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• Leben verboten! by Maria Lazar
• Joseph W. Moser

Maria Lazar (1895–1948) was an Austrian-Jewish writer, whose works had mostly fallen into oblivion until the aptly named publisher Das vergessene Buch Verlag started republishing her books: Die Vergiftung (1920, republished in 2014) and Die Eingeborenen von Maria Blut (1937, republished in 2015). Leben verboten! was only ever published in English by Wishart & Co in London in 1934, so the 2020 publication of the book by Das vergessene Buch Verlag is the first German edition of the book based on the 1932 original manuscript. The novel is followed by a fift y- eight- page afterword entitled "Kolportage und Wirklichkeit: Zu Maria Lazars Roman Leben verboten!" by Johann Sonnleitner, who has been instrumental in promoting the rediscovery of this fascinating writer. The afterword provides readers with a detailed and very useful history of Maria Lazar's work and life as a writer. Thus, this book contains both the novel and a detailed scholarly analysis of the book and Lazar's other works.

Without spoiling the novel or even commenting on the riveting plot, the book gives insights into life in Berlin and Vienna in 1932 before the Nazis took power in Germany, but much of the mystery of the book centers on young men conspiring with the political right and the fear that an older generation has about the potential changes that the younger generation may bring about. Lazar has a realist style of writing that helps her readers feel the time and space in which the novel's plot takes place. The Viennese characters speak in their authentic vernacular of the 1930s. The main protagonist travels between Berlin and Vienna, through the newly foreign Czech lands, and this provides a fascinating comparison of the two metropolises, where Berlin is reminiscent [End Page 159] of Alfred Döblin's Berlin Alexanderplatz (1929)—a big city struggling with a continued economic crisis. Vienna is by comparison a much smaller city in the novel, though much as the cliché would have it is more elegant, most notably with the State Opera House and its other cultural institutions. What unites the two places are economic uncertainties that affect the wealthy and less wealthy classes almost equally, as well as political uncertainties that are underscored by political radicalism in the Interwar period. As one might expect, this is a time where people are confronted with the realities of post–World War I life and at the same time there is a distinct and haunting fear of future conflict and possibly war.

As Sonnleitner points out in his afterword, Lazar was mostly overlooked by her writer colleagues, even though she ran an active literary salon at the time. Only Elias Canett i mentioned her in Das Augenspiel: "Ich sollte bei Maria Lazar, einer Wiener Schrift stellerin, die wir beide unabhängig voneinander kannten, mein Drama Hochzeit vorlesen. Einige Gäste waren geladen. Ernst Fischer und seine Frau Ruth waren darunter [ … ] Maria Lazar hatte Broch erzählt, wie sehr ich die Schlafwandler bewunderte, die ich während des Sommers dieses Jahres 1932 gelesen hatte" (326–27). Sonnleitner emphasizes that Canett i seemed more interested in Broch than Lazar, though at least he acknowledged her as a writer. She is not mentioned in Ernst Fischer's autobiography. Oskar Kokoschka, who had painted her portrait several times, did not mention her in his autobiography either, nor is she mentioned in secondary sources on Hermann Broch (327). Apparently, only Renate Wall's Lexikon deutschsprachiger Schrifstellerinnen im Exil 1933–1945 (2004) and Siglinde Bolbecher and Konstantin Kaiser's Lexikon der österreichischen Exilliteratur (2000) mention Maria Lazar, as Sonnleitner points out (326). This is a great example of how a writer can fall into oblivion, especially if one is too concentrated on the supposedly great literary figures of a time. Of course, one also has to wonder if a male writer would have fallen into the same oblivion as Lazar.

Apart from being a great read and a catchy novel that you will not want to put down, Maria Lazar...

审核人：

• Leben verboten！玛丽亚·拉扎（Maria Lazar）
• 约瑟夫·W·摩泽

玛丽亚·拉扎（Maria Lazar，1895–1948年）是一位奥地利犹太裔作家，其作品大部分被遗忘了，直到恰当命名的出版商达斯·韦吉森（Das vergessene）布赫·拉格（Buch Verlag）开始重新出版她的书：《死于Vergiftung》（1920年，于2014年重新出版）和《Die Eingeborenen von Maria Blut》（1937年，2015年重新发布）。Leben verboten！1934年，Wishart＆Co在伦敦仅以英文出版该书，因此Das vergessene Buch Verlag于2020年出版的这本书是该书基于1932年原始手稿的第一本德语版。小说之后是五十八页的后记，题为“ Kolportage und Wirklichkeit：祖玛利亚·拉扎斯·罗马·勒本！“ Johann Sonnleitner致力于促进这位引人入胜的作家的重新发现。后记为读者提供了Maria Lazar作为作家的工作和生活的详细且非常有用的历史。因此，本书既包含小说，也包含详细内容。这本书和拉扎尔的其他著作的学术分析。

在没有破坏小说甚至没有评论铆接情节的情况下，该书对纳粹在德国掌权之前的1932年柏林和维也纳的生活提供了见识，但该书的大部分奥秘集中在年轻人与政治权利和政治阴谋的密谋上。担心长辈会对年轻一代可能带来的潜在变化。拉扎尔（Lazar）具有写实主义的写作风格，可以帮助她的读者感受到小说情节发生的时间和空间。维也纳人物讲的是1930年代的真实话语。主要主人公在柏林和维也纳之间穿越新的外国捷克国土，这使这两个大都市具有了令人着迷的对比，柏林让人联想到阿尔弗雷德·多布林（AlfredDöblin）的故居[End Page 159]。柏林亚历山大广场（Berlin Alexanderplatz，1929年）-一个在持续的经济危机中挣扎的大城市。相比之下，维也纳小说中的城市要小得多，尽管陈词滥调会使维也纳更加优雅，最著名的是国家歌剧院及其其他文化机构。这两个地方的结合是经济不确定性几乎对富裕阶层和较不富裕阶层的影响，以及两次大战之间政治激进主义所强调的政治不确定性。可以预见，这是人们面对第一次世界大战后生活现实的时代，与此同时，人们对未来的冲突和战争充满了恐惧。

正如Sonnleitner在其后记中指出的那样，尽管Lazar当时经营一家活跃的文学沙龙，但她的作家同事大多忽略了Lazar。只有埃利亚斯Canett我提到她达斯Augenspiel：“ICH sollte贝玛丽亚·拉扎尔，einer维纳Schrift stellerin，死世界投资报告贝德unabhängigvoneinander kannten，炒面戏剧Hochzeit。vorlesen EinigeGäste瓦伦geladen恩斯特·菲舍尔UND围网弗劳露丝·瓦伦darunter [...]玛丽亚·拉扎尔hatte石塔erzählt，魏某sehr ICH死Schlafwandler桑德斯（Sonnleitner）强调，卡内特（Canett）我似乎对布罗奇（Broch）比对拉扎尔（Lazar）更感兴趣，尽管至少他承认她是作家。但在恩斯特·菲舍尔（Ernst Fischer）的自传中没有提及她。奥斯卡·科科什卡（Oskar Kokoschka）曾多次画过她的肖像，也没有在自传中提到她，也没有在Hermann Broch（327）的第二手资料中提及她。显然，只有Renate Wall的《勒希孔·德希施普拉奇格·谢里夫斯特勒林嫩·艾米尔（1933-1945）》（2004年） ）和Siglinde Bolbecher和Konstantin Kaiser的Lexikon derösterreichischenExilliteraturSonnleitner（326）（2000）提到玛丽亚·拉扎（Maria Lazar）。这是一个很好的例子，说明作家可能会被遗忘，特别是如果一个人过于专注于当时所谓的伟大文学人物时。当然，还必须怀疑男性作家是否会像拉扎尔一样被遗忘。

玛丽亚·拉扎尔（Maria Lazar）除了是一本精彩的读物和一部令人讨厌的小说之外，...