Yvan Goll (also: Iwan Goll, Ivan Goll; born Isaac Lang; 29 March 1891 – 27 February 1950) was a French-German poet who was bilingual and wrote in both French and German. He had close ties to both German expressionism and to French surrealism. Biography Yvan Goll (also written Ivan Goll) was born at Sankt Didel, Alsace-Lorraine, in what was then in Germany. His father was a cloth merchant from a Jewish family from Rappoltsweiler in Alsace. After his father's death when he was six years old, his mother joined relatives in Metz, then a major town of Lorraine in the 1871 German Empire (after 1918 the area was claimed by France). In this predominantly Lorraine/French-speaking western part of Alsace-Lorraine, high school education inevitably involved German. Later he went to Strasbourg and studied law at the university there, as well as in Freiburg and Munich, where he graduated in 1912. In 1913, Goll participated in the expressionist movement in Berlin. His first published poem of note, Der Panamakanal (The Panama Canal), contrasts a tragic view of human civilization-destroying nature, with an optimistic ending that evokes human brotherhood and the heroic construction of the canal. However, a later version of the poem from 1918 ends more pessimistically. At the outbreak of World War I he escaped to Switzerland to avoid conscription, and became friends with the dadaists of Zurich's Cabaret Voltaire, in particular Hans Arp, but also Tristan Tzara and Francis Picabia. He wrote many war poems, the most famous being 1916's "Requiem for the Dead of Europe", as well as several plays, including The Immortal One (1918). It was in 1917, while in Switzerland that Goll met German writer and journalist Klara Aischmann, better known as Claire Goll. They settled in Paris in 1919 and married in 1921. In his essays, such as Die drei guten Geister Frankreichs (The Three Good Spirits of France), Goll promoted a better understanding between the peoples of France and Germany, even though he was personally more attracted to France by the greater liveliness of the art scene there. It was in Paris that his Expressionist style began to develop towards Surrealism, as witnessed in drama and film scenarios he wrote there, such as Die Chapliniade (The Chaplinade) and Mathusalem (Methusalem). These works blend fantasy, reality, and the absurd, continuing and extending the Expressionist program of arousing audience response by means of shock effects. They also