BB mentioned The German Genius in his blog, and, always glad to hear of some interesting new non-fiction, I borrowed it from the library here in the Yellow Tavern quadrant. Glad I did, even if I did have to renew the doorstop sized (964 pp.) thing.
Part of my fascination is language. Profs say English is from one kinda Deutsche or another;swell until a word like Bildung comes along. It is not just a word: it is a concept, very important to understanding Germany. Which is important and really needs to use a lot of pp. to tell you why. One word does not equal one word in another language. Several word/concepts like that. When you see italics, start paying attention.
Watson's basic tenet is this: from 1750-1933 it was the Germans. They transformed themselves, assembled a country, and dominated the cultural and academic scenes. Ask the average citizen to name 3 ‘classical’ composers: chances are they will mention at least 2 German musicians. Sociology. Psychology. Painters.My old Penguin pb copy of Also Sprach Zarathustra uses Friedrich’s "Wanderer above the sea of fog" on the cover. That is the sole piece of German art I can recall. Well excpt Bierstadt, but he was American.America has benefited by steady influx of German people, for many reasons. They invented Expressionism.The book has 849 pp., plus a list of “35 Underrated Germans”; goes quick in spots. Watson is thorough in his coverage of German culture (and Kultur); being Germans, there is a difference. I looked forward to the post war sections and was rewarded. We learn why 1968 was an important year for modern Germany. I enjoyed reading about science and chemical industries; copious notes with bibliographic citations can help one pursue topics. Dyes. IG Farben, which is Thomas Pynchon country. Rocket science, theoretical physics.Practical physics, for example the electron microscope. How the Germans invented the seminar and research was institutionalized by the universities with the development of the modern PhD. It is all in there. Dealing with WW2. Why Germans are such good recyclers.
Each chapter is like another term paper: Watson uses many direct quotes, and not always in a supportive of his thesis role. He will occasionally use a quoted adjective; I found this irksome. It gets slow at philosophy; Germans have been at work there too. Never knew of the philosophical link to the music, the notes, of Wagner, who frequently (along with his erstwhile pal Nietzsche) pops up. The section on German film was satisfactory for a book of this size. I never quite wanted to put it down. Watson has a conversational style; a plus over the long haul. One has to be interested in Germans, very much, or in intellectual/scientific history to read this. I am glad I did.
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