"Our Daily Cooling Never Forgive Us Again" is one of the most astonishing and greatest German-language poems of the past fifty years.

It was created on June 25, 1989 at the request of the painter Gotthard Graubner to write a poem for his two large-format pictures that he painted in 1988 in and for the Great Hall of the Federal President in Bellevue Palace.

These two non-representational pictures entitled "Begegnungen" belong to Graubner's series of works called "Farbraumkörper": one is rectangular in shades of yellow, with the sprinkling of greenish and red color nuances.

The other square one is dominated by red and violet tones with yellow, blue and greenish-grey tones.

Both pictures could be overpaintings, in both pictures it seems to be burning, depending on perspective and attention one discovers other nuances, one lingers longer in front of them, hidden things become recognizable, the immense spatial effect begins to unfold.

According to the author Franz Mon, the poem “our daily cooling never forgive us again” “was written in the presence of the pictures on site”, as can be read in Mon’s 2013 reader “Flying Refuge”.

Graubner's pictures served Franz Mon as a medium of imagination; he transformed their suggestive-hypnotic coloring and structure into an ambiguous network of ciphers and icons;

The poem contrasts the composition of color and structure with a detailed objectivity and historical realities.

"Forgive us never again for our daily cooling" is a black Lord's Prayer.

It seamlessly draws a topography of annihilation.

Completely different pictures are lined up here than in Jakob van Hoddis' “End of the World”.

The tone is devoid of any hint of irony, which resulted from the interconnection of the disparate lines of the “End of the World” poem, literally from between the lines.

This poem is a psalmodic swan song of relentless severity, a poetic-historical tale of the mad-faced.

With his ekphrasis, which reaches into the imaginary, Franz Mon delivers a hypnotic (re)construction of German-Prussian history, also in its relationship to France, right up to National Socialism.

Swimming along in the swirling flow of sentences: the Danube, the Adige, Heinrich the Lion, Lake Ladoga, the Belt, Martin Bormann, the Volga, Hermann Göring, Marianne as the French national symbol of the revolutions of 1789 and 1830, like Eugène Delacroix with the tricolor represented on the outstretched right arm, the French Revolution, Little Germany, the rooster Kaiser Wilhelm II as a vigilant householder;

Bellevue;

the towns of Gleiwitz and Berchtesgaden, the Saxons, the Prussians;

the roa;

the gas ovens of the Nazi concentration camps;

the second World War.

In a poetic swirl of colour

The names of the places and people evoke historical constellations and processes that get caught up in a poetic swirl of colors: yellow, phosphorus, blistered lead, egg yolk, yolk, sulphur, cherry red, purple, pink, flour dust, sky, brick, violet, mustard, saffron, green, wash blue, gold, violet, rosé, fox red, blond hair, blood blue, red, azure, cobalt, blue light, cornflowers.

A poetic parade of animals follows, which are often ciphers for historical protagonists.

And right in the middle there is a meaningful, but opaque I: "who was that, was I, was that you", "I had the suspicion".