Wikipedia:
Wilhelm Klemm (* 15. May 1881 in Leipzig , † 23. January 1968 in Wiesbaden ; pseudonym: Felix Brazil ) was a German WW1 poet

1915 during the time of the First World War - Wilhelm Klemm was regimental surgeon in Flanders - he made ​​his debut with the poetry collection Gloria . His now mostly rhymeless free rhythmic poetry is characterized by a minimalist, expressive language, which often does not bend the rules. Did he with other expressionist poets preference a strophic together, they shall not their patriotic pathos ( Ernst Wilhelm Lotz ) or their pity thinking ( Franz Werfel ). The first verse of the critics like Theodor Heuss acclaimed poem position is: "The night will be uninterrupted. Shots hunt / Temporary. Clapping one, or sigh of / rumbling away like stone rubble. Vergähren. A cannon roars - / cackle The ghosts of destruction. Seep hours. "
Klemm's poems appeared - with the exception of the storm - in the important literary and art magazines: first in the youth and in Simplicissimus , later in Franz Pfemfert action . On the philosophical discussions of his time clamping but did not participate. Pfemfert was with verses and pictures and call out the second and third lyric single band. However, after the war, there was aesthetically-substantive differences, until finally none of his poems was included more in the action. In the poem Sehnsucht already indicated a move away from to Expressionism: "O Lord, simplify my words. / Let shortly be my secret. / Give me the example slowdown. / How much can be decided in three syllables! " [2] . But this rejection did not mean a turn towards aestheticism of Stefan George ; the fragmentation of modernity remained an important subject: "Oh my time! So nameless torn, / So without star so daseinsarm in knowledge " [3] , and again he sits down with no particular religion associated transcendence apart.

According to the 1919 published volumes emotion and Development published clamping dream Rubble (1920). The poem sequence Enchanted targets (1921) was probably compiled in 1920 or earlier. In Alfred Wolfsteins Yearbook The survey (1920) is Klemms cycle days and nights included, but which remained completely ignored and not in later anthologies was receiving. The poet and literary scholar January Volker Röhnert speaking at the post-war poems Klemm of "unknown masterpieces of our poetry history" and recognizes the bizarre imagery influences of silent film. Klemm waiving further lyrical publications from 1921, as a voluntary " ban on images to be construed": "The proven lyrical image has been overtaken and consumed felt while the ubiquity of images of reality in poems hardly seemed representable." [4]