On 11 April 1903, she and Berthold Lasker divorced and on 30 November, she married Georg Lewin, artist, and founder of the Expressionist magazine Der Sturm.

Lasker-Schüler's first prose work, Das Peter-Hille-Buch, was published in 1906, after the death of Hille, one of her closest friends.

A volume of poetry called Meine Wunder, published in 1911, established Lasker-Schüler as the leading female representative of German Expressionism.

After separating from Herwarth Walden in 1910 and divorcing him in 1912, she found herself penniless and dependent on the financial support of her friends, in particular Karl Kraus.

An intense friendship developed between them which found its literary outlet in a large number of love poems dedicated to him.

According to her first Hebrew translator, Yehuda Amichai, she lived a life of poverty and the children in the neighborhood mocked her for her eccentric dress and behavior.

[4] She formed a literary salon called “Kraal,” which philosopher Martin Buber opened on 10 January 1942 at the French Cultural Center.

[5] Some leading Jewish writers and promising poets attended her literary programs, but Lasker-Schüler was eventually banned from giving readings and lectures because they were held in German.

I want to arrange the last Kraal evening for a poet who is already broken, to recite from his translations [into German] of a great Hebrew" (Letter to Rabbi Kurt Wilhelm, Else Lasker-Schüler Archive, Jerusalem, cited in Bauschinger, p.

She finished her volume of poems, Mein Blaues Klavier (1943, "My Blue Piano"), printed in a limited edition of 330 copies.

Significantly, she dedicated the work to "my unforgettable friends in the cities of Germany and to those, like me, exiled and dispersed throughout the world, in good faith."

Heinz Gerling, secretary of the Hitachdut Olei Germania (Association of Immigrants from Germany, later renamed to cover all of Central Europe[6]) and the poet Manfred Sturmann [de] came to her aid.

Gerling opened a bank account for her and arranged for regular payments to cover her expenses whereas Sturmann edited her work and helped with her dealings with publishers.

Lasker-Schüler was very free with regard to the external rules of poetic form, however her works thereby achieve a greater inner concentration.

The 20th-century Scottish poet Hugh MacDiarmid included a translation of an extract from Lasker-Schüler's work in his long poem A Drunk Man Looks at the Thistle, 1926.

In more than 20 international symposia from Breslau to Tel Aviv, the works of the poet were introduced and discussed in relation to the relevance for the presence and future.