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Additional info for Baader-Meinhof and the Novel: Narratives of the Nation / Fantasies of the Revolution, 1970–2010
She is a variant of the Antigone figure in German Baader-Meinhof literature (which is why she shares a name with Gudrun Ensslin’s older sister), except that she colluded with the state rather than rebelling against it. Only the businessman Ulrich, who is accompanied to the gathering by wife and teenage daughter, appears to have thrived, but his verbal combativeness suggests that he is overcompensating for his switch in allegiance. The Reader ends with Michael’s cringing failure to find common ground with Hanna’s surviving Jewish victim after Hanna has killed herself on the eve of her release from jail.
According to Elfriede Jelinek’s Ulrike Maria Stuart (2006), Aust’s account of the conflict between Meinhof and Ensslin that preceded Meinhof’s suicide borrows from Schiller’s drama about Elizabeth I and Mary Queen of Scots, Maria Stuart. A double biography of Baader and the BKA chief Horst Herold, Baader and Herold: Description of a Struggle by Dorothea Hauser,11 refers to the events of 1977 as a “state foundation myth,” because the result was an emphatic victory for the government, which gained legitimacy as a consequence of its crushing of the terrorists.
Hauff, 1985) and The Baader-Meinhof Complex (dir. Edel, 2008) were accused of glamorizing them. When the first full biography of Baader was published in 2007, two of its most revealing findings involved cinema. 58 His nephew’s favorite film, however, was Gilles Pontecorvo’s The Battle of Algiers (1965), which explores the dynamic of terrorism in the Algerian war of independence. 59 As there are so many films about them, it is as if, having stepped off the big screen into real life, the RAF stepped right back on to it.