D Esintegriert you! : Against the German we

A book at the right moment: the author Max Czollek reckons in his furious essay with a glorified German self-image in the integration discourse.

 D Esintegriert you!  : Against the German we
  • Page 1 — against German we
  • Page 2 — a "place of radical diversity"
  • Read on a page

    If re was one in which broad sections of political spectrum were in agreement in barely past Özil debate, n perhaps in use of this one word: integration. People can, as you read everywhere, be poorly integrated or well integrated, even perfectly integrated, y are refore sometimes involuntarily and sometimes completely incapable of integration.

    The magic word integration remains hardly questioned in discourse about immigration. Depending on political context, it describes part-time solution or a deficiency phenomenon and refers mostly to picture of immigrant pattern citizens who speak akzentarm German, national anm fervently singing along with occasion, black-red-gold Prefer any or colour combination and have acquired some heimattümelndes detail. What makes German heart beat faster than Turkish neighbor's family who looks at crime scene every Sunday, or woman of color, who eats nothing but sauerkraut and noodles?

    Disintegrated yourselves! is a polemic that is now being published, which will revive integration debate solely because it rejects its central vocabulary. The author: Max Czollek, 31 years old, publicist, lyricist and curator in vicinity of Berlin Maxim Gorky Theatre. His book, initiates Czollek, is also "one who took off, not to become a Jew. But a political scientist, a writer and an intellectual. And of one who eventually became a Jew, too. "

    A "German desire"

    Czollek writes against integration paradigm from a Jewish perspective. To be able to follow him in his appeal for disintegration, one must first understand what his problem is with integration: Czollek speaks of an "integration atre", continuous staging of a mindset for which idea of a social Centre. A monolithic German "we" plays main role in this staging, complementary "You" is represented by two supporting roles. On one hand, good (i.e. excellently integrated) migrants, on or hand, wicked (i.e., groups raping, barbaric, incapable of integration). A German self-conception is mainly from demarcation to this evil "Ye", while Good "ye" demonstrate openness of world of one's own society.

    The observation of a romantic transfiguration of migrants, ir function as "super German" is probably as old as integration discourse itself. Czollek goes on, however: Integration Theatre is only one of two productions of German public, to which he wants to make audiences and actors Renegade: "Memory Theatre" is closely related. The sociologist Michal Bodemann coined this term in order to describe display of a culture of remembrance that is emphasized in past, which perfidious Jewish population into a prehistoric role after 1945 to this day. "As pure and good victims, Jews and Jewish people are now helping to stabilize image of good, purified, ordinary Germans."

    The Especially fucked up 20th century

    In this cathartic staging, whose directing leads to a "German desire", not much space remains for realities of Jewish diversity. The only possible role, writes Czollek, is that of JfD, "Jew for Germans". And as such, one always has to get into an involuntary service provider position: If his unknown to him in pub would immediately tell of his SS-grandpa, n he would know, so Czollek, that re is once again someone his "favorite channel in Jewporn" Switched on.

    JfD, Jewporn – Czolleks language is testimony of a rage fed by years of observation.  She makes use of humanities terms as well as "Wowschwitz" jokes and creates a sound that Czolleks to memory atre performative: One who is angry at current handling of a "particularly Fucked-up 20th century ".

    Date Of Update: 24 August 2018, 12:00

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