Karin Kaltenbrunner

All Quiet on the Western Front was released in 1930. It was the film of Erich Maria Remarque’s novel of the same name about the experiences of a soldier during the First World War. Remarque’s book and the film adaptation are classic anti-war statements. Alongside the patriotic, glorified heroic epics and “authentic” documentation of service for the fatherland, this was just one way in which the First World War was portrayed in literature and films – a medium that had come into being only twenty years before the outbreak of war.

In November 1920 a report appeared in Neuigkeits-Welt-Blatt about the happy return of all seven brothers in the Baumgartner family. Six had returned unharmed from the front directly after the end of the war, while Otto arrived in Vienna in 1920 after five years as a prisoner of war. Whether wounded or intact, released from captivity or not, returnees faced difficulties in reintegrating in the post-war civilian world.

In May 1916, Anton Baumgartner sent a POW postcard to his son Otto in Novo Nikolayevsk POW camp in Siberia (now Novosibirsk). Otto Baumgartner is only one of hundreds of thousands of soldiers who fell into enemy hands during the First World War. One in thirteen German soldiers, one in ten French and Italian, one in five Russian and almost one in three Austro-Hungarian soldiers ended up in captivity.

No other war left such an army of invalids and men with diseases and life-long psychological scars. Mechanical aids such as this writing aid were designed to restore functions to those wounded in the war and in this way to help them to reintegrate into the labour market. Even several years after the end of the war, it was impossible to determine the number of people who had returned injured or diseased from the front. In 1922 there were around 143,000 war invalids living in Austria.