45 The chord D-D-Sch—Often so represented in studies of Shostakovich and his later music, especially the Eighth String Quartet. Thomas Melle for his part insists to me: “Inappropriate German notation. The correct German notation would be: d, d, es, c, b.”
45 A. Lunacharsky on Kollwitz: “She aims at an immediate effect…”—Otto Nagel, Käthe Kollwitz, trans. Stella Humphries (London: Studio Vista, 1961), p. 58.
46 Description of Kollwitz amidst the jury of the Prussian Academy—After a photograph in Martin Fritsch (herausgegeben & bearbeitet von Annette Seeler), Käthe Kollwitz: zeichnung Grafik Plastik: Bestandskatalog des Käthe-Kollwitz-Museums Berlin (Leipzig: E. A. Seeman, 1999), p. 37.
46 Professor Moholy-Nagy to Kollwitz: “It is an elementary biological necessity…”—Laszlo Moholy-Nagy, Painting, Photography, Film, trans. Janet Seligman (Cambridge, Massachusetts: The MIT Press, 1987 repr. of 1927 second German ed.), p. 13. The encounter between these two artists is entirely invented.
46 Professor Moholy-Nagy to Kollwitz: “The traditional painting has become a historical relic…”—Ibid., p. 45.
47 The grocer’s apprentice: “… I would like to stand for something. I would like to be there for something”—After the justification given by Frau Ellen Frey, who defended Hitler decades after the Third Reich; in Owings, p. 181. (Frau Frey said “live for,” not “stand for,” but the latter seemed more appropriate in this context, given that the boy is dying.)
47 Description of Peter’s hand and body in Kollwitz’s recollections—Based on a description in the Diary and Letters (p. 115; entry for August 27, 1927) of her doomed grandson Peter: “the frail little hand laid in ours. The beautiful naked little body.”
48 Footnote: The role of Otto Nagel—Otto Nagel, Käthe Kollwitz (Dresden: VEB Verlag der Kunst, n.d., 1962 or after), p. 41. About the exhibition see pp. 53, 56, 63-64.
49 Letter from Kollwitz to her children about learning Russian—Diary and Letters of Kaethe Kollwitz, p. 183 (7 February 1944).
49 Letter from Kollwitz: “The desire, the unquenchable longing…” Ibid., p. 187 (13 June 1944).
49 Kollwitz diary entry: “And I must do the prints on Death…”—Diary and Letters, p. 114 (13 February 1927).
50 Layout of the Kollwitz exhibition in Moscow—After the Tagebücher, p. 632 (November 1927). Elena Konstantinovskaya’s presence is a fabrication.
51 Grete, Anna and the old proletarian woman—Plucked from the Tagebücher.
51 Description of the young Käthe Kollwitz (compared by me to the young Krupskaya)—Based on a photo in David Clay Large, Berlin (New York: Basic Books, a member of the Perseus Book Group, 2000), p. 70 (“Käthe Kollwitz, circa 1905.” Source: Archiv für Kunst und Geschichte).
51 “They,” on Kollwitz: “Her family was involved in the workers’ movement”—Great Soviet Encyclopedia, vol. 12, p. 586 (entry on Käthe Kollwitz).
51 “The doctor came immediately, and his invoice never”—Tagebücher, p. 18 (introduction).
51 Kollwitz: “That’s the typical misfortune…”—Diary and Letters, p. 52 (September 1909).
52 “One young man” to Kollwitz: “The temporal sequence of a movement…” —Closely after Ludwig Hirschfeld-Mack, on the subject of his reflected color displays; excerpted in Moholy-Nagy, p. 80.
53 The young man (Comrade Alexandrov): “I used to believe that if I lived out my life…” —The Diaries of Nikolay Punin 1904-1953, ed. Sidney Monas and Jennifer Greene Krupala, trans. Jennifer Greene Krupala (Austin: University of Texas Press, 1999), p. 51 (entry for 15 August 1917; somewhat reworked).
53 “He wanted to escort her and her husband to a Shostakovich premiere.”—There is no evidence that Kollwitz did or did not attend a Shostakovich event. Originally I sentenced her to the rather mediocre Second Symphony simply because its premiere date, 1927, coincided with the year of her visit. In fact, it premiered in Leningrad in November, so Kollwitz had probably come and gone before it arrived in Moscow. For that reason the Scherzo in E-flat Major (1923-24) seemed safer.
54 Kollwitz on Schnabel (“clear-consoling-good”) and Beethoven (“the heavens opened”)—Diary and Letters, p. 115.
55 Kollwitz to Lene Bloch: “Marriage is a kind of work” —Tagebücher, pp. 18-19 (introduction).
55 The parade on Red Square—Based in part on the description in her Briefen an den Sohn, pp. 201-02 (Moscow, 6 November 1927).
55 The drawing “Listening,” later “lithographed… as Slushayuoshchie”—Kete Kolvitz (so transliterated in Cyrillic) catalogue, Katalog vystavki proizvedeniy iz muzeev i castnych sobraniy German Demokrat. Republiki (Moscow: Isdatelstvo Akademii Khudozhest SSSR, n.d. [prob. 1963], no page nos.). This is merely my fabulist’s trick. The only reasoning that the name “Listening” got changed to its Russian equivalent was that it so appeared in the catalogue. Of course to Kollwitz herself it remained “Zuhörende,” or in some versions “Zuhörender” (catalogue 14, 1927).
55 “Out of Moscow Käthe Kollwitz brought with her a beautiful page…”—Bemerkung, ascribed to Otto Nagel (op. cit., p. 288; trans. a bit floridly by WTV).
56 Danilo Kiš: “Under my personal supervision a hundred and twenty inmates of the nearby regional prison camp…”—Danilo Kiš, A Tomb for Boris Davidovich, trans. Duska Mikic-Mitchell (Normal, Illinois: Dalkey Archive Press, 2001 repr. of 1978 Harcourt ed.; orig. Serbo-Croatian ed. 1976), p. 42. To avoid monotony, I have changed “prisoners in” to “inmates of.”
56 Kollwitz: “When the man and the woman are healthy, a worker’s life is not unbearable” —Tagebücher, p. 49, entry for 30 August 1909, trans, by WTV.
56 “Joy in others and being in harmony with them had always been one of the deepest pleasures in her life.”—After Diary and Letters, p. 116 (entry for March 1928: “Joy in others and being in harmony with them is one of the deepest pleasures in life.”)
56 Kollwitz: “Moscow with its different atmosphere…”—Diary and Letters, p. 115 (New Year’s Eve, 1927).
57 “Frau Kollwitz had taken up etching in order to distribute the maximum number of prints to the working class”—After an assertion in Kearns, p. 141.
58 The meeting between Kollwitz and Karmen I fabricated.
58 Old Reschke in the Cafe Monopol, 1914: “God be thanked that mobilization is happening…”—Tagebücher, p. 149 (August 1914, trans. WTV, slightly altered). He is not elsewhere mentioned in the diaries, so I don’t know whether he was really “old Reschke” (my adjective) or not.
58 Karclass="underline" “This noble young generation…” Tagebücher, p. 152 (10 August 1914, trans. WTV).
59 Description of Peter in the last month of his life—After a photograph in the Tagebücher, p. 167 (“Peter Kollwitz, 2. Oktober 1914”).
59 Roman Karmen: “How terrible it must seem to be to be a mother who weeps… film it!”—K. K. Ognev, ed., Roman Karmen (Moscow?: Sovexportfilm, n.d., after 1975), p. 7 (extract from Karmen’s daybook while in Spain, presumably in 1936; trans. by WTV).
60 Description of Peter’s room—After a photograph in the Tagebücher, p. 192.