This article argues that Ulrike Almut Sandig’s poetry models what might be termed a ‘postcritical poetics’, expanding on Rita Felski’s idea of ‘postcritical reading’ to reveal strategies for a postcritical writing. In Sandig’s earlier poems, particularly ‘russenwald’ and ‘gardinen’ (2007), she evokes encounters on and around former Soviet military installations. The poems assume a postcritical stance to the past and in turn prompt a postcritical reading. Using theories by Felski and José Esteban Muñoz, I argue that Sandig stages fleeting interpersonal encounters based on openness and fascination, which work against the backdrop of past and present violence in both works. Sandig’s encounters suggest how everyday interactions can articulate dissatisfaction with a difficult present and look towards possible ethical relations in the future. Sandig’s writing further suggests productive ways of reading other contemporary writing, which I demonstrate using Clemens Meyer’s short narrative ‘Glasscherben im Objekt 95’ (2017), which also depicts a transtemporal encounter on a defunct Soviet military installation.

中文翻译：

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后批判诗学？在乌尔里克·阿尔穆特·桑迪格和克莱门斯·迈耶的作品中穿越时空的苏联军营

本文认为，乌尔里克·阿尔穆特·桑迪格 (Ulrike Almut Sandig) 的诗歌模仿了可能被称为“后批判诗学”的东西，扩展了丽塔·费尔斯基 (Rita Felski) 的“后批判阅读”思想，以揭示后批判写作的策略。在桑迪格早期的诗歌中，尤其是“russenwald”和“gardinen”（2007 年），她唤起了在前苏联军事设施及其周围的遭遇。这些诗对过去采取了后批判的立场，反过来又促进了后批判的阅读。使用 Felski 和 José Esteban Muñoz 的理论，我认为桑迪格基于开放和迷恋上演了短暂的人际交往，这在两部作品中都以过去和现在的暴力为背景。桑迪格的遭遇表明，日常互动如何表达对困难现状的不满，并展望未来可能的伦理关系。