Enzensberger writes occasional poetry and references Lucretius. He strings together the most grotesque images with berserker-like emphasis and smiles while doing so. He adopts the posture of Savonarola and refers to his angry cries as everyday objects. He plunders the arsenal of colloquial language, speaking of collective bargaining partners, corrugated cardboard, cellophane, sealing pliers, sales, close combat clasps, Geiger counters, and old masters, embedding the entire vocabulary—jargon waste and Cockney fragments—into contexts that unexpectedly give new meaning to the chewed-up everyday words, simultaneously denouncing them and forcing them into revealing self-accusation. Walter Jens.