I write
| I write
|
|
|---|---|
| description | Literary magazine |
| language | German |
| publishing company |
Friedrich Hofmeister Musikverlag (from August 1960 to December 1972) self-published by the Zentralhaus für Kulturarbeit (from January 1973 to December 1979) Zentralhaus publication (from January 1980 to 4th quarter 1998) ( German Democratic Republic ) |
| Headquarters | Leipzig |
| First edition | August 1960 |
| attitude | 4th quarter 1989 |
| Frequency of publication | monthly, from July 1973 quarterly |
| Editor-in-chief | Andreas Leichsenring (1960–1961) Hanns Maaßen (1962–1966) Andreas Leichsenring (1966–1970) Ursula Dauderstädt (1971) Andreas Leichsenring (1972–1973) Ursula Dauderstädt (1974–1989) |
| editor | Central house for cultural work in the GDR |
| ZDB | 014043718 |
I write ( own spelling: I write ) was a didactic magazine for lay writers published by the Central House for Cultural Work of the GDR , primarily in the “ circles of writing workers ”.
history
In Karl-Marx-Stadt was in June 1960 during the Workers' Festival , the "first Conference of Writing Workers ”was held. As a result of a resolution taken there, the magazine Volkskunst became the area of "literary laymanship" under the title I write. Journal for the circles of writing workers and cooperative farmers outsourced as a specialist edition. The first monthly issue appeared in August 1960 in A4 format and had 20 paginated pages (actually 24 with a cover). The price was one mark . It was published by the Central House for Cultural Work of the GDR and published by Friedrich Hofmeister Musikverlag . As editor-in-chief , Hanns Maaßen drew in the foreword , and Andreas Leichsenring was named in the imprint , who held this position for the first two years. From 1962 to 1966 Maaßen took over this task. When he took office, the subtitle was now magazine for writing workers and cooperative farmers, circles and circle leaders . In 1965 there was another change to the magazine for writing workers. Specialized edition of "Folk Art" . From June 1966, Leichsenring was again responsible for the editor-in-chief. In the years 1968 to 1970 there were five double issues with doubled size. The editor-in-chief moved to Ursula Dauderstädt in 1971. Further changes concerned the subtitle ( magazine for the movement of writing workers ), the format (DIN-A5), the number of pages (due to the reduced format of 48 pages) and the establishment of categories . In 1971 Leichsenring returned as editor-in-chief. The issue price remained constant at one mark. From issue 1/1973 I was self-published by the Zentralhaus and from the second half of the year there were only 96-page quarterly issues at a price of two marks; therefore issue 8/1973 is the last issue of the year (fourth quarter). In 1974 Dauderstädt headed the editorial office again. At the beginning of 1980 the name of the publisher was changed to Zentralhaus publication and the 1950s-style lettering was modernized. Between 1980 and 1982 there was no “r” in the subtitle, so it reads magazine for the workers writing movement . Instead of 96 pages, the booklets from III. Quarter 1983 only 88 pages, once (issue 3 for the third quarter of 1984) only 80 pages, strong. From 1987 until it was discontinued in 1989, the previous sequence of the cover color of the individual issues was replaced by an intense blue that applies to all quarterly issues.
Work samples from newcomers were never honored . The fourth quarterly issue of 1989, which went to press on August 1, 1989, was the last issue to be offered.
target group
The booklet should be a support tool for all those “who have taken up pen to create literary form of their environment, our socialist structure, our new life”. It should also “serve as a helper for the countless workers and peasants, the brigade diaries or keep village chronicles , and to guide the circles and circle leaders ”.
According to Maaßen, the magazine was created “after the 1st Bitterfeld Conference as a result of the efforts of working people, which were felt everywhere at the time, not only at the workbench or in the laboratory, but also with their pens in the great process of socialist transformation.” he says: “The working person became the focus of the […] new writers, and that gave their often awkward literary attempts their own note. […] What they tackled was spot on, how they designed it was often inadequate, what they lacked was simply the tools of the trade. I wanted to help convey that in writing . ”The editions could be obtained through the postal newspaper distribution and book trade.
content
In the first issues the reports from the circles and working groups and from village events and workers' festivals as well as competitions and courses predominated. Furthermore, supplements supplemented the contents of the magazine, which were later to become firmly integrated components. A 48-page entitled How do you write reports, sketches and portraits? was in issue 2/1960. Reiner Kunze made his literary letters available for the subsequent issues . The internal serial series “Lehrbriefe”, which was adequate for this and regularly dealt with the literary genres and stylistic devices, had been around since the first edition. From number 2/1960 onwards, the second permanent establishment was almost always the “language corner”, which took on various language problems. In this phase of the supplements, a purely political one was also published (in volume 3/1960), in which the confessions of writers to Marxism-Leninism / socialism or to the USSR / GDR were printed. At the beginning of 1965, “Sprachecke” and “Lehrbrief” disappeared. Instead, there were analyzes by seasoned authors, for example on characterization of characters by Heinrich Mann or on the presentation of work by Hans Marchwitza or on the imagery of language in Stephan Hermlin's ballads , and more and more samples of work by writing workers with subsequent expert opinions, i.e. critical comments. Although Wolfgang Hilbig had to leave his circle in 1965 because of his refusal to subordinate himself to the cultural-political guidelines, in 1966 I granted him the publication of four of his “dark-melancholy” poems.
The format change in 1971 under Ursula Dauderstädt brought with it a consistent category allocation. Up to 1972 the following headings emerged, which were not always served: At the beginning there was an “order” or an “appeal” or provisions regarding “cultural policy” or “cultural law”. This was followed by the rubrics “Interview”, “Experiences”, “Reader's Discussion”, “Comment”, “Information”, “Introduced”, “Literature”, rarely the similar “Theory”, “Methodology” and “Investigation” and finally “ New Books "and" Reviews ". For example, under the heading “Experiences”, the article “ New beginning after failure ” appeared . There was the “Information” section for messages from the writing circles and event information. Book excerpts from fiction , but also from textbooks , were printed under the heading "Literature". Instructions for “good writing” and literary essays specially written for the magazine fell under the heading “theory”. The titles were, for example, poetry and fine arts (Peter Arlt, 4/1972) or Die Gestaltung des Arbeiters ( Rüdiger Bernhardt , 4/1974). West German literature was considered within the "investigation". The carefully examined and merely listed new publications were presented separately according to the headings “Reviews” and “New books”.
In the last issue in 1989, Ursula Dauderstädt wanted to send in texts for 1990 about everyday experiences, about what the authors are “burning for”, texts that have a “productive tension between the writer and nature, society, and his social environment”. The production of I write was then discontinued.
Individual evidence
- ^ A b Hanns Maaßen: Balance of a decade . In: Central House for Cultural Work of the GDR (Ed.): I write . Journal for the typist. No. 8/1970 . Friedrich Hofmeister Musikverlag, Leipzig August 1970, p. 3-6 .
- ↑ (ND): For the writing worker . In: New Germany . No. 200/1960 , July 22, 1960, Aus dem Kulturleben, p. 4 .
- ↑ In Wolfgang Hilbig's footsteps in Meuselwitz. In: literaturland-thüringen.de. Thüringer Literaturrat eV, accessed on June 5, 2018 .
- ↑ Ursula Dauderstädt: On our own behalf . In: Central House for Cultural Work of the GDR (Ed.): I write . Journal for the writing workers' movement. No. 4/1989 . Zentralhaus publication, October 1989, ISSN 0445-1821 , p. 17 .