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*>> by all but specialists.This silence, if protracted, turned out to be misleading. Ever since he was seventeen years old, Klemperer had been a dedicated diarist, and in 1995 a new generation was captivated by the publication, in two volumes, of his diaries for the years between 1933 and 1945 under the title Ich will Zeugnis ablegen bis zum letzten. Recognized immediately as the most comprehensive and meticulous extant account of life in the Third Reich as experienced by a German Jew, this became an overnight sensation. In Germany 140,000 copies of the original edition were sold; there were radio and theater readings
*>> even a generation later, a master technician like Auden at his innovative, nervy peak was never Modernist and experimental in a way that came naturally to Beckett. The line of English verse in the twentieth century runs directly from the Victorians, via Hardy and Housman, to Larkin and Hughes, almost as if Modernism had never happened.With hindsight, it seems obvious that American poets needed to experiment in order to break free. When Ezra Pound talked about making it new he meant, among other things, creating a poetic language that could adapt itself to American vernacular rhythms, a language not bound by Shakes
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