Hannah Arendt's essay on Bertolt Brecht has often been understood as an indictment of Brecht's postwar accommodation with the Stalinist regime in East Germany, in line with Arendt's supposed commitment to a firm separation between poetry and politics. Offering the first full reconstruction of the transnational history of Arendt's writing on Brecht, this article shows instead that Arendt's essay was a defense of Brecht against the polemics it is often taken to exemplify. Joining poetry to politics by holding both at a distance from philosophy, Arendt assigned poetry the vocation of disruptive faithfulness to factual reality, which allowed her to praise Brecht on political grounds and to leverage forbearance for his political “sins.” Indeed, by narrating Brecht's “sins” and “punishment” against the grain of Cold War discourse about the poet, Arendt's essay emulated aspects of the poetic practice she admired in Brecht's writing.
