Biography Maria Weissman

A successful childhood in Bavarian Shweinfurt, moving to Nuremberg at eighteen years old, the first publications of articles and poems in the local press - that is its beginning. In Nuremberg, Maria met her future husband, publisher and publicist Henry Bakhmayra, who became her main critic, and later - the guardian of heritage. After the end of the First World War, she, following him, moved to Munich, where she took part in various extravagant communities like “Association for Buddhist Life” and the Socialist Union “Young Franconia”.

In the year, after the defeat of the “Bavarian Soviet Republic”, Heinrich Bakhmair as one of her activists for a short time was in prison. In the year, he married Mary and then published her first book “Feast in the morning” “Das Fry Fest”, many poems from which belong to the period of the stormy beginning of their relationship. In addition to this collection, Maria Louise Weissman managed to print during her life the narrative poem Robinson, the book of translations from Verlene and the Small Cactus Collection cycle all these books were published by small bibliophilic circulations in Vaisman's husband.

The sudden death of the poetess at the age of thirty, coming from the complication of the sore throat, briefly attracted the attention of the press and criticism to her work. The observer of the “Berlin Exchange Gazeta” even called Vaisman “the greatest German poet from the time of Droust-Hulshof”. In general, the reviewers noted - the usual influence of Rilke and Hoffmannstal for that time, paying tribute to the peculiarity of Weissman style.

So, the publisher and prose writer Otto Hoishel - in the collection of memoirs about the poetess released in the year, wrote: “Her poems, figurative and musical, seem to be a reflection of being itself. They break through the limits of the visible and invisible, into the dreaming, otherworldly, into the world of unborn, so close to death. ” Indeed, the lyrics Weisman speaks almost nothing about her time, but much speaks of the “internal history” of the personality, about those disasters and eras that constitute the most important, intimate truth for her: questions of growing up and self -description, sensations of themselves, love as a lack of oneself, complete dissolution in another.

In the passion of feelings, in the courage of refraction of speech, in kaleidoscopicity of simultaneous images, Weissman was close to expressionists, to Elsa Lasker-Schuler and George Trail, although the circle of her creative contacts and the circle of reading is not known for certain. After the death of Henry Bakhmayra, the work of the poetess was long forgotten, but in the early xs, the efforts of the Bavarian local historians, and then at the federal level the new discovery of Maria Louise Weisman took place.

In M and Years, her chosen works were published, the name of the poetess entered the literary dictionaries-dysikons of the twentieth century. Recently, the legacy of Weissman and memoir certificates of it were collected by an enthusiastic artist Dirk Schröder Hor. In Russian, the works of Maria Louise Weisman are published for the first time. The ghostly bridges of the world is darkened by darkness from a height, it is cold above the cities.