By Martin McCauley
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It transpired that about five million Germans were to be forcibly removed from the countries named. This was one of the issues Churchill had intended to take up with Stalin after the election but the British voters ensured that Churchill never raised the matter. The three powers underlined the fact that they had no desire to annihilate or enslave the German people but rather to help them find the road to freedom and democracy. The four commanders-in-chief (France was nevertheless not admitted to the conference), however, held supreme power in Germany and were to act accordingly to their own judgement in their own zone but in unison in all-German affairs.
The literary output of the period 1945 to 1949 was almost exclusively devoted to the national socialist past. Here Die To ten bleiben jung by Anna Seghers is the most important. This novel covers the years 1918 to 1945 and despite the tragedies looks forward to a brighter future. Bertolt Brecht, who moved to East Berlin in October 1948 but who had spent the post-war years in the USA and Switzerland in 'preparation' for his return, dominated the theatre. He was associated with the group which became the Berliner Ensemble at the end of 1948 and the beginning of 1949 but his Mutter Courage und ihre Kinder did not please the cultural functionaries although audience reaction was very positive.
France, for instance, feared a resurgent Germany and therefore set out to prevent a unified Germany. In a note to the other three powers on 7 August 1945 she opposed the emergence of political parties and all-German central administrations. This undermined the competence of the Control Council and made it unlikely that it could take far-reaching decisions on Germany. France had this power since she had acknowledged but did not feel bound by the Potsdam Agreement since she had been admitted to the Control Council without being obliged to accept the Agreement.