Germans review laid in

Stramm (1874-1915) is considered one of the first of the German Expressionists. He achieved little in print during his lifetime, with the exception of some Expressionist plays published by Der Sturm after his work was taken up by Herwath Walden in 1913, and some individual poems published in Walden’s periodical of the same name. Both his collections of poetry appeared posthumously after he was killed in action in Russia during World War I: the first collection, Du. Liebesgedichte, appeared shortly after his death in 1915, and was followed by Tropblut four years later. Stramm’s poetry is striking in it originality and placed him at the front of the German avant garde:
‘,,, some Expressionist poetry was highly concentrated. Here the best example is August Stramm, who was influenced by Marinetti’s Futurist manifestoes, which recognize the world as a disjointed array of information and events, brought to life by newspapers, cinema, telephones, airplanes, phonographs. Such a world calls for new forms – above all, collage. Adjectives and adverbs must disappear, so too must finite verbs and punctuation. The well-formed sentence is abandoned, replaced by a telegram-like style, with frequent use of compound nouns, phonetic spelling, and onomatopoeia to convey the continuity and rush of life, and a variety of typographical accents for emphasis. Stramm took these precepts further than most, with his paratactic linking of nouns and transcendence of conventional syntax’ (A New History of German Literature, Harvard University Press, 2004).