013. ISBN978-3-11-022794-9
Kai Bremer/ Fabian Lampart, Jörg Wesche, (eds.): Schreiben am Schnittpunkt. Poesie und Wissen bei Durs Grünbein. Freiburg: Rombach 2007
Sonja Klein: "Denn alles, alles ist verlorne Zeit". Fragment und Erinnerung im Werk von Durs Grünbein. Bielefeld: Aiesthesis 2008
Hinrich Ahrend: "Tanz zwischen sämtlichen Stühlen". Poetik und Dichtung im lyrischen und essayistischen Werk Durs Grünbeins. Würzburg: Königshausen & Neumann 2010
^Michael, Eskin (2010). About the Author, In Durs Grünbein, Descartes' Devil. Three Meditations, Translated by Anthea Bell, Edited by Michael Eskin. New York: Upper West Side Philosophers. p. 187.
^ESKIN, M., Preface, in ESKIN, M., LEEDER, K., YOUNG, C. (Eds.), Durs Grünbein. A Companion, De Gruyter, Berlin/Boston, 2013, XIII-XIV, XIII
^YOUNG, C., Durs Grünbein and the "Wende", in ESKIN, M., LEEDER, K., YOUNG, C. (Eds.), Durs Grünbein. A Companion, De Gruyter, Berlin/Boston, 2013, 1–22, 1
^LEEDER, K., Introduction: The Address of German Poetry, in «German Life and Letters» 60:3, July 2007, 278–293, 283
^ESKIN, M., The Driving Bell and the Bristlemouth. The Art of Grünbein's Prose, in GRüNBEIN, D. (Ed.), The Bars of Atlantis. Selected Essays, With an Introduction by Michael Eskin. Edited by Michael Eskin, translated from the German by John Crutchfield, Michael Hoffmann, and Andrew Shields, Farrar, Straus and Giroux, New York, 2010, VII-XVIII, XII
^GRETHLEIN, J.,“„SANDALENFILME AUS DEN GRÜNBEIN-STUDIOS‘? Zum Verhältnis Von Antike Und Moderne in Den Gedichten Von Durs Grünbein.” Poetica, vol. 43, no. 3/4, 2011, 411–439
