Kraus and Adorno are anxious about Heine's style because it seems inauthentic or alienated. In their different ways, they understand Heine's relationship to writing in the context of modern modes of production, but ultimately make him, in his character or upbringing and socialization, personally responsible for the effects of modernity. In Kraus's account, Heine secularized the transcendental business of literary creativity, and therefore demeaned the chaste embrace of the German Muse by making her accessible. Adorno recognizes the same process at work, though he is willing to credit Heine as a Jew with important insights into modern social and economic alienation; but that in turn is only made possible by matching the biography to the writing it produced. Only Heißenbüttel makes the positive move and so turns Adorno's sense of alienation into a postmodern collapse of the structures of metaphor; in this way Heine can become the engineer of a constructivist poetics who actively and necessarily engages his writing with the exigencies of the social and historical context. Such work goes against the grain of bourgeois reading habits in the very process of exploiting their prurience. In Kraus and Adorno, Heine's writing is an involuntary reflex of his experience of the modern. In Heißenbüttel it is a conscious and deliberate critical practice.