#Andreas Eschbach

[goavajuice]

Tbr stack :)

[volcheart]

🐢

[hoerbahnblog]

SF & more: – "NSA" von Andreas Eschbach - Gabi Feucht, Marcus Weible und Evelyn Müller diskutieren das Buch

Hördauer ca. 20 Minuten https://literaturradiohoerbahn.com/wp-content/uploads/2024/06/SF-u-more-A-Eschbach-NSA-upload-.mp3 Marcus Weibl, Evelyn Müller , Gabi Leucht v.l.n.r. SF & more: – “NSA” von Andreas Eschbach – Gabi Feucht, Marcus Weible und Evelyn Müller diskutieren das Buch Weimar 1942: Die Programmiererin Helene arbeitet im NSA, dem Nationalen-Sicherheits-Amt, und entwickelt dort…

[german-zitate]

Ein Schrank von einem Mann, der versucht das Nachtschränkchen zu spielen

Andreas Eschbach, Der Letzte seiner Art

[abmgw]

ABMGW 216 Freiheitsgeld vs Geometry for Ozelots

Thema der Woche: Begehrlichkeiten und Klimaschutz Weil das geht ja Hand in Hand. Bücher dazu: zum ersten “Freiheitsgeld” von Andreas Eschbach. Das spielt in einer utopisch/dystopischen Zukunft, in der die EU das Freiheitsgeld eingeführt hat: ein bedinungsloses Grundeinkommen nur mit sexy Namen. Aber ob da alles Gold ist was glänzt oder ob nicht vielleicht eine Verschwörung von Reptilienmenschen…

[mllebleue]

Ok, this number is *tragically* low, so let me *strongly* recommend this book. It is nothing short of amazing.

Galactic economies and their profound influence on planetary cultures, all wrapped up with a mind-blowing reveal at the end.

Read this!

vote yes if you have finished the entire book.

vote no if you have not finished the entire book.

(faq · submit a book)

[matrose]

2, 4, 10, 11!!

TYSMMMM 😚❤️

2. Did you reread anything? What?

lots!!! the hunger games triology, the inkworld trilogy (because i read them to my little brother), three andreas eschbach books also read to my brother, and some animorphs books also read to him :] i also read children of time triology twice so i could annotate it for someone <3

4. Did you discover any new authors that you love this year?

yesss!! had a big adrian tchaikovsky marathon this summer and ate basically his entire bibliography <3 also read two bernadine evaristo books and plan to read more!! the next one doesnt really count because i did know her name before buttt i finished my first ursula k le guin novel (had only read short stories of hers before!!)

10. What was your favorite new release of the year?

lords of uncreation by adrian tchaikovsky 😎 but also i only read like three new releases this year

11. What was your favorite book that has been out for a while, but you just now read?

favorite of all the books ive read this year? or oldest favorite? some older favorites i read this year are: fire from heaven by mary renault, left hand of darkness by ursula k le guin, dawn/xenogenesis triology by octavia e. butler, and the name of the rose by umberto eco :]

[gwendolynlerman]

(book ask game) 22: what was the longest book you've read this year! 🫶

Thank you for asking!

The longest book I read was Herr aller Dinge by Andreas Eschbach (687 pages). It was also the longest book I had ever read in German, but I managed to follow the plot without any problem 😊

[eggi1972]

[Rezension] NSA – Nationales Sicherheits-Amt – Andreas Eschbach

Klappentext: Weimar 1942: Die Programmiererin Helene arbeitet im Nationalen Sicherheits-Amt und entwickelt dort Programme, mit deren Hilfe alle Bürger des Reichs überwacht werden. Erst als die Liebe ihres Lebens Fahnenflucht begeht und untertauchen muss, regen sich Zweifel in ihr. Mit ihren Versuchen, ihm zu helfen, gerät sie nicht nur in Konflikt mit dem Regime, sondern wird auch in die Machtspiele ihres Vorgesetzten Lettke verwickelt, der die perfekte Überwachungstechnik des Staates für ganz eigene Zwecke benutzt und dabei zunehmend jede Grenze überschreitet ... Was wäre, wenn es im Dritten Reich schon Computergegeben hätte, das Internet, E-Mails, Mobiltelefone und soziale Medien - undderen totale Überwachung? Rezension: Meine ehemalige Abteilungsleiterin war ein absoluter Fan von Andreas Eschbach, und als das Buch vor mir lag, war ich schon etwas ergriffen. Es ist ein spannendes Thema und die Idee, wie es gewesen wäre, wen die Nazis schon die Möglichkeiten gehabt hätten, die die NSA (National Security Agency) der Amis heute hat, ist wirklich faszinierend. Und wenn sie nun sagen, diese Möglichkeiten, die Andreas Eschbach in dem Buch beschreibt, stehen den Amis heute noch nicht zur Verfügung, so muss ich doch größtenteils widersprechen. Gut, das mit den Implantaten zur Steuerung der Menschen am Ende des Romans durch einen gewissen Mengele, der die Operation durchgeführt hat, ist meines Wissens noch nie so gemacht worden, aber irgendetwas sagt mir, dass es doch schon möglich wäre. Viele Dinge, wie die Verfolgung der Juden oder das Aufspüren von Fahnenflüchtigen durch die NSA, könnte man so oder so ähnlich sicher machen und es zeigt auch, wie gläsern wir wären, wenn wir kein Bargeld mehr benutzen würden, sondern nur noch, wie es uns die Werbung suggeriert, mit der Kreditkarte etc. zahlen würde. Wir werden immer gläserner durch unser Handy, welches immer am Mann ist, und was man bei jeder Gelegenheit aus der Tasche holt. Manchmal wäre es angebracht, das Gerät zuhause zu lassen. Andreas Eschbach zeigt drastisch, wie gläsern wir sind und was man mit den Daten alles machen kann. Es ist schon interessant, zu sehen, dass man bei der NSA das Handy ausgeschaltet beim Pförtner abgegeben muss, wie er die Geschichte der Computer, oder wie er es geschrieben hat „Komputer“ einfach gut 100 Jahre früher spielen lässt und er manche Begriffe ins Deutsche umwandelt wie z.B. Programmstrickerin anstatt Programmiererin. Es sind viele Dinge, die mich Schlucken ließen, weswegen ich einen Kloss im Hals hatte, wie zum Beispiel die Atombombe, oder die Möglichkeit anderer Projekte, die die Nazis vielleicht dann in Auftrag gegeben hätten. Wie leicht es wäre, verschiedene Menschen an anscheinend verschiedenen Projekten arbeiten zu lassen und wie ein im ersten Moment scheinbar gutes Projekt doch gegen die Menschen in einem Staat gerichtet werden kann, ist erschreckend und faszinierend zugleich. Wie einfach die Überwachung von uns eigentlich wäre - oder bereits ist.  Gut, Lettke ist nicht gerade ein Sympathieträger in dem Roman, aber ohne ihn wäre es nur der halbe Roman. Denn nur durch die Liebesgeschichte von Helene zu ihrem Arthur, dem Fahnenflüchtigen, wäre der Roman sicherlich nicht so spannend gewesen. Lettke spielt eine nicht unwesentliche Rolle beim Spannungsaufbau. Wobei man auch sagen muss, dass das Buch gelegentlich ein paar Längen hat, wo man denkt, ok, ein bisschen weniger ist manchmal mehr. Aber ich glaube, diese Stellen sind für die gesamte Entwicklung des Romans wichtig, ansonsten würde man das wieso und warum nicht so gut verstehen. Aber trotzdem ist das Ende erschreckend und hat mir wirklich sehr viel Angst gemacht. Ich bin teilweise noch immer wie paralysiert, auch wenn das Ende des Romans schon eine Nacht hinter mir liegt. Vielleicht liegt es daran, dass ich mir ein anderes Ende erhofft habe, vielleicht aber auch, weil ich Angst davor habe, dass es bis auf die Nazis und andere Dinge, die es nicht mehr so gibt, doch noch so werden kann. Vielleicht ist Andreas Eschbach doch näher an der Zukunft als man denkt, auch wenn er den Roman in der Vergangenheit spielen lässt. Und vielleicht ist es genau dies, was mich so erschreckt hat. Wer weiß dies schon? Wie gesagt bis auf ein paar Längen im Roman, ist er absolut lesenswert und regt zum Nachdenken an. Titel: NSA – Nationales Sicherheits-AmtAutorin: Eschbach, AndreasISBN: 978-3-404-17900-8Altersempfehlung: ab 16 JahreVerlag: Bastei LübbePreis: 14,90 €Erscheinungsdatum: 28. September 2018 Bei unseren Partnern bestellen: Bei Yourbook.shop bestellen. Bei Genialokal.de bestellen. Bei Hugendubel.de bestellen. Bei Thalia.de bestellen. Die Buchhandlung Freiheitsplatz.de unterstützen! Die Büchergilde FFM unterstützen! Lesen Sie den ganzen Artikel

[m---a---x]

"Herr aller Dinge" from Andreas Eschbach

Which books would fit in the Old Child section?

My first thought was The Little Prince

[hadenoughx3]

Ist es nicht gespenstisch, wie das Leben spielt? Wie unsere Wünsche es formen; selbst die, die nicht gut für uns sind?

Andreas Eschbach

Der letzte seiner Art

[tinapsychocat]

My 2023 reading year

I read 144 books. That's a good few more than 2022. There were 25 I would rate 5*

Contemporary fiction:

Jeanine Cummins: American dirt

Fredrik Backmann: A man called ove and Anxious people

Arttu Tuominen: was wir verbergen

Jodi Piccoult: nineteen minutes

Interesting pov thriller

Michael Robotham: good girl, bad girl

Thrillers with revenge focus:

Peter Grandl: Turmschatten

Thomas Willmann: Das finstere Tal

Thrillers that mess with your head:

Kia Abdullah: take it back

Lucinda Berry: saving Noah

Thriller from pov victims:

Amber Tamblyn: any man

Second world war historical fiction:

Andreas Eschbach: NSA

Susanne Abel: Stay away from Gretchen & was ich nie gesagt have

Mechtild Borrmann: Feldpost

Killen Mcneill: Lore und die letzten Tage

Melanie Metzenthin: Im lautlosen

Historical fiction :

Bonnie Garmus: lessons in chemistry

Mandy Robotham: the girl behind the wall

Novels that take a turn into a direction one might not have expected (unless the plot was spoilt like for it was for me):

Jodi Piccoult: mad honey

Bridget Collins: the binding

Time travel novels that are almost (but not quite) as good as 11/22/63:

Kate Atkinson: Life after life

Diane Chamberlain: the dream daughter

Romance (mm):

Nyla K: for the fans

[delectablywaywardbeard-blog]

Dal libro alla serie arriva One Trillion dollars su Paramount+

Cosa fareste se foste improvvisamente la persona più ricca del mondo e doveste usare le vostre nuove ricchezze per salvare l’umanità? ‘One trillion dollars’, la nuova serie originale Paramount+ basata sul libro omonimo di successo di Andreas Eschbach, pone questa domanda. Su Paramount+ in Italia, oltre che in Germania, Austria, Svizzera, Francia, Regno Unito, Canada, Australia e America Latina,…

[red-queen-on-the-heathen-throne]

German here.

The whole Germany = Bavaria thing is so insanely reductive, it's starting to really get on my nerves that it tends to be the only thing that's ever shown as "German". Germany is huge and varied and the Holy Roman Empire discourse only touches on a small part of that.

All of the stuff mentioned in the post is technically German, but it's just a tiny sliver, and in case of the music and literature, it's all very... high-brow, I suppose? If you asked someone here about what's the most popular and/or intrinsically German type of music, they would mention classic composers maybe at some point, but certainly not first. They'd mention Schlager, or its distant cousin Partyschlager (there is no translated version for this one, use Google translate at your leisure). They might say Neue Deutsche Welle or Punkrock (represented in mainstream by bands like Die Ärtzte or Die Toten Hosen) or Deutschrap. German mainstream music is incredibly Amerinacised these days, but we do still have our own pop music that isn't derived from whatever washes up here from overseas.

For literature, you can pick from a variety of genres. If your guy is into genre literature, they might read Wolfgang Hohlbein, Andreas Eschbach, Frank Schätzing, Markus Heitz, Cornelia Funke, Michael Ende, Walter Moers, Iny Loretz, Mark-Uwe Kling, Charlotte Link...

For classic German literature that isn't just Schiller and Goethe, you could go for Erich Maria Remarque, Max Frisch (who is Swiss but well-known in Germany), Wilhelm Busch, Erich Kästner or the brothers Grimm (those last three if the character wants to read stories to their children), Karl May (obligatory "beware of 19th century racism" warning), or Hermann Hesse.

If the character is more into film and TV, they might have heard about Lindenstraße, Gute Zeiten, Schlechte Zeiten, and Tatort (for TV, though Tatort is technically a long-ass series of made-for-TV films), or Der Schuh des Manitu (another "beware of early 2000s racism" thing, but there is context here that relies on knowing Karl May films, which is what Manitu is satirising in the vein of Men in Tights and Blazing Saddles), the Fack ju Göthe series, or Lola rennt (for modern films). There's also more classic films like Das Boot, Schulmädchen-Report (this is erotica, so heads up), Nosferatu, or Metropolis. If the character is queer, they might be really into the works of Rosa von Praunheim.

Food is super varied and more than just Bratwurst and Schnitzel. Comfort food might be a good choice for a character trying to reconnect. There's Currywurst, which is eaten just about everywhere but especially popular in Berlin and the Ruhrgebiet. In the north, you'll find a variety of fish sandwiches. There are potato pancakes with appe sauce or sour cream, and apple pancakes with cinnamon and sugar. If you want to get fancy, you could make a roast with potatoes and gravy, and Kaisergemüse (a veggie mix usually made up of broccoli, cauliflower, carrots, and sometimes green beans, usually seasoned with salt, pepper, butter and parsley/chives).

The nature is also not just the Alps. Where I live, everything is vineyards. You can't go anywhere without having one within sight of you. Probably also within walking distance, because we love our walks. It's a joke one of my friends makes, when I say I'm going for a walk she'll be like "okay, see you tomorrow". And yes, my walks go through the vineyards.

There's the loops and valleys and gorges of our biggest rivers, the Rhine, the Moselle, the Elbe. All wildly different sights and biomes. We have big, dense forests. The Mecklenburger Seenplatte. The North Sea coast and islands. Saxon Switzerland, which is beautiful and great for hiking, and this famous painting was inspired by it. Hell, we even technically have a desert that's like five square kilometres.

Lastly, Christmas markets are just a general thing. It's not actively religious in nature (it is heavily connected to Christmas as a religious event, but the market itself is far more commercial than spiritual). You go shop for arts and crafts, eat fast food (yes, Bratwurst and potato pancakes are huge here, but so are dishes with fried or sauteed mushrooms as well as things like churros and crêpes), and drink punch or mulled wine. There's also often at least one roundabout, maybe some puppet theatre, too, for the kids. It's a fair with a Christmas paint job more than anything.

Speaking of fairs (so this is the last thing), this is also a really big thing here. Volksfeste are everywhere, big or small or anything in between. You have the really big ones, like the Munich Oktoberfest or the Kreuznacher Jahrmarkt, but also small ones in almost every smaller town (those would be called Kirmes or regionally in the south-west Kerb, usually). They're pretty similar to Christmas markets, but often without the religious aspect (sometimes they do have that because that's what many of them originated from, but for most the religious character was dropped entirely in favour of very worldly carousing). They also have food stalls, fairground games, roundabouts, bumper cars... They're big, open-air parties for all ages, and usually last two to five days over a weekend. This would be something that a character might seek out, combined with specific foods like Bratwurst, to get an impression of what a Volksfest is like.

...man, that got out of hand. Anyway, I hope that helps and expands the picture a little beyond Oktoberfest and Lederhosen^^

Belated edit: I almost forgot! Fasnacht! (Also German article because it's way better, again, use Google translate as necessary.) It originates in Christianity like a lot of traditions, but has shed many of its trappings over the years in favour of partying and political satire. It happens around lent, and usually consists of float parades where candy is thrown into the crowd with abandon (a tasty remnant of the religious origins, last time to stuff your face with sugar before lent), costume parties with music and speeches, and so called "Sitzungen", where you also dress up but don't go all-out, and the programme is usually speeches and skits satirising politics, rather than outright partying. A character might host their own Fasnacht party with costumes and candy for this one. They might play Partyschlager and eat Berliner at this party, as well as throw confetti and paper streamers, because those are everywhere and a pain in the ass to clean, but very fun. If they're more mischievous and don't mind getting into trouble, they might honour the tradition of Weiberfasnacht (women's carnival), which happens on a Thursday and where women go around with scissors cutting men's neck ties. The men usually wear old ties, or ones they bought specifically for this purpose, rather than their usual ones.

Characters reconnecting with their ancestral cultures in an interplanetary setting

@pixiedustandpetrichor asked:

Hi! I am writing a novel with three main female characters in an interplanetary setting. They grow up as orphans in an Irish-coded country and as children are mostly exposed to solely that culture, but they leave after becoming adults. Character A is Tuareg-coded, B Mongolian-coded, and C is Germanic-coded. It isn’t central to the story, but I would like them to get in touch with/learn more about their ancestral cultures, especially in terms of religion. A does this by actually visiting the planet her parents came from, but B and C do not. What can I do to depict their relationships with said cultures and their journey to reconnect with them? Would it be realistic for each of them to have different mixed feelings about participating in these cultures and for them to retain some sense of belonging to the culture they grew up in as well? Thank you for your time.

Hello, asker! WWC doesn’t have Tuareg or Mongol mods at the moment, so we're not able to speak to the specifics of cultural and religious reconnection for these particular groups. Still, I want to take this opportunity to provide some general context and elements to consider when writing Tuareg-coded characters, or other characters from groups that have experienced colonization in the real world. My fellow mods will then share thoughts about cultural reconnection in general and with respect to Germanic heritage in particular.

Drawing inspiration from groups that have experienced colonization

As you’re probably aware, the Tuareg are an ethnic group indigenous to North Africa. As with many indigenous groups, they have experienced colonization multiple times over the course of their history. Colonization often leads to the loss or erasure of certain aspects of culture as the colonized people are pressured to conform to the culture of the dominant group. In many cases, it’s near impossible to say what the ancestral culture of a colonized group was prior to colonization.

When coding a fictional culture based on a group that was colonized in the real world, it's important to ask questions about:

Which aspects of culture you're portraying

Where these aspects come from

Whether you're ready to tackle their implications for the world you're building

It’s not necessarily wrong to use elements of coding that draw from cultural aspects influenced by colonization. As I said, it can be very difficult, even impossible, to portray a “pure” culture as it would have been had colonization not occurred–because we simply can’t know what that alternate history would look like, and because so much has been lost or intentionally suppressed that the gaps in our knowledge are too wide to breach. But it’s important to be aware of where these cultural elements are coming from.

Where is your coding coming from and what are the implications?

For example, while the Tuareg today are majoritarily Muslim, this was not the case prior to the Arab conquest of North Africa. Some elements of Tuareg culture today, such as tea ceremonies, are derived from the influence of Arab and Muslim culture and likely did not exist prior to the 20th century. As you’re developing the culture of the Tuareg-coded group in your fictional setting, you have to decide whether to include these elements. There is no right answer–it will depend on what you’re trying to do and why.

Is your setting in our far future, in which case we can assume your Tuareg-coded group is distantly related to today’s Tuareg?

In that case, they will probably have kept many cultural aspects their ancestors acquired through their interactions with other cultures around them–including cultural groups that colonized them. They may–let’s build hopeful worlds!–have reclaimed aspects of their ancestral culture they’d been forced to abandon due to colonization. They may also have acquired new aspects of culture over time. This can be very fun to explore if you have the time and space to do so.

I would recommend speaking with Tuareg people to get a better grasp of how they see their culture evolving over the next however many centuries or millennia, what they wish to see and what seems realistic to them.

Alternatively, maybe your setting is a secondary world unrelated to ours and you only want to draw inspiration from the real-world Tuareg, not represent them exactly. In that case, you need to decide which period of history you’re drawing from, as Tuareg culture is different today from what it was 50 years ago, and different still from 200 years ago or 1000 years ago. You’ll need to research the historical period you’re choosing in order to figure out what was happening at that time and what the cultural influences were. If it’s pre-colonial, you’ll probably want to avoid including cultural elements influenced by colonization from groups that arrived later on.

Finally, if the time period you’re drawing from is post-colonial:

Are you planning to account for the effects of colonization on Tuareg culture?

Will you have an in-world equivalent for the colonization that occurred in real life?

For example, will the Tuareg-coded characters in your world be from a nomadic culture that was forced to become sedentary over the years and lost much of their traditions due to colonial pressure to conform?

Where did this pressure come from in your world–is it different from what happened in ours? If so, how different? And what are the consequences?

Writing about colonization can be quite the baggage to bring into a fictional setting. I’m not saying it can’t be done, but it will certainly require sensitivity and care in portraying it.

In summary: think it through

I’m not saying all this to discourage you, but to point out some of the considerations at play when drawing inspiration from a real-life culture that has experienced colonization. Similar challenges arise for coding based on any other indigenous group in the world.

My advice to you, then, is to first sit down and decide where and when in history your coding is coming from, and what you’re trying to achieve with it. This will help you figure out:

which elements of contemporary Tuareg culture are pertinent to include

How much your coding will be influenced by the Tuareg’s real-life history

To what extent that will inform the rest of the world you’re creating

This, in turn, may help in deciding how to portray your character’s reconnection journey.

Again, I am not Tuareg and this is by no means meant to be an exhaustive list of considerations for writing Tuareg-coded characters, only a few places to start.

If any Tuareg or Amazigh readers would like to chime in with suggestions of their own, please do. As always, please make sure your comments adhere to the WWC code of conduct.

- Niki

Pulling from diaspora and TRA narratives of cultural reconnection

Marika here: This ask plotline could also pull directly from diaspora and TRA narratives of cultural reconnection. Many diaspora and TRA cultural reconnection stories are, in effect, about navigating the difficult process of resuscitating, or renewing ties to culture using limited resources in environments that often lack necessary cultural infrastructure or scaffolding.

See this question here to the Japanese team for suggestions of how to handle such a storyline in a similar sci-fi setting.

More reading: Japanese-coded girl from future

-Marika

Reconnecting with German heritage

Hi, it’s Shira. I’m not sure whether German-Jewish counts as Germanic for the purposes of your post but since German Jews were more assimilated than other Ashkies, Germanness does feel real and relevant to my life (especially because my father worked there for approximately the last decade of his life.) NOTE: when I see “Germanic” vs German I think of cultures from 1500 years ago, not 100-200 years ago, so I can’t help you there, but I’d be surprised as a reader if a character focused on that for reconnection to the exclusion of the 19th century etc.

People in the United States specifically, reconnecting with German heritage, often lean into Bayerischer/Bavarian kitsch, I’ve noticed. Personally, though, what I find most relevant is:

1. The food (although I’ve come to learn that what I grew up eating was closer to veal/chicken scallopini than actual schnitzel because it was drenched in lemon, but I do like the other foods like the potato salad and sweet and sour red cabbage etc.) Your character could try making one of these “ancestral” foods as a way to reconnect?

2. The classical music, because I’m a second generation professional musician – if character C plays an instrument, leaning into that might be meaningful (Beethoven, Bach, Brahms, Mendelssohn, Clara Schumann and her husband Robert, etc.)

3. The nature, especially specifics that I enjoyed during my time there – personally, I loved the bright pink flowers all over the chestnut trees, but there are a lot of choices especially because of the Alps. If C is an artist maybe they can sketch something Germany-related from old photographs they found on the Space Internet?

I think it is VERY realistic for the characters to remain connected to the culture in which they were raised, by the way, whether or not they have positive feelings about it. Culture isn’t an inherited trait. Sure, if they want to completely walk away, they can, but I bet there are still ways it will creep back in without them realizing it simply because it’s really hard to have universal knowledge of the origins of all our quirks. Plus, not everyone feels alienated from their raised-culture just because they’re genetically something else.

P.S. There is also Oktoberfest, which I don’t really get into but is a thing, and beer, which is another point of German cultural pride.

German gentiles, weigh in – y’all have your own stuff, I know! OH YEAH so for German Christians, Christmas “markets” are a whole thing. That’s worth looking up. 

–S

What do you mean by Germanic?

Hello it’s Sci! I had to study German history for my historical fantasy novel set in the late 18th century Holy Roman Empire. I am not sure what is meant by Germanic as that can encompass a variety of things.

Germanic people: from the Classical Period of Roman Empire and early Middle Ages. Similar to Mod Shira, I unfortunately can’t help very much here.

The Germanosphere: regions that spoke German, which includes modern day Germany, Austria/Hungary, Switzerland, Lichtenstein, Belgium, and Luxembourg. I generally define this as the regions captured in the Hapsburg Empire along with Switzerland usually encompassing “Central Europe.”

Modern German national identity (i.e. German): post Napoleon and the Congress of Vienna (> 1815) only including the territory of modern day Germany.*

I ask this because modern German national identity is surprisingly recent since Germany only popped up in 1871 under Otto von Bismarck. Previously, Germany was divided into smaller states and city states as a very decentralized region under the German Confederation and before that, the Holy Roman Empire. Depending on the era, you can see different conflicts and divides. During the early days of the Protestant Reformation started by Martin Luther, the northern and southern German territories generally split along Protestant-Catholic lines. The 18th century saw Austria and Prussia as the foci of global power who warred against each other even though both were part of the Holy Roman Empire.

Other states and city-states like Baden-Wurttemberg or Saxony sometimes had power but it was typically more localized compared to Austria. Post-WW2, you saw the split of Germany into West Germany run under capitalism and East Germany run under communism as a satellite Soviet state leading to more modern cultural divides. Due to heavy decentralization historically, each region had its own character with religious and cultural divides. 

Assuming that the Germanic character is not from the classical period or early Middle Ages but not from the 19th century either, you can include your character reconnecting to classical folklore like that of Krampus (if they’re Christian), German literature and music like the works of Johann Wolfgang von Goethe or Mozart, or German philosophy like Immanuel Kant.

*A major wrinkle: German royals and nobility married into other states and nations frequently with Britain and Russia being notable examples. In Britain, the House of Hanover took over after the Stuart House died without clear direct heirs. When Queen Victoria married the German prince Albert, they celebrated Christmas with a tree and brought the German tradition of a Christmas tree to Britain and the British Empire. Only during World War I did the royal family’s house of Hanover name change from House of Saxe-Coburg and Gotha to the more “English-sounding” Windsor. As a result, the German cultural influence may be even more widespread than we think.

However, without more specific descriptors of what Germanic means in the context of your story, it can be difficult to determine which aspects of German culture your character could reconnect to.

-Mod Sci

[kinofans]

"Eine Billion Dollar": Der Roman von Andreas Eschbach kommt als Miniserie https://www.kinofans.com/News/Heimkino/Romanverfilmung-Eine-Billion-Dollar-ab-November-bei-Paramount-E150051.htm

[sergiosantos]

Books read in 2022

All the books I read in 2022, with a ⭐️ next to my favourites. You can also check my lists for 2020 and 2021.

Fiction

We - Yevgeny Zamyatin ⭐ The Last of the Masters - Philip K. Dick The Carpet Makers - Andreas Eschbach ⭐ Death's End - Liu Cixin The Ark Sakura - Kobo Abe His Master's Voice - Stanislaw Lem The Year of the Death of Ricardo Reis - José Saramago Seeing - José Saramago La Diagonale Alekhine - Arthur Larrue The Man Who Planted Trees - Jean Giono The Castle - Franz Kafka The Dispossessed - Ursula K. Le Guin ⭐️ The Cyberiad - Stanislaw Lem

Non-fiction

Blockchain Chicken Farm - Xiaowei Wang ⭐ On Anarchism - Noam Chomsky A Civic Technologist's Practice Guide - Cyd Harrell The Anarchist Handbook - Michael Malice Nea Kavala, Nea Kavala - Frederico Martinho The DisCO Elements Selected Writings - Mikhail Bakunin Bobby Fischer goes to War - David Edmonds & John Eidinow Play Winning Chess - Yasser Seirawan Kraftwerk - Uwe Schütte On Tennis - David Foster Wallace Capitalist Realism - Mark Fisher Judgment of Paris - George M. Taber Voices from the Valley - Moira Weigel & Ben Tarnoff Why Have There Been No Great Women Artists? - Linda Nochlin Soft City - David Sim The Motorcycle Diaries - Ernesto Che Guevara Rebel Ideas - Matthew Syed Wine and War - Don Kladstrup Four Thousand Weeks - Oliver Burkeman ⭐ The One-Straw Revolution - Masanobu Fukuoka Movement - Thalia Verkade ⭐ The Permaculture City - Toby Hemenway The Race Against the Stasi - Herbie Sykes The 99% Invisible City - Kurt Kohlstedt & Roman Mars The Captive Mind - Czesław Miłosz Consider the Oyster - M. F. K. Fisher The Kronstadt Uprising - Ida Mett Post-scarcity Anarchism - Murray Bookchin