Prose, Poetry, Prints: Günter Grass’s Vonne Endlichkait (2015) 423 Prose, Poetry, Prints: Günter Grass’s Vonne Endlichkait (2015) Richard E� Schade University of Cincinnati Abstract: Shortly prior to the death of Günter Grass in late April 2015, the Nobel Prize winner and his publisher put the finishing touches on Vonne Endlichkait (2015), the author’s musings on his own mortality� Published just month’s after his passing, the text was as beholden to Cicero’s De Senectute (Concerning Old Age), as it was to Grass’s long-term autobiographical project, a trilogy of works defining his often controversial legacy� In that sense, Vonne Endlichkait is a coda to the preceding biographies� Internal evidence indicates that Grass, the writer and graphic artist, had been working on the text for some time� He departed from his narrative norm of the previous works, by framing his ruminations as a sequence of poems and short prose chapters (some 96 in all)� Overall the beautifully printed book is shot through with his illustrations, graphic prints depicting everything from dead birds and drifting feathers to severed fingers and a gruesome self-portrait� The idiosyncratic iconography, as incomprehensible as it may seem to be, is shown to be related to images predating Vonne Endlichkait by decades, while also introducing new icons� Above all, the creative cross references between word and image define the 87-year-old author as an agile intellect to the last� Key Words: autobiography, Günter Grass, Vonne Endlichkait , iconography, mortality, death, Alterswerk Günter Grass died of an infection in a Lübeck hospital on April 13, 2015 at age 87� He was buried in a private ceremony in nearby Behlendorf, his long-time town of residence, on April 27� A rounded glacial erratic, a Findling , marks the churchyard grave, the inscription reading simply “GÜNTER GRASS 16�10�1927 13�4�2015” (“Tod”; “Beisetzung”; “Grabstein”)� 1 Steidl Verlag, his publisher in Göttingen, posted an announcement on its web site almost immediately after 424 Richard E� Schade his death, one featuring his poem “Wegzehrung,” a humoristic take on death first published in 1997: WEGZEHRUNG Mit einem Sack Nüsse will ich begraben sein und mit neuesten Zähnen� Wenn es dann kracht, wo ich liege, kann vermutet werden: Er ist das� Immer noch er [sic]� (Grass, Fundsachen 231) As it would be expected, obituaries and tributes flooded the global press, notably in Der Spiegel of April 18, the cover graced by the image of a tin drum, drumsticks lying to one side, and featuring an extended article by Volker Hage (Hage; Zimmermann)� Stephen Kinzer of The New York Times published a well-informed front-page, a beneath-the-fold tribute titled “Writer Pried Open German Past but Hid His Own” on April 14, 2015, as well as Jochen Bittner’s more critical editorial, “Günter Grass’s Germany, and Mine,” in its issue of April 15� A measure of the national significance of Grass’s passing was the Gedenkfeier held in Lübeck’s Stadttheater on May 10� President Joachim Gauck, who did not speak, and many national and regional VIPs were assembled there along with some 900 invited guests (“Gedenkfeier”)� Lübeck’s Günter-Grass Haus saw to the publication of a well-designed program, “Gedenkveranstaltung für Günter Grass am 10� Mai 2015,” in which the tributes were published along with photographs of the various luminaries in attendance (Thomsa)� Mario Adorf, who had played Alfred Matzerath in Volker Schlöndorff’s Oscar-winning film adaptation of Die Blechtrommel , recited Grass’s “Kleckerburg,” a poem long recognized as a work key to an understanding of Grass’s particularly Baltic imagination: Wer fragt noch wo? Mein Zungenschlag ist baltisch tückisch stubenwarm� Wie macht die Ostsee? - Blubb, piff, pschsch Auf deutsch, auf polnisch: Blubb, piff, pschsch (Thomsa 49; Gedichte 197—98) 2 Grass’s talented daughter Helene, an actress, read her father’s powerfully poignant lamentation “Mir träumte, ich müsste Abschied nehmen” (Thomsa Prose, Poetry, Prints: Günter Grass’s Vonne Endlichkeit (2015) 425 40—43), which was first published in Die Rättin (115—18)� Finally, the American novelist John Irving, a long-time friend of Grass, presented personal reminiscences in English� He concluded with a touching tribute: Do you remember the Jewish toy merchant in The Tin Drum? His name is Sigismund Markus, and the Nazis force him to kill himself� When the toy merchant dies, little Oskar knows the day is coming when he will see his last tin drum� Oskar mourns - not only for himself but for poor Markus, and for a Germany forever guilty for its Jews� Here is what Oskar says: “There was once a toy merchant, his name was Markus, and he took all the toys in the world away with him out of this world�” I know how Oskar feels� Günter Grass was the king of the toy merchants� Now he has left us, and he took all the toys in the world away� (Thomsa 37 [in German]; Irving [in English]) Grass’s final appearance in public had been on March 28� He and his wife Ute attended the premiere of Luk Perceval’s edgy and intriguing Blechtrommel -dramatization at the Thalia Theater in Hamburg, mounting the stage for the curtain call, a fitting farewell for a person who had seldom shunned the stage (Perceval; Thalia)� Between then and his death Grass met with Gerhard Steidl, his publisher, to put the final touches on the presciently titled Vonne Endlichkait , a work which appeared posthumously on August 28, and one to which my attention now turns� The very title Vonne Endlichkait (Concerning Finitude) promises a rumination on and definition of the inevitable end of life in old age through not sudden death, but a drawn-out process allowing for contemplative remarks, a stock-taking, a sort of curtain call� As such, Vonne Endlichkait is in the venerable tradition of Cicero’s De Senectute , a wide-ranging fictive dialog concerning old age, one opening with Cicero’s statement of intentions: I have determined to write something on old age to be dedicated to you� […] the composition of this book has been so delightful that it has not only wiped away all the annoyances of old age, but has even made it an easy and a happy state� Philosophy, therefore, can never be praised as much as she deserves, since she enables the man who is obedient to her precepts to pass every season of life free from worry� Even though Grass was not known to be a practicing Latinist, during the decade preceding his death he took stock of his life in a succession of autobiographical writings- - Beim Häuten der Zwiebel (2006), Die Box. Dunkelkammergeschichten (2008), Grimms Wörter. Eine Liebeserklärung (2010)� These texts combine to create a literary leave-taking trilogy in which he inventively documented his life and sought to define his legacy� Such a long-term enterprise is, of course, in the nature of Alterswerk � 3 Grass was going on eighty when the straightforward chronological narrative of the first volume was published� The second volume 426 Richard E� Schade was a complex take on food, family and the act of storytelling and photography, while the final volume centered on the lives of his kindred spirits Jacob and Wilhelm Grimm, into whose presence Grass fictively integrated himself in an explicit act of “self-monumentalization” (Taberner 85)� He imagined himself being in the audience in Berlin ( Grimms Wörter 256—65) as Jacob Grimm delivered his eulogy Rede auf Wilhelm Grimm (held in July 1860) and when Jacob presented Rede über das Alter (held in January 1860)� Grass comments that, “In bedächtigen Sätzen wägt Jacob Vor- und Nachteile des Alters” (261)� Jacob’s actual speech opened with the rhetorical question “Wer hat nicht Cicero ‘De Senectute’ gelesen? ” That Steidl Verlag published an edition of both speeches in 2010 as a companion imprint to Grimms Wörter , suggests that Grass’s Vonne Endlichkait may have been conceived of as a coda to Grass’s autobiographical trilogy, as an Alterswerk very much in the spirit of Cicero and Jacob Grimm (Taberner 73—80)� Grass’s text was to be his contribution to the genre, his own Rede über das Alter , titled Vonne Endlichkait � Grass’s work is at heart not a philosophical tract, to cite Cicero, and hardly a philological tract, such as that of Jacob Grimm� It consists of poems and prose pieces shot through with pencil drawings, as described in the publisher’s laudatory advertising copy: Allen Zumutungen des Alterns und der “Endlichkait” zum Trotz, plötzlich erscheint erneut fast alles möglich: Liebesbriefe, Selbstgespräche, Eifersuchtsdramen, Schwanengesänge, Gesellschaftssatiren und Augenblicke des Glücks drängen aufs Papier� […] In “Vonne Endlichkait” schafft der Literaturnobelpreisträger in einem beeindruckenden Wechselspiel aus Lyrik, Prosa und Illustrationen sein letztes Gesamtkunstwerk� 4 This is true enough, yet the very first passage of Vonne Endlichkait opens with a traditional invocation of a muse: Als des Pfeifenrauchers Herz, Lunge, Nieren ihn immer wieder und nochmals in die Reperaturwerkstatt zwangen […] als das Alter penetrant mürrisch die Fragen “Wie lange noch? ” und “Warum überhaupt? ” stellte und ihm weder gestrichelte Bilder noch gereihte Wörter von der Hand gingen […] als gäbe […] es noch diese direkte Beatmung von Mund zu Mund, einer nebenberuflich tätigen Muse Kuß; und schon drängten Bilder von Wörtern bedrängt, lagen Papier, Stift und Pinsel greifbar nahe […] kritzelte ich aus Lust und begann, den Rückfall fürchtend, gierig aufs Neue zu leben� (7) Grass’s will to write and draw countered the manifestations of personal finitude� The text is at heart the answer to the questions “Wie lange noch? ” and “Warum überhaupt? ” The book concerns itself with the diminishments of old age, for it Prose, Poetry, Prints: Günter Grass’s Vonne Endlichkeit (2015) 427 is the physical limitations of old age itself that ultimately drove his creativity� Writing and drawing were antidotes to finitude� Grass felt himself to be free as a bird, a term used as the very first section’s heading, “Vogelfrei sein,” and reiterated in the final sentence: “Mich spüren� Federleicht vogelfrei sein wenngleich seit langem reif zu Abschuß” (7)� This statement suggests the meaning of the cover art - Grass’s drawing of six feathers - as well as the frontispiece - his drawing of a dead bird� The author is both vogelfrei and a shot bird� In old age, he is situated somewhere between gently exuberant flights of imagination and death� This idiosyncratic iconography is typical of the double-talent Grass, the writer-artist (Schade)� That he depicted feathers, single or in graceful groups, on six different occasions in the pages of Vonne Endlichkait , that he depicted nine dead birds in the text, surely speaks to the significance of the images of both the free and the dead birds� The poem entitled “Vogelfrei,” replete with his drawing of a dead bird, develops the theme: Mit Schrotflinten schießen sie, bleihaltig ist die Luft� Früh gelernt, nutze ich ihre Löcher, weiche den Kügelchen aus, verliere dann und wann Federn (165)� Is it a canny Grass who is the target of hunters, of critics, who dodges lead pellets? Perhaps it is so, for the facing poem, entitled “Jagdsaison,” speaks of an iconic bird under fire: “Picassos Friedensgeflügel ist zur Tontaube mutiert” (164)� Perhaps it is Grass’s statement on situations marked by a finger raised in admonishment: “Treffer auf Treffer� Jeder darf mal - und sei es mit dem Zeigefinger” (164)� Another triad - a drawing of an empty nest and dead bird, a prose text, and a prose poem - link words and images directly to impending death� “Er rief dreimal,” the poem’s title proclaims, a phrase completed by the opening line: “der Kuckkuck, na, wer sonst” (150—51)� The dead bird depicted in the drawing below the poem is not a cuckoo, rather it is the hatchling thrown from the nest by the parasitic bird, an interpretation validated by Grass’s quasi-scientific prose text: “Von unscheinbarer Gestalt soll er [der Kuckuck] sein� Und daß seine Eier in fremden Nestern liegen, ist nicht nur unter Vögeln bekannt�” Once hatched, the fledgling cuckoo pushes the other bird, its nest-mate, to its death� The poem is, thus, informed by the drawings as well as by the prose piece entitled “Aberglaube�” Grass tells of listening to the call of the Kuckuck : “Unterwegs Richtung Heide blieb ich stehn, sobald er rief […] Ein Spiel nur, das vorrätige Jahre verspricht” (150)� The superstition addressed here is eloquently captured in the 428 Richard E� Schade Kinderreim couplet: “Kuckkuck, Kuckkuck, sag’ mir doch, [/ ] Wieviel Jahre leb’ ich noch? ” (Hofer 163)� Grass does not cite the familiar ditty, yet the intertextual strategy enriches the reader’s understanding of the writer’s concerns, his premonition of death, of his Endlichkeit in old age: Sein vierter Ruf brach mittlings ab, verröchelte, erstarb� So kurz nur noch: Drei Jahre und einhalb? (151) Grass’s focus on the topic old age informs the entire text, that is, poems, prose passages and drawings document the author’s physical infirmities from the very first sentence on, where he referred to ailments of heart, lungs and kidneys (7)� A later prose piece laments the progressive loss of teeth in all detail (30) and in the poem “Selbstbild” he terms himself a toothless “Gaumenkauer” with but one remaining tooth, a solitary reminder of how many he had lost� Grass’s facing-page self-portrait presents a startling close-up view of his open-mouthed face, single tooth protruding aggressively (34—35)� Fig� 1 Elsewhere, a drawing of his grimacing dentures is juxtaposed to an elk’s skull (139)� In the ten strophes of “Abschied vom Fleisch,” Grass laments the loss of Prose, Poetry, Prints: Günter Grass’s Vonne Endlichkeit (2015) 429 sexual pleasure and potency, even as he poignantly lauds every inch of his wife’s naked body (69—72): Abschied vom Fleisch, das verdeckt liegt […] bis endlich der Leib ausgepellt nackt liegt, noch weiblich verschlossen, doch kaum berührt, atmendes Fleisch ist, das ich besinge, seit Adam besinge, auf daß wir eins sind, wie da geschrieben steht� (71) This catalogue of infirmities is conjoined with the recognition that death is inevitable� A poem gives voice to the transient - “Jetzt ist vorbei und war gewesen” - before moving on to the permanent verity: Nur Er, der Tod, ist immer da ihm ist die eine Silbe vorbehalten, die jederzeit auf Abruf wartet, uns trifft inmitten langer Sätze, auch Schläfers Traum verknappt� (117) It comes as little surprise that Grass described the construction of his and Ute’s coffins� Entitled “Worin und wo wir liegen werden” (79—90), this narrative is the longest section of Vonne Endlichkait , giving the matter-of-fact description of the carpenter’s work a certain pride of place in the text� Grass’s drawing of a section of his wife’s coffin reinforces his intent to diagnose and document their overall encounter with death and bodily decay, even long after their burial: “Im Verlauf der Zeit, die nicht mehr unsere sein würde, mocht alles zerfallen, die Kiste und deren Inhalt� Nur Knochen und Knöchlein, das Gerippe, der Schädel dürfte erhalten bleiben, anders als bei den Moorleichen […]” (83—84)� Grass frankly treats the physical manifestations of finitude in this text conceived of in the years leading up to his actual death in April 2015; passing references to the Summer Olympics in London, to the centenary of the World War I, to the debt crisis in Greece, to war in the Middle East, to Chancellor Angela Merkel, and so forth date the approximate time of its composition� However, most of what he wrote and sketched picked up on issues and motifs long present in his work� While it is beyond the present scope here to review all his writings, in Fundsachen für Nichtleser , published nearly two decades earlier, Grass painted a striking water-color image of his failing heart (36) as an illustration to a poem� 430 Richard E� Schade In the same anthology, his dentures grin at the viewer (19), a dead bird eyes the reader (65) and other birds are shot from the sky: Männer mit Hunden Löchern den Himmel� Schrot prasselt aufs Dach� Heiser fliehen wir mit den letzten Vögeln - aber wohin ? (201) A cuckoo calls out the years (235), and time and again feathers are depicted drifting over landscapes (47—49, 84, 150)� 5 Arguably, Grass was not simply recycling images for the sake of convenience, rather the recurrence of such motifs points to continuity of thought and imagination, to his highly personal iconography� Vonne Endlichkait had its precursors, indeed, the self-portrait of the toothless Grass was but the final iteration of a life-long obsession with accurate self-representation as is well documented in Sechs Jahrzehnte � Ein Werkstattbericht � 6 At the last, what is truly unique in the posthumous book is the striking imagery of hands, the tools of any writer and artist� They include Grass’s drawing of a left hand with opened scissors (66—67); a drawing of the fingertips of a left hand lying about neatly, having been snipped off by the pair of scissors (105); and a third array of left-hand fingertips snipped off by the shears (124; fig�2)� Fig� 2 Prose, Poetry, Prints: Günter Grass’s Vonne Endlichkeit (2015) 431 The images of self-mutilation are shocking and somehow devoid of meaning, since unexplained in the text, save for the comment “Sechseinhalbjährig wurde mir im Jahre vierunddreißig, kaum eingeschult, die linke Hand abgewöhnt” (130)� In these cryptic drawings, Grass, born a left-hander, appears to be summarily executing his inherited trait� This gruesome motif surfaced most memorably in his first novel, where the narrator comments: Es gibt Teile des menschlichen Körpers, die sich abgelöst, dem Zentrum entfremdet, leichter und genauer betrachten lassen� Es war ein Finger� Ein weiblicher Ringfinger� Ein geschmackvoll beringter weiblicher Finger� Zwischen dem Mittelhandknochen und dem ersten Knochenglied, etwa zwei Zentimeter unterhalb des Ringes, hatte sich der Finger abhacken lassen� ( Blechtrommel 741—42) The motif is all the more disturbing, given the fact that the female finger becomes a sort of talisman for Oskar, a venerated relic� And Grass later privileged the image of the human hand in the creative context� The dust-jacket of Grass’s fictive tale about a gathering of German Baroque writers in 1647, a take on the Gruppe 47 , featured a left hand entitled “Des Schreibers Hand,” an image arguing for the triumph of the pen over the sword in the historical context of the Thirty Years War� Futhermore, the fact that the Catalogue Raisonné reproduces four prints with a hand-motif (items R 116, R 118, R 281, L 141), that Sechs Jahrzehnte documents the iconic dust-jacket of the novel Hundejahre (116), a left hand with fingers configured as a dog’s profile, and also that the cover of örtlich betäubt (141) features a single finger held above a candle’s flame, speaks to the significance of the hand and fingers, not to mention that his outline sketched as a guide for the formulation of Ein weites Feld plays on the word Treuhand (364, 366, 374; Fig� 3), the designation of the post-unification governmental office central to his critique of German unification� Fig� 3 432 Richard E� Schade Given Grass’s focus on the image of the hand, 7 the question arises as to whether the three drawings of self-mutilated hands suggest the loss of the ability to write, to draw in old age, which can be read as representing artistic finitude� On the one hand, the very existence of Vonne Endlichkait argues against such a reading, for Grass was prolific to the end� He used his fingers, his hands to set down words in writing and typing and to sketch the images in the work� Plainly, he did not feel emasculated while at work on what became his final publication� On the other hand, the gruesome drawings give the reader pause, they cause the viewer to consider the finality of things with a considerable degree of horror� The attention-grabbing drawings become a rhetorical trope, especially when considered in the context of other drawings, those depicting dried-out phallic mushroom stems (35—36, 42—43), those depicting images of desiccated toads scraped up and collected as illustrations for a poem entitled “Totentänze” (158—60) 8 and skeletal remains of two rodents collected from the ground and described in a poem: […] doch lagen in meiner Kiste auf Seidenpapier gebettet, Seit and Seit zwei verhungerte Mäuse von zierlicher Schönheit; feingezeichnet das leere Schädelgebein, das zarte Gerippe� (153—55) Finally, images of gaunt and crooked Sargnägel abound (76, 98—99, 114, 157) - as he explicitly calls them: “Für fünf Zigaretten […] gabs ein gutes Dutzend handgeschmiedeter Sargnägel, die mir später, viel später, Motive für Zeichnungen boten: rostig versammelt, mal so, mal so gelegt, einige von individueller Gestalt”(80)� 9 There is little doubt that his artistic fascinations, his idiosyncratic iconography, focus long and often on the representation of the transient and death� Taken together, the busy presence of words and images of Endlichkeit visually predominates in the posthumous work, an Alterswerk and textual coda to the aforementioned full-length autobiographies of former years (2006, 2008, 2010)� It is, then, hardly coincidental that the final text in a book about finitude, a poem, is titled “Vonne Endlichkait�” In it, Grass has his last word on finitude� That is, just before the reader-viewer closes the covers of the well-designed book, the nigh-humoristic poem marks his final farewell in Baltic dialect, a poem offering a catalogue of concise statements characterized by anaphora and word play (“nu” “un,” that is, nun and und )� The parting words are illustrated by the image of a fossilized ammonite, 10 a modest memorial for an aged survivor sketched by a survivor who was defined in life and in death by his Baltic origins: Prose, Poetry, Prints: Günter Grass’s Vonne Endlichkeit (2015) 433 Nu war schon jewäsen� Nu hat sech jenuch jehabt� Nu is futsch un vorbai� Nu riehrt sech nuscht nech� Nu mecht kain Ärger mähr un baldich bässer un nuscht nech übrich un ieberall Endlichkait sain� (173) No matter when it was written, the poem’s placement as the finale of what came to be his final publication, is Grass’s last word on the book’s central topic: Endlichkait � Notes 1 The German press covered the events surrounding Grass’s death comprehensively� I cite local sources only� The grave is located on the far edge of the cemetery well separated from the community of graves, which is an interesting placement� 2 See Vonne Endlichkait 92—93, where Grass picks up on the motif of the sandcastle in a full-page drawing and in the text of the poem “Zum Zeitvertreib�” 3 Taberner’s study informs my understanding of Grass’s Alterswerk significantly� He summarizes his close-reading of the biographical trilogy as follows: “Grass’s life review […] rewrites earlier work […], becomes ever more radical, and relies on the performance of allegedly bodily or psychological symptoms of growing old in order to resolve the contradictions of who he is� To this extent, Grass’s late work stands out as an unusually clear-cut example of old-age style” (85)� My discussion on Vonne Endlichkait is, however, less in the nature of psychoanalytic study than Taberner’s, privileging Grass’s imagination rather than layering intricate interpretations on his text� 4 The text cited is from an advertising insert with the title steidl�de Herbst Zweitausendfünfzehn � It includes an image of Grass’s book-cover� The advertising copy neatly emphasizes a trait of old-age writings, namely a “-‘disregard for clearly articulated form and finished appearance which in the late works are often replaced by a freer, more sketch-like quality�’ ” (qtd� in Taberner 22) 5 In his poem “Federn blasen,” Grass writes of his ability to keep feathers floating in the air above him as he blows ( Gedichte 276), a skill he illustrated in a self-portrait etching (Catalogue raisonné R75), in the poem manuscript 434 Richard E� Schade “Wie ich mich sehe” ( Sechs Jahrzehnte 168) and in the poem and illustration “Könnte mein Atem” ( Fundsachen für Nichtleser 130—31)� The act defines him and his imagination� 6 Grass’s Sechs Jahrzehnte was preceded by Vier Jahrzehnte (1991) and Fünf Jahrzehnte (2001)� Each folio-sized coffee-table volume replicates the former volume with an updating for the decade in question� See Schade for a discussion of the gallery-like display of self-portrait drawings, prints and photographs of Grass’s iconic mustachioed visage� 7 During a one-on-one interview with Grass in December 2006, I could not help but notice the expressive sensitivity of his hands, an observation I referenced in my tribute to him in April 2015 in the Concord Monitor , one of New Hampshire’s leading newspapers� 8 See also the poem “Aus dem Tagebuch” with the watercolor illustration of flattened toads ( Fundsachen für Nichtleser 138—39)� 9 See also Grass’s poem “Sargnägel,” in which they signify both cigarettes and actual nails ( Gedichte 608)� 10 My colleague Professor David Meyer, Department of Geology, University of Cincinnati, judges the image to be that of an “ammonite, an extinct relative of the living Nautilus� These are very common fossils in the rocks of Germany� The age could be anywhere in the Mesozoic, from Triassic, beginning about 250 million years ago, through the Jurassic, to the Cretaceous, about 65 million years ago” (email� 8 January 2016)� Grass uses the image elsewhere in Vonne Endlichkait 19 and 116� He was an inveterate beachcomber interested in such found objects, Fundsachen � See also his poem “Versteinert” ( Fundsachen für Nichtleser ) with a watercolor rendering of an ammonite (214—15)� Works Cited Bartels, Gerritt� Tagesspiegel� 10 May 2015� tagesspiegel�de/ kultur/ gedenkfeier-fuerguenter-grass-in-luebeck-alles-spielzeug-der-welt-nahm-er-mit� 27 Nov� 2018� “Beisetzung�” ln-online�de/ Nachrichten/ Kultur/ Kultur-im-Norden/ Guenter-Grass-in-Behlendorf-beigesetzt2� 27� Nov� 2018� Bittner, Jochen� “Günter Grass’s Germany, and Mine” New York Times � 15 Apr� 2015� A19� Cicero� penelope�uchicago�edu/ Thayer/ E/ Roman/ Texts/ Cicero/ Cato_Maior_de_Senectute/ text*� 27 Nov� 2018� “Grabstein�” In-online�de/ Lokales/ Lauenburg/ Grabstein-fuer-Guenter-Grass-errichtet� 27 Nov� 2018� Grass, Günter� Beim H-uten der Zwiebel � Göttingen: Steidl, 2006� —� Die Blechtrommel. 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