Archive of Benjamin and Brecht

Brecht’s verses say uncomfortable truths rather than toe party lines and so offer us a still vital critique of the economic forces behind war, of how wartime rhetoric becomes a lie machine unfairly demonising and dehumanising our foes.

Brecht considered War Primer part of “a satisfactory literary report on my years in exile,” as he wrote in a 1944 journal entry. Since this first English language reception of War Primer on the centenary of Brecht’s birth in 1998, what are we now to make of his poignant modernist epic of four-liner lyrics and scrapbook photos? Today, in our post-crash era, with its renewal of Marxism, Brecht the formalist can be freed from a series of postmodern qualifications. War Primer’s historical intervention can be seen in a new way today. With the far right politically relevant again, Brecht’s image-by-image analysis of social democracy, America, and fascism, which is the veritable heart of War Primer, possesses fresh relevance.

40% off all our Brecht reading until June 11

"I am a city still, but soon I shan’t be –

Where generations used to live and die

Before those deadly birds flew in to haunt me:

One thousand years to build. A fortnight to destroy."

Bertolt Brecht's War Primer is a terrifying series of short poems by one of the world’s leading playwrights, set to images of World War II.

In 1923, a group of young radical German thinkers and intellectuals came together, determined to explain the workings of the modern world. Their lives, like their ideas, profoundly, sometimes tragically, reflected and shaped the shattering events of the twentieth century.  Here we present our Frankfurt School reading.

What was so marvellous to Benjamin about this goofy, eternally hovering angel with hair that looks like paper scrolls, aerodynamically hopeless wings and googly if rather melancholy eyes? “This,” he wrote in one of his greatest essays, “is how one pictures the angel of history.”