The Poet of Ill Tidings by Noah Isenberg
This article has been published on the Nation website. It begins:
Although far better known internationally as a playwright than as a poet, Bertolt Brecht had a supreme gift for language. He applied much of the same plucky, rebellious spirit to his poems that he did to his world-class theater productions of the late Weimar years, which included The Threepenny Opera and Rise and Fall of the City of Mahagonny. Brecht began publishing his poetry as a teen, around the same time that Germany was gearing up for the First World War. By the 1930s, his work had taken on a decidedly anti-Nazi bent. In 1937, while exiled in Svendborg, Denmark, Brecht produced a cycle of unrhymed epigrams that he called Deutsche Kriegsfibel (German War Primer), which he published in the Moscow-based German monthly Das Wort and later included in his Svendborg Poems. Brecht’s frequent collaborator from his Weimar years, the composer Hanns Eisler—who, in American exile, would furnish the score for the anti-Nazi Hollywood film Hangmen Also Die! (1943), co-written by Brecht and directed by fellow European transplant Fritz Lang—soon adapted the epigrams into an operatic composition titled Against War.