{"id":44440,"date":"2013-01-08T10:53:52","date_gmt":"2013-01-08T15:53:52","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=44440"},"modified":"2013-01-29T03:16:26","modified_gmt":"2013-01-29T08:16:26","slug":"kleist%e2%80%99s-crime-blotter","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/01\/08\/kleist%e2%80%99s-crime-blotter\/","title":{"rendered":"Kleist\u2019s Crime Blotter"},"content":{"rendered":"

\"\"<\/a><\/p>\n

\nOn the afternoon of October 1, 1810, people started gathering in front of Berlin\u2019s Hedwigskirche, where a new paper would be selling its first issue. By evening the crowd had grown so large that guards were posted to maintain order. The whole city, it seemed, had turned out for the launch of the paper, the Berliner Abendbl\u00e4tter<\/em>. Even the king had asked for a copy.<\/p>\n

Officially, the Abendbl\u00e4tter<\/em> was edited anonymously. Among the city\u2019s literary elite, however, it was widely known that the paper was written almost single-handedly by Heinrich von Kleist, a young writer. Kleist\u2019s plays and novellas were written with exceptional elegance, but were preoccupied with rape, war, and natural disaster. Kleist had once enjoyed the patronage of Goethe, but after a disastrous theatrical collaboration the two writers found it impossible to continue working together. Goethe admitted that his prot\u00e9g\u00e9 filled him with revulsion and horror, \u201cas though a body nature had intended to be beautiful were afflicted with an incurable disease.\u201d<\/p>\n

<\/p>\n

Kleist\u2019s involvement in the paper piqued the interest of the literati, but as Kleist well knew, no one ever got rich catering to them. The Abendbl\u00e4tter<\/em>\u2019s real draw was an insert with police reports provided by Berlin\u2019s chief of police, Herr Gruner. Every day, the public could read about horse tramplings, murders, fires, price-rigging at the local market, and anything else \u201cremarkable or interesting\u201d that had happened in the city. Within hours, the first issue had sold out. After ten days, the Abendbl\u00e4tter<\/em> was forced to relocate to larger offices.<\/p>\n

In his novellas Kleist had already developed a style, at once coldly declarative and hazily subjunctive, that was well suited for reporting the calamities of metropolitan life. The mixture of indifference and alarm that characterizes modern crime reporting is evident, for example, in the Abendbl\u00e4tter<\/em>\u2019s coverage of several suspicious fires. \u201cIn the on-going case of a band of arsonists allegedly setting fire to farms at the edge of town,\u201d reports Kleist, \u201cSeidler the writer, Friedrichstrasse No. 56, received, at that address, a so-called fire letter yesterday, according to whose contents Berlin will be set ablaze at eight points in the next several days.\u201d The allegedly<\/em> is so unobtrusive that the reader could be forgiven for picturing Berlin reduced to ashes. \u201cNonetheless,\u201d Kleist adds flatly, \u201cgiven the vigilance of the highest police authorities, the public need not allow itself any undue worry.\u201d<\/p>\n

Kleist\u2019s innovations also included an early version of the crime-tip hotline. Although he routinely sensationalized his reports and ran rumors without attribution, he urged well-meaning citizens to help collar criminals and prevent misdeeds; predictably, police stations were flooded with readers eager to help. After one gang leader was caught by an observant soldier\u2014no thanks to the Abendbl\u00e4tter<\/em>\u2014Kleist continued to milk the case by \u201creporting\u201d rumors that members of the gang were still at large.<\/p>\n

Kleist\u2019s motives in running\u2014and rewriting\u2014the crime reports were mercenary, but the stories were also philosophical provocations that reflected the pessimistic themes of his work. The most striking cases often ended up in the \u201cAnecdotes\u201d section of the paper, where, without qualifying their claim to factual accuracy, Kleist rewrote them as \u201cfables with no moral.\u201d These cases fit the mold of Kleist\u2019s literary work, dealing with chance, fate, and the inscrutability of the world. In the Abendbl\u00e4tter<\/em>\u2019s second issue, for example, Kleist tells the story of a worker and a captain stuck under a tree during a storm. The impertinent worker insists that the tree is too small for two, and demands that the captain find another one. As though in direct response to his impertinence, the worker is struck by lightning and killed at the very moment the captain obliges. In another anecdote, Kleist writes about a man who is hospitalized after being run over by a doctor\u2019s coach, for the third time in several years.\u00a0 The consultant examining him mistakes his crooked, bloody legs, his \u201cburst\u201d left eye, his ribs \u201cturned into his back\u201d for new injuries, only to be informed that they are the result of previous accidents. Flying in the face of plausibility, Kleist writes, \u201cOur reporter interviewed the man himself about the incident and even those mortally sick lying on their beds around him in the ward could not help laughing at his comical and nonchalant way of telling it. Moreover, he is recovering; and so long as he keeps clear of doctors when he goes out on the street he may live a good while yet.\u201d<\/p>\n

Kleist\u2019s reports give poetic shape to life\u2019s catastrophes, which are short on catharsis and show little relation between character and fate. Today, as always, tabloids relish the latest \u201ctragedy,\u201d taking the term very far from its classical meaning. In a tabloid, nothing is ever just sad or unlucky; it is tragic, or comic, or marvelously just, and this imparts a reassuring sense of order. Like tabloids, Kleist\u2019s reports favored story over fact; this reflected his philosophical position. During an 1801 crisis brought on by reading too much Kant, Kleist wrote, \u201cWe cannot decide whether what we call truth is truly truth or whether it only seems so to us \u2026 Since this conviction\u2014that no truth is discoverable here on earth\u2014appeared before my soul I have given up reading.\u201d In the fertile period that followed his Kant crisis, Kleist seems to have found some comfort in the transfiguration of facts into stories, of crimes into \u201cfables without morals.\u201d<\/p>\n

Kleist spent his life drifting, often across war zones. He was obsessed with his Lebensplan<\/em>, or life-plan, and was forever revising it, announcing its new iterations to friends and family. In 1803, he walked from Paris to the coast to join Napoleon\u2019s army, only to be rejected. In 1807, wandering from Berlin to Dresden, he was arrested as a spy and thrown in prison (where he got a lot of writing done). He never felt at home in any city, profession, or literary movement. According to David Constantine, Kleist \u201cwas known as somebody who muttered to himself at the dinner table in company.\u201d He was an unsuccessful and unhappy soldier, student, and civil servant before he achieved a measure of success and satisfaction, if not financial security, as a writer.<\/p>\n

The Abendbl\u00e4tter<\/em> folded after just six months, due to a political conflict over one of its publications. Its collapse devastated Kleist, who had hoped that it would become the official newspaper of Prussia and help him to foment a rebellion against the Napoleonic occupation. On November 21, 1811, he shot his terminally ill lover, Henriette Vogel, and then himself, in a suicide pact that was markedly similar to a crime he had once described in the Abendbl\u00e4tter<\/em>. It was left to others to cover the tragedy.<\/p>\n

\nMichael Lipkin is a student who lives in New York City.<\/p>\n

\nSophie Pinkham is a student of Russian literature who lives in New York City.<\/em> <\/p>\n","protected":false},"excerpt":{"rendered":"

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