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In 1960, two competing anthologies of modern poetry were published in an attempt to renew and internationalize German poetry: Günther Steinbrinker’s  Panorama moderner Lyrik  and Hans Magnus Enzensberger’s  Museum der modernen Poesie . This essay argues that the success of  Museum  over  Panorama  was based on Enzensberger’s comparative approach to modernist poetry in the first half of the twentieth century as a “chrestomathy” (a textbook) for a “world language of poetry”. This chrestomathy also provided the blueprint for his own German-language poems, which he published the same year in a collection titled  Landessprache .

Vom Annex zum Atelier: Hans Magnus Enzensbergers Museum der modernen Poesie (1960)