Michael Ende

Michael Andreas Helmuth Ende was a German writer of fantasy and children's fiction. He is known for his epic fantasy The Neverending Story ; other well-known works include Momo and Jim Button and Luke the Engine Driver. His works have been translated into more than 40 languages and sold more than 35 million copies.

Early life

Ende was born on 12 November 1929 in Garmisch, Bavaria, the only child of the surrealist painter Edgar Ende and Luise Bartholomä Ende, a physiotherapist. In 1935, when Michael was six, the Ende family moved to the "artists' quarter of Schwabing" in Munich. Growing up in this rich artistic and literary environment influenced Ende's later writing.
In 1936, his father's work was declared "degenerate art" and banned by the Nazi Party, so Edgar Ende was forced to draw and paint in secret.

Second World War

heavily influenced Ende's childhood. He was twelve years old when he witnessed the first Allied bombing raid on Munich:

Our street was consumed by flames. The fire didn't crackle; it roared. The flames were roaring. I remember singing and careering through the blaze like a drunkard. I was in the grip of a kind of euphoria. I still don't truly understand it, but I was almost tempted to cast myself into the fire like a moth into the light.

He was horrified, however, by the 1943 Hamburg bombing, which he experienced while visiting his paternal uncle. At the first available opportunity his uncle put him on a train back to Munich. There, Ende attended the Maximillians Gymnasium until schools were closed as the air raids intensified and pupils were evacuated. Ende returned to Garmisch-Partenkirchen, where he was billeted in a boarding-house, Haus Kramerhof and later in Haus Roseneck. It was there that his interest in German poetry was awakened. As well as writing his own poetry, he began to study various literary movements and styles. As most recent German poetry was banned as part of censorship in Nazi Germany, he instead studied the German Romantic poet Novalis, whose Hymns to the Night made a great impression on him.
In 1944, Edgar Ende's studio at no. 90 Kaulbachstraße, Munich went up in flames and over two hundred and fifty paintings and sketches were destroyed, as well as all his prints and etchings., Director of Public Art for Bavaria, was still in possession of a number of Ende's paintings, which survived the raids. After the bombing, Luise Ende was relocated to the Munich district of Solln. In 1945, Edgar Ende was taken as a prisoner of war by American GIs, but was released soon after the end of the war.
In 1945, German youths as young as fourteen were drafted into the Volkssturm and sent to war against the advancing Allied armies. Three of Michael Ende's classmates were killed on their first day of combat. Ende was also drafted, but tore up his call-up papers and joined a secret German resistance group founded to sabotage the SS's declared intention to defend Munich until the "bitter end". Ende served the group as a courier for the remainder of the war.
In 1946, Michael Ende's grammar school re-opened, and he attended classes for a year, following which the financial support of family friends allowed him to complete his high-school education at a Waldorf School in Stuttgart. This seemingly charitable gesture was motivated by more self-interest: Ende had fallen in love with a girl three years his senior, and her parents funded his two-year stay in Stuttgart to keep the pair apart. It was at this time that he first began to write stories. He aspired to be a "dramatist," but wrote mostly short stories and poetry.

Career

Early career

During his time in Stuttgart, Ende first encountered Expressionist and Dadaist writing and began schooling himself in literature. He studied Theodor Däubler, Yvan Goll, Else Lasker-Schüler and Alfred Mombert, but his real love was the poetry of Rainer Maria Rilke, Stefan George and Georg Trakl. He also made his first attempts at acting, performing with friends in Stuttgart's America House. He was involved in productions of Chekhov's one-act comedy "The Bear", in which he played the principal role, and in the German premiere of Jean Cocteau's Orpheus. Ende's first play "Denn die Stunde drängt " dates to this period. It was dedicated to Hiroshima, and was never performed.
Ende decided that he wanted to be a playwright, but financial considerations ruled out a university degree, so in 1948 he auditioned for the Otto Falckenberg School of the Performing Arts in Munich and was granted a two-year scholarship.
On leaving drama school, his first job as an actor took him to a provincial theatre company in Schleswig-Holstein. The troupe travelled from town to town by bus, usually performing on makeshift stages, surrounded by beer, smoke and the clatter of skittles from nearby bowling alleys. The acting was a disappointment, he usually had to play old men and malicious schemers, and had barely enough time to memorize his lines. Despite the frustrations and disappointments of his early acting career, Ende came to value his time in the provinces as a valuable learning experience that endowed him with a practical, down-to-earth approach to his work: "It was a good experience, a healthy experience. Anyone interested in writing should be made to do that sort of thing. It doesn't have to be restricted to acting. It could be any kind of practical activity like cabinet making—learning how to construct a cabinet in which the doors fit properly." In Ende's view, practical training had the potential to be more useful than a literary degree.
Thanks to the numerous contacts of his girlfriend Ingeborg Hoffmann, Michael Ende was introduced to a variety of cabaret groups. In 1955,, head of , commissioned Ende to write a piece in commemoration of the 150th anniversary of Friedrich Schiller's death. Ende produced a sketch in which a statue of Schiller was interviewed about current events, and replied with quotes from Schiller's work. "There was rapturous applause, and commissions arrived from other cabarets too." Michael Ende began to compose sketches, chansons and monologues. He also worked as a film critic during the 1950s.

Commercial success: writing ''Jim Knopf''

In the late 1950s, Ende wrote his first novel Jim Button.
Michael Ende always said that ideas only came to him when the logic of the story required them. On some occasions he waited a long time for inspiration to arrive. At one point during the writing of Jim Button the plot reached a dead end. Jim and Luke were stuck among black rocks and their tank engine couldn't go any further. Ende was at a loss to think of a way out of the adventure, but cutting the episode struck him as disingenuous. Three weeks later he was about to shelve the novel when suddenly he had an idea—the steam from the tank engine could freeze and cover the rocks in snow, thus saving his characters from their scrape. "In my case, writing is primarily a question of patience," he once commented.
After nearly a year the five hundred pages of manuscript were complete. Over the next eighteen months he sent the manuscript to ten different publishers, but they all responded that it was "Unsuitable for our list" or "Too long for children". In the end he began to lose hope and toyed with the idea of throwing away the script. He eventually tried it at a small family publishing-house, K. in Stuttgart. Michael Ende's manuscript was accepted by company director Lotte Weitbrecht who liked the story. Her only stipulation was that the manuscript had to be published as two separate books.
The first of the Jim Button novels was published in 1960. About a year later, on the morning of the announcement that his novel, Jim Button and Luke the Engine Driver, had won the German Prize for Children's Fiction, Ende was being sued by his landlady for seven months' rent back payment. With the prize money of five thousand marks, Michael Ende's financial situation improved substantially, and his writing career began in earnest. After the awards ceremony, he embarked on his first reading tour, and within a year, the first Jim Knopf book was also nominated for the Hans Christian Andersen Award and received the Berlin Literary Prize for Youth Fiction. The second Jim Knopf novel, Jim Button and the Wild Thirteen, was published in 1962. Both books were serialized on radio and TV, and the Augsburger Puppenkiste famously adapted the novels in a version filmed by Hesse's broadcasting corporation. The print-runs sold out so rapidly that K. Thienemanns could barely keep up. Translations into numerous foreign languages soon followed.

Writing style and themes

Ende claimed, "It is for this child in me, and in all of us, that I tell my stories", and that " for any child between 80 and 8 years". He often expressed frustration over being perceived as a children's writer exclusively, considering that his purpose was to speak of cultural problems and spiritual wisdom to people of all ages. Especially in Germany, Ende was accused by some critics of escapism. He wrote in 1985:

One may enter the literary parlor via just about any door, be it the prison door, the madhouse door, or the brothel door. There is but one door one may not enter it through, which is the nursery door. The critics will never forgive you such. The great Rudyard Kipling is one to have suffered this. I keep wondering to myself what this peculiar contempt towards anything related to childhood is all about.

Ende's writing could be described as a surreal mixture of reality and fantasy. The reader is often invited to take a more interactive role in the story, and the worlds in his books often mirror our reality, using fantasy to bring light to the problems of an increasingly technological modern society. His writings were influenced by Rudolf Steiner and his anthroposophy. Ende was also known as a proponent of economic reform, and claimed to have had the concept of aging money, or demurrage currency, in mind when writing Momo. A theme of his work was the loss of fantasy and magic in the modern world.