tag:blogger.com,1999:blog-177059726197509732024-03-20T02:12:23.968-07:00THE PETER HANDKE MAGAZINIS THE OVER-ARCHING SITE FOR ALL HANDKE BLOGS AND ALL HANDKE.SCRIPTMANIA.COM SITES, THAT IS FOR THE HANDKE PROJECT AS A WHOLE. It will have one page with links to every page on each blog and for each page on each handke.scriptmania site. Michael RoloffSUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.comBlogger57125tag:blogger.com,1999:blog-17705972619750973.post-57419217367907652022019-02-27T11:42:00.002-08:002019-02-27T11:45:46.535-08:00ONLINE POST OF A FAVORITE SECTION FROM HANDKE'S walk about the villages<a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a><span style="color: #202124; font-family: "arial" , sans-serif; font-size: 21.93px;">AN ONLINE POST OF A FAVORITE SECTION FROM HANDKE'S walk about the villages .</span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><span style="background-color: yellow;"><b><span style="box-sizing: content-box; color: #524a4a;">PLAY THE GAME.</span><span style="color: #524a4a;"> </span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Endanger your work even more.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Don't be the top dog.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Seek out the face-off.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">But be unmindful.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Have no thoughts in back of your head.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Keen nothing secret.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Be soft and strong.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Be sly, enter the fray but hate to win.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Don't observe, don't test, but be ready for signs.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Tremble, quake, shatter, heal.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Show your eyes, wave the others on into the depths, </span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">care for spaces and behold each one in their own picture.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Act only with enthusiasm.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Fail with ease.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">First of all, take time and the long way round.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Be addle-brained.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Go on a holiday as it were.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Overhear no tree and no water.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Enter where it pleases your heart and treat yourself to the sun.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Forget your kinfolk, strengthen the strangers, spaces, </span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">a hoot for the tragedy, </span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">spit on misfortune,</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">laugh conflicts to smithereens.</span><br style="box-sizing: content-box; color: #524a4a;" /><br style="box-sizing: content-box; color: #524a4a;" /><span style="box-sizing: content-box; color: #524a4a;">MOVE IN YOUR OWN COLORS.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">until you are in the right </span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">and the leaves' rustling turns sweet.</span><br style="box-sizing: content-box; color: #524a4a;" /><span style="color: #524a4a;">Walk about the villages.</span> </b></span></span></div>
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<span style="color: #222222; font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">https://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html</b></span><br />
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<span style="color: #222222; font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">https://handke-drama.blogspot.com/2013/07/par-les-villages-avignon-handkes.html</b></span><br />
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-57246325660654978032018-12-21T14:38:00.002-08:002018-12-21T14:38:45.963-08:002018 ANNUAL ROUND-UP OF HANDKE POSTINGS<a href="http://www.twitter.com/summapolitico"><span style="background-color: yellow; font-size: large;"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></span></a><br />
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<span style="background-color: yellow; font-size: large;"><b><u>2018
ANNUAL<span style="mso-spacerun: yes;"> </span>ROUND-UP OF HANDKE POSTINGS</u></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Segoe UI", sans-serif;"><o:p></o:p></span></b></span></div>
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<h1 style="page-break-after: avoid;">
<b><u><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/"><span style="mso-color-alt: windowtext;">https://handke-magazin.blogspot.com/</span></a><o:p></o:p></span></u></b></h1>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/04/main-character-device-alexia-fruit.html">https://handke-magazin.blogspot.com/2018/04/main-character-device-alexia-fruit.html</a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/07/a-note-on-afternoon-writer-explication.html">https://handke-magazin.blogspot.com/2018/07/a-note-on-afternoon-writer-explication.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/08/roloff-review-of-handkes-great-fall.html">https://handke-magazin.blogspot.com/2018/08/roloff-review-of-handkes-great-fall.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/08/notizbuecher-von-peter-handke-mein.html">https://handke-magazin.blogspot.com/2018/08/notizbuecher-von-peter-handke-mein.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/09/roloffs-case-why-peter-handke-best-and.html">https://handke-magazin.blogspot.com/2018/09/roloffs-case-why-peter-handke-best-and.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/09/knausgaards-essay-on-international.html">https://handke-magazin.blogspot.com/2018/09/knausgaards-essay-on-international.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/11/nestroy-prize-for-handke.html">https://handke-magazin.blogspot.com/2018/11/nestroy-prize-for-handke.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/12/comments-on-von-bulow-handkes-das.html">https://handke-magazin.blogspot.com/2018/12/comments-on-von-bulow-handkes-das.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/12/us-handke-reception-what-happened.html">https://handke-magazin.blogspot.com/2018/12/us-handke-reception-what-happened.html</a>
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<b style="mso-bidi-font-weight: normal;"><u><span style="background-color: yellow; font-size: large;">https://handke--revista-of-reviews.blogspot.com/ <o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke--revista-of-reviews.blogspot.com/2018/10/handke-gesammeltes-werk-bibliothek.html">https://handke--revista-of-reviews.blogspot.com/2018/10/handke-gesammeltes-werk-bibliothek.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke--revista-of-reviews.blogspot.com/2018/06/the-great-fall-handke-english-language.html">https://handke--revista-of-reviews.blogspot.com/2018/06/the-great-fall-handke-english-language.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke--revista-of-reviews.blogspot.com/2018/05/revista-of-obstdieb-fruit-thief-reviews.html">https://handke--revista-of-reviews.blogspot.com/2018/05/revista-of-obstdieb-fruit-thief-reviews.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke--revista-of-reviews.blogspot.com/2017/07/die-obstdiebin.html">https://handke--revista-of-reviews.blogspot.com/2017/07/die-obstdiebin.html</a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="background-color: yellow; font-size: large;"><a href="https://artscritic.blogspot.com/"><span style="mso-color-alt: windowtext;">https://artscritic.blogspot.com/</span></a> <o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://artscritic.blogspot.com/2017/07/joshua-cohen-or-cultural-mistake-a.html">https://artscritic.blogspot.com/2017/07/joshua-cohen-or-cultural-mistake-a.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://artscritic.blogspot.com/2018/01/roloffs-obstdiebin-fruit-thief.html">https://artscritic.blogspot.com/2018/01/roloffs-obstdiebin-fruit-thief.html</a>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;">==================================<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;">One lagging review for MORAWIAN NIGHT<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://moravian-nights-discussion.blogspot.com/"><span style="mso-color-alt: windowtext;">https://moravian-nights-discussion.blogspot.com/</span></a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://moravian-nights-discussion.blogspot.com/2018/06/re-kai-marisstads-fuse-review-of.html">https://moravian-nights-discussion.blogspot.com/2018/06/re-kai-marisstads-fuse-review-of.html</a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="background-color: yellow; font-size: large;"><a href="https://handke-discussion.blogspot.com/"><span style="mso-color-alt: windowtext;">https://handke-discussion.blogspot.com/</span></a><o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="background-color: yellow; font-size: large;"><a href="https://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html">https://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html</a><o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="background-color: yellow; font-size: large;">================================<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="background-color: yellow; font-size: large;"><a href="https://handke-scholar.blogspot.com/"><span style="mso-color-alt: windowtext;">https://handke-scholar.blogspot.com/</span></a><o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="background-color: yellow; font-size: large;"><a href="https://handke-scholar.blogspot.com/2018/01/katharina-pektors-katalog-zur.html">https://handke-scholar.blogspot.com/2018/01/katharina-pektors-katalog-zur.html</a><o:p></o:p></span></u></b></div>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><a href="https://handke-scholar.blogspot.com/2018/04/handke-fellingers-account-of-writing-of.html">https://handke-scholar.blogspot.com/2018/04/handke-fellingers-account-of-writing-of.html</a></u></b>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><a href="https://handke-scholar.blogspot.com/2018/04/biographical-notes-re-handke-roloff.html">https://handke-scholar.blogspot.com/2018/04/biographical-notes-re-handke-roloff.html</a></u></b>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><a href="https://handke-scholar.blogspot.com/2018/04/specifics-section-re-obtdieb-fruit-thief.html">https://handke-scholar.blogspot.com/2018/04/specifics-section-re-obtdieb-fruit-thief.html</a></u></b>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><a href="https://handke-scholar.blogspot.com/2018/07/movement-in-peter-handkes-novel-der.html">https://handke-scholar.blogspot.com/2018/07/movement-in-peter-handkes-novel-der.html</a></u></b>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><a href="https://handke-scholar.blogspot.com/2018/07/analysis-of-art-of-memory-in-peter.html">https://handke-scholar.blogspot.com/2018/07/analysis-of-art-of-memory-in-peter.html</a></u></b>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><a href="https://handke-scholar.blogspot.com/2018/07/musical-models-and-themes-have-been.html">https://handke-scholar.blogspot.com/2018/07/musical-models-and-themes-have-been.html</a></u></b>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><a href="https://handke-scholar.blogspot.com/2018/08/notizbuecher-vo-peter-handke-mein.html"></a></u></b><span style="mso-spacerun: yes;"> </span><a href="https://handke-scholar.blogspot.com/2018/08/notizbuecher-von-peter-handke-mein.html">https://handke-scholar.blogspot.com/2018/08/notizbuecher-von-peter-handke-mein.html</a><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://translation-plus.blogspot.com/"><span style="mso-color-alt: windowtext;">https://translation-plus.blogspot.com/</span></a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://translation-plus.blogspot.com/2017/12/obstdiebin-translation-sample.html">https://translation-plus.blogspot.com/2017/12/obstdiebin-translation-sample.html</a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;">====================================<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-yugo.blogspot.com/"><span style="mso-color-alt: windowtext;">https://handke-yugo.blogspot.com/</span></a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-yugo.blogspot.com/2018/05/scott-abbbot-on-translating-journey-to.html">https://handke-yugo.blogspot.com/2018/05/scott-abbbot-on-translating-journey-to.html</a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; color: #00b0f0;"><span style="font-size: large;"><a href="https://handke-drama.blogspot.com/"><span style="color: #00b0f0;">https://handke-drama.blogspot.com/</span></a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;">The Variety of Biographical and Psychological <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;">Postings have been collected at <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><a href="https://handke-bio-blog.blogspot.com/">https://handke-bio-blog.blogspot.com/</a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;">++++++++++++++++++++++++++++++++<o:p></o:p></span></b></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-90929778072581003262018-12-04T10:09:00.001-08:002018-12-08T15:35:18.108-08:00U.S. HANDKE RECEPTION WHAT HAPPENED?<span style="font-size: large;"><b><span style="background-color: yellow; font-family: Courier New, Courier, monospace;"> WHAT WENT WRONG? WITH THE U.S. HANDKE RECEPTION??? </span></b></span><br />
<span style="background-color: lime; font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><br /></span>
<span style="font-size: large;"> https://handke-magazin.blogspot.com/2018/12/us-handke-reception-what-happened.html </span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> Although [a] to date no English language journal – but for Good Reads </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;">https://www.goodreads.com/book/show/11232537-der-gro-e-fall?from_search=true </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">has reviewed Handke’s May 2018 THE GREAT FALL</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> https://handke-magazin.blogspot.com/2018/08/roloff-review-of-handkes-great-fall.html and [b] not even Handke’s early plays are being done and [c] I can’t get my translation of his sexy THE BEAUTIFUL DAYS OF ARANJUEZ </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: #d9ead3;">https://handke-drama.blogspot.com/2015/03/aranjuez-comments-for-world-english.html </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">published & no one has reviewed Scott Abbott's translation of TO DURATION </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;">https://roughghosts.com/2016/01/31/meditation-on-a-poetic-meditation-to-duration-by-peter-handke/</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">or VOYAGE BY DUGOUT CANOE [THE PLAY ABOUT THE FILM ABOUT THE WAR] </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><br /></span>
<span style="font-size: large;"><span style="background-color: lime;">https://www.jstor.org/stable/26206393?seq=1#page_scan_tab_contents</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="background-color: lime;"><span style="font-size: large;">http://handke-drama.blogspot.com/2012/07/an-extended-not-on-handkes-voyage-by.html</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">this extraordinary state of affairs may make you forget how RIGHT the Handke reception went for a while at first: I of course noticed Handke’s polemic at the Gruppe 47 1966 meeting not that it did much for someone who had participated in U.S. writing classes but to wonder whether maybe the fellow was a fool, he certainly could not mean Guenter Grass, Uwe Johnson, Siegfried Lenz or Peter Weiss with “descriptive impotence,” but failed to get the sought for answer to my puzzlement at a party that Jakov Lind and Pannah Grady and I gave at Pannah’s splendid Dakota apartment </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;">https://www.yelp.com/biz/the-dakota-new-york?</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background-color: lime;">adjust_creative=rzFMrUTXCh2Wc77Kgact2g&utm_campaign=yelp_api&utm_medium=api_v2_search&utm_source=rzFMrUTXCh2Wc77Kgact2g </span><span style="background-color: yellow;"> </span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">However, the pseudo-Beatles at a critical significant moment made me realize that I was dealing with a fellow of village origin and its kind of openly grinning sadism when Alan Ginsberg asked me to translate that he wanted to fuck him. And whom I put out of my mind until I noticed the reception of his first book, DIE HORNISSEN </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;">https://handke--revista-of-reviews.blogspot.com/2012/12/die-hornissen-hornetslos-avispones.html </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">and if I had been an editor at Grove Press and not at the comparatively staid Farrar Straus I might even tried to publish it in translation. However, I noticed that no one had picked up his plays by 1967 which had made more of a stir in the German language world and, after experiencing PUBLIKUMS- BESCHIMPFUNG/ OFFENDING THE AUDIENCE in Berlin, I persuaded my colleagues at Farrar, Straus via telegram, with help of then friend Susan Sontag, to take on that play and SELF-ACCUSATION… KASPAR was added to the volume during the translation process and I discussed the translation with Handke in Berlin in 1969, and must say to have been glad to have him show me the recently whelped daughter Amina, as compared to the apparently indifferent revolutionaries [see Handke’s A CHILD STORY] and sought to oblige his wish to make KASPAR’S initial sentence – “I want to be someone like somebody else was once” - as abstract as possible. However, had it not been for Bob Giroux assenting to Handke’s talent while yet finding it awfully literary, the little shit who did so much damage to my projects at Farrar, Straus, the children’s book editor Iago Michael DiCapua, would have had his way once again and shot down Handke right there and then – who would have fared better in the long run with Knopf or Helen Wolf at Harcourt Brace. </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">The volume KASPAR & OTHER PLAYS garnered a rare review for a book of plays, from Stanley Kaufmann in the New Republic,</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;"> http://archives.bu.edu/finding-aid/finding_aid_335487.pdf </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">and Richard Gilmman, to whom I sent the other play translations, soon wrote the first piece on Handke’s theater for his Making of Modern Drama </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;">https://yalebooks.yale.edu/book/9780300079029/making-modern-drama </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> However, it was to be some years before the first official performance. A friend, the recently deceased actor writer Michael Locascio </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;">http://www.glassbeadstheatre.org/about-us.html </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">happened to be returning with a beat-hippie troupe from some years in San Miguel D’Allende, where “the Hammer” had breathed his last one cold rainy Tequila night in the arms of one JB, a scrawny member of this troupe on some Mexican railway ties, and this troupe and my tape recorder amplifier trouped to the Goethe House and various venues doing SELF ACCUSATION & what I called OFFENDING THE AUDIENCE; until Herbert Berghof’s HB Studio did these plays and, with that very bright actor EG Marshal the first private two week performances of KASPAR. I also gave a one year option to Kaspar to Mr. Empty Space who however didn't do anything with it but perform the play at institutions for the mentally disturbed. </span></span><span style="font-size: large;"><span style="background-color: yellow;">Nor that I ever see or hear of a single FSG employee seeing and commenting about a single of quite a few Handke performances that then transpired in New York. For, once SELF-ACCUSATION & MY FOOT MY TUTOR had premiered at B.A.M. in Spring 1971 the major plays THE RIDE ACROSS LAKE CONSTANCE and KASPAR were successfully mounted under the direction of the Brechtian director Karl Weber [whom I had first seen in 1957 as one of the soldiers in Johannes R. Becher’s notorious WINTERSCHLACHT, a Stalingrad play to oblige the Soviet Occupation if ever there was one, and what a beautiful job Brecht and Co did too on that great revolving stage. ] </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">LAKE CONSTANCE </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;">https://handke-drama.blogspot.com/2012/01/how-handkes-ride-across-lake-constance.html </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span>
<b style="font-size: x-large;"><span style="background-color: yellow; font-family: Courier New, Courier, monospace;">at the Vivian Beaumont/ Lincoln Center with a great caste; </span></b><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">KASPAR again at B.A.M. with Christopher Lloyd’s prize winning performance </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="background-color: lime; font-size: large;">https://www.nytimes.com/1973/02/25/archives/yes-this-is-handke-but-very-good-handke-very-good-handke.html </span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">I substituted the far less difficult THE GOALIE’S ANXIETY AT THE PENALTY KICK, for the contracted DER HAUSIERER </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="background-color: lime; font-size: large;"><br /></span>
<span style="background-color: lime; font-size: large;">https://www.suhrkamp.de/buecher/der_hausierer-peter_handke_38459.html </span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">and it was a hit, so was SHORT LETTER LONG FAREWELL .</span></span></b></span><br />
<b style="font-size: x-large;"><span style="background-color: yellow; font-family: Courier New, Courier, monospace;">LEFT-HANDED WOMAN was pre-published in entirety in the NEW YORKER </span></b><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="background-color: lime; font-size: large;"><br /></span>
<span style="background-color: lime; font-size: large;"> https://www.newyorker.com/magazine/1977/11/07/the-left-handed-woman </span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> IT LOOKED AS THOUGH HANDKE WAS A MADE WRITER IN THE U.S. DIDN’T IT? It was but a short time before Farrar, Straus started to fuck matters up. </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><u style="background-color: magenta;"> End Pat One</u></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> ===================================== </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: magenta;"><u>Part Two </u></span></span><span style="font-size: large;"><span style="background-color: yellow;">“What went Wrong?” </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> Success continued a while longer. <i>Weight of the World</i>, the first of Handke’s half dozen journal excerpt volumes, too, was a success, however FSG failed to heed my advice to also do its successor the 1981 HISTORY OF THE PENCIL / GESCHICHTE DES BLEISTIFS, a real work-book of a journal which is so rich in notes on the development of the great WALK ABOUT THE VILLAGES and afford the interested critic so much insight into various aspect of how Handke works. </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">THE 1971 SORROW BEYOND DREAMS was a huge success and a stage adaptation ran at the Phoenix for years I think. </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> However, even though KASPAR & OTHER PLAYS kept being reprinted, FSG refused to publish the second collection centered around THE RIDE ACROSS LAKE CONSTANCE and did not do so until 1979 at which point I had added the 1973/4 THEY ARE DOING OUT which Kalfin at Chelsea Theater/ B.A.M turned down for being topical! It did not premiere, at the Yale Rep, until 1979, about five years too late. Carl Weber’s and my attempt to introduce some music from Leiber/ Stoller failed because Leiber once again dropped out of a project and we failed to have the equivalent of Gerald Depardieu for the Quitt lead. </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> L The NYRB ran two favorable and interesting reviews of Handke’s work, by Frank Kermode </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="background-color: lime;"><span style="font-size: large;">https://www.nybooks.com/articles/1975/05/01/the-model-of-a-modern-modernist/</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span>
<b style="font-size: x-large;"><span style="background-color: yellow; font-family: Courier New, Courier, monospace;">and Michael Wood</span></b><br />
<span style="background-color: lime;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>https://www.nybooks.com/articles/1977/06/23/play-it-again-franz/</b></span></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> Peter Mayer at Avon published two different Handke collections TWO BY HANDKE & THREE BY HANDKE, which later also were done by Collier-MacMillan.</span></span></b></span><br />
<b style="font-size: x-large;"><span style="background-color: yellow; font-family: Courier New, Courier, monospace;"> I did my translation of THE INNERWORLD OUTERWORLD OF THE INNERWORLD at Continuum Books. </span></b><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">However, there also were some early signs of misunderstanding </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span>
<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">https://artscritic.blogspot.com/2015/04/peter-handke-new-york-times-50-year.html</b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">Anatol Broyard didn't get the point of Handke's refusal to write psychological drama in LEFT HANDED WOMAN, a book I think he wrote in response to his being left in 1971 by his own insulted wife, the worst thing that ever happened to him ... and here we have a leaving one anything but happy! ? Anyhow, that is one motivation for this novella that includes his own "left-handedness" in the mysterious painful proceedings.</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">Clive Barnes had been left uncomprehending by the happenings play of plays <i>The Ride Across Lake Constance. </i></span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><i><br /></i></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">And I think I failed to make sure that some of these brilliant short happening type plays got done at the proper venues, <i>Cries for Help, Quodlibet, etc, </i>as I easily might have at the time.</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span>
<b style="font-size: x-large;"><span style="background-color: yellow; font-family: Courier New, Courier, monospace;">Handke had started to become interested in Alaska and made one final trip in Fall 1978 prior to writing the prose text <i>Langsame Heimkehr</i> / A Slow Homecoming in the Hotel Adams in Manhattan, a project he himself then felt he failed at, but which Suhrkamp published in 1979. However, Farrar Straus [which meanwhile had also published his <span style="white-space: pre;"> </span>1974 A MOMENT OF TRUE FEELING - Avon Books meanwhile issuing Two & Three by Handke] – did not publish A SLOW HOME -COMING until 1986 and combined it with two entirely different titles THE LESSON OF ST. VICTOIRE and A CHILD STORY – </span></b><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="background-color: lime;"><span style="font-size: large;">https://us.macmillan.com/author/peterhandke/</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">In other words there was a ten year break in U.S. publication history whereas there was none in German, </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="background-color: lime;"><span style="font-size: large;">https://www.suhrkamp.de/autoren/peter_handke_1738.html</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span>
<span style="background-color: #b6d7a8;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>http://jungundjung.at/content.php?id=3&a_id=19&ag=d</b></span></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="background-color: lime;"><span style="font-size: large;"><br /></span></span>
<span style="background-color: #d9ead3;"><span style="font-size: large;">https://www.residenzverlag.com/verlag/verlagsgeschichte</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="background-color: orange;"><span style="font-size: large;"><br /></span></span>
<span style="background-color: orange;"><span style="font-size: large;">https://handkeonline.onb.ac.at/node/1937</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span>
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">the kind of break that is to be avoided unless you want to lose momentum, etc. and Handke, though not a wall flower yet needed constant tending, the big books were still to come, he had not written the kind of rare title - a power book like <i>Tin Drum , </i>a <i>Mort a Credit </i></span></span><span style="font-size: large;"><span style="background-color: yellow;">that, in translation, can establish you as though you were a native; </span></span><span style="font-size: large;"><span style="background-color: yellow;">and 10 year delay lacuna that in this instance was a huge mistake - and to combine these three titles -which had nothing in coming but authorship and being written while the author for a period of seven years returns to the country whose citizen he is - confounded the critics into thinking some kind of post modernist highjinks were afoot.</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> A SLOW HOME COMING , though a fragment, is one of Handke's most extraordinary texts, THE LESSON OF</span></span></b></span><br />
<b style="font-size: x-large;"><span style="background-color: yellow; font-family: Courier New, Courier, monospace;"> ST. VICTOIRE is his first walking book and manifest an artistic re-orientation of a very profound kind. </span></b><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> A CHILD STORY, is probably the weakest book Handke ever wrote, the more so if like me you happen to witness Handke and daughter Amina both in the U.S. and in Paris and have one of these women [who the author defensively claims have it all wrong when accusing him of miserable child rearing] provide the most intimate insight into what is transpiring - now wonder that Handke fortunately regretted, perhaps also the book?, but how badly he, the writerly fantatic, had treated his first-born.</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> It takes the kind of publishing genius only the likes of Roger Straus are capable of to start to fuck matters up. This is also the time where Handke starts to have one different editor after the other at FSG. I think it must at least be ten these 50 years, whereas in Germany Jochen Jung and Reinhard Fellinger have stuck it out through thick and thin, which also shows the great turmoil under Straus were few editors and editors and chief held out for long. The last Handke book that FSG published, the 2017 MORAVIAN NIGHT the translation was not edited at all, its editor left about the time the m.s was turned in 7 years after its German publication, I like the translation a great deal, as I prefer Krishna Winston to Mannheim, however, any halfway woke editor would have caught Winston's major booboos </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="background-color: lime;"><span style="font-size: large;">https://moravian-nights-discussion.blogspot.com/</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> Handke observed, accurately, in the mid 70s that the firm had no real interest in his work; evidenced by a famous Roger Straus letter to Unseld that the had a Handke problem… it was a problem of Roger own making to some large degree. That was around the time that FSG published </span></span><span style="font-size: large;"><span style="background-color: yellow;">THE REPETITION </span></span></b></span><br />
<b style="font-size: x-large;"><span style="font-family: Courier New, Courier, monospace;"><span style="background-color: yellow;"> </span><span style="background-color: lime;"> </span></span></b><br />
<span style="background-color: lime;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>https://handke--revista-of-reviews.blogspot.com/2010/05/repetition.html</b></span></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="background-color: lime;"><span style="font-size: large;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">and read the NY Times Book Review monstrously stupid review where this cold warrior goes after Handke for having a 16 year old school kid on a graduation trip through Slovenia fail to abhor pictures of Tito! </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">There was nothing I, as editor at Continuum Books, or later as co-publisher of Urizen Books, could do about a matter but to publish my translation of INNERWORLD and NONSENSE &; HAPPINESS. Continuum did not do novels, at Urizen partner Schulz, whose acquaintance I had made over his directing the first official Handke production in the U.S. at B.A.M, Spring 1971, had been deeply offended by Handke's response to his work, and would not agree to do DER HAUSIERER.</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> Matters worsened when my FSG nemesis, Michael DeCapua became editor in chief – this was the person who had killed my Adorno reader, with its Susan Sontag introduction, a year’s work of mine, because he could not find the proper translator, allegedly, and without consulting either me or Susan, and what a difference it would have made to have such a volume published in the mid-70s. DeCapua then also turned down my best translation, which Handke felt was the best translation he had ever seen, of WALK ABOUT THE VILLAGES / UBER DIE DOERFER </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="background-color: lime;"><span style="font-size: large;">https://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span><span style="font-size: large;"><span style="background-color: yellow;">and that was the end of FSG publishing Handke plays. Steve Wasserman - when he became publisher of FSG’s play-wing HILL & WANG then turned down THE HOUR WE KNEW NOTHING OF EACH OTHER and THE ART OF ASKING<span style="white-space: pre;"> -</span> it takes real genius to turn down HOUR, one of the greatest texts of the 20th century! We had a correspondence on the matter, he did this for financial reasons, apparently unaware of FSG two Handke play collections doing exceedingly well. Alas the wandering Wasserman who has watered at many springs. Meanwhile you need to assess the history of the kind of reviews Handke’s work was receiving specifically from “Auntie” , the New York Times,</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="background-color: lime;"><span style="font-size: large;">https://artscritic.blogspot.com/2015/04/peter-handke-new-york-times-50-year.html</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><span style="background-color: yellow; font-size: large; font-weight: bold;"><br /></span>
<span style="font-size: large;"><span style="background-color: yellow;"><b>and in general , the overall catastrophic reception</b></span></span></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;">http://handke-magazin.blogspot.com/</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;"> which reviews become quite uniform once Handke </span></span></b></span><b style="font-size: x-large;"><span style="background-color: yellow; font-family: Courier New, Courier, monospace;">defends the Serbs from being made exclusively responsible for the disintegration and crimes during the Yugoslavia troubles</span></b><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">h</span><span style="background-color: lime;">ttps://handke-yugo.blogspot.com/</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">Not a one of these reviewers will allow him to take a different tack from all the human rights hyenas or use any but the permitted language - </span></span><span style="font-size: large;"><span style="background-color: yellow;">who might worry first about the crimes being committed and crimes past of their own imperialists. </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">Although some initial drama reviews by Gussow and Kerr were fair, as previously noted the NY Times entirely missed LAKE CONSTANCE’S happening quality and matters started to go downhill with Anatol Broyard - In my estimate the NY Times coverage has a single re-printable review [of ACROSS], that is,it is not idiotic or rife with error of slight or stupid opinion and, overall, a single review, it is William Gass's of NO-MAN'S BAY </span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: lime;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: lime;">https://handke--revista-of-reviews.blogspot.com/2010/05/repetition.html</span></span></b></span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-size: large;"><span style="background-color: yellow;">where Handke's equal renders a review worth re-reading. Alas for the <i>Kultchur! </i>The same old whore I met at Pound's <u>Hugh Selwyn Mauberly</u> during my senior college year has only become a few degrees grosser. And</span></span></b></span><b style="font-family: "Courier New", Courier, monospace;"><span style="font-size: large;"><span style="background-color: yellow;"> to American Theater as a whole applies my Seattle experience </span></span></b><br />
<b style="font-family: "Courier New", Courier, monospace;"><span style="background-color: lime; font-size: large;"><br /></span></b>
<span style="background-color: lime;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>https://artscritic.blogspot.com/2015/04/seattle-uconducive-to-artistic.html</b></span><b style="font-family: "Courier New", Courier, monospace;"><span style="font-size: large;"> </span></b></span><br />
<span style="background-color: lime;"><b style="font-family: "Courier New", Courier, monospace;"><span style="font-size: large;"><br /></span></b></span>
<b style="font-family: "Courier New", Courier, monospace;"><span style="background-color: yellow; font-size: large;">Here I will add some names to drive the point home</span></b><br />
<b style="font-family: "Courier New", Courier, monospace;"><span style="font-size: large;"><span style="background-color: yellow;"> </span> </span></b><br />
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<b style="font-family: "Courier New", Courier, monospace;"><span style="font-size: large;">Michael Roloff, Seattle, December 2018</span></b>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-56716300023089438162018-12-01T09:25:00.000-08:002018-12-31T13:07:17.710-08:00COMMENTS ON von Bülow/ Handke's Das stehende Jetzt.<span style="font-size: large;"><br /></span>
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<span style="font-size: large;"><span lang="DE" style="color: #666666; font-family: "arial" , sans-serif; line-height: 106%;">Deutsches Literaturarchiv Marbach: Das
stehende Jetzt. Die Notizbücher von Peter Handke. Gespräch mit dem Autor und
Essays von Ulrich von Bülow.<br />
</span><span style="color: #666666; font-family: "arial" , sans-serif; line-height: 106%;">Deutsche Schillergesellschaft, Marbach am Neckar 2018.<br />
150 Seiten, 18,00 EUR.<br />
ISBN-13: 9783944469393<o:p></o:p></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><span lang="DE" style="background: silver; color: red; font-family: "arial" , sans-serif;">Das stehende Jetzt</span></u></b><b style="mso-bidi-font-weight: normal;"><span lang="DE" style="background: silver; color: red; font-family: "arial" , sans-serif;"> / Hic Nunc<o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: silver; color: red; font-family: "arial" , sans-serif; font-size: large;">for me is the Handke book of the year 2018, Handke
himself for once did not publish anything new but for that summa, his
Bibliothek <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: silver; color: black; font-family: "courier new"; font-size: large;"><a href="https://handke--revista-of-reviews.blogspot.com/2018/10/handke-gesammeltes-werk-bibliothek.html"><span style="color: black; mso-ascii-font-family: "Courier New"; mso-bidi-font-family: "Courier New"; mso-hansi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke--revista-of-reviews.blogspot.com/2018/10/handke-gesammeltes-werk-bibliothek.html</span></span></a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "courier new"; font-size: large;">and my review of this treasure trove will be a gradual one @:<o:p></o:p></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; color: red; font-family: "courier new";">https://handke-magazin.blogspot.com/2018/12/comments-on-von-bulow-handkes-das.html</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: red; font-family: "courier new";"><o:p></o:p></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "courier new";">ALSO SEE</span></u></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "courier new";">:<o:p></o:p></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><a href="https://handkeonline.onb.ac.at/node/506"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handkeonline.onb.ac.at/node/506</span></span></a></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "courier new";"><o:p></o:p></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "courier new";"><a href="https://handke-scholar.blogspot.com/2018/08/notizbuecher-von-peter-handke-mein.html"><span style="color: black; font-family: "times new roman" , serif; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke-scholar.blogspot.com/2018/08/notizbuecher-von-peter-handke-mein.html</span></span></a></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "courier new";"><o:p></o:p></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="background: lime; border: 1pt none; padding: 0in;"><a href="https://handke--revista-of-reviews.blogspot.com/2016/02/tagebuchern-2007-bis-2015.html"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke--revista-of-reviews.blogspot.com/2016/02/tagebuchern-2007-bis-2015.html</span></span></a></span></b><b style="mso-bidi-font-weight: normal;"><span style="border: 1pt none; font-family: "courier new"; padding: 0in;"><o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;"><a href="https://handke-magazin.blogspot.com/2017/08/selected-comments-on-handkes-diary.html"><span style="color: black; font-family: "times new roman" , serif; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke-magazin.blogspot.com/2017/08/selected-comments-on-handkes-diary.html</span></span></a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">[1] First Posting: early December 2018<o:p></o:p></span></u></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><span style="background: aqua; border: 1pt none; font-family: "courier new"; padding: 0in;">Von Buelow’s text</span></u></b><b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; padding: 0in;"> consists of <o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">[a] an interview with Handke about his notebooks endeavor, a conversation
I will not try to condense here - it makes for essential reading if you are
interested in deciphering the notebooks and their importance for the DIMENSION
of Handke’s oeuvre that consists of journal extracts:<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="DE" style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">WEIGHT OF THE WORLD/ DAS GEWICHT DER WELT<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="DE" style="border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;"><span style="mso-spacerun: yes;"> </span><span style="background: yellow; mso-highlight: yellow;">https://www.amazon.com/Weight-World-English-German/dp/0020514905</span><span style="background: aqua; mso-highlight: aqua;"><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">DIE GESCHICHTE DES BLEISTIFSTS [THE HISTRORY OF THE PENCIL]<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: yellow; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">https://www.amazon.de/Die-Geschichte-Bleistifts-suhrkamp-taschenbuch/dp/3518376497<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">AM FELSFENSTER, MORGENS/ MORNINGS, GAZING OUT THROUGH THE BOULDER WINDOW<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: yellow; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">https://www.amazon.de/Am-Felsfenster-morgens-Ortszeiten-1982-1987/dp/3423127430<o:p></o:p></span></b></div>
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<span style="font-size: large;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; padding: 0in;"><span style="mso-spacerun: yes;"> </span></span><span lang="DE" style="color: #1a1a1a;"><a href="https://www.suhrkamp.de/buecher/phantasien_der_wiederholung-peter_handke_22230.html"><span style="color: black; font-family: "times new roman" , serif; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">Phantasien </span></span><span class="highlight"><span style="background: #fff133; color: black; text-decoration: none;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">der</span></span></span><span style="color: black; font-family: "times new roman" , serif; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"> </span></span><span class="highlight"><span style="background: #fff133; color: black; text-decoration: none;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">Wiederholung</span></span></span></a><o:p></o:p></span></span></h4>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="DE" style="background: aqua; border: 1pt none; font-family: "courier new"; padding: 0in;"><span style="mso-spacerun: yes;"> </span>/ </span></b><span lang="DE" style="background: aqua; border: 1pt none; font-family: "courier new"; padding: 0in;">FANTASIES<b style="mso-bidi-font-weight: normal;"> OF
REPETITION<o:p></o:p></b></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="DE" style="background: yellow; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">https://www.suhrkamp.de/suchen?s=FANTASIEN+DER+WIEDERHOLUNG&x=15&y=15<o:p></o:p></span></b></div>
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<span style="font-size: large;"><span lang="DE" style="background: aqua; border: 1pt none; font-family: "courier new"; font-weight: normal; padding: 0in;"><span style="mso-spacerun: yes;"> </span></span><span lang="DE" style="color: #1a1a1a; font-weight: normal;"><a href="https://www.suhrkamp.de/autoren/peter_handke_1738.html"><span style="color: black; text-decoration: none;"><br />
</span><span style="color: black; font-family: "times new roman" , serif; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">Peter
Handke</span></span></a><o:p></o:p></span></span></h4>
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<span lang="DE" style="color: #1a1a1a; font-size: large;"><a href="https://www.suhrkamp.de/buecher/gestern_unterwegs-peter_handke_45886.html"><span class="highlight"><span style="background: #fff133; color: black; text-decoration: none;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">Gestern</span></span></span><span style="color: black; font-family: "times new roman" , serif; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"> unterwegs</span></span></a><o:p></o:p></span></h4>
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<span lang="DE" style="color: #1a1a1a; font-family: "arial" , sans-serif; font-size: large;"><a href="https://www.suhrkamp.de/buecher/gestern_unterwegs-peter_handke_45886.html"><span style="color: black; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">Aufzeichnungen November <span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">1987 bis Juli 1990</span></span></span></a><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">/ YESTERDAY, ON THE ROAD<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: yellow; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">https://www.suhrkamp.de/suchen?s=GESTERN+UNTWERWEGS&x=17&y=11<o:p></o:p></span></b></div>
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<span style="font-size: large;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-weight: normal; padding: 0in;"><span style="mso-spacerun: yes;"> </span></span><span lang="DE" style="color: #1a1a1a;"><a href="https://www.suhrkamp.de/buecher/vor_der_baumschattenwand_nachts-peter_handke_46883.html"><span style="color: black; font-family: "times new roman" , serif; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">Vor
der Baumschattenwand nachts</span></span></a><o:p></o:p></span></span></h4>
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<span lang="DE" style="color: #1a1a1a; font-family: "arial" , sans-serif; font-size: large;"><a href="https://www.suhrkamp.de/buecher/vor_der_baumschattenwand_nachts-peter_handke_46883.html"><span style="color: black; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">Zeichen und Anflüge von der Peripherie
2007-2015</span></span></a><o:p></o:p></span></div>
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<span lang="DE" style="background: yellow; color: #1a1a1a; font-family: "arial" , sans-serif; font-size: large;"><a href="https://www.suhrkamp.de/buecher/vor_der_baumschattenwand_nachts-peter_handke_46883.html"><span style="color: black; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://www.suhrkamp.de/buecher/vor_der_baumschattenwand_nachts-peter_handke_46883.html</span></span></a><o:p></o:p></span></div>
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<span style="font-size: large;"><span lang="DE" style="background: lime; color: #1a1a1a; font-family: "arial" , sans-serif;">https://handke--revista-of-reviews.blogspot.com/2016/02/vor-der-baumschattenwand-nachts.html</span><span lang="DE" style="color: #1a1a1a; font-family: "arial" , sans-serif;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">that derive thence; and, of course, to see to what degree if any the
notebooks are work books, drafts - what have you - for the narratives, the
stage work and the essays. – Bon voyage to the scholar eyes that enter those
tickets!<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">Let me immediately note that I disagree with von Buelow in too readily
buying Handke’s claim that the notebooks, the 221 one it is I think now in the
Archive’s posession, which have their inception in 1975, are <u>not</u> diaries
– best as I can tell who appears in the journals and witnessed his note taking
and some of their locations<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">https://handke-scholar.blogspot.com/2018/08/notizbuecher-von-peter-handke-mein.html<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">the <u>Notizbuecher</u> are also <u>Tagebuecher</u>, no matter Handke’s
1975 wish to the contrary – as a matter how can they not also be diaries! – Hic
Nunc~– and this would seem to be one of many instances when the distinction- obsessed
Handke is unnecessarily but characteristically finicky.<o:p></o:p></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; padding: 0in;">Best to my knowledge such intense notebook keeping is unique among
writers, although one could maintain that literary culture, also in German
letters, has been building up to something as monumental as this endeavor, off-hand
and irrelevantly Robert Musil and Harry Graf Kessler come to mind. Some truths
are only to be found in these leavings – to sell such bulk and make most of it publicly
available – note Gregor Keuschnig/ Lothar Struck’s fine piece in
Literaturkritik that discusses constraints on access:</span></b> <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: silver; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;"><a href="https://literaturkritik.de/handke-buelow-das-stehende-jetzt-die-notizbuecher-von-peter-handke-freundliche-waffen,25014.html"><span style="color: black; mso-ascii-font-family: "Courier New"; mso-bidi-font-family: "Courier New"; mso-hansi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://literaturkritik.de/handke-buelow-das-stehende-jetzt-die-notizbuecher-von-peter-handke-freundliche-waffen,25014.html</span></span></a>
<o:p></o:p></span></b></div>
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<span style="font-size: large;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">is testimony to Handke’s insatiable exhibitionism – but I don’t think the
world is a Backfisch who will blush in the wanted embarrassment from that kind
of contact, but - considering the marvel that much of the work affords - will
be grateful to the scholars that take the trouble to decipher<span style="mso-spacerun: yes;"> </span>and relate… And how multi-dimensional the
artist and person becomes by showing off so many sides of himself, and as
anything but a saint prevaricates not all that dreadfully or that often.<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">A shame that Handke did not ctd. to pursue work with the analyst he saw
in Paris in the early 70s and who confessed to Handke that, he, too, [a
Catholic analyst?], felt the weight of the cross at Eastertime, [vide <i style="mso-bidi-font-style: normal;">Weight of the World] </i>and we might have some
years of what the discipline calls “process notes,” to lend yet a further
dimension, aside how an analysis might have reflected itself in Handke’s
thinking or learning to think – after all, Handke, initially stood very much
under the influence of Wittgenstein’s linguistics, but as von Buelow shows,
especially while at work, preparatorily, for the prose text of <i style="mso-bidi-font-style: normal;">Langsame Heimkehr, </i>that is in Alaska,
was impressed by Heidegger, whose work he regarded at other times as resistant
as<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Beton
</i>– and though the very name Heidegger elicits revulsion in me, I can
appreciate Handke thinking about the problematics of poetic endeavor in a
scientific age, and taking recourse to Heideggerian formulations about “being”
– formulations that Wittenstein would hoot at with a thousand owls!<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">I agree entirely with von Buelow when he notes Handke’s <i style="mso-bidi-font-style: normal;">Deskriptor</i> phenomenology – certainly
nothing new in literature at least since Stephen Deadalus availed himself of
the metaphor of the old woman in the Rembrandt painting paring her fingernails
as the proper – and scientific! – somewhat dissociated objectivist attitude,
though note how much gentler and kind and empathic Handke’s phenomenology
becomes, nay was as of the beginning. What needs to be kept in mind is that
Handke is twice as sensitive as the ordinary monkey, his autistic sensitivity,
which can lead to over-stimulation during stressful periods, a lack of the
equivalent dampers, during the period subsequent to his mother’s suicide nd the
first wife splitting – the three long ever more stormy poems in NONSENSE AND
HAPPINESS <o:p></o:p></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="background: lime; border: 1pt none; font-family: "courier new"; padding: 0in;">https://analytic-comments.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; padding: 0in;"><o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">How much more precisely Handke sees was something I noted during his 1971
visit to New York, when he asked me how old I was, a matter on which I was not
dead certain at the time, having been born at the very end of 1935. His reply
to my answer was: “I thought you were a year older.” On getting hold of my
birth certificate he was proved right. Someone whose eyes are so eagle-like
also notices that the moon is one degree waxier or waner and is the spookier
for that! And this amplification holds true for all senses. No wonder that he
murders a few dozen suburban leaf blower each autumn!<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">Aside the interview, von Bulow after commenting on the the notebooks
focuses on two identifiable themes or obsessions of Handke’s that manifest
themselves ther: <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">[2] Heidegger makes an appearance during Handke’s Alaska trip that
produced the narrative of A SLOW HOMECOMING and von Buelow devotes some pages
to [3] Handke’s involvement with Spinoza’s materialism and his pantheistic
equivalence of nature and God, whic led me to speculate that Handke’s
involvement with a good pscho-somaticist – very much in Spinoza’s tradition - might
have a gone a long way to relieving his psychosomatic heart troubles, whose
symtom’s Handke over these decades appears to have sought to walk off.<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; border: 1pt none; font-family: "courier new"; font-size: large; padding: 0in;">So much, then, for the first installment of this commentary. Let me know
if you are interested in receiving a PDF of it and the thought I am devoting to
this wonderful book and to the Notizbuecher. Michael Roloff, December 3, 2018<o:p></o:p></span></b><br />
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<b><u><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">Part II:<o:p></o:p></span></span></u></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">Prior to resuming my comments on the effect of A SLOW HOMECOMING on me in
resolving a profound transference developed during nine-month traipsing and
boating flying and driving all over the vast interior of Alaska….<o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;"># <u><span style="color: red;">II-a</span></u> of II a-b-c & I, II, III<o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">See: <o:p></o:p></span></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;"><a href="https://handke-magazin.blogspot.com/2018/12/comments-on-von-bulow-handkes-das.html"><span style="color: black; mso-ascii-font-family: "Courier New"; mso-bidi-font-family: "Courier New"; mso-hansi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke-magazin.blogspot.com/2018/12/comments-on-von-bulow-handkes-das.html</span></a><o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">of my comments on Von Buelow’s DAS STEHENDE JETZT addresses what came as
the biggest surprise from Von Buelow’s perusal of Handke’s <i><u>Notizbuecher</u></i><u>:<o:p></o:p></u></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">For one, Klaus von Buelow’s reading of Handke’s NOTEBOOKS [p. 142-3]<o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">leads one to believe that Handke does not believe in cause and effect – preferring
a kind if associative shadowing
procedure for his phenomenologically notating text; which strikes me as fine
for a text such as THE LESSON OF ST. VICTOIRE, where it manifests as a kind of
impressionism, which Handke demonstrates most thoroughly in the anxiety play
novel DER HAUSIERER<o:p></o:p></span></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;"><a href="https://handke--revista-of-reviews.blogspot.com/2013/04/der-hausier-handke.html"><span style="color: black; mso-ascii-font-family: "Courier New"; mso-bidi-font-family: "Courier New"; mso-hansi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke--revista-of-reviews.blogspot.com/2013/04/der-hausier-handke.html</span></a><o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;"> a consciousness registering all
around and specific ominousness – Handke’s phase where he regarded himself as
the “New Kafka” – mid to early 70s. <o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">This is a wonderful poetic way of proceeding in giving intimations in a highly
aesthetic manner, pretty much in the same way as e.g.. Virginia Wolfe does in THE WAVES.<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"> However, this way of proceeding got
Handke into deep hot water for his first Yugoslav war trip account A JOURNEY TO
THE RIVERS – see </span></b><b><span style="border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><a href="https://handke-yugo.blogspot.com/"><span style="color: black; mso-ascii-font-family: "Courier New"; mso-bidi-font-family: "Courier New"; mso-hansi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke-yugo.blogspot.com/</span></a><o:p></o:p></span></b></span></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">for that Alpine Range of trouble<o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">where he even made a point of saying that he was not doing anything
different from what he had been doing all along.<o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">[I will not dissertate on the attacks that have been launched on the phenomenological
procedure} but the reception both in Europe and in the USA at the very least
wanted him to repeat, if possible in their own condemning language, that there
was only on responsible party and one particular evil perpetrator… and in fact
Handke might have made life easier for himself if he had defended his position
that it was premature to condemn Milosevic and the causes for the all around
mayhem were too complicated certainly for the blaming of a single tribe, that
is, the Serbs if he had proceeded within the continuum of accustomed rational
or standard polemic style. <o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;"> Though Handke occasionally hinted
at the time - in this matter - that the
German recognition of Slovenian and Croatian independence played a role in the
disintegration, Handke – who recently accused himself of being or having been hugely
stupid – at that time really paid no heed to cause and effect that might hav explained
if only to himself how he as Lothario got himself into so much hot water that
one morning he then wakes up and the neglected and insulted wife who has fled
the coop, providing a shock that leads to years of age and whose resulting
panic attacks land him in a hospital, but little waking in the matter that Lothario-like
being can have <o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;"> until you’re up the Rio Grande at
Truth and Consequences <o:p></o:p></span></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;"><a href="https://en.wikipedia.org/wiki/Truth_or_Consequences,_New_Mexico"><span style="color: black; mso-ascii-font-family: "Courier New"; mso-bidi-font-family: "Courier New"; mso-hansi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://en.wikipedia.org/wiki/Truth_or_Consequences,_New_Mexico</span></a><o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">and start to kiss the Elephant’s Butte<o:p></o:p></span></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;"><a href="https://en.wikipedia.org/wiki/Elephant_Butte_Dam"><span style="color: black; mso-ascii-font-family: "Courier New"; mso-bidi-font-family: "Courier New"; mso-hansi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://en.wikipedia.org/wiki/Elephant_Butte_Dam</span></a><o:p></o:p></span></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">or drown in it!<o:p></o:p></span></span></b></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;"> – I am speculating here, though
perfectly ordinary homo sapiens in some ways, yet with his ultra-high
sensitivity autism and childhood trauma as a ultra love child I cannot tell
what kinds of denial Handke might practice subliminally – thus, a mystery ensues
– why is or was the genius formalist writer so unnecessarily profoundly stupid –
arrogance????. <o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"> That Handke does not believe in
cause and effect also characterizes the absence of the usual psychological
motivation of his characters, say LEFT HANDED WOMAN, to which the NY Time’s Anatol Broyard objected so
violently – but which does not bother me, who once got himself trained as an
psychoanalyst who is absolutely happy not to know the why and wherefores of the
LHW’s sudden resolve to leave her husband – for as soon as I start to speculate
on the possibly highly complicated set of circumstances that leads to the
existential shock the shock and the fundamental mystery starts to be softened,
disappear. – and for whatever reason Handke wrote that particular novella at that
time – perhaps as gambit to counter his wife having left him. </span></b><b><span style="border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;">https://handke--revista-of-reviews.blogspot.com/2010/05/left-handed-woman-scott-abbott-and-few.html<span style="background: aqua; mso-highlight: aqua;"> <o:p></o:p></span></span></b></span></div>
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<b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;"><span style="font-size: large;">But let me - as translator, and thus as close reader, of at least some of
his great texts – note that Handke, however, seems to believe and practice
artistic logic of all kinds, very much within the tradition of at least Western
if not literature in it entirety going back for thousands of years, and perhaps
exercising artistic logic and the requisite sensitivities I suggest might be at
least a kind of surrogate in everyday living to a constant awareness of the
constant operation of the myriad of cause and effects at whose mercy we exist.<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span style="background: aqua; border: 1pt none windowtext; font-family: "Courier New"; padding: 0in;">Next, for the New Year, <u>II-b</u> HANDKE’S RECOURSE TO SPINOZA ETHICS
OF PRODUCING JOY, take a look at Peter Strasser’s </span></b><span class="a-size-large"><b><span style="background: yellow; color: #111111; font-family: Arial, sans-serif;">Der
Freudenstoff: Zu Handke eine Philosophie</span></b></span><span class="a-size-large"><span style="color: #111111; font-family: Arial, sans-serif;"><o:p></o:p></span></span></span></h1>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-41655695779008829502018-11-10T09:05:00.006-08:002018-11-19T09:05:16.830-08:00NESTROY PRIZE FOR HANDKE <a href="http://www.twitter.com/summapolitico"><b><span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></span></b></a><br />
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<span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;"> Nestroy-Preis für sein Lebenswerk an Peter Handke
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<span style="font-size: large;"><b style="background-color: yellow;"> <span style="color: #1c1e21; font-family: Helvetica, Arial, sans-serif; white-space: pre-wrap;"> An-Incomparable-Nestroy-theatre-prize-for-Peter-Handke- l</span></b></span></div>
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<b style="background-color: cyan;">"Du bist ein Unvergleichlicher. Und manchmal sind deine Texte einfach zu groß für das Theater. Aber von Dauer!" Mit diesen Worten ehrte Schauspieler Klaus Maria Brandauer den am Samstag bei der 19. Verleihung des Nestroy-Theaterpreises im Theater an der Wien für sein Lebenswerk ausgezeichneten Dichter Peter Handke. In seiner Dankesrede plädierte der 75-Jährige für die Rückbesinnung des Theaters auf jene Dinge, die es auszeichne: "Sprache, Konfrontation, Rhythmus.</b></div>
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<span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>https://www.nachrichten.at/nachrichten/kultur/Texte-die-manchmal-zu-gross-fuer-das-Theater-sind;art16,3067387</b></span></div>
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<b><span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;">08.11.2018</span></b></div>
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<b><span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;"><a class="link_inverted" href="https://www.suhrkamp.de/autoren/peter_handke_1738.html">Peter Handke</a> erhält den Nestroy-Preis für sein Lebenswerk. In der Jurybegründung heißt es: »<a class="link_inverted" href="https://bibliothek.peter-handke.de/werk/publikumsbeschimpfung/"><em>Publikumsbeschimpfung</em> und <em>Selbstbezichtigung</em></a>, beide 1966 uraufgeführt, waren radikale Infragestellungen von Konventionen, kraftvolle, selbstbewusste Statements. Stücke wie <a class="link_inverted" href="https://bibliothek.peter-handke.de/werk/das-spiel-vom-fragen-oder-die-reise-zum-sonoren-land/"><em>Das Spiel vom Fragen</em></a> oder <a class="link_inverted" href="https://bibliothek.peter-handke.de/werk/die-stunde-da-wir-nichts-voneinander-wussten/"><em>Die Stunde da wir nichts voneinander wußten</em></a> waren Anfang der 1990er poetische und teilweise sprachlose Bühnenerzählungen, die in märchenhafte Welten entführten. <a class="link_inverted" href="https://bibliothek.peter-handke.de/werk/immer-noch-sturm/"><em>Immer noch Sturm</em></a>, 2011 mit dem Nestroy-Autorenpreis ausgezeichnet, oder zuletzt <a class="link_inverted" href="https://bibliothek.peter-handke.de/werk/die-unschuldigen-ich-und-die-unbekannte-am-rand-der-landstrasse/"><em>Die Unschuldigen, ich und die Unbekannte am Rand der Landstraße</em></a>
betrieben historische Spurensuche und rieben sich an der Gegenwart.
Kein Zweifel: Peter Handke, der demnächst seinen 76. Geburtstag feiert,
hat Theatergeschichte geschrieben. Er, der sich bewusst aus der Zeit
nimmt, war in seinen Stücken stets auch ein Spiegel für die
Gesellschaft, von der er sich ostentativ fernhält.</span></b><br />
<b><span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;">Handkes gigantisches Werk, vom Suhrkamp Verlag in eine 11.400 Seiten umfassende <a class="link_inverted" href="https://bibliothek.peter-handke.de/"><em>Handke Bibliothek</em></a>
gefasst, ist zu guten Teilen auch das eines Dramatikers und umfasst
über 20 Stücke, elf davon von Claus Peymann zur Uraufführung gebracht.
Sie sind keine Well-made-Plays, keine mit routinierten Theatermitteln
zum Laufen zu bringende Dialog-Maschinen, sondern in ihrer ganzen
Eigensinnigkeit auch Widerstandsakte gegen die Gewohnheiten des
Herstellens und Wahrnehmens. Nicht nur in dieser Hinsicht ist sich
Handke in den über 50 Jahren seit seiner <em>Publikumsbeschimpfung</em>
treu geblieben. Doch die Regisseurinnen und Regisseure, die sich diesem
imponierenden Lebenswerk nähern, seien daran erinnert, dass er von ihnen
nicht nur Genauigkeit und Ernsthaftigkeit fordert, sondern ihnen auch
Mut zuspricht: ›Überrascht mich!‹«</span></b><br />
<b><span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;">Prämiert werden Theaterschaffende österreichischer Bühnen in
Aufführungen des vorangegangenen Theaterjahres. Der Preis für die beste
Aufführung wird für den gesamtdeutschen Raum vergeben.</span></b><br />
<b><span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;">Die Auszeichnung wird am 17. November bei der 19. Nestroy-Gala im Theater an der Wien vergeben.</span></b></div>
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https://www.suhrkamp.de/news/nestroy-preis_fuer_sein_lebenswerk_an_peter_handke_3015.html<a href="https://www.suhrkamp.de/news/nestroy-preis_fuer_sein_lebenswerk_an_peter_handke_3015.html">https://www.suhrkamp.de/news/nestroy-preis_fuer_sein_lebenswerk_an_peter_handke_3015.html</a></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-5946186198123100332018-09-26T07:50:00.004-07:002018-09-26T07:50:40.163-07:00Knausgaard's essay on International Ibsen Award winner Peter Handke https://archipelagobooks.org/2014/09/read-karl-ove-knausgaards-essay-on-international-ibsen-award-winner-peter-handke<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /><a href="https://archipelagobooks.org/2014/09/read-karl-ove-knausgaards-essay-on-international-ibsen-award-winner-peter-handke/">https://archipelagobooks.org/2014/09/read-karl-ove-knausgaards-essay-on-international-ibsen-award-winner</a></b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Another common, enduring feature of Handke’s books is precisely the
journeys, the wanderings, the constant hikes through different
landscapes – as in his most recent novel, <i>The Great Fall </i>[Der
Große Fall], which begins with an actor waking up in a strange house and
wandering around the undefined no-man’s landscape outside a large city,
and which ends when he reaches the city centre in the evening – and
this feature of always being in motion, always on the way to another
place, belongs to the fundamental structure of the Western epic
tradition. I’m thinking, of course, of <i>The Odyssey </i>and of Odysseus’ long journey<a href="https://archipelagobooks.org/2014/09/read-karl-ove-knausgaards-essay-on-international-ibsen-award-winner-peter-handke/">-peter-handke/</a></b></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-17287183385087134382018-09-08T17:17:00.001-07:002018-09-08T17:17:20.048-07:00ROLOFF’S CASE WHY PETER HANDKE THE BEST AND MOST IMPORTANT LIVING WRITER<a href="http://www.twitter.com/summapolitico"><span style="font-size: large;"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></span></a><br />
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<b><u><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="font-size: large;">ROLOFF’S CASE WHY PETER HANDKE <o:p></o:p></span></span></u></b></div>
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<b><u><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="font-size: large;">THE BEST AND MOST IMPORTANT LIVING WRITER<o:p></o:p></span></span></u></b></div>
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<b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="font-size: large;">Perhaps you will indulge my below brief? Not just for Handke’s sake,
but for literature, for the logos for whose sake, at least best as a not total
idiot like myself can tell, has done more in recent memory to salvage and
elaborate. <o:p></o:p></span></span></b></div>
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<b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="font-size: large;">However, near invariably, ever since his intervention in behalf of
“justice for Serbia” in the early 90s, not just he but his work, initially well
if of course imperfectly received, has been defamed in the U.S, and
English-speaking domains for what I have come to regard not as just another
marvelous exhibitionist and defiant performance of his, but an act of great
courage – as a German-Austrian Slovenian he might well have left the matter
with Slovenia becoming independent. Folks basically keep reviewing the same <i style="mso-bidi-font-style: normal;">“Journeys to the River” </i>that upset them
so much in the 90s, and have neither read his preceding or subsequent Yugoslav-centered
texts. I myself, who feel ambivalent about Handke as a person, for cause, then
must have spent at least a year of my life mucking around the Yugoslav
troubles, not what I thought I would be doing. <o:p></o:p></span></span></b></div>
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<b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="font-size: large;"><a href="http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.ht<span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">ml</span></span></span></a><o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">Handke’s love - one cannot argue with love, can one? - for the 2<sup>nd</sup> Federation,
and its inheritor defender, Serbia, overcame whatever inhibitions, and what his
then closest friends in Paris advised.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"> Here two links that tell the story of the sorry U.S Handke
reception.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><a href="http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html</span></span></a></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><a href="http://artscritic.blogspot.com/2015/04/peter-handke-new-york-times-50-year.html" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://artscritic.blogspot.com/2015/04/peter-handke-new-york-times-50-year.html</span></span></a></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">However, you may feel about the Yugoslav matter, or how differently
and less contentiously Handke might have dealt with it, his work, starting I
would say with his great 1981 dramatic poem WALK ABOUT THE VILLAGES [Ariadne
Press] and the novel part of his “Long Homecoming” cycle, and his first walking
book, THE REPETIION [1985], provides its readers with increasingly richer
experiences, in the instance of <i>Homecoming </i>of an encounter
with Alaska as nature as such… see my</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><a href="http://artscritic.blogspot.com/2011/10/varieties-of-experiences-with-handke.html" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://artscritic.blogspot.com/2011/10/varieties-of-experiences-with-handke.html</span></span></a> for
the effect some of his works have had on me.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">The walking rhythms of <i>The Repetition </i>induced in me a
profound sense of being. Mannheim does a creditable job in having similar
pacing in the translation, though in general I far prefer his current prose
translator, Krishna Winston except in those instances when she comes a cropper
at difficult critical instances.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"> I have friends who share my conviction that the end – <i>the
Berg und Tal Fahr</i>t of <i>SIERRA DEL GREDOS - </i>is the greatest
ending ever written; if you take a peak at the beginning of <i>Gredos </i>you
will find a few pages that describe the root system of one the trees that were
felled by the Orkan that hit Northern France in the late 90s – as finely
perceived as a Vermeer painting or as Eudora Welty describe matters in
her <i>Oranges – </i><span style="mso-bidi-font-style: italic;">her<i> </i></span>peeling
of her pear made a lasting impression.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">The opening of the epic narrative <i>Moravian Night </i>manifest
the most extraordinary gradualness and artfulness – if only for his artfulness
ought the mature Handke be praised to the skies.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">The most recently – summer 2018 - published translation of his
work, <i>THE GREAT FALL</i></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: rgb(255, 229, 153); color: black; font-family: "Courier New";"><a href="http://handke-magazin.blogspot.com/2018/08/roloff-review-of-handkes-great-fall.html" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://handke-magazin.blogspot.com/2018/08/roloff-review-of-handkes-great-fall.html</span></span></a></span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; font-family: "Courier New";"><o:p></o:p></span></b></span></div>
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<span style="font-size: large;"><b><i><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"> </span></i></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">has a similar though equally powerful but shorter denouement to that
of <i>Gredos</i>. </span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="font-size: large;">What most likely – if we are to believe him – is the last of his five
epics – the 2017 <i>Alexia, the Fruit Thief </i>[following <i>The
Repetition, the 1994 One Year in the No-Man’s Bay, </i>the 2000 <i>Across
the Sierra del Gredos, </i>and the 2007<i> Moravian Night] </i>is
a most joyous and adventurous exploration of the French Picardie.<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span style="background: yellow; color: #222222; font-family: "Courier New";"><a href="http://handke--revista-of-reviews.blogspot.com/2018/05/revista-of-obstdieb-fruit-thief-reviews.html" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://handke--revista-of-reviews.blogspot.com/2018/05/revista-of-obstdieb-<span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">fruit-thief-reviews.html</span></span></span></a></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">I read large stretches of it with the same excitement that I read Karl
May’s adventure stories as a youngster. Handke being Handke and wanting to
assure future scholarly attention to his work – next to Goethe and Kafka he is
already the third most written about German author and his notebooks are shared
between the Austrian and German national archives and are accessible on line</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><a href="https://www.dla-marbach.de/archiv/" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://www.dla-marbach.de/archiv/</span></span></a></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><a href="https://handkeonline.onb.ac.at/" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handkeonline.onb.ac.at/</span></span></a></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="font-size: large;">– gets the scholar mice on their way by claiming, also in interviews,
that Wolfram von Eschenbach’s 13<sup>th</sup> century <i>Willehalm </i>stands
in back of <i>Alexia</i>! Such a sly bastard!<o:p></o:p></span></span></b></div>
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<b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="font-size: large;">It turns out that young Handke practiced writing the way Yehudi
Menuhin did the violin & as a twenty-something reviewer for Austrian Radio
it looks as though he was possessed of all critical knowledge and instruments!<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">As dramatist</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><a href="http://handke-drama.blogspot.com/2012/07/peter-handke-plays-in-english.html" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://handke-drama.blogspot.com/2012/07/peter-handke-plays-in-english.html</span></span></a></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">Handke has Shakespearean dimension; of especial to interest to you
might be the great political dramatic text, the best thing that he got
immediately out of his involvement in Yugoslavia, <i>Dugout Canoe, the
Play about the Film about the War’; </i>its first rate translation by Scott
Abbott can be found in the Spring 2016 issue of Performing Arts Journal<i> -
Canoe</i> is at least one step beyond Brecht in that it manifests the
awareness of media as god.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="mso-spacerun: yes;"> </span></span></b><b><span lang="DE" style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">One first rate piece - 1997 <i style="mso-bidi-font-style: normal;">Zurüstungen für die Unsterblichkeit. </i></span></b><b><i style="mso-bidi-font-style: normal;"><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">Königsdrama</span></i></b><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">, (Preparations for Immortality: A Royal Drama), play is the only one
that remains untranslated and Handke, last time I saw him, expressed
reservations about <i>Kaspar</i> – which takes off from the Kaspar
Hauser legend - one of his most famous and often done major plays – and its
slavish translator then <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>dwelled on what one might object to in such a
tour de force about language and politics [well worth doing again this point!]:
that it was a bit noisy, hysterical, the way Oedipal contentions with a father
can be, perhaps nihilistic in its ending, too anarchist?</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">For me the most fruitful approach to all his work, especially the
plays - in conscious disregard of the usual literary categories - is to regard
them as <i>happenings </i>and, thus, to dwell on the <i>experiences</i> that
they create<i>. </i>Several of the plays - <i>THE RIDE ACROSS LAKE
CONSTANCE & THE HOUR WE KNEW NOTHING OF EACH OTHER - </i>achieve
catharsis, in mysterious – by Aristotelian or Brechtian/ non-Aristotelian, but
in seemingly positivist and therefore that is <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>expected ways, <i>Ride </i>via the
use of Wittgensteinian language game-querying breaks down the resistance of the
audience, at least mine who as the translator of anything but a “reading play”
had really no idea what to expect from a performance: certainly not such a
liberating experience as I would not <span style="mso-spacerun: yes;"> </span>have
again until I had what are called “good hours” while doing a psychanalysis. - <u>Hour</u>,
the play – it is wordless - does something similar via an unending succession
of change of images of the personages that appear in different, often fairy-tale
garb; something subliminally mesmerizing occurs. <u>Hour</u> also manifests
Handke as a supreme linguistic virtuoso: He takes you by your syntax as though
it was your braid and does not let go until Z – it is one of the very great
texts! </span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">The other great plays are the prize winning family resistance drama
2012 <i>Storm Still, The Art of Asking, </i>and of course his very
first and still amazing essay-play <i>Offending the Audience. </i>And
I think the last work I will have translated, the 2010 play that gets to the
heart of pornography and erotic love, <i>The Beautiful Days of Aranjuez.</i></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><a href="http://handke-drama.blogspot.com/2011/12/die-schonen-tage-von-aranjuez.html" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://handke-drama.blogspot.com/2011/12/die-schonen-tage-von-aranjuez.html</span></span></a></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="mso-spacerun: yes;"> </span>The work starting with the
greatest and richest play, the 1981<i style="mso-bidi-font-style: normal;"> Walk
About the Villages </i>and 1985 <i style="mso-bidi-font-style: normal;">The
Repetition</i> certainly came as a huge surprise to this translator who was
well aware that Handke initially presented himself as “the new Kafka” – justly
so it would seem if you take a look at the first novels and plays which on
first glance seem rife with Kafkaesque anxiety – yet there he was, a kid with a
Beatles haircut, cheerful and irreverent, and if you take a look at novels and
plays like <i>My Foot My Tutor, Radio Play One, Goalies Anxiety </i>and <i>Die
Hornissen & Der Hausierer, </i>rather amazingly - though they play
with anxiety they end up dispelling and overcoming it, in the most literary
ways! An odd use to which to put literature until you find out that writing
from his earliest beginning was a way for him to still his anxiety – and ample
reason for profound intra-psychic anxiety existed – an instance that once again
proves Freud’s conversion theory! - not just because of the bombing attacks to
which he was subjected in Berlin as of 1943 [I in Bremen had my initial
bombing trauma in Spring 1940], but because he – love child of love children if
ever there was - was exposed, as of age two, to a decade of brutal primal
scenes – his mother married a comrade of the married German soldier love of her
life and Handke became the surrogate love object – and I think mother love in
this instance then overcame and continuous to instill joy into his prose – the
Austrian literateur Peter Strasser even wrote a book to the effect of Handke’s
work instilling joy </span></b><b><i style="mso-bidi-font-style: normal;"><span lang="PL" style="background: rgb(255, 229, 153); color: #111111; font-family: "Courier New";">Der Freudenstoff: Zu Handke eine
Philosophie</span></i></b><b><span lang="PL" style="background: rgb(255, 229, 153); color: #111111; font-family: "Courier New";"> <a href="http://www.worldcat.org/title/freudenstoff-zu-handke-eine-philosophie/oclc/22723646" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://www.worldcat.org/title/freudenstoff-zu-handke-eine-philosophie/oclc/22723646</span></span></a></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"> Not that an excess of mother love cannot get a young
layabroad into a heap of trouble. Subsequent the shock of his mother’s suicide
in 1971 [see <i>Sorrow Beyond Dreams] </i>his first wife left the
layabroad who if not neglecting her was writing or tarrying with broads who all
wanted to get laid! The twin abandonment nearly drove him to suicide: see the
three long poems of <i>Nonsense & Happiness – </i>where he
loved the word “humbug” I found for what was bugging him.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">There is an early play,<i style="mso-bidi-font-style: normal;">
Quodlibet,</i> that points to what <span style="mso-spacerun: yes;"> </span>Handke is about, <i>Quodlibet </i>–
“the play that catches the conscience of the king” [the audience now is king!]
works on the principle of auditory hallucination – that is, it wishes to make
the audience aware of its own projections; activist as the plays are Handke’s
novels are projection screens – making you aware of aspects of yourself, while
Handke becomes a master narrator,</span></b><span style="color: #222222;"> </span><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">perhaps that is all, but what an all it is, that literature can
achieve as well as to teach us to read by testing the limits of <span style="mso-spacerun: yes;"> </span>syntax and of the duree of reading. <i style="mso-bidi-font-style: normal;">Goalie</i>, as of page one, syntactically
involves the reader in the mind of a paranoid schizophrenic! Later, in the
90s <i>One Dark Night I Left my Silent House </i>he writes in dream
syntax, the novel <i>Absence </i>in being read is experienced as a
film! <i>Del Gredos, </i>whose protagonist is a bankieress who used
to be an actress, has sudden passages which are experienced as film – and I
recall shaking my head at the wizard’s sleight of hand. All this magic of
course is not only done to show “Look Ma, no hands” but has a kinesthetic
effect that induces renovating catharses. - Handke wrote me, around the time he
completed the mid-70s rather suicidal <i>A Moment of True Feeling - </i> redeemed
by the sight of a reminder that he had a child to take care of - that he now
was capable of doing everything he wanted with words, and I imagine that these
technical feats – the sort of thing that has always interested this aging
Joycean – proves that he was not boasting. His prose, initially influenced
by the <i>nouveauists, </i>even then warmer, has become the supplest
of instruments that shows how he has incorporated the great European and
American prose stylists, perhaps Arab too since he reads Arabic.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">I should not fail to mention two further dimensions: his assaying work
as I call his novel way of exploring certain subjects – the Jukebox, fatigue,
being a fool for mushrooms, what it meant as boarding school kid to seek refuge
in the shithouse – by simultaneously anchoring these explorations in
examinations of place. <i>Three Essays </i>was published a few years
ago, and the remainder are in the works. To these assaying I would add <i>Don
Juan, as told by himself, </i>a gem that the Nabokovians ought to compare
with that master’s work. – In other words, Handke creates unique works of art.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">The other important dimension is that Handke has published half a
dozen excerpts from his note books that show the writer constantly “cooking” a
jazz writer might say, of which unfortunately only the first, <i>The
Weight of the World </i>exists in English – as to exhibiting your self how
much else is there one might do? All translated into the Romance languages
which have been kinder to Handke.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">Frank Kermode initially introduced Handke to the U.S and
English-speaking world as a model modernist</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><a href="https://www.nybooks.com/articles/1975/05/01/the-model-of-a-modern-modernist/" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://www.nybooks.com/articles/1975/05/01/the-model-of-a-modern-modernist/</span></span></a></span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">without deep knowledge of its Austrian variant. - I must say I, too,
was unreflectively so at one time, a <i>Poundian ABC of Reading</i> aficionado
who thought a “magazine” was the thing but who eventually gave thought to
what the modernism wanted after all its brush clearing; that is, to return to,
in Pound’s case, a large variety of beautiful past matters; that is, modernism
contained the germ not just of renovation but of deeply reactionary matters.- <span style="mso-spacerun: yes;"> </span>Handke’s chief director, the great Klaus
Peymann, teased him a few years ago by observing that Handke had become
touchingly conservative! It appears that his obsession with newspapers has
ceased but for the reading of <i>Parisien & </i>a soccer paper,
his TV broke down five years ago & has not been repaired, occasionally he
has friends over and they listen to a match! And in the matter of being at the
forefront of psychology, he continues to be a laggard, no matter how
progressive his prose innovations.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">Handke uses his own life as the sources for his prose texts and drama
in the instance of the <i>Slovenian resistance family play Storm Still,
and </i>in that fashion exhibits what I call the </span></b><b><span lang="PL" style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><a href="https://r.search.yahoo.com/_ylt=AwrgEZTImoBbKyEAz9wPxQt.;_ylu=X3oDMTByb2lvbXVuBGNvbG8DZ3ExBHBvcwMxBHZ0aWQDBHNlYwNzcg--/RV=2/RE=1535183689/RO=10/RU=https%3a%2f%2fen.wikipedia.org%2fwiki%2fYoknapatawpha_County/RK=2/RS=gkzLEuUdWmSdefQAA43xFRlM4IE-" target="_blank"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">Yoknapatawpha</span></span></a> </span></b><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">of his self.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">Handke takes pride in not repeating himself, but only explores, I
would say, certain formal possibilities to their limits, the way a musician
might, and thus manifests his formalist origins, he regards himself as a
realist, and as a prose writer certainly stands in the great tradition, but he
is never a naturalist of any kind – which is part of the problem here in the
USA, which does not grow but merely keeps duplicating itself.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">The play <i>Walk About the Villages </i>its rhythms
reverberate through his texts for many years; it became a touchstone of his;
unfortunately Farrar Straus did not see fit to publish his great diary
excerpt <i>The History of the Pencil</i><span style="mso-bidi-font-style: italic;">, which shows what thought he gave to<i> Villages </i>as it
developed and his recourse to Greek drama of which he, a great translator from
half a dozen</span> languages, has translated several, as he has Shakespeare.
FSG - where he has had at least ten different mostly assigned editors in the 50
years that he has been their author - failed to do <i style="mso-bidi-font-style: normal;">Pencil</i> despite the success of the first of these kinds of
compilations, of <i>Weight of the World, </i>a depressive’s Nietzsche
title! Aside being a love child intra-uterine Handke absorbed, anaclytically,
his mother’s depression upon his actual father not marrying her – so one might
suppose if one considers mother and son’s similar dispositions. – I think Handke
knew fairly early on, upon deciding to live at the outskirts of a big city in
the early 70s, that he would be a classic; he has done all the things that the
great German classical and romantic poets have done, in original ways.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">Handke is not a psychological writer – vide <i>Left-Handed Woman
– </i>and there are folks whom this bothers, but not psychoanalytically
trained me, who appreciates Handke’s kind of existentialism.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";">It is not that he does manifest moments, such as in the most recent
marvel that I call <i>ALEXIA, FRUIT THIEF </i>where this alleged world
traveling mid-twenties French sometimes runaway covets but one song and it is
rap by <i>Eminem, </i>a moment of daftness also characteristic of his
gauche behavior during his younger days which I put off to the left-overs not
of his provincial piss-pot poor origins but his highest order autism, to which
I also attribute the affinity he mentions throughout years of his texts, with
such autistic idiots – and to his autism I ascribe his ultra sensitivity, eyes
of a hawks, a bloodhounds nose, ears of a bat – I don’t know which animal had
most sensitive skin, a porpoise?</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>I love the guy most next to my heroic mother,
yet some of his action have made me ambivalent, which elicits the thought that
maybe that is why I haven’t become too parti pris. There are instances of
physical violence, he can lie, hates being caught with his hands in the cookie
jar [who does? After all!], and despite being one of the most generous can be
real-low-life mean; can lash out unthinkingly even against those closest to
him; suffers from certain features endemic to this enterprise - A mama’s
boy has in that respect got a bit too much of a good thing – and still lacks a
father figure but for his Slovenian grandfather, who voted for the first
Yugoslav federation in 1919. – Oh yes, by the mid-90s, as of the writing of the
magnificent portrait of six sides of an artist – <i>My Year in the
No-Man’s Bay – </i>the once “new Kafka” began to muse that he was the new
Goethe – in a number of respect that is indeed the case.</span></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<b><span style="background: rgb(255, 229, 153); color: #222222; font-family: "Courier New";"><span style="font-size: large;">Enough already!</span><span style="font-size: 22pt;"><o:p></o:p></span></span></b></div>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-53948290156865493522018-08-19T11:14:00.002-07:002018-10-24T13:22:08.493-07:00notizbuecher-von-peter-handke-mein-zuhause-sind-die-farben<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #cfe2f3;"><a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a><span style="color: #0000ee;"><u>https://www.tagesspiegel.de/kultur/notizbuecher-von-peter-handke-mein-zuhause-sind-die-farben/22926406.html#kommentare</u></span></b></span><br />
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<header class="ts-article-header"><figure class="ts-article-element ts-lead ts-type-image" itemprop="image" itemscope="itemscope" itemtype="http://schema.org/ImageObject"><figcaption itemprop="caption description"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #cfe2f3;"><span class="ts-figure-text" itemprop="description">Eine Sammlung unwillkürlicher Selbstgespräche.„Empfänglich sein ist alles“ und andere Weisheiten. Notizbuch vom Ende Juli 2010.</span><small class="ts-credit" itemprop="copyrightHolder">Foto: Chris Korner/DLA Marbacg</small></b></span></figcaption></figure>
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<span data-offset-key="5q7pn-0-0" style="background-color: yellow;"><span style="font-size: large;"><b>Freundliche Waffen</b></span></span></div>
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<span data-offset-key="3vo1e-0-0" style="background-color: yellow;"><span style="font-size: large;"><b>Mit „Das stehende Jetzt“ leitet Ulrich von Bülow die Exegese von Peter Handkes Notizbüchern ein</b></span></span></div>
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<span data-offset-key="28ag6-0-0" style="background-color: yellow;"><span style="font-size: large;"><b>Von Lothar StruckRSS-Newsfeed neuer Artikel von Lothar Struck</b></span></span></div>
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<span data-offset-key="ekin7-0-0" style="background-color: yellow;"><span style="font-size: large;"><b>Am 18. Oktober 2017 präsentierte Ulrich von Bülow, Leiter des Archivs beim Deutschen Literaturarchiv in Marbach (DLA), zusammen mit Peter Handke den Erwerb von 154 Notizbüchern des Autors, die den Zeitraum von 1990 bis 2015 erfassen. Seit 2007 befinden sich bereits 67 Notizbücher Handkes im Besitz des DLA, die zwischen 1975 und 1990 geschrieben wurden.</b></span></span></div>
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<span data-offset-key="7jm1-0-0" style="background-color: yellow;"><span style="font-size: large;"><b> I am just reading. noticed that handke takes recourse to Spinoza for this ideology of freude, which I am starting to share considering how happy his work as of a certain point makes me, aside whatever literary consideration I..e above and beyond. m.r</b></span></span></div>
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<span data-offset-key="1ebfo-0-0" style="background-color: yellow;"><span style="font-size: large;"><b>https://literaturkritik.de/handke-buelow-das-stehende-jetzt-die-notizbuecher-von-peter-handke-freundliche-waffen,25014.html</b></span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #cfe2f3;">Im Halbrund aufgestellt, aneinandergelehnt und übereinandergestapelt,
wie das Deutsche Literaturarchiv Marbach die 221 Notizbücher im
vergangenen Oktober präsentierte, handelt es sich um ein Ehrfurcht
gebietendes Textgebirge. Seine 33 000 Seiten, die Peter Handke von 1975
bis 2015 an insgesamt 14 600 Tagen anfertigte, ragen auch vor treuen
Lesern als weitgehend unerschlossenes Massiv auf. Die Journale, die
ihren Weg sorgsam ausgewählt aus der Kladde ins Buch fanden, „Das
Gewicht der Welt“ oder zuletzt „An der Baumschattenwand nachts“, geben
zwar einen Eindruck von Ton und Gehalt dieser Aufzeichnungen. Doch ihren
besonderen Charakter gewinnen sie daraus, dass sie in ihrer
Unkonzentriertheit eben nicht das Werk wollen, sondern das ewige Wuchern
und die ewige Vorläufigkeit. <br />Ihr Ideal ist die permanente <a href="https://www.tagesspiegel.de/kultur/peter-handke-im-portraet-in-der-hoehle-des-graphomanen/14819654.html" target="_self">Weltmitschrift aus den Augenwinkeln</a>
heraus, leicht errungen und gedanklich noch nicht ausgehärtet. Gerade
in dieser nach einer unmöglichen Totalität strebenden Summe verlieren
die Notizbücher ihren Schrecken. Man könnte auch sagen: Sie mussten in
dieser Vollständigkeit geschrieben werden – sie müssen nur nicht in
dieser Vollständigkeit gelesen werden. Mit ihren das Ungestalte in eine
unreine Form rettenden Wahrnehmungsexerzitien machen sie sich selbst
überflüssig.<br />Die schönste Abkürzung durch ihre vielstimmigen
Unendlichkeiten bietet jetzt ein von Ulrich von Bülow herausgegebenes
Marbacher Magazin. Mit Faksimiles reich illustriert, macht es ein
Projekt so sinnlich wie intellektuell begreiflich, das <a href="https://www.tagesspiegel.de/kultur/neuerscheinungen-zu-peter-handke-blaetter-aus-dem-niemandsbuch/20669132.html" target="_self">den Schriftbesessenen und Zeichner</a> in seinen wichtigsten Facetten zeigt: den <a href="https://www.tagesspiegel.de/kultur/peter-handke-und-die-obstdiebin-lob-der-hornissen/20568954.html" target="_self">Naturbeobachter</a>,
der das Nebensächliche zu den Hauptsachen erklärt. Den im Halbdämmer
Traumspuren festhaltenden Diaristen. Und den zwischen dem Streuobst
seines Bewusstseins gezielt Lesefrüchte auflesenden Protokollanten</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #cfe2f3;"><br /></b></span>
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: #cfe2f3;">Natürlich sind die Notizbücher auch das Labor der Romane, aber eher im
Sinne einer Einübung in ein Erzählklima als in einer Skizze des noch
Auszuführenden. Ulrich von Bülows einführender Essay in Handkes
Selbstkultivierungstechniken ist in seiner Kürze und Dichte ein
Glanzstück des Bandes. Erhellend auch die Abschrift eines öffentlichen
Gesprächs, das Handke und von Bülow zur Erwerbung der Notizbücher am 18.
Oktober 2017 in Marbach führten. Der Autor gibt darin selten aufgeräumt
Auskunft über seine Entwicklung. </span><br /><span style="background-color: #cfe2f3;">Unter anderem klärt er die
Bedeutung des Kürzels „U. S.“, das für „unwillkürliches Selbstgespräch“
steht. „Ich denke manchmal irgendetwas, und das ist in dem Moment
derartig blöd, manchmal wie von Karl Valentin“, erklärt Handke. „Zum
Beispiel: ,Ich wundere mich über gar nichts mehr.‘ Und dann sage ich
mir: ,Dann lass dich doch gleich begraben.‘ Das ist überhaupt kein
Gedanke, das ist ein unwillkürliches Selbstgespräch.“ </span><br /><span style="background-color: #cfe2f3;">In weiteren
Essays widmet sich Ulrich von Bülow Handkes „Heidegger-Lektüren“ und den
„Spinoza-Lektüren“. Vor allem der letztgenannte Aufsatz leistet
Pionierarbeit. Er weist nach, wie Spinozas „Ethik“, ein umfassender, vom
Ontologischen bis zum Erkenntnistheoretischen reichender
philosophischer Entwurf, der Gott und Natur in eins setzt, Handkes 1979
mit „Langsame Heimkehr“ einsetzende Tetralogie zu prägen begann. Auch
„Das stehende Jetzt“, der Titel des Marbacher Bandes, geht auf jene Zeit
zurück. In seiner lateinischen Variante „Nunc stans“, die das
Zusammenfallen von Moment und Ewigkeit meint, erprobte er den von ihm
eigenwillig interpretierten Begriff in seinen Notizbüchern, ehe er 1980
in die ersten Sätze der „Lehre der Sainte-Victoire“ Eingang fand.
„Einmal bin ich in den Farben zu Hause gewesen“, heißt es da. „Naturwelt
und Menschenwerk, eins durch das andere, bereiteten mir einen
Beseligungsmoment, den ich aus den Halbschlafbildern kenne, und der Nunc
stans genannt worden ist.“</span><br /><span style="background-color: #cfe2f3;">Das Nunc stans ist bis heute das beste
Mittel, den Grundwiderspruch von Handkes Projekt, vielleicht sogar aller
Kunst, aufzulösen: nämlich ein Sehen, das sich erst im Schreiben
verwirklicht – und dadurch der Welt bereits als etwas Anderes, für immer
Fixiertes gegenübertritt. So, wie die angehaltene Zeit in den Strom der
Dinge zurückfließt, um von Neuem angehalten zu werden, geschieht es
auch mit dem objektivierten Satz und dem lebendigen Bewusstsein. </span><br /><em><span style="background-color: #cfe2f3;">Das
stehende Jetzt. Die Notizbücher von Peter Handke. Gespräch mit dem
Autor und Essays von Ulrich von Bülow. 152 S., 18 €. Bestellung:
</span><span style="background-color: #f4cccc;">www.dla-marbach.de</span></em></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><em style="background-color: #f4cccc;"><br /></em></b></span>
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><em style="background-color: #f4cccc;"><br /></em></b></span>
<h1>
<span style="background-color: #f4cccc; font-size: large;">Freundliche Waffen</span></h1>
<h2>
<span style="background-color: #f4cccc; font-size: large;"> Mit „Das stehende Jetzt“ leitet Ulrich von Bülow die Exegese von Peter Handkes Notizbüchern ein</span></h2>
<h3 class="rez_autor">
<span style="background-color: #f4cccc; font-size: large;">Von <a href="https://literaturkritik.de/public/mitarbeiterinfo.php?rez_id=4612">Lothar Struck</a><a href="https://literaturkritik.de/rss/ma/4612"><img alt="RSS-Newsfeed neuer Artikel von Lothar Struck" border="0" height="16" src="https://literaturkritik.de/rss/rss.gif" style="margin-left: 5px; vertical-align: bottom;" /></a></span></h3>
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #f4cccc;">
<img alt="" class="vgw-img" height="1" src="https://vg04.met.vgwort.de/na/2e026d1326a440c2985672035d31c266" width="1" />
<a class="icon" href="https://literaturkritik.de/handke-buelow-das-stehende-jetzt-die-notizbuecher-von-peter-handke-freundliche-waffen,25014.html#biblio">Besprochene Bücher / Literaturhinweise</a>
</b></span><br />
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Am 18. Oktober 2017 präsentierte Ulrich von Bülow, Leiter
des Archivs beim Deutschen Literaturarchiv in Marbach (DLA), zusammen
mit Peter Handke den Erwerb von 154 Notizbüchern des Autors, die den
Zeitraum von 1990 bis 2015 erfassen. Seit 2007 befinden sich bereits 67
Notizbücher Handkes im Besitz des DLA, die zwischen 1975 und 1990
geschrieben wurden.
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Anlässlich dieser Präsentation führte von Bülow ein Gespräch mit Handke, das als erster Beitrag in seinem Buch <i>Das stehende Jetzt </i>über
die Notizbücher des Autors transkribiert ist. Es fällt ausführlicher
aus als der seinerzeit im Deutschlandfunk Kultur ausgestrahlte
Mitschnitt von knapp 30 Minuten. Danach folgen drei Essays von Bülows.
Im ersten skizziert er Handkes Intentionen und den Stellenwert der
Notizbücher im Werk des Dichters. Wie man mit diesen Büchern
literaturwissenschaftlich arbeiten kann zeigt er, indem er Handkes
Einträge über Lektüren von Martin Heidegger und Baruch de Spinoza
extrahiert und deutet.
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Die 67 Notizbücher bis Sommer 1990 sind für die Forschung seit geraumer Zeit <a href="https://handkeonline.onb.ac.at/node/90" target="_blank">zur Ansicht in Marbach (als Scans) verfügbar</a>. Auf der Webseite <a href="https://handkeonline.onb.ac.at/" target="_blank">Handke<i>online</i></a>
werden für den Zeitraum von 1971 bis 1990 allerdings 79 Notizbücher
(mit rund 10.000 Seiten) aufgelistet und ausgewertet. So wurden zwei
Originale aus den frühen 1970er Jahren 2014 in der Schweiz ‚entdeckt‘.
Andere Originale finden sich in Wien. Hinzu kommen noch einige in
Privatbesitz befindliche, nicht erfasste Notizbücher. Inwieweit die 154
Kladden von 1990 bis 2015 komplett sind, kann nur das DLA sagen (Von
Bülow erwähnt in einem Aufsatz im letzten Jahr 153 Notizbücher). Handke
spricht von mindestens einem verlorenen Notizbuch.
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Sieht man sich die Fotografien des Konvoluts im Buch an,
zeigt sich, dass Handke für seine Aufzeichnungen nahezu alle Formen und
Größen von Notizbüchern verwendet. Ob kartoniert, Softcover, Leder oder
Wildleder, sogenannte Chinakladden oder Spiralblöcke (typisch für
Handke: seine expressive Ablehnung gegenüber den populären
„Moleskine“-Büchern). Er bevorzugt blanko, aber eben auch mit Linien
oder kariert. Meist sind sie im Taschenformat A6; manche kleiner, einige
A5. Die Seitenzahl variiert zwischen 40 und 300. Von Bülow
quantifiziert die in Marbach befindlichen 221 Notizbücher mit insgesamt
mehr als 33.000 Seiten. Manche sind eng beschrieben, einige wieder sehr
großzügig. Es finden sich viele Zeichnungen Handkes in den Büchern.
Zuweilen werden Postkarten, Zeitungsausschnitte, kleine Pflanzen oder
Federn eingelegt. Die Schrift des Autors ist meist gut lesbar, auch wenn
sie über die Jahre variiert. Geschrieben wird mit allem Verfügbaren:
Kugelschreiber, Filzstift, seltener Bleistift. Die Bücher befinden sich
zuweilen in desolatem Zustand, weil sie Wind und Wetter ausgesetzt
waren.
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Handke legt Wert auf die Bezeichnung „Notizbücher“.
Obwohl die Eintragungen praktisch täglich erfolgten, sind es tatsächlich
keine Tagebücher im klassischen Sinn. Das Datum erwähnt er eher
unregelmäßig. Persönliche Befindlichkeiten, Klatsch und Tratsch sowie
politische Statements fehlen fast vollständig. Eine berühmt gewordene
Ausnahme sind Artikel zu vier hingerichteten chinesischen
Menschenrechtlern, denen er in seinem Film <i>Die Abwesenheit</i>
gedenkt. Die frühen Notizbücher (1971 bis cirka 1975) kommen eher
„Arbeitsjournalen“ nahe, weil sie sich explizit und ausschließlich mit
einem geplanten Buch oder Theaterstück auseinandersetzen. Danach
erweitert Handke das Spektrum seiner Eintragungen hin zu „Aufzeichnungen
zweckfreier Wahrnehmungen“. Notiert werden jetzt nicht nur
werkimmanente konzeptuelle Überlegungen (die zum Teil „Projekte“
aufzeigen, die Jahre, nicht selten Jahrzehnte später zu Titeln führen),
sondern auch Beobachtungen, Lektüreeindrücke und -reflexionen, Gesehenes
und Gehörtes, Erinnerungen, Assoziationen, Träume.
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Reserviert bis ablehnend steht Handke Interpretationen
gegenüber, die in den Notaten „Übungen“ oder eine Art „Training“ für ein
später entstehendes Werk sehen wollen. Im sehr instruktiven Gespräch
mit von Bülow erläutert er überraschend deutlich seine Ambitionen:
„vieles, was einem so nebenbei als Form, als Sprachform begegnet, ist
für einen Moment da und verschwindet im nächsten wieder, so wie eine –
Sternschnuppe muss man ja nicht sagen – aber wie eine Art von Schnuppe,
die vorbeigeht.“ Handke versucht nun diese durch vorurteilsfreies,
intentionsloses „Schauen“ erreichten „Schnuppen“, das <i>nunc stans</i>
eines Moments, das „stehende Jetzt“, zu versprachlichen und zu
konservieren, oder, um es pathetischer zu sagen, zu retten. Es geht
dabei, so fasst von Bülow zusammen, um „Momentaufnahmen, die poetische
Gültigkeit beanspruchen können“ und das „Allgemeine und die Dauer“
festhalten. Dabei ist sich Handke der Fragilität solcher
Verschriftlichung durchaus bewusst. Daher auch die immer wieder
eingestreuten, mit Fragezeichen versehenen Selbstbefragungen
beispielsweise in den von ihm so genannten „unwillkürlichen
Selbstgesprächen“. Zahlreich auch Sprachspiele wie jenes vom „11.
Gebot“. Wunderbar, wie er im kleinsten Käfer oder einfach nur einem
verwelkten Blatt die Welt zu entdecken vermag – und dann nicht selten
direkt wieder in eine Sprachskepsis gerät. Umfassend auch die
Lektüreeindrücke (es gibt kaum jemanden, der so tief in das Gelesene
einzudringen vermag wie Handke).
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Handke selber spricht von seinen Notizbüchern als einer
„freundlichen Waffe“, die er oft „ziehe“, um die „Gebilde“, die sich ihm
„ob von innen oder außen oder von beidem, Innenwelt und Außenwelt“
zeigen, festzuhalten. Wer mit ihm schon einmal unterwegs war, weiß, wie
das gemeint ist. Von „Manie“ möchte er dennoch nicht sprechen. Auch hier
vermag man ihm Recht zu geben.
</span></div>
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<span style="background-color: #f4cccc; font-size: large;">Im Laufe des Jahres 1976 begann Handke Notate aus seinen
Büchern abzutippen. Hier muss der Entschluss zu einer Publikation
gereift sein. Wo es ihm notwendig war, wurden die übernommenen Notizen
gerafft und gegebenenfalls korrigiert. 1977 erschien mit <i>Das Gewicht der Welt</i>
das erste „Journal“, wie die publizierten Extrakte der Notizbücher in
Handkes Werk genannt werden. Je nach Epoche finden zwischen zwei
Dritteln (in den ersten Journalen) und einem Viertel der Notizbücher
Einlass in die Journale. Hiervon sind insgesamt sieben erschienen (in
Klammern zunächst das Ersterscheinungsjahr, dann der Zeitraum der
Notizen, die für das Journal Verwendung fanden):
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;"><i>Das Gewicht der Welt </i>(1977 – 11/1975 bis 03/1977 ),<br /><i>Die Geschichte des Bleistifts </i>(1982 – 07/1976 bis 08/1982),<br /><i>Phantasien der Wiederholung </i>(1983 – 04/1981 bis 12/1982),<br /><i>Am Felsfenster morgens </i>(1998 – 08/1982 bis 10/1987),<br /><i>Gestern unterwegs </i>(2005 – 10/1987 bis 07/1990),<br /><i>Ein Jahr aus der Nacht gesprochen </i>(2010 – zwischen 2008 und 2010) und<br /><i>Vor der Baumschattenwand nachts </i>(2016 – zwischen 2007 und 2015).
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Von Bülow zählt das eher sentenzenhafte Traumbuch <i>Ein Jahr aus der Nacht gesprochen</i> nicht direkt zu den Journalbänden.Die Erstpublikationen der Journale erfolgten bis auf <i>Phantasien der Wiederholung</i>
nicht bei Suhrkamp, sondern im Residenz Verlag beziehungsweise ab 2005
bei Jung und Jung. Maßgeblich hierfür war die Freundschaft Handkes zu
Jochen Jung. 2015 wurde ein Ausschnitt aus dem <i><a href="https://handkeonline.onb.ac.at/node/325" target="_blank">Notizbuch Nr. 16</a></i> bei Suhrkamp veröffentlicht.
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Die Auflistung zeigt, dass aus den Notizbüchern vom Juli
1990 bis 2006 bis auf wenige Ausnahmen der „Traumbeschreibungen“ keine
Notate für ein Journal Verwendung fanden. Mit dem Notizbuch <i>Der Bildverlust; Das stumme Stück</i>
vom 9.2. bis 1.7.1990 (DLA-Notizbuch Nr. 67) endete die Möglichkeit der
Einsicht für die Forschung in die Exponate. Über die Gründe hierfür
wurde viel spekuliert. Im Juli 1990 bemerkt Handke, dass „kaum mehr ein
Mit-Schreiben im Sinn der früheren Journale statt[finde]“. Hat Handke
seine Intention, das „Unternehmen“ des voraussetzunglosen Schauens und
Aufschreibens, verändert? Womöglich hängt es mit dem sich beginnenden
Jugoslawien- beziehungsweise Serbien-Engagement des Autors zusammen, das
Mitte der 1990er Jahre für längere Zeit auf großen Widerspruch stieß.
Oder finden sich mehr persönliche Ein- und Auslassungen (auch über
andere Persönlichkeiten des Betriebs) in den Büchern? Nach Auskunft von
Ulrich von Bülow sind jetzt auch die neu erworbenen Exemplare einsehbar,
allerdings nur mit Handkes Erlaubnis.
</span></div>
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<span style="background-color: #f4cccc; font-size: large;">Wie praktische literaturwissenschaftliche Arbeit mit den
Notizbüchern aussehen könnte, zeigt von Bülows in zwei Essays über die
Einflüsse von Martin Heidegger und Baruch de Spinoza auf Denken und Werk
Peter Handkes, die in diesem Buch ihre Heimstatt gefunden haben. Seine
Quellen sind die Notizbücher bis Sommer 1990. Daneben vergleicht er die
Notate mit den Übernahmen in den Journalen. Auf zahlreichen Fotografien
kann der Leser einige zitierte Textstellen aus den Notizen selber
nachlesen.
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Heidegger habe Handke „spät, eher sporadisch und weniger
intensiv“ gelesen, so von Bülow. Nachweisen lassen sich zwischen 1976
und 1986 rund ein halbes Dutzend Stellen, an denen sich Handke mit
Heidegger beschäftigt, so beispielsweise mit seinem Aufsatz <i>Bauen, Wohnen, Denken</i>. <i>Sein und Zeit</i> dürfte Handke, so von Bülow, nicht gelesen haben beziehungsweise nur ausschnittweise. Die Hauptfigur in Handkes Erzählung <i>Langsame Heimkehr</i>
(1979), ein Geologe, der den Namen Sorger trägt, sollte ursprünglich
Heidegger-Leser sein. Handke sei dann jedoch davon abgerückt. Mit den
vereinzelten Deutungsvorschlägen, der Name Sorger sei eine Anspielung
auf Heidegger, kann von Bülow nicht viel anfangen. Handke habe, so die
These, nur ab und an einzelne Formulierungen von Heideggers
Sprach-Jargon, den er im Übrigen eher skeptisch betrachtet, verwendet.
</span></div>
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Über Goethe kam Handke zu Spinoza. Schlüssig erläutert
von Bülow anhand von Eintragungen zwischen 1980 und 1983, wie eng
Handkes poetologisches Prinzip mit Spinozas „Konzept der Freude“
verwoben ist. Interessant sind auch die kleinen Parallelen zwischen
Spinozas und Heideggers „Ding“-Betrachtungen. Aber auch Handkes
Diskrepanzen zu einigen Aspekten von Spinozas <i>Ethik</i> (etwa den „Kausalismus“) werden herausgearbeitet. Am Ende entschied sich Handke in seiner Erzählung <i>Die Lehre der Sainte-Victoire</i>
für Cézanne und nicht Spinoza als (seinen) „Menschheitslehrer“. Spinoza
war ihm zu sehr ein mit apodiktischen Botschaften Daherkommender. Er
präferierte den weichen, vorschlagenden, suchenden Cézanne. Dennoch
finden sich im späteren Werk des Autors immer wieder Einflüsse von
Spinoza.
</span></div>
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #f4cccc;">
</b></span><br />
<div class="rez">
<span style="background-color: #f4cccc; font-size: large;">Das vom Deutschen Literaturarchiv herausgebrachte Buch
könnte – zusammen mit der gerade im Suhrkamp Verlag erschienenen
Handke-Gesamtausgabe – ein Initial für eine umfassende Beschäftigung mit
Handkes Notizen sein. Seit jeher werden seine Journale vom Publikum
sehr geschätzt, was, wie Katharina Pektor unlängst in einem Aufsatz (<i>Leuchtende Fragmente</i>)
anmerkte, womöglich daran liegt, dass meist Notate Verwendung finden,
die eher aphoristischen Charakter besitzen. Wer über Handkes Werkgenese
forscht, wird an den Originalen nicht vorbeikommen – das kann man schon
bei Ansicht der bisher zugänglichen Notizbücher sehen – und zu zum Teil
überraschenden, weiterführenden Erkenntnissen kommen. Mit dem neu zur
Verfügung stehenden Konvolut gibt es eine Menge Arbeit.</span></div>
</div>
</div>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-66392855838250617942018-08-06T09:31:00.000-07:002018-08-06T09:31:00.375-07:00ROLOFF REVIEW OF HANDKE'S THE GREAT FALL <a href="http://www.twitter.com/summapolitico"><span style="font-size: large;"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></span></a><br />
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<span style="font-size: large;"><b><span lang="PL" style="color: black; font-family: "Courier New";"><a href="http://goaliesanxiety.blogspot.com/2011/07/peter-handkes-latest-novel.html"><span style="color: #1155cc;">http://goaliesanxiety.blogspot.com/2011/07/peter-handkes-latest-novel.html</span></a></span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="color: black; font-family: "Courier New";"><a href="http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html"><span style="color: #1155cc;">http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html</span></a></span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">================</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">THE GREAT FALL</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">By Peter Handke</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">Translated by Krishna Winston</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">Seagull Books, distr. U. Of Chicago Press</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="color: black; font-family: Verdana, sans-serif;">https://tinyurl.com/y9om2d49</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: #222222; font-family: "Courier New";">Has there ever been a writer
like Austro-German-Slovenian author Peter Handke? Or one approximating him?
Since 1964 Handke has published three dozen works of prose, two
dozen on the shorter side compared to half a dozen of epic-length; as well
as two dozen plays, and a few films, most of which work is available in
translation - yet Handke does not repeat himself. He has won just about
every prize for prose expect the Nobel and for the theater the <i>Ibsen
Prize, <u>the</u> </i>prize for drama. During the course of these
fifty plus years the great walker that Handke has become has explored
landscapes as varied as the French Picardie, the Spanish <i>Del
Gredos, </i>the Slovenian <i>Carso </i>and the region near Paris
where he has lived the past twenty five years and that he calls „No-Man’s-Bay”;
and a burgeoning self. The act of reading his oeuvre provides a
unique experience, that differs from work to work; reviewing Handke thus is
demanding, an effort that repays itself, most times, in the form of great
pleasure.</span></b><span lang="PL"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">However,
if you did not know identity or nationality of the author of the just published
<i style="mso-bidi-font-style: normal;">The Great Fall, </i>chances are, reading
its first chapter, you would say that it was of French origin; if truly
well-read you might even consider that its hyper-observant, finely detailing
author might be Peter Handke, and not a French wench. For,<i> The Great
Fall </i>has a most misleading first chapter: a man wakes up in
a bed not his own,</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="PL" style="background: yellow; color: black; font-family: Georgia, serif;">"That day, the
one that ended with the Great Fall, began with a morning storm. The man, the
one who is to be the subject of this narration, was awakened by a powerful
thunderclap. The house, along with the bed, will have trembled and for a long
moment will have continued to shake. Moment: that had no connection to the man
lying there. Frightened out of his sleep, he kept his eyes closed and waited --
how would the event continue." {scott abbott’s tranlsation]</span><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">it is that of a long-time - it turns out -
sleeping buddy whom he claims not to love, and which seems fine with her; she
is already off to work; but, though the house still holds a few mysteries for
its long-time visitor – he busies himself putting it in order as though he was
the woman’s man-servant-house-husband.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">
It’s a wonderful chapter with a Handkean thunderstorm and rain, and fantasy can
imagine all kinds of erotic complications, especially if you know of the then
aging layabroad’s perhaps still complicated erotic life. – <i>Great
Fall’s </i>completion date is 2011, Handke was a nearly 70 year young
daily walker who is having fun claiming that the book was written in the
redneck town of Great Falls, Montana, a town that the world traveler visited
once when his friend Wim Wenders was filming there.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"> </span></i></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">His chores completed, the protagonist – an actor, a star
actor, is Handke’s personae this time around – not an archaelogist or geolgist
- a fact that ought to alert the reader that more than the usual sleight of
hand business might be afoot - sets out on a big walk from its outskirts to
Paris, and he has the characterist shoelace problems of Handke’s
protagonists-personae; and, those familiar with Handke’s immense and varied
walking oeuvre, will not be surprised to have the surrogate Handke walk
backwards a few times, even up an incline this once. Moreover, the symbol
hunters among the readers will notice any number of minor mishaps, a lemon seed
becomes frustratingly lost under a bed, a coffee mug falls and shatters – ah
premonitions of a „big fall” – well let me clue you in right now, there is no
„great fall” as little as the books was written in „Great Falls” Montana.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"> However,
for the next seven of its nine chapters – that is not until near the end -
there is really no mention of the house or the woman, although she enchants him
at an eatery in Paris without his recognizing her at first – one of the actor’s
numerous foibles being the inability recognize those closest to him in an
unfamiliar setting. By the end of the book - that cuts short the imminent
consummation - great love it seems has set in for that woman. „The face of a
beautiful woman is a gate to paradize” the hater of veils states at one point.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">The
Great Fall </span></i></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">is one of Handke’s many
walking books, but a walking book of slow progress with many halts for fine and
thorough and succinct exploration of a dozen or so extraordinary incidents, and
near endless self-interrogating dialogue with himself, as he wends walks hops
gropes slithers his way in truly adventurous and at times near animalistic
fashion from the Paris outskits to the center of town – the book could lop off
the first chapter and substitute the wonderful opening of <i>Alexia, the
Fruitthief</i></span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="color: black; font-family: "Courier New";"><a href="http://handke--revista-of-reviews.blogspot.com/2018/05/revista-of-obstdieb-fruit-thief-reviews.html"><span style="color: #1155cc;">http://handke--revista-of-reviews.blogspot.com/2018/05/revista-of-obstdieb-fruit-thief-reviews.html</span></a></span></i></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="color: black; font-family: "Courier New";"><a href="http://translation-plus.blogspot.com/2017/12/obstdiebin-translation-sample.html"><span style="color: #1155cc;">http://translation-plus.blogspot.com/2017/12/obstdiebin-translation-sample.html</span></a></span></i></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"> - </span></i></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">with the protagonist’s bare foot receiving the first bee-sting
of the year - written six years later, also a summer book, that has for its
narrator Peter Handke as dweller of the Noman’s-Bay of <i>My Year in the
Noman’s Bay </i>and which refers to <i>The Great Fall </i>at a
significant moment. Would anyone object to Handke titeling <i>Great Fall</i> <i style="mso-bidi-font-style: normal;">„A Peter Handke Walk to the Center of
Paris”? </i>This strikes me as a summa of Handke Paris Walker’s best! The
strongest experiences not necessarily the most pleasant of course. And if you
want to interpret that walk – overll - as one to hell, or yet another of his
trek’s to Golgotha, don’t let me stop you.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">
Readers of <i>Afternoon of a Writer,</i></span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="color: black; font-family: "Courier New";"><a href="http://handke--revista-of-reviews.blogspot.com/2011/12/afternoon-of-writer-nachmittag-eines.html"><span style="color: #1155cc;">http://handke--revista-of-reviews.blogspot.com/2011/12/afternoon-of-writer-nachmittag-eines.html</span></a></span></i></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"> </span></i></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">Handke’s short projection-drenched projection-screen walking
novel of 1988, will be intrigued yet disappointed in the matter of Handke
projecting in <i>Great Fall</i>, but for a few moments; doing so
especially with the theme of helping and saving; that is, obviously, the actor
being in need to be saved himself, as has been the case for decades, or at
least since Tilman Moser noted as much in his piece on the 1974 <i>A
Moment of True Feeling.</i></span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="color: black; font-family: "Courier New";"><a href="https://www.tilmannmoser.de/site/publikationen/lektueren_eines_psychoanalytikers_-_romane_als_krankengeschichten.html"><span style="color: #1155cc;">https://www.tilmannmoser.de/site/publikationen/lektueren_eines_psychoanalytikers_-_romane_als_krankengeschichten.html</span></a></span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">Not
that Handke had more but the briefest truck with the Tilman Moser’s of this
world as you can note in his <i>Weight of the World.</i> </span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">Nor
does the incremental walk that is <i>The Great Fall</i>, - unlike
e.g. <i>The Repetition</i></span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="color: black; font-family: "Courier New";"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/repetition.html"><span style="color: #1155cc;">http://handke--revista-of-reviews.blogspot.com/2010/05/repetition.html</span></a></span></i></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"> -</span></i></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"> induce any kind of walking pace in me, but<i> </i>is
an instance of Handke stringing together fascinating - initially unrelated -
incidents and observations accumulated during those many walks, and whose
cumulation as he penetrates further into Paris become darkly visionary. There
is a streak of violence and sense of a deeply frayed society running through
the incidents that culminates in a presidential address and mass demonstration
in the center city, but for an extraordinary lunch that the actor – accidently,
courtesy of a chapel’s oddly attractive one-note tolling - shares with a
working class mechanic priest. That scene itself is worth the price of
admission as is each of these self-contained and sufficiently dramatic
portraits. However, as one of Handke’s walking books – 60 k words long or short
- it therefore makes slow progress, and the progress - when described - can be
astonishingly grueling - unimaginable so to railway, plane or bus visitor.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">As
the actor leaves the house he first has to work his way through a forest that
has a „forest madman” who will remind the Handke reader of a similar creature
in Handke’s great play <i>Voyage by Dugout – The Play abobt the Film about
the War [fn] </i>who stinks like a cadaver and emits vile curses for
everyone to shut up – I recognized him as one of these dispersed by the
Yugoslav wars living in a reconstituting prairie here in Seattle, a big Slavic
guy, scared like the proverbial little girl. „Where are you from?” – I wanted
to know his tribe - „Here, Seattle.” He and his single blanket wouldn’t even
let me buy him a cup of coffee. What those people did to each other! Civil wars
seem indeed to be the worst.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">He
comes on the once refugium of a once carpenter apprentice, aged 16 like his own
son. He notes the changing sky. It is a transitional chapter and nature appears
to be in transition too. He also engages in some truly odd asides or mental
speculations, perhaps</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"> </span><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">just
to keep himself from being bored: various items are transformed into what one
would generically call "fools gold" of every kind, meant to trick
potential fellow walker into being educated and accurately informed. Our actor
has a fine way of working his way directly over just about any kind of
obstacle. The immigrant he calls the last man on earth, but then forbids
himself such grim thoughts. This chapter, that contains no end of beautiful
observations of nature, ends on this fairly somber note.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">Once
out of the forest the actor encounters, in one outlieing region numerous of the
aging demented being taken for their daily shuffle. He comes upon an old
acquaintance, once neighbor friend in a different country, who too has lost his
marbles, on the Gobi desert – but <i>The Great Fall</i>, for those in a
comparing frame of mind, is nothing like that projection screen for
readers <i><u>Afternoon of the Writer</u></i> where ample room is
left for the reader-writer to imagine himself on such an walk and where Handke
projects so much of his innerworld – his fears, his wishes, murderous impulses,
inverted grandiosity, very much in the subtly ironic manner of his favorite
Goethe’s <i>Elective Affinit;, </i>justfied satisfaction, as well of
course as the finest lyrical description of a walk down the Salzburg’s
Moenchsberg and through town and time spent in a grim dive and back up-hill –
an account of just a few hours.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">There
are the juvenile gangs in districts closer to town. At a huge deserted railway
yard the actor is waylaid by two cops who pounce on him as only cops with too
liitle work can and who suspect and treat him, a foreigner, as a terrorist and
to the third degree – I have had similar encounters in the most deserted
strethes in an over-policed world – but the mere show of my out of date and
possibly fake – how could they tell? NY City Press I.D and they are gone
like the wind that brought them, no apologies.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">The
star actor is on his way to Paris to receive an award from the nation’s
president [during the course of his ruminations he decides to skip the
ceremony]</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"> </span><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">and to play, in a film, an
amok-running madman - a beserker character out of Handke’s psyche from as far
back as the three long fuguing poems in <i>Nonsense & Happiness [fn]</i></span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="color: #222222; font-family: "Cambria Math", serif;"></span></i></b><span lang="PL" style="color: #222222; font-family: "Courier New";"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="color: black; font-family: "Courier New";">analytic-comments.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html</span></i></b><span lang="PL"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="PL" style="color: #222222; font-family: "Cambria Math", serif;"></span><span lang="PL" style="color: #222222; font-family: "Courier New";"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"> a</span></i></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">nd recurring ever since, if you are familiar with his texts
and their marvelous surfeits, of the affinity Handke feels with the idiots he
runs into – a high end autist’s affinity it is. - At a significant moment,
the actor – described as being on the order of a DeNiro who „becomes the raging
bull” – sees an amok-runner staring at him from the Metro window and then
realizes that that amok-runner is a reflection of himself! It is one of those
great instances of Handke’s projecting, and realizing it, and perhaps merely
playing - though in a superbly convincing manner - will then extirpate that
impulse once and for all? - and Handke leaves it at that and does not, as he has
not in the past fifty plus years that I have been translating and reading
amok-running texts of his, seek to fathom the origin of or persistence of that
impulse. At another point, Handke’s supremely sensitive
antennae project world-wide imminent road-rage breaking out as even the
closest of neighbors turn on each other and Handke makes it a point to discount
what he terms the suggestion of „psycho-physicists” that the explosion of
aggression is due to a lack of inter-European wars during the past 75
years. Well no, „pscho</span></b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">-</span><b><span lang="PL" style="background: aqua; color: black; font-family: "Cambria Math", serif;"></span></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">physicists”
in the form of those educated by Kohut in Self Psychology - which meanwhile has
indeed defined the quarks of the self to the same degree that modern physics
has sub-atomic particles - has far more refined notions why generation upon
generation of psychic deprivation in a world of capitalist competition and
the culture industry and political falsehood and the false promises of
advertising and their consequences have a dire effect on the emotional
household of the individual, creating powder kegs – across all class lines!
Handke, great activist writer, and descriptor, continuous developer of the
capacity of prose narration, one of the best antennae, once again shows
his backwardness in matters state of the art of psychology; it persists since
it manifested itself in some incredibly backward comments on narcissism in the
otherwise great <i>One Dark Night I Left My Silent House. </i>Adorno,
in other words, too would disapprove!</span></b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">The
actor is a moody fellow. At one point a starvation artist’s hunger seizes him –
‘Hadn’t he had breakfast among all the stuff he was doing at that house?’
occurred to me – as well hunger to consume his woman whom he must have consumed
to previous night to wake up so well-disposed. All around horny</span></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Cambria Math", serif;"></span></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">
fellow you conclude. But soon enough there will be a down moment.<o:p></o:p></span></b></span></div>
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<span style="font-size: large;"><b><u><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">Great
Fall</span></u></b><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"> being the account of a single day’s walk one
is tempted to compare it to <i>The Afternoon of the Writer. </i>Moments
of misanthropism</span></b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"><o:p></o:p></span></span></div>
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<b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"><span style="font-size: large;">to be sure as the sight of mindless groupings; wonderful
long descriptions of the light and dark of the sky as the day progresses and
the actor enters an equally light entrancing Paris and the heat-lightning
provides premonitions of a second thunderstorm. The actor’s maddening walkabout
there - after a frightful mass assembly that viewed the president’s
declaration of war has broken up - will remind all those who have wandered
about at night in a heavily peopled megalopolis and without a clear goal
and too much time on their hands - a sequence rendered in an astonishingly
film-like intense manner - I can’t summarize in any other way but to say that
it becomes an extraordinary experience for the reader; Handke at his best.<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";">The
novel’s last sentence „and then there was the Great Fall” – as the actor is
about to I suppose marry this woman – the same woman as the previous night!-
seven years later in the <i>Fruitthief </i>Handke is – hear hear! –
starts to fancy the „marriage sacrement”! – is a true puzzle; until you
realize that Handke likes to sign off with „infinitely mysterious,” as he
does his <i>Fruitthief </i>and some other titles, and I think this
final sentence is just another most intriguing way of doing so – no need for a
fall of any kind.</span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"><span style="font-size: large;">Seagull,
now Handke’s second English language publisher have done a bang-up job with a
book on the same high order as all of Handke’s shorter novels.<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: aqua; color: black; font-family: "Courier New";"><span style="mso-spacerun: yes;"> </span>Krishna Winston’s translation is a true
delight; and I only wish that Seagull issue some of the other importat titles
that Farrar, Straus has neglected. Handke’s second novel <i>Der Hausierer, </i>the
nearly socialist realist portrait of a saltworks <i>Kali; </i>and a
number of all important notebook condensations <i>Geschichte des
Bleistift’s, Gestern Unterwegs </i>[avaiblable in translation into Romance
languages], along the line of its sole exmaple that exists in English, the so
revelatory <i><u>Weight of thre World.</u></i></span></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><i><span lang="PL" style="color: black; font-family: "Courier New";"><a href="http://handke--revista-of-reviews.blogspot.com/2014/04/weight-of-world-das-gewicht-der-welt.html"><span style="color: #1155cc;">http://handke--revista-of-reviews.blogspot.com/2014/04/weight-of-world-das-gewicht-der-welt.html</span></a></span></i></b><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="PL" style="color: black; font-family: "Courier New";"><span style="font-size: large;">NOTES<o:p></o:p></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="PL" style="color: black; font-family: "Courier New";"><span style="font-size: large;">Fn] That forest madman is also a
real person and has become a Serbian facebook friend of mine and is an instance
where Handke’s impulse to „save” was successful. Novo was arrested in Germany
for having failed to prevent a human rights violation during the Yugoslav
wars<span style="mso-spacerun: yes;"> </span>- imagine that, the successors of
the Nazi Reich will arrest a foreign national for not stopping a war crime!
Handke, hearing of the case, managed to get Novo released and then was best man
at his wedding.<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="PL" style="color: black; font-family: "Courier New";"><span style="mso-spacerun: yes;"> </span></span></i></b><b><span lang="PL" style="background: white; color: black; font-family: Verdana, sans-serif;">https://tinyurl.com/y8awptpz</span></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="PL" style="color: black; font-family: "Courier New";"><o:p></o:p></span></i></b></span></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-17204470792748701582018-07-05T14:28:00.000-07:002018-07-10T18:06:28.853-07:00A NOTE on AFTERNOON WRITER & EXPLICATION OF HANDKE’S NASTIEST LIE AS CLUE TO HIS KILLER PROJECTIONS <a href="http://www.twitter.com/summapolitico"><span style="background-color: yellow; font-size: large;"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></span></a><br />
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-size: large;"><span style="mso-spacerun: yes;"> </span>=I=<o:p></o:p></span></b></div>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><u>PREPATORY TO A REVIEW OF A TRANSLATION OF HANDKES ‘THE
GREAT FALL’ <span style="mso-spacerun: yes;"> </span>come an</u></b><b style="mso-bidi-font-weight: normal;"><u><span style="color: #222222; font-family: "courier new";"> </span></u></b><b style="mso-bidi-font-weight: normal;"><u>EXPLICATION <span style="mso-spacerun: yes;"> </span>OF HANDKE’S NASTIEST LIE AS CLUE TO HIS KILLER
PROJECTIONS AS</u></b><b style="mso-bidi-font-weight: normal;"><u><span style="color: #222222; font-family: "courier new";"> </span></u></b><b style="mso-bidi-font-weight: normal;"><u>PART OF A
NOTE ON “THE AFTERNOON OF A WRITER” <span style="mso-spacerun: yes;"> </span>& RE-REVIEW OF HIS SHORT WORK.</u></b><b style="mso-bidi-font-weight: normal;"><u><span style="color: #222222; font-family: "courier new";"><o:p></o:p></span></u></b></span></div>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "courier new";"><a href="http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html">http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html</a></span></b><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "courier new";"><o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">FIRST RE-REVIEW:<o:p></o:p></span></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-bio-blog.blogspot.com/2018/06/a-note-on-left-handed-woman-as-farce.html">http://handke-bio-blog.blogspot.com/2018/06/a-note-on-left-handed-woman-as-farce.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">https://handke-bio-blog.blogspot.com/2018/06/handke-lies.html?showComment=1530988811758<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">SECOND RE-REVISTA<o:p></o:p></span></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">and now the equally - but differently - inverted and playful and
differently semi-autobiographical projection screen<o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background-color: yellow; color: black; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-magazin.blogspot.com/2018/07/a-note-on-afternoon-writer-handkes-most.html" target="_blank"><span style="color: #1155cc;">http://handke-magazin.blogspot.com/2018/07/a-note-on-afternoon-writer-handkes-most.html</span></a><o:p></o:p></span></span></b></div>
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<span style="background-color: yellow; font-size: large;"><b><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: black; font-family: "courier new";"><a href="https://www.suhrkamp.de/buecher/nachmittag_eines_schriftstellers-peter_handke_38168.html">https://www.suhrkamp.de/buecher/nachmittag_eines_schriftstellers-peter_handke_38168.html</a></span></b><b><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: black; font-family: "courier new";"><o:p></o:p></span></b></span></div>
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<b><span lang="PL" style="background-color: yellow; color: black; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke--revista-of-reviews.blogspot.com/2011/12/afternoon-of-writer-nachmittag-eines.html" target="_blank"><span style="color: #1155cc;">http://handke--revista-of-reviews.blogspot.com/2011/12/afternoon-of-writer-nachmittag-eines.html</span></a><o:p></o:p></span></span></b></div>
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<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "courier new";">all part of re-reading the sleight-of-hand artist’s shorter,
semi-autobiographical fictions <span style="mso-spacerun: yes;"> </span>-</span></b><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "courier new";"><o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html">http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Let me approach the deeply
puzzling and intriguing AFERNOON OF A WRITER - that I have not reread these
past 30 some years and am doing for the first time in its brittle Ralph
Mannheim translation [1] - by focussing on an example of one of its most
prominent features: <u>projection</u> – <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">As the Great Oracle of
Vienna had it: „By your projections thou shalt know thyself!” <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">On page 55 of the U.S.
edition we come on what is likely one of Handke biggest but certainly one of
his nastiest, grossest and most revealing lies, and an extrairdinary loss of
cool, a lie that - it turns out because it is so forcefully put and in full
awareness of its mendacity - then becomes for the reader an opening to that so
compact novel’s and Handke’s work numerous other projections – of the writer’s
woundedness – by gossip - in the form of a woman hit-and-run victim tossed into
the bushes, the writer addressing the world Walter Mitty fashion via a
projected announcer who then breaks down on the air... via the alleged feeling
to be „nothing” – an evaluation buttressed by no less than a Goethe quote –
pointing to the fact that, as is so frequently the case, the claimed nothings
really think they are the hottest of hot shits – as of course befits the <span style="mso-spacerun: yes;"> </span>prodigal player Peter Handke and is a justfied
self-evaluation in a number of writerly but no other respects [which then needs
to be tucked away] – the kind of player who by the time he wrote AFTERNOON had
devised sleight-of-hand plays on the order of the xxx Ionescoish <u>‘The Ride
Across Lake Constance”, <o:p></o:p></u></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span><a href="http://handke-drama.blogspot.com/2012/01/how-handkes-ride-across-lake-constance.html">http://handke-drama.blogspot.com/2012/01/how-handkes-ride-across-lake-constance.html</a><o:p></o:p></span></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">the grand WALK ABOUT THE
VILLAGES and the astounding prose works DER HAUSIERER, GOALIE’S ANXIETY AT THE
PENALTY KICK – marked by a paranoid schizophrenic’s projections and his killing
of a woman he has picked up as he becomes enraged – the memorable metaphor for
rage the boiling bubbles on the hotplate turning into a ants; the paranoid
SHORT LETTER LONG FAREWELL; THE LEFT-HANDED WOMAN [THE IDEAL LIFE]<span style="mso-spacerun: yes;"> </span>an inversion of the then state of affairs
into wished for normalcy... until Handke looses his cool, during a critical
period in Salzburg, as he does at the end of page 55; and it is worth quoting
the page in its entirety and then explicating and puzzling why Mr. Handke
breaks the cool in Salzburg mid-1980s...<span style="mso-spacerun: yes;">
</span>after having written that marvel THE REPETITION and about to flee back
to Paris. How much of the notoriety ascribed to „The Writer” – of a kind
befitting the later Handke of the Yugoslav Troubles but in AFTERNOON rather the
alluded to Thomas Bernhard – was the case, had the Marie Colbin troubles
reached the stage of notoriety? According to Scott Abbott she was persuing him
from bar to bar! <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://www.spiegel.de/kultur/literatur/peter-handke-den-bergschuh-im-unterleib-a-24228.html">http://www.spiegel.de/kultur/literatur/peter-handke-den-bergschuh-im-unterleib-a-24228.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Best
as I know is that Handke’s statements opposing the Waldheim campaign met the
usual opposition – imagine that: in Austria in the mid-80s, 40 years after the
end of Nazism opposing an old Nazy criminal running for office becomes a big
deal! – Handke had called Austria „fat” – In ACROSS [<i style="mso-bidi-font-style: normal;">Chinese des Schmerzens} </i>a Swastika-smearer is tossed across a cliff
of the Salzurg Moenchsberg. However, Handke was an acknowledged important
author of well-known plays; his great WALK ABOUT THE VILLAGES had not gone over
well at its famous Salzburg premiere in 1982. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html">http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">He
lived among what the doorman at the Hotel Mirabelle called „the big animals
atop the hills „ , the Moenchsberg <o:p></o:p></span></span></b></div>
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<span lang="PL" style="background-color: yellow;"><span style="font-size: large;"><a href="https://www.google.com/search?q=moenchberg&rlz=1C1JZAP_enUS738US738&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiMifzFypXcAhVos1QKHU5lBPMQ_AUICygC&biw=780&bih=363#imgrc=ErSHeeCiD3p7F">https://www.google.com/search?q=moenchberg&rlz=1C1JZAP_enUS738US738&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiMifzFypXcAhVos1QKHU5lBPMQ_AUICygC&biw=780&bih=363#imgrc=ErSHeeCiD3p7F</a><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">And I visited him there once
in 1980 upon my victorious ruturn from a month as a piece of cultural exchange
in Bugaria and beat him at Tarok, a loss that Handke suffered as badly as he
writes in <i style="mso-bidi-font-style: normal;"><u>VillageS</u></i> even as a
child he could not handle losing. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-bio-blog.blogspot.com/2018/06/ein-besuch-auf-dem-moenchsberg-1980.html">http://handke-bio-blog.blogspot.com/2018/06/ein-besuch-auf-dem-moenchsberg-1980.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">The writer heads off to a
dive, that Mannheim, improbably lodged in the language of Dicken’s London,
calls a <i style="mso-bidi-font-style: normal;">gin mill, </i>and is accosted by
someone who calls him „a weakling and a liar” – the latter of which is the
case, „weak” and „strong” are adjectives that lose all significance once you
have done an analysis. The writer seems to be working on a story and expresses
a certain degree of satisfaction among his general grumpiness; he is rehearsing
the next morning’s work – all that fits just about any writer and points to
AFTERNOON as a <i style="mso-bidi-font-style: normal;">projection screen – </i>something
Handke achieves in just about every work of his and which accounts for his
readers’ entanglement in his work. Handke also <i style="mso-bidi-font-style: normal;">projects </i><u>his</u> INNERWORLD, invariably, obviously most
manifestly in the series of texts by that name<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span><a href="http://handke-bio-blog.blogspot.com/2018/06/a-reading-of-youthful-singular-plural.html">http://handke-bio-blog.blogspot.com/2018/06/a-reading-of-youthful-singular-plural.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">The INNERWORLD projected
here is a grumpy but secrectly superior self, obviously the descriptions of the
winterscape are first rate, nothing else is to be expected from a first-rate
writer of that kind, the quality of his observations speaks for him. The book
suffers perhaps from a certain monotony because the writer seems to have no
family, no mention of Handke’s daughter Amina she being one of the reasons he
had returned to Austria to make sure she had an Austrian education [at one time
I looked at various French lycees in New York for Amina when Handke
contemplated relocating to a New York suburb in the 70s – a fantasy that his
unhappy time writing LANGSAME HEIMKEHR in the Hotel Adams in 1978/9 extirpated
once and for all!]; no family means no complications that would complicate the
afteroon that therefore seems more like that of an old man. Only a cat, no
wife, no girlfriend, no friends of any kind that he runs into, a few folks ask
for autographs – actually the title ought to be AFTERNOON OF A KNOWN WRITER –
he is self-conscious about his fame. He longs for the re-appearance of a
beautiful woman who once showed her face in the dive – a dive that seems not to
have any great sluts, at least none that he notes. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">There
is that wonderful section where Handke puts his valedictory to translating into
Ralph Mannheim’s mouth. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">=II=<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">The passage from AFTERNOON I
have in mind that is a true entry wound to the book and to Handke <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">incepts at the top of page
55 – a few pages later in the German - with the words „Suddenly he felt the
need to read something” and - <span style="mso-spacerun: yes;"> </span>after a
description of a variety of „wish you were here” postcards of Southwest
landscapes, animal & incident that I sent Handke and others while I and a
new love had cut out to the Southwest in 1985 away from the world of the Con,
and sucessfully translating his marvelous <i style="mso-bidi-font-style: normal;">Walk
About the Villages - </i>entirely forgetting in that process the division
Handke had placed, half a decade prior, to a possible friendship with the
translator and editor of all his early work in English - and continues: „... <i style="mso-bidi-font-style: normal;">the last recognizable letters vanished from
the text. Only recently, paralell series of dots, semi-circles, and wavy lines
had suggested arabesques; now the lines had lost all shape and were so far
apart that it was hard to conceive of any connection between them. Only the
address and the „As ever” and signature at end were still written as plainly as
before. What the obscure scribble communicated to the addressee was a furious
effort, manifested by the pressure of the pen, the split lines, and the blots –
as though the writer had repeatedly and vainly assaulted the paper. But this
mutilated cuneiform, in which all traces of the human hand had been
extinguished also expressed something else: a threat, an omen of death aimed at
the addressee.”</i><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">=III=<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">For efficiency and clarity’s
sake, let me provide the background that led to what is a deep and total lie if
only for Handke’s willful displacement of the timing – who of course fails to
provide the background or the story, and lives safely but falsely in the
mystery. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>The only one who is assaulting anyone here is
Mr. Handke and it is me because I showed him after he had threatened me – I
guess it must have been a shock to have been confronted after all that time! -
that he had been [1] caught red-handed in the cookie jar & [2] is unable
stomach defiance of one of his patented threats<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">And is thus manifesting [3]
a truly Germanic lack of a sense of humor to a letter that allowed as humorous
a response as the terms in which it was put; <span style="mso-spacerun: yes;"> </span>vengefully issueing [4] a monstrous lying
distortion. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Lets start at the start of
the start of the episode that leads to Handke’s perversion:<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>1981 this translator of all of Handke’s early
plays received the text of the great UEBER DIE DOERFER<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html">http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>– a godsend at the time - which - after several
onslaughts, of arduous but amazing labor – see the postscript – and an
extensive correspondence between author and translator - became<span style="mso-tab-count: 1;"> </span>WALK ABOUT THE VILLAGES <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://www.ariadnebooks.com/ProductInfo.aspx?productid=1572410000">http://www.ariadnebooks.com/ProductInfo.aspx?productid=1572410000</a>
<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Handke wrote that it was the best translation
he had ever seen, and that it was „cutting,” in the good sense – he was right
on the first part: having shouted out the text to give the verbal finish to this
translation for voice for actors to speak I realized myself that it was one of
the two translations – the other were 65 Nelly Sachs poems in OH THE CHIMNEYS -
that had engaged every aspect of me - head and heart and guts. That Handke’s
ear picked up the cuttingness of the text – it was a time downtown you did not
want to encounter the living edge of my rage - confirmed once again my sense of
his ultra perceptiveness. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Moreover,
the work on the translation of this great and demanding text had made me so
happy that I entirely forgot a dastardly act of Handke’s of about half a decade
prior where he had taken forceful possession of my main squeeze, the „great
fondness,” who on her way back from Africa it had been suggested might visit
someone whose work I was translating and publishing. It wasn’t even the taking
possession that was so troubling – though Handke might have first called me in
New York and asked - as he did his editor Elisabeth Borcher’s husband - whether
he could sleep with someone I call the Great Fondness to distinguis her from a
number of carnitas passions; and after the initial surprise at the request I would
have done as Borcher’s husband did and left it up to Fondness what she would
do. – It was not an instance - as there were a few in my lifetime - where
physical infidelity made for instant cleavage. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Under the then there circumstances, had I been
a Renaissance warrior or just an ordianry walrus had Handke not been an admired
genius author or it had been the „great passion” who had been taken posession
of, I might also have killed the bastard the next time he appeared at my door
in New York... or he and the great fondness could have fallen in love and the Great
Fondness would not have lost any of the Fondness I foisted on to her. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>I myself went back to passion [for my
greatest love, MUSIC-A] and initially became no less fond of the Great
Fondness, or that semi-Platonic notion – and that good sense and duration of
that kind might easily and fruitfully prevail in a couple where both parties
are of a literary persuasion. - It was an instance where we might have had yet
another entry to a 20th century Laclos revival as they were being lived out
during those now long-ago days that Laclos’s work most appropriately was
beginning to be read and filmed. <span style="mso-spacerun: yes;"> </span>No
Laclos relationships, however, for Mr. Handke who can’t or I should say
couldn’t handle it if one of his affairs while he was married had another
lover. A Pasha of a Walrus he! Under different circumstances we would have
employed enuchs in our seraglios! <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">– But
no, one of the two or three decisive cleavage moments – cleavage of possible
friends – manifested itself yawningly like a quaking gulf when the threesome
met at the <span style="mso-spacerun: yes;"> </span>Algonquin, Handke’s usual New
York residence, upon Handke not even seeming to recognize, barely acknowledge a
woman to whom he had confessed, among many matters, that his wife Libgart
Schwartz leaving him in the early 70s was the worst thing that had ever
happened to him – as I – had I been as well-schooled as I am now - might have
realized on the basis of translating his fuguing <span style="mso-tab-count: 1;"> </span>NONSENSE AND HAPPINESS <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-bio-blog.blogspot.com/2018/06/fugueing-in-crisis-poem-sequace-non.html">http://handke-bio-blog.blogspot.com/2018/06/fugueing-in-crisis-poem-sequace-non.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>... not that I think that that is actually the
worst....<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The
„great fondness” reporting on the goings on at the Lion’s den, Handke’s
basement apartment at Rue Montmorency [which I knew quite well], was most
enlighting. Like Handke himself, his young daughter was treated to exhibits of
the primal scene and expressed typical jealousy. By age 30, in 1972 Peter
Handke had committed the <i style="mso-bidi-font-style: normal;">delikte</i> of
both his real father, a Herr Schoenherr, and his stepfather Bruno Handke – he
had, if we are to believe Morawian Night, fathered an illegitimate child in
Krk/Cordula [but in compare to his father appears to have made no move to
remain in touch with mother or child], had beaten women and his child, to whom
he also behaved sadistically in many other ways [vide <i style="mso-bidi-font-style: normal;">Weight of the World & </i>for me his weakes because unaware book <i style="mso-bidi-font-style: normal;">A Child Story -2] ; </i>he had been a true
layabroad in a world of broads waiting to get laid; and, he couln’t handle it
if these women – Libgart, Marie Colbin, Sophie Semin - split for pretty much
the same set of reasons; neglect, fanatical cold salamander at his desk;
liberally unfaithful and insulting in his behavior as I noticed during the
Handke, Kolleritchs, Schwartz visit to NY in 1971.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">=III=<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><a href="https://draft.blogger.com/null" name="_Hlk518924437"><span style="mso-spacerun: yes;"> </span><o:p></o:p></a></span></span></b></div>
<span style="background-color: yellow; font-size: large;"><span style="mso-bookmark: _Hlk518924437;"></span>
</span><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">That afternoon of
non-acknowledgment and recognition at the Algonquin spooked spookable me, was
the fellow schizophrenic? Had there been some motive in taking possession of
the great fondness? – he had just left the 25th floor apartment I had lent him,
for it being suicidal! and moved back into the Algonquin. – <span style="mso-spacerun: yes;"> </span>That afternoon followed a by-then ten-year’s
acquaintance that you can read up on at:<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-bio-blog.blogspot.com/2018/06/handke-lies.html">http://handke-bio-blog.blogspot.com/2018/06/handke-lies.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">and als read footnote # 13.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">And ever after I kept my
distance from the person or sought if possible to interpose a third, usually Michael
Brodksy. Which was followed by my 1980 conquering visit to Handke in Salzburg!
that showed me, retrospectively, that I was on a trip to show Handke that I too
could dominate. A unique event. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-bio-blog.blogspot.com/2018/06/ein-besuch-auf-dem-moenchsberg-1980.html">http://handke-bio-blog.blogspot.com/2018/06/ein-besuch-auf-dem-moenchsberg-1980.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Handke, it turned out, had
no interest in the Great Fondness who is memorialized in <i style="mso-bidi-font-style: normal;">Weight of the World </i>as someone who learns a number of foreign
languages to be able to write a biography. – <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">=IV=<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">In the late 90s in Seattle I
happened to meet Wim Wenders who inquired whether Handke and I were still
friends. Without explaining that maybe we had never even been, or indicating
that I continued to cherish his work - but after mentioning the then long-ago
incident Wenders then cited that Handke intentionally hurt all those closest to
him. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>Not knowing Wenders, but aware of others Handke
had injured both psychically and physically, I failed to ask what Handke had
done to injure Wim – who nonetheless has continued to work with Handke over
these many years. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>I have no idea whether the injury Handke
caused me and that I entirely forgot during the translation of the great play
and subsequent cutting out west and writing of „wish you were here” postcards,
so that in fact we could have become or perhaps were friends - was incidental
or intentional – <span style="mso-spacerun: yes;"> </span>or whether the Handke
of the panic states and loss of mother and feminine love and fighting Jeanne
Moreau acted out of his usual pashadom that all the women in the world were his
- even when married his affairs could have no other lovers aside the Walrus
from Griffen! The pasha whose wives kept then kept running away from him
because he became a cold-blooded salamander writer, Libgart, Marie Colbin,
Sophie Semin who then rejoined him after both had had another series of affairs
and Handke finally figured out that separate residences was the solution if he
wanted to keep at least one wife.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>The writing of this page 55 in other words was
thoroughly delusionary - the postcards were sent quite a while prior to the
decisive blowup, were happy „wish you were here” cards. Handke distorts them after
I <span style="mso-spacerun: yes;"> </span>replied enlightengly to a Handke
threat that he would abbrogate our friendship if I persisted writing tough
letter of the kind as I had to PEA as I had subequent to returning form the West
and found out that they abrobated an agreed upon contract. „It was something
one could not do to him.” Nothing, of course, was being done to him; his
statement manifests the man’s extraordinary self-referentiality which you can
also find in his correspondence with Unseld and others.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>My handwriting has a curious history. My
mother introduced me to reading and writing Christmass 1939 by giving me one of
these famous wax tablets that had letters rising out of it if you rubbed it in
the right way - magic to a curious four year old as the computer screen became
once again. I then had primary school in Vornbach am Inn far in the Southeast,
a very rural Bavarian village school in Stifter country far from the bombs, and
the Volkschule in the village of Schoenebeck, Bremen. I recall the script of
that time, a kind of Gothic; in the U.S. as of 1950 I then changed to writing
individual letters – that is, printing more than writing, which however if you
speed it up and if the pen and paper are not conducive to each other can come
out looking angular – perhaps that is what Handke’s „cuneiform” refers to.
However, he had been receiving letters - not just postcards - with that kind of
writing for more than a decade and I don’t recall his complaining; rather the
opposite, there was a time during this Paris period that he was apparently so
lonely that he asked me to write him – which I did in my degenerating German,
and he asked me to switch back to English. It took a while to figure out why
such a successful writer was so lonely – once you contemplate his behavior at
the time his loneliness become less mysterious. Why his behavior is/ was so odd
– <i style="mso-bidi-font-style: normal;">tollpatchig</i> was what his antagonist
Reich-Ranicki called it – becomes less mysterious once Handke makes you aware,
as he did Gamper, of autistic episodes – that is even differently mysterious
until you examine the vagaries of autism! <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">=V= <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">My own bad luck initially in
New York persisted <span style="mso-spacerun: yes;"> </span>[AT- Urizen is
attributable to my failure to go see a lawyer to take care of a partner whom
Handke it happened to be described as „very dark” <a href="http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html">http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html</a>]
and at Farrar Straus in the sense that the fellow at that august firm [where I
had brought Handke in the 60s, and where I had published two volume of his
early plays and several of his novels], a creep who had opposed<span style="mso-spacerun: yes;"> </span>Handke and all my<span style="mso-spacerun: yes;"> </span>work from the very start – a children’s book
editor who had killed my Adorno Reader with a Susan Sontag introduction! after
I left to become the Suhrkamp agent – had become - <i style="mso-bidi-font-style: normal;">incroyable!</i> - editor in chief – and Handke, well apprised with ccs
of my correspondence, observed very accurately that this Iago type was treating
me as only such a little shit could... and was astonished at my persistence,
about which I did not enlighten him: it had to do with Roger Straus’s promise
to do the play once I was done - a matter on which as on so many other that
crook then welched. You, too, in you early years may be dazzled by the kind of
list that this firm had in the mid 1960s – Lowell, Wilson, Barthelme, Susan
Sontag, etc. into thinking that matters must be all above board! Not that they
cannot be, but often as I then found out they were anything but. <a href="http://artscritic.blogspot.com/2015/04/summa-farrar-straus-roloff.html">http://artscritic.blogspot.com/2015/04/summa-farrar-straus-roloff.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Though warned about Straus prior
to being asked if I wanted to work there, he nonetheless managed to fleece me
of ¾ quarters of my royalties – e.g on 15 of the 20 Hesse tiltles – a matter of
many thousand dollars during the life of those contracts which would have made
a huge difference, for one in my and Urizen Book’s life; the firm made millions
from the titles I brought them. I persisted in that instance to have it on the
record that Straus lied. Straus successors have been equally remiss. This was
also about the time that Roger Straus wrote Unseld at Suhrkamp that he had a
Handke problem – a problem of his own making because he did a lousy job
publishing him as the firm then did forever after.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Subsequentl to the FSG blowup I found Performaing Arts Journal -PEA-
folk whom I had given work prior to their starting their own firm, who would do
the play; managed to win the first of two big belated lawsuits against the
criminal partner<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2013/08/wieland-schulz-keil-hunting-socieity.html">http://artscritic.blogspot.com/2013/08/wieland-schulz-keil-hunting-socieity.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>and managed to get out of the Big Bright City
via a new passion that took me to the Southwest and back into healthy nature. There
we did a lot of traveling <span style="mso-spacerun: yes;"> </span>- Southwest
Texas and New Mexico - and then settled in Billy the Kid country and I sent
Handke and others postcards by the bunches. The ones from White Sands and Big
Bend I think were the most spectacular. Only two Sierras – the Carmen Range
near Big Bend vice versa the Ria Grande which is quite grande again resupplied
by Mexican waters, and the Sacramentoes in N.M. where M. and I had our fix-me-up
hunting lodge.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">I
returned to New York about a year later to close down my loft and what if
Performing Arts haven’t welched on our contract; and with all the ills I had
suffered then sent them a sledge hammer on your toes kind of letter, with cc to
Handke in Salzburg, whereupon I received a letter back that started with the
words „nice to hear from<span style="mso-spacerun: yes;"> </span>you again” - no
mention of all those lovely picturesque cards! – and whose two significant
sentences were: „this was something one could not do to him” - that of course
really rang the bell! - and if I persisted in writing these kinds of letters it
was bye bye friendship.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>I was working to get our work published –
nothing was being done TO Mr. Handke; but it is a sentence proving Handke’s
astounding self-referentiality that characterize AFTERNOON OF A WRITER, too,
and the characterization of my handwriting is a projection of Handke’s own
death wishes for me; the clearest instance of Handke’s psychosis, the kind of
psychotic act that Bloch performs in <u>Goalie.</u> <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>It was never a good thing to threaten me, but
especially not in the years 1982-86. Meanwhile, courtesy of Malte Herwig’s
biography we know that Handke is a threatener who threatened friend Kolleritch
that<u> Manuskripte</u> would never receive another manuscript of his if they
ever ran a negative review of one of his works again.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>I wrote back „re: friendship - Aren’t we
lucky” and cited the incident with the Great Fondness „ and for good and nasty
measure on my end hadn’t I desisted running away with the insulted and
neglected Libgart when the Handke, Kolleritch, Libgart package had been in New
York in 1971! Wasn’t she the right <i style="mso-bidi-font-style: normal;">rasante
</i>for me!... Who ran away to seek refuge with Peymann within the year of our
not running away in New York [3], from the cold infidel insulting layabroad
salamander ! where-upon Handke had famously spat out the sleepingtablet!<span style="mso-spacerun: yes;"> </span>... <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Mention
of Libgart was nasty of me, I had a sense that Libgart splitting had been a
major blow, though I had not examined the matter as closely as I have now. No,
I knew. The Great Fondness had been told and she told me.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>Handke might as easily have responded with
the gallows humor of my reply and we could have laughed the matter off and
really have become friends. But no.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>The upshot of this exchange was that Handke
turned at once to Ralph Mannheim to do another DOERFER translation, which
Farrar, Straus however, also, did not publish – that brilliant firm gave up on
Handke’s plays at the moment that he became a mature author, all the great
later plays, if translated, are all over the place. Subsequently, that genius Steve
Wasserman who was running Hill&Wang at that time, the FSG division that did
plays at that point, turned down ART OF ASKING & HOUR – imagine that! And
in a later exchange with me defended this on the grouds of profitability –
KASPAR at that point was probably in its 10th printing and LAKE CONSTANCE at
least in its second. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Aside the possibility that Handke was eager to
see what the play would do on the stage in English, I expoect my answer -
judging by the viciousness of Handke’s memorialization of the episoe in
AFTRNOON - was regarded as an act of lese majeste. I had noticed Handke’s
vulnerabilities in that respect when I beat him at Taroq at my Moenchberg visit
– and he is someone who writes about himself as a child unable to suffer the
sliightely defeat of any kind; but, nonetheless, self or occasioal
self-awareness does not seem to lead to a change in modus. Still, the
viciousness of the p.55 AFTERNOON projection ctd. my breath away after all
these years. Here is the man who keeps dreaming of running amok, the potential
killer who got ever so lucky by being a writer, and smart by living at the edge
of town!<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">It
took a while to find a publisher for VILLAGES, but Ariadne permitted an
extensive postscript; yet failed to send review copies even to Publisher’s
Weekly and Library Journal – thus their books don’t sell and no one but their 500
Austrian subscribers ever hear of them. For six months work I got a total of
650 dollar,<span style="mso-spacerun: yes;"> </span>500 Austrian via Ariadne, $
150 from Partisan review who pre-published a chunk; and a fine bottle of
California Red wine from the St. Monica Review who also pre-published a chunk. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">But
VILLAGES also became my „heart test” – which few passed,and the GREAT FONDNESS
of whom I was growing less fond for a variety of reasons only responded to a
the single sentence that cites „the hefty taxes” – success had changed her, and
not for the better.<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span style="background-color: yellow; font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="PL" style="font-family: "courier new";"><span style="mso-tab-count: 1;"> </span></span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "courier new";">So
much for WALK ABOUT THE VILLAGES being a PEACE TEXT, a Godsend that turned into
an ALBATROSS.<o:p></o:p></span></b></span></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">I only translated two more
Handke text. One was a brief idyllic text that I found too beautiful to
withstand and that can be found in the St. Monica Review & a few years
back, for my Serbian director friend Zejlko Dukic in Chicago, THE BEAUTFUL DAYS
OF ARANJUEZ<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-drama.blogspot.com/2015/01/theater-y-handkes-beautiful-days-of.html">http://handke-drama.blogspot.com/2015/01/theater-y-handkes-beautiful-days-of.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Handke
and I it turns out both know of the pornographic heart of the world its great
pleasures and its potential for pain.<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>During the time of the Yugoslav troubles I
wanted to translate Handke’s DUG-OUT CANOE <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-drama.blogspot.com/2012/07/an-extended-not-on-handkes-voyage-by.html">http://handke-drama.blogspot.com/2012/07/an-extended-not-on-handkes-voyage-by.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">because I had one Ret White
here at Cornish who seemed interested in mounting it. Handke nixed it with the
curious message via the Suhrkamp Agent „that I should accept” – I didnt accept
any foolishness, but it was just as well that I did not go to the trouble. <span style="mso-spacerun: yes;"> </span>As usual, Ret White at Cornish did not follow
up, typical of the in that respect utterly provincial and disappointing
Seattle:<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2015/04/seattle-uconducive-to-artistic.html">http://artscritic.blogspot.com/2015/04/seattle-uconducive-to-artistic.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>Meanwhile Scott Abbbott has produced a fine
translation of this great piece of work that had been published by PEA <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><a href="https://www.mitpressjournals.org/loi/pajj">https://www.mitpressjournals.org/loi/pajj</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">not that anyone has had the
guts to mount the play and adjust it in its Brechtian way to different wartime circumstances.<o:p></o:p></span></span></b></div>
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<span style="background-color: yellow; font-size: large;"><span style="mso-bookmark: _Hlk518987628;"></span>
</span><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">=VI=<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Re-reading Handke’s short novels
preparatory to reviewing the comparatively short – to the epics – 2010 THE
GREAT FALL reminds me how a long-ago read book can take on a life of its own in
the memory bank. What I recalled chiefly about AFTERNOON prior to rereading it
just now - <span style="mso-spacerun: yes;"> </span>originallyy read 30 years ago
in German about the time it was published, was [1] that I know the mountain –
the <i style="mso-bidi-font-style: normal;">Moenchsberg -</i> that Handke
describes decending & Salzburg where I once spent a week in the 60s at a
Hegel conference, which I believe also took place on the Moenchsberg, and<span style="mso-spacerun: yes;"> </span>which mountain I once ascended and partially
decended with Handke once on a night in October 1980 after I had beaten him at
Tarok and he was furious and told me he was not going to show me the
re-imported runaway wife Libgart Schwartz who I had no idea was the woman on
the phone when i had called – „did you get yourself a secretary” being the
words that slipped across my lips, to my own surprise – I sensed Handke
becoming the kind of „big animal” that the portier at the hotel I was staying
at described living on the <i style="mso-bidi-font-style: normal;">Moenchsberg</i>.
<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>I was always glad that the person [who in WALK
ABOUT THE VILLAGES, which I translated, admits to being the worst of losers]
didn’t toss me across the cliff at the spot where in ACROSS [Chinese des
Schmerzens] he tosses the old swastika smearing Nazi!<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">On
first reading AFTERNOON [1] I<span style="mso-spacerun: yes;"> </span>made up my
mind that, on one level, it was a marvelous example of Handke writing a
projection screen for other writers to find and differentiate similarities
while [2] simultaneously exhibiting some of his own problematics. Just about
every writer can identify with the here critter’s interest in finding the right
word – for whatever. Not every or even most are pervaded with „unhappy
consciousness” as is Handke throughout this aftrernoon and evening. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">[2] and that it was Handke’s
projection of his wounded self that is the wounded woman, the hit and run
victim, about midway into the book – which, now that I have just reread the
passage, is certainly a daring interpretation – in my mind I completed Handke’s
syntax the way he then wrote in ONE DARK NIGHT in dream syntax! There are quite
a few other mentions of thorny matters - being Handke ’s kind of writer it
appears can be painful, is torturturous. Scott Abbott found the road to
Golgotha in Left-Handed woman, I only its recollection.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>The life the book was living inside me
transformed the radio announcer at the midntight end into a walter mitty-like
figure – and i had forgotten that he suffers despair on the air -<span style="mso-spacerun: yes;"> </span>[4] but certainly he is yet another
projection and on the same order as the wounded woman. <span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>In the bar or pub<span style="mso-spacerun: yes;"> </span>- what the translator calls a „gin mill” – i had
tranposed what follows, the conversation with the translator and at that time
turned him into Handke’s Serbian translator!<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">``Matters that I did not
recall, that did not make such a lasting impression on me, was how grumpy the
writer is during part of his roundabout Salzburg, how self-conscious he is
about being well known – the title pertains to a „well known” writer, if not
notorious from the way he described being regarded<span style="mso-spacerun: yes;"> </span>- as Handke may very well have been
subsequent to his interventions in what I call the „Yugoslav trouble” and his
appearance a the funeral of the big bad bete noir Milosevic. I have addressed what
reasons Handke might hae had rto be geneally disliked in Austria at that time –
compared to Thomas Berhard, to whom the book alludes at one point, I would say
none. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">And I
forgot the fine dissertation on why translating can be a good surrogate for
writing. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">Shortly after finishing
AFTERNOON Handke fled Salburg leaving some manuscripts behind and then took up
residence in Chaville a suburb he had dissovered<span style="mso-spacerun: yes;"> </span>while he resided in Clamart/ Meudon in the
early 70s.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>It is an odd experience to accompany the unhappy consciousness of
this writer during his afternoon an evening walk. After all, he had written a
number of very fine things by then. <span style="mso-tab-count: 1;"> </span>There
are suicidal notes here later on – the one I like best is that of letting go of
his bedpost and plunging down the sheer cliff and landing on a pile of his
writer’s pencil shavings! <o:p></o:p></span></span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background-color: yellow; font-family: "courier new";"><span style="font-size: large;">1] I am no fan of Mannheim’s
– he lived for too long away from the living language and his translations of <i style="mso-bidi-font-style: normal;">The Repetition<span style="mso-spacerun: yes;"> </span>& A Slow Homecoming </i>need to be redone
because his language fails to accmodate Handke’s rhythms. Though she can fuck up
big time at difficult moments, I far prefer Krishna Winston’s far more musical
work. A better ear!<o:p></o:p></span></span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "courier new";"><span style="font-size: large;"><span style="background-color: yellow;">2] A Child Story I find so poor
because I saw a lot of Handke and Amina in that time in Paris and New York and never
in my life have I seen such a cowed quiet girl – no dancing steps left at an
early age; and so I was not surprised to hear from Eric Wolfgang Skwara around
1994 that Handke de</span><span style="background-color: yellow;">eply regretted his educational ways.<o:p></o:p></span></span></span></b></div>
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<b><span lang="PL" style="background-color: yellow; font-family: "Courier New";"><span style="font-size: large;">3] The New York Times
Reviewer Herbert Mitgang may have a point that the writer must not be a pleasant
fellow<o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background-color: yellow; font-family: "Courier New";"><span style="font-size: large;"> <a href="https://www.nytimes.com/1989/08/28/books/books-of-the-times-author-rises-briefly-from-his-typewriter.html">https://www.nytimes.com/1989/08/28/books/books-of-the-times-author-rises-briefly-from-his-typewriter.html</a><o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background-color: yellow; font-family: "Courier New";"><span style="font-size: large;">4] Aside the aforgoing, there
is no one next to my mother that I love more than the bastard from Griffen, for
the love that starts to speak out of his work with VILLAGES and that becomes in
Peter Strasser’s words EIN FREUDENSTOFF<o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background-color: yellow; font-family: "Courier New";"><span style="font-size: large;"><a href="https://www.amazon.com/Freudenstoff-Handke-eine-Philosophie-German/dp/3701706654">https://www.amazon.com/Freudenstoff-Handke-eine-Philosophie-German/dp/3701706654</a><o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background-color: yellow; font-family: "Courier New";"><span style="font-size: large;">The stuff of Joy.<o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="font-family: "Courier New";"><span style="background-color: yellow; font-size: large;">he can be the sweetest most
generous of men – domage for a woman coming between us.</span><span style="font-size: 36pt;"><o:p></o:p></span></span></b></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-24365968353220412442018-04-28T10:23:00.001-07:002018-04-29T10:16:10.824-07:00MAIN CHARACTER DEVICE ALEXIA, THE FRUIT FILCHER, PART OBJECT<span style="background-color: cyan; font-size: large;"><a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a> <span style="color: #0000ee;"><u>http://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html</u></span></span><br />
<span style="background-color: cyan; font-size: large;"><span style="color: #0000ee;"><u><br /></u></span></span>
<span style="font-size: large;"><span style="color: #0000ee;"><u style="background-color: yellow;"><br /></u></span></span>
<span style="font-size: large;"><span style="color: #0000ee;"></span></span><br />
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<span style="font-size: large;"><span style="color: #0000ee;"><b style="mso-bidi-font-weight: normal;"><u><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">Alexia<o:p></o:p></span></u></b></span></span></div>
<span style="font-size: large;"><span style="color: #0000ee;">
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">In
“Alexia, Fruit Thief/Filcher” <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;"><a href="http://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html">http://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html</a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">Alexia
is presented as a vagabond – childhood escapee - who has been all over the
world – to lots of the same places that Peter Handke has been: Alaska, Detroit,
Spain - has Handke actually been to Siberia? She seems to be in her
mid-twenties just returned from Russia [not from Serbian rivers!!!] but has
haute bourgeois French parents - her motive for going to the Picardie is said
to be to look for her mother, the Bankieress from SIERRA DEL GREDOS…</span></b></div>
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<span style="background-color: yellow;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Courier New"; font-size: 24.0pt; mso-ansi-language: EN-US;">but
Alexia is actually yet another of Handke’s surrogate wanderers</span></u></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New"; font-size: 24.0pt; mso-ansi-language: EN-US;"> Sorger, Loser, Kobal,<span style="mso-spacerun: yes;"> </span>Keuschnig, the Bankieress… what Kleinians
call a “part object” which differs from a projection – Handke’s most delightful
“part object” - and a slight one being that restaurateur in NO-MAN’S-BAY who
serves the world’s most delicious word-salad but keeps going broke and thus
keeps moving his joint ever deeper into the forest – as - judging by the sales
figures of his books and how rarely his plays are done in<span style="mso-spacerun: yes;"> </span>English - Handke would have to in this
country if he wanted to maintain his life style. <o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">http://handke-drama.blogspot.com/2012/07/peter-handke-plays-in-english.html/<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">Part
objects of the amusing kind are rife in the play THEY ARE DYING OUT and signify
that Handke stands very much in the tradition of Austrian comic dramatists.<o:p></o:p></span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">However,
Alexia - like Sorger and Loser - is not just a part but surrogate for her
creator’s senses, she or he do the seeing for him, and thus free Handke from
his notebooks and the autobiographical and allows his fantasy to roam. Thus,
Sorger’s profession of geological surveyor or Loser’s as archeologist I think
need to be understood as poetic rather than the activities of a professional. <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">Independent
of doing yeo-woman’s service as her creator’s magnificently observant eyes and
ears during his exploration of a stretch of the French country side – that is,
of being Handke’s surrogate personae – <span style="mso-spacerun: yes;"> </span>Alexia is odd indeed and anything but your
typical twenty-something all-around vagabond as which Handke tries to present
her. Alexia is first of all the reincarnation in female form of St.Alexius<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;"><a href="https://en.wikipedia.org/wiki/Alexius_of_Rome">https://en.wikipedia.org/wiki/Alexius_of_Rome</a><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">but
the only thing she shares with him is a proclivity for hiding under stairs - we
do not see her begging or sharing alms, though she is frugal. More saintly she
becomes in the chaste dream that Handke provides her when she does not hook up
with her companion Valter, she may even be on her way to a nunnery and marriage
to Christ!<o:p></o:p></span></b></div>
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<span style="background-color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New"; font-size: 24.0pt; mso-ansi-language: EN-US;">She is
into Eminem <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">but apparently
not into any French singers, and she does not strike me as any kind of typical
twenty-something world explorer as which she might also have been portrayed.
She is said to have managed one semester at the University at Pointoise – Peter
Handke’s second daughter, chiefly raised by her French haute bourgeois mother
Sophie Semin, is about the same age and Handke could have asked her to get an
idea of a typical French girl her age – Alexia is not Laocadie Semin/Handke not
by the farthest stretch of the imagination, who I am sure has other songs in
mind aside Eminem and is unlikely to be part saint in the making. If Alexia is
meant to be rendered as a <u>typical</u> upper-class girl that decided to go
her own way around the world he could have consulted with this daughter – the
few dabs in the direction of establishing a background are not only unnecessary
but distractingly insufficient.<span style="mso-spacerun: yes;"> </span></span></span></b><b style="mso-bidi-font-weight: normal;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Courier New"; font-size: 24pt;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<span style="background-color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Courier New"; font-size: 24pt;">Young adults that age have
sex, entirely friendly sex it may be, non-committal pleasurable hook-ups or
romantic involvements, and it is as much part of their life as breathing but in
that respect Alexia and Valter do not exist as separate characters but as a
vehicle for Handke to memorialize a region and as a memory of once projections
of chasteness – the passage on p. 414-5 telling of Alexia’s dream of a possible
brides-groom strike me as appropriate to a saint in the making - <span style="mso-spacerun: yes;"> </span></span></b><span style="mso-spacerun: yes;"> </span><b style="mso-bidi-font-weight: normal;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Courier New"; font-size: 24pt;">L</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New"; font-size: 24.0pt; mso-ansi-language: EN-US;">ike Handke Alexia 9s also into the blues but her association to a lot of
the same far-ranging places that Peter Handke has been are rather minimal and
don’t add much<span style="mso-spacerun: yes;"> </span>- the mere mention of the
Bering Sea or Yesenin River etc. etc. fail to add more than a very few specific
experiences and thus fail to tantalize in the same manner in which her current
expedition does. Her two nights of the expedition are spent, in both instances,
in different inns, and I wonder whether Handke ever sleeps during his many
country walks under the Hawthorn tree on an August moon, whether at the Bering
sea he slept in an igloo – I note his many interestingly described hotel stays,
including one in the Kosovo in that piece of reportage <u>Velica Hoca<o:p></o:p></u></span></b></span></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2011/12/note-on-velica-hoca.html">http://handke--revista-of-reviews.blogspot.com/2011/12/note-on-velica-hoca.html</a><o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">but
wonder how hardy a vagabond he is… while conceding that the likes of Handke and
the Norman Mailer of <u>Why Are We in Vietnam,</u> can absorb, say, more
wildflowers in the Brooks Range, in a day that would take the in some respects
slow me a week to incorporate. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">I am
caviling a bit here, very minor caviling, but where I praise as highly as I do
I feel that I must also wonder a bit why Alexia must have a family and a family
get-together at the end – why we must suddenly be novelistic in an
old-fashioned sense where Handke once upon a time said he would never be.
Alexia vagabond can wander anywhere she likes and does not need the obvious
motivation of a not overly exciting family get-together as an excuse. “That is
how the tale wants it, the way the tale tells it,” is an author‘s<span style="mso-spacerun: yes;"> </span>frequent imprecation who admits at the end
that the<span style="mso-spacerun: yes;"> </span>dweller of the NO-MAN’S-BAY is
writing the book. He could easily have come out and said, “It’s me Peter
Handke, I am writing a Peter Handke Book, and using Alexia will be a lot more
fun and allows my imagination and playfulness to roam as I can’t doing a
notebook or a travel account.” And no one would mind – certainly not this late
in the game.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>However,
as we read her marvelous adventures up the river Viosne and in the Vexin there
is no mention of looking for Mom – has it slipped the author’s mind? The only
thing being looked for is that lost cat by it owner – the sound of his looking
pervades Alexia’s hike. The night that Alexia stays in the tiny chambre of the
Auberge de Dieppe the smell from one of Mom’s shawls wafts about, but the
formidable Bankieress has only stuck her head into the tiny room and found it
wanting is the sole reminder of the alleged objective of the expedition – the
Bankieress is about, a most improbable event that she would be scrambling
around the Vexin, that she has gone gaga, but never mind? Now if that moribund cat
would transform itself into the mad bankieress that would be the kind of miracles
Handke does not write.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="background-color: yellow; font-family: "Courier New"; font-size: 24pt;">At
the end of the book there is a family get together – that appears to have been
Alexia’s destination but was not mentioned when she set forth; and her teenage
brother is working as a carpenter apprentice – no advance mention that he would
be in Chaumont - and I think some of these matters, judging by minor loose ends
and contradictions and improbabilities were made up as Handke went along?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 24pt;"><span style="background-color: yellow;">ALEXIA
as THE LEFT-HANDED WOMAN’S younger sister is as odd as her creator who has worked
life-long at appearing normal.</span><span style="background: yellow;"><o:p></o:p></span></span></b></div>
<span style="background-color: cyan;"><u></u></span></span></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-69596836303182480562017-12-06T08:19:00.000-08:002017-12-08T10:33:10.560-08:00Zum 75. Geburtstag / Years extra-Uterine von Peter Handke<div id="bodyContent">
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<h4 class="artikel">
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"> </span><span style="background-color: yellow; font-family: courier new, courier, monospace; font-size: large;">Zum Geburtstag des Dichters: Feierstunde in der Niemandsbucht</span></h4>
<h4 class="artikel">
<span style="background-color: yellow; font-family: courier new, courier, monospace; font-size: large;">Am Mittwoch Abend beging Peter Handke nahe Paris seinen 75. Geburtstag. Im Beisein namhafter Wegbegleiter. Auch aus Kärnten war eine Delegation angereist, um den großen Schriftsteller zu feiern. http://www.kleinezeitung.at/kultur/buecher/5335019/Peter-Handkes-75er_Zum-Geburtstag-des-Dichters_Feierstunde-in-der </span><span style="background-color: yellow; font-family: courier new, courier, monospace; font-size: large;"><br /></span></h4>
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<header class="article__header push--bottom" style="box-sizing: border-box; margin-bottom: 24px !important;"><h1 class="article__headline" style="box-sizing: border-box; font-family: "Roboto Slab", "Times New Roman", sans-serif; line-height: 1.15; margin: 0px 0px 12px; padding: 0px;">
<span style="font-size: large;">Zum Geburtstag des Dichters: Feierstunde in der Niemandsbucht</span></h1>
<div class="article__lead push-half--bottom brand-font" itemprop="description" style="box-sizing: border-box; font-family: "Roboto Slab", "Times New Roman", sans-serif !important; line-height: 1.28; margin-bottom: 12px !important; padding: 0px;">
<span style="font-size: large;">Am Mittwoch Abend beging Peter Handke nahe Paris seinen 75. Geburtstag. Im Beisein namhafter Wegbegleiter. Auch aus Kärnten war eine Delegation angereist, um den großen Schriftsteller zu feiern.</span></div>
<div class="byline flush--bottom brand-font" style="box-sizing: border-box; font-family: "Roboto Slab", "Times New Roman", sans-serif !important; line-height: 1.33333; margin-bottom: 0px !important;">
<span style="font-size: large;">Von <span style="box-sizing: border-box; font-weight: 700;">Hubert Patterer, Stefan Winkler</span> | 16.54 Uhr, 07. Dezember 2017</span></div>
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<figure class="article__figure picture" style="background-color: white; box-sizing: border-box; color: #262626; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; line-height: 1.21; margin: 12px -336px 24px -12px;"><img alt="" class="lazyload" src="http://media.kleinezeitung.at/images/uploads_520/7/e/b/5335019/FBC86F9F-A4EE-4663-BFE8-455FCDFA7D09_v0_h.jpg" style="border: 0px; box-sizing: border-box; color: white; display: block; font-style: italic; height: auto; max-width: 100%; vertical-align: middle; width: 707.733px;" title="Kleine Feier zum Geburtstag: Autor Peter Handke / Bild: Stadtkino" /><figcaption class="push-half--top picture__text" style="box-sizing: border-box; color: #444444; margin-bottom: 0px; margin-left: 12px; margin-right: 0px; margin-top: 12px !important;"><span style="font-size: large;">Kleine Feier zum Geburtstag: Autor Peter Handke <span class="picture__credit" style="box-sizing: border-box; color: #8c8c8c;">© Stadtkino</span></span></figcaption></figure><div class="article__aside article__aside--inside js-article-aside-desktop" style="background-color: white; box-sizing: border-box; clear: right; color: #262626; float: right; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; margin-right: -312px; width: 300px;">
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<span style="font-size: large;">Guinguette, so hießen früher einmal die beliebten Ausflugslokale an den Rändern von Paris. La Pergola ist so eine ehemalige Taverne. Sie liegt an einem Teich in der Niemandsbucht zwischen der Metropole und Versailles, deren Lichter an diesem Abend den verdeckten Nachthimmel aufhellten. Ganz in der Nähe spielten auf grünem Asphalt Migrantenkinder im Flutlicht Fußball.</span></div>
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<span style="font-size: large;">Der Jubilar trat aus dem Dunkel der Uferpromenade und leuchtete den ersten Gästen mit der Taschenlampe ins Gesicht: "Seien Sie nicht so laut, das ist ein stiller Ort!" Die Tafel war festlich gedeckt: Die Tischtücher aus weißem Leinen hatte<span style="box-sizing: border-box; font-weight: 700;">Sophie Sèmin</span>, die Frau des Gastgebers, mitgebracht. Freundschaftsbänder hielten die Stoffservietten zusammen, auf denen goldfarben die Namen der Eingeladenen zu lesen waren.</span></div>
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<figure class="flexmodule picture" style="background: rgba(113, 96, 187, 0.1); box-sizing: border-box; color: #262626; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; line-height: 1.21; margin: 12px 0px 24px; overflow-y: auto; padding: 12px; width: 359.733px;"><img alt="" class="lazyload" data-src-big="/images/uploads/7/e/b/5335019/4F49C87F-E097-416A-AE19-E8C2F7BC3A15_v0_h.jpg" src="http://www.kleinezeitung.at/images/uploads_600/7/e/b/5335019/4F49C87F-E097-416A-AE19-E8C2F7BC3A15_v0_h.jpg" style="border: 0px; box-sizing: border-box; color: white; display: block; font-style: italic; height: auto; max-width: 100%; vertical-align: middle;" title=" Foto © Hubert Patterer" /><figcaption class="push-half--top picture__text" style="box-sizing: border-box; color: #444444; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 12px !important;"><span style="font-size: large;">Der Autor, ganz rechts, und seine Frau Sophie an der festlich gedeckten Tafel<span class="picture__credit" style="box-sizing: border-box; color: #8c8c8c;"> Foto © Hubert Patterer</span></span></figcaption></figure><div style="background-color: white; box-sizing: border-box; color: #262626; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; margin-bottom: 1rem; padding: 0px;">
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<span style="font-size: large;">In diesem Rahmen feierte <span style="box-sizing: border-box; font-weight: 700;">Peter Handke</span>mittwochabends, umgeben von seiner Familie und von Wegbegleitern, den 75. Geburtstag. Lebensfreund <span style="box-sizing: border-box; font-weight: 700;">Hubert Burda</span> sprach in der Festrede von der Unmöglichkeit, über einen wie Handke angemessen zu sprechen. Mit heiterer Ironie beschrieb er die verdeckte Eifersucht, wer denn nun im Raum dem Künstler näher stehe und sitze, als einigendes Band unter den Anwesenden. Er ahne, dass das Handke in diesem Moment bestimmt diebisch freue. Der Regisseur <span style="box-sizing: border-box; font-weight: 700;">Wim Wenders</span> räumte ein, dass die jahrzehntelange Freundschaft Handkes prägend für sein Leben gewesen sei. Seine Rede setzte sich aus den Titeln von Büchern des Schriftstellers zusammen.</span></div>
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<figure class="flexmodule picture" style="background: rgba(113, 96, 187, 0.1); box-sizing: border-box; color: #262626; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; line-height: 1.21; margin: 12px 0px 24px; overflow-y: auto; padding: 12px; width: 359.733px;"><img alt="" class="lazyload" data-src-big="/images/uploads/7/e/b/5335019/AE783FC7-370F-4724-BD31-D93B16675263_v0_h.jpg" src="http://www.kleinezeitung.at/images/uploads_600/7/e/b/5335019/AE783FC7-370F-4724-BD31-D93B16675263_v0_h.jpg" style="border: 0px; box-sizing: border-box; color: white; display: block; font-style: italic; height: auto; max-width: 100%; vertical-align: middle;" title=" Foto © Hubert Patterer" /><figcaption class="push-half--top picture__text" style="box-sizing: border-box; color: #444444; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 12px !important;"><span style="font-size: large;">Besuch aus der Heimat: Handke mit dem UN-Sonderbeauftragten für Bosnien, Valentin Inzko, und dem Griffener Bürgermeister Josef Müller<span class="picture__credit" style="box-sizing: border-box; color: #8c8c8c;"> Foto © Hubert Patterer</span></span></figcaption></figure><div style="background-color: white; box-sizing: border-box; color: #262626; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; margin-bottom: 1rem; padding: 0px;">
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<span style="font-size: large;">Der Griffener Bürgermeister <span style="box-sizing: border-box; font-weight: 700;">Josef Müller</span> und Ortschronist <span style="box-sizing: border-box; font-weight: 700;">Valentin Hauser</span> überbrachten die Glückwünsche und den Stolzder Heimatgemeinde. Dieser habe nach anfänglicher Fremdheit und Ablehnung erst wachsen müssen. Seit vielen Jahre lasse sich der berühmte Sohn vierteljährlich die Gemeindezeitung zustellen. Handke lese sie nicht, er studiere sie. Der Angesprochene unterbrach das Gemeindeoberhaupt und erkundigte sich launig nach der Platzierung des Griffener Fußballvereins.</span></div>
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<span style="font-size: large;">Handkes Frau, Französin, las auf Deutsch aus den Tagebuchaufzeichnungen des Schriftstellers vor. Mitten in die schwerelose Stimmung hinein erklang auf Wunsch des Geburtstagskindes ein Lied des am selben Tag verstorbenen französischen Rockstars <span style="box-sizing: border-box; font-weight: 700;">Johnny Hallyday,</span> dem die Gäste auf Geheiß Handkes andächtig zu lauschen hatten, wenig später gefolgt von einem Chanson des afrikanischen Sängers <span style="box-sizing: border-box; font-weight: 700;">Boubacar Traoré</span> – "Si tu savais, combien je t'aime, toi aussi, tu dois m'aimer" – "Wenn du wüsstest, wie sehr ich dich liebe, dann musst auch du mich lieben."</span></div>
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<span style="font-size: large;">Es waren die einzigen musikalischen Grußadressen, auch weil kein zweisprachiger Kärntner Chor in Griffweite war und die Mezzosopranistin <span style="box-sizing: border-box; font-weight: 700;">Bernarda Fink,</span> die Frau des mitfeiernden UN-Sonderbeauftragten für Bosnien, <span style="box-sizing: border-box; font-weight: 700;">Valentin Inzko,</span> an diesem Abend nicht kommen und slowenische Volkslieder vortragen konnte.</span></div>
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<span style="font-size: large;">Weiters unter den Aus Deutschland und Österreich angereisten Gratulanten: Die Verleger <span style="box-sizing: border-box; font-weight: 700;">Michael Krüger</span> und <span style="box-sizing: border-box; font-weight: 700;">Jochen Jung,</span> die Germanisten <span style="box-sizing: border-box; font-weight: 700;">Klaus Amann</span> und <span style="box-sizing: border-box; font-weight: 700;">Karl Wagner,</span> Handkes langjähriger Lektor bei Suhrkamp, <span style="box-sizing: border-box; font-weight: 700;">Raimund Fellinger,</span> die Schauspielerin <span style="box-sizing: border-box; font-weight: 700;">Marianne Koch</span> und ihr Mann, der Schriftsteller <span style="box-sizing: border-box; font-weight: 700;">Peter Hamm,</span> die Filmemacherin <span style="box-sizing: border-box; font-weight: 700;">Corinna Belz</span> und die beiden Töchtet <span style="box-sizing: border-box; font-weight: 700;">Amina</span> und <span style="box-sizing: border-box; font-weight: 700;">Léocadie.</span> Handke selber sprach nicht über sich, sondern entwarf spontane Porträtskizzen der Anwesenden. "Ich bin hier nur das Medium", befand er mit milder Koketterie. Gerne noch hätte er ein Gedicht des im Vorjahr jung verstorbenen Übersetzers <span style="box-sizing: border-box; font-weight: 700;">Fabjan Hafner</span> vorgetragen. Aber das ging im fluchtartigen Aufbruch der Gäste kurz nach Mitternacht unter. Kein aufziehender Sturm, es war die Angst, den letzten Vorortezug nach Paris zu verpassen und als menschliches Strandgut in der finsteren Niemandbucht zurück zu bleiben. Besser hätte es auch der zufriedene Jubilar nicht in Szene setzen können.</span></div>
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<span style="background-color: #d0e0e3; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>http://www.kleinezeitung.at/kultur/buecher/5333934/Zum-75er_DANDKE-HANDKE_So-gratulieren-Fian-Fritsch-Jelinek-und</b></span></div>
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Er ist ein Literat von Weltgeltung, daheim im unendlich weiten Feld der Sprache. Dichter und Dichterinnen, langjährige Weggefährten aus frühen und turbulenten Forum-Stadtpark-Zeiten, gratulieren Peter Handke mit Wortgaben zu seinem 75. Geburtstag.</div>
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<span style="box-sizing: border-box;">Elfriede Jelinek</span>, Literaturnobelpreisträgerin, schickte uns diese Handke-Würdigung anlässlich seines Geburtstages:</div>
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Dieser Dichter kennt die Fahrpläne und weiß, welchen Zug er nehmen und wo er ein- und aussteigen muß. Und doch sieht er auf der Fahrt alles, als hätte kein andrer es je gesehen. Aber nicht als ein Einzelner oder Einziger, der jedem andren das Recht abspricht, es genauso zu sehen wie er, sondern er sieht es gleichzeitig als etwas, das einerseits noch nie jemand vor ihm gesehen hat, das er aber andrerseits gern mit anderen teilt, damit auch sie es sehen. Er gibt es ihnen ja. Da ist kein Bewußtsein von Einzigartigkeit, sondern vielleicht von Erstartigkeit. Nicht wie ein Kind beim Wettrennen schreit: Erster! Sondern als könnte nichts, was der Autor sieht, nicht von ihm als erstem gesehen worden sein, obwohl es da ist, für alle.</div>
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<span style="box-sizing: border-box;">Valerie Fritsch:</span></div>
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Peter Handke hat meine Empfänglichkeit für Sprache und Durchlässigkeit für Bilder, aber auch meine Welt hin und wieder ganz pragmatisch geprägt. „Die Angst des Tormanns beim Elfmeter“ trieb in Jugendjahren einen Keil zwischen mich und einen Verehrer: Er dachte, es handelte sich um ein Fußballfachbuch – das fand ich unverzeihlich. Herzlichen Glückwunsch!</div>
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<span style="box-sizing: border-box;">Josef Winkler:</span></div>
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Friedrich Hebbel hat in seinem Tagebuch geschrieben, dass bei einem großen Schriftsteller jeder Satz ein Menschengesicht hat. Das kann Peter Handke, der einmal von einem Starjournalisten gefragt wurde, ob er sich für ein Genie hält. Peter Handke hat abgewunken und gemeint: „Ich bin auch kein Schriftsteller, ich schreibe, ich habe geschrieben, ich werde geschrieben haben!“ An diese Sätze von Friedrich Hebbel und Peter Handke denke ich oft, wenn ich meine aus Pappmaché gepressten Bleistifte aus Isfahan spitze.</div>
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<figure class="flexmodule picture" style="background: rgba(113, 96, 187, 0.1); box-sizing: border-box; color: #262626; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; line-height: 1.21; margin: 12px 0px 24px; overflow-y: auto; padding: 12px; width: 359.733px;"><img alt="" class="lazyload" data-src-big="/images/uploads/3/a/e/5333934/ECA5C970-EE8F-4166-9866-4ED93047B327_v0_h.jpg" src="http://www.kleinezeitung.at/images/uploads_600/3/a/e/5333934/ECA5C970-EE8F-4166-9866-4ED93047B327_v0_h.jpg" style="border: 0px; box-sizing: border-box; color: white; display: block; font-style: italic; height: auto; max-width: 100%; vertical-align: middle;" title=" Foto © APA/Herbert Neubauer " /><figcaption class="push-half--top picture__text" style="box-sizing: border-box; color: #444444; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 12px !important;">Antonio Fian, Literat und Minimalist<span class="picture__credit" style="box-sizing: border-box; color: #8c8c8c;"> Foto © APA/Herbert Neubauer</span></figcaption></figure><div style="background-color: white; box-sizing: border-box; color: #262626; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; margin-bottom: 1rem; padding: 0px;">
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<span style="box-sizing: border-box;">Antonio Fian:</span> DANDKE; HANDKE</div>
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<span style="box-sizing: border-box;">Anna Baar:</span></div>
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Peter Handke ist Inbild des Schreibenden, nein, Inbild einer Haltung der staunenden Hingabe, eines Schauens, das im Schreiben ja nur mündet – um zu bewahrheiten. Oder ohne Zweck. Das ist kein aus der Zeit Gefallener, sondern ein im rechten Zeitmaß Vorangehender. Halten wir gefälligst mit! Herzlich Anna.</div>
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<span style="box-sizing: border-box;">Barbara Frischmuth:</span></div>
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Lieber Peter, möge der Herbst auch in Deinem 76. Jahr die Fülle seiner Pilze mit Dir teilen und die Obstdiebin Dir einen Weg durch die Wälder weisen, den Du noch nie gegangen bist. Im Winter schlafen selbst die höchsten Bäume. Mit allen guten Wünschen, Barbara.</div>
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<figure class="flexmodule picture" style="background: rgba(113, 96, 187, 0.1); box-sizing: border-box; color: #262626; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; line-height: 1.21; margin: 12px 0px 24px; overflow-y: auto; padding: 12px; width: 359.733px;"><img alt="" class="lazyload" data-src-big="/images/uploads/3/a/e/5333934/49EF4D62-6B16-4B36-9F22-4C37C4FBB4D6_v0_h.jpg" src="http://www.kleinezeitung.at/images/uploads_600/3/a/e/5333934/49EF4D62-6B16-4B36-9F22-4C37C4FBB4D6_v0_h.jpg" style="border: 0px; box-sizing: border-box; color: white; display: block; font-style: italic; height: auto; max-width: 100%; vertical-align: middle;" title=" Foto © Christoph Huber" /><figcaption class="push-half--top picture__text" style="box-sizing: border-box; color: #444444; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 12px !important;">Literatin Barbara Frischmuth <span class="picture__credit" style="box-sizing: border-box; color: #8c8c8c;">Foto © Christoph Huber</span></figcaption></figure><div style="background-color: white; box-sizing: border-box; color: #262626; font-family: "Source Sans Pro", Helvetica, Arial, sans-serif; margin-bottom: 1rem; padding: 0px;">
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<span style="box-sizing: border-box;">Ilma Rakusa:</span></div>
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Gut, dass Peter Handke unbeirrt seine langen, langsamen Sätze schreibt und die Aufmerksamkeit auf Kleines und Kleinstes richtet. Eine Schule des Sehens, Hinhörens, Staunens und Verweilens. Des Fragens auch, das sich nicht in falsche Gewissheit flüchtet. Danke, und bitte weiter so.</div>
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<span style="box-sizing: border-box;">Wilhelm Hengstler:</span></div>
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Lieber Peter! Es gab schon damals keinen Zweifel, dass Du uns in den meisten Dingen über warst. Aber in manchen warst du auch nicht so verschieden von uns. Z. B., als du das Geschenk deiner Mutter, diesen Kamelhaarmantel, schwarz umfärben ließest. Den trugst du dann auch auf dem Foto in der FAZ, die ich 1966 in Teheran gekauft hatte: Überraschung! Du, mein Freund, warst berühmt geworden. Die Kritik der „Hornissen“, endete so: „Ein Autor, von dem man noch hören wird“ . Seither gab’s noch mehr von Dir zu hören und vor allem zu lesen. Und das wird gewiss nicht aufhören, bloß weil du 75 wirst. Alles Gute!</div>
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<span style="box-sizing: border-box;">Olga Martynowa:</span></div>
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Die Stärke des Ungeschützten – so ist die Welt in Handkes Erzählen, eine Welt, die durch ihre Schutzlosigkeit stark ist und ihre Bewohner zu beschützen versucht. Eine wunderbare, jedem Zeitgeist standhaft Widerstand leistende Geste. Lieber Peter, vielen Dank dafür!</div>
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<span style="box-sizing: border-box;">Klaus Hoffer:</span></div>
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An die erste Handke-Lektüre erinnere ich mich lebhaft, als wäre es gestern gewesen. Es war „Die Überschwemmung“, abgedruckt in den „manuskripten“. Nur so kann geschrieben werden, dachte ich, Kafka im Kopf. Ein Satz ist mir stets präsent: „Die Fäden der Luft haben sich um ihn gelegt.“ – „Wie macht er das nur?“, fragte ich mich, und las das Kapitel meiner Mutter vor, die nichts verstand. – Und dann der „Tormann“ und das „Wunschlose Unglück“. Eins eindrücklicher als das vorhergehende!</div>
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<span style="box-sizing: border-box;">Arnold Stadler:</span></div>
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Verwandeln durch Erzählen, so hieß das Symposium an der Universität Wien, das Aufgehobenes und Geborgenes aus dem Bleistiftgebiet zur Sprache brachte. Peter Handke ist ein großer Wanderer und Schauender, der von da seine Pilze und Sätze mitbringt. Damit ist das Ganze im Fragment gesagt: wie Handke auf dem Weg seiner Sprache die Welt verwandelte, die zuerst ihn verwandelt hat. Sein Staunen wird immer auch ein wenig mit dem Staunen eines Kindes blutsverwandt sein, wenn es „auf der ganzen Welt!“ sagt. Wenn es etwas Schönes entdeckt oder erfahren hat auf der anderen Seite seiner Augen. Und in der Mitte die Augen des Menschen, der dies sieht, als die Seele des Ganzen. Seine Bücher sagen Ja. Und sind wunderbar erwartungsvoll. Lässt sich Schöneres sagen? Von einem, der lebt und schreibt? Ich wünsche Peter dem Großen Glück und Segen bei seinen weiteren Sonnenumrundungen.</div>
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Huldigungen, gesammelt von Werner Krause und Andreas Unterweger</div>
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<span style="color: white;"><span style="background-color: #7160bb; text-transform: uppercase;"> </span></span><br /><ul class="no-bullets flush" style="background-color: rgba(113, 96, 187, 0.1); box-sizing: border-box; color: #262626; list-style-type: none; margin-bottom: 12px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 12px; padding: 0px;">
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<span style="background-color: #d0e0e3; font-family: "courier new" , "courier" , monospace; font-size: large;">==========================================</span></h1>
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<span style="font-size: large;"><span style="background-color: #d0e0e3; font-family: "courier new" , "courier" , monospace;">Aufgek</span>lärter Freidenker - Schriftsteller Peter Handke wird 75</span></h1>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: #d0e0e3;">Der Lyriker, Erzähler, und Essayist sorgt mit seinen
Themen immer wieder für große Aufregung. Seinen Durchbruch hatte Peter
Handke 1966 mit dem Stück "Publikumsbeschimpfung"</span>.</b></span></div>
<div class="picBox full">
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><a class="overlayLink init" href="http://www.dw.com/de/aufgekl%C3%A4rter-freidenker-schriftsteller-peter-handke-wird-75/a-41662997#" link="/overlay/image/article/41662997/40704027" rel="nofollow" style="cursor: pointer;">
<img alt="Porträt Peter Handke (Imago/Agencia EFE/C. Cabrera)" src="http://www.dw.com/image/40704027_303.jpg" title="Porträt Peter Handke (Imago/Agencia EFE/C. Cabrera)" /> </a>
</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Groß feiern wolle er seinen 75. Geburtstag am 6. Dezember nicht,
sagte er vor kurzem in einem Interview. Vielleicht würde er in die
portugiesische Bar in seinem "Kaff" Chaville gehen. In diesem kleinen
Ort, zwölf Kilometer südwestlich von Paris gelegen, lebt der in Kärnten
geborene Literat seit 1990 - anfangs noch mit seiner späteren zweiten
Frau, der französischen Schauspielerin Sophie Semin. Seit 2001 wohnt
diese jedoch nicht mehr mit Handke in Chaville. "Um mit Handke gemeinsam
leben zu können, müsste man ein Schloss mit zwei Flügeln besitzen",
sagte sie einmal. Aber man habe halt kein Schloss.</b></span><br />
<strong><span style="background-color: orange; font-family: "courier new" , "courier" , monospace; font-size: large;">Streitbares "Zoon politikon"</span></strong><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Großes
Aufsehen erregte Handke zum ersten Mal 1966, als er auf den
Literatenzirkel Gruppe 47 an der Elite-Uni in Princeton bei New York
eine Schmährede hielt. Er warf ihm "Beschreibungsimpotenz" vor. Kritiker
werteten dies als rabiate Selbstinszenierung. Andere sagten ihm eine
rasante Karriere voraus.</b></span><br />
<span style="font-size: large;"><b><span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: orange;"><br /></span></span>
<span style="background-color: orange;"><span style="font-family: "courier new" , "courier" , monospace; font-size: medium;">http://www.dw.com/de/aufgekl%C3%A4rter-freidenker-schriftsteller-peter-handke-wird-75/a-41662997</span></span></b></span></div>
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<span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;"><b>"<span style="background-color: cyan;">Heutzutage nennt sich ja jeder schon Schriftsteller. Ich nenn mich
Schreiber im altäqyptischen Sinn, der eigentlich eine Würde ausstrahlen
sollte. Der altägyptische Schreiber war im Stillen ein mächtiger Mensch.
So wäre es mein Ideal, das allerdings nicht ganz realisiert worden
ist."</span></b></span><br />
<b><span style="background-color: cyan; font-size: large;">=========================</span></b><br />
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<span data-offset-key="b0dlt-0-0" style="background-color: #f9cb9c;"><b><span style="font-size: large;">Controversial author Peter Handke turns 75</span></b></span></div>
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<span data-offset-key="a773n-0-0" style="background-color: #f9cb9c;"><b><span style="font-size: large;">The renowned novelist, screenwriter and essayist has long courted both critical acclaim and ill-fame in equal parts. As Austrian man of letters Peter Handke reaches another milestone, his legacy remains an open book. http://www.dw.com/en/controversial-author-peter-handke-turns-75/a-41681912</span></b></span></div>
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<span style="font-size: large;"><b><span style="background-color: cyan;"><br /></span>
<span style="background-color: yellow;"><br /></span><span style="background-color: yellow;">=======================</span>
<span style="background-color: yellow;">It's very much a Handke season in German literature lands! </span></b></span><br />
<b><span style="background-color: yellow; font-size: large;">Collecting numerous fine reviews of OBSTDIEBIN - Alexia, the Fruit Thief </span></b><br />
<b><span style="background-color: yellow; font-size: large;">@ https://handke--revista-of-reviews.blogspot.com/2017/07/die-obstdiebin.html</span></b><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">I just received me copy no thanks here to the Schwarzwaelderische Suhrkrampf folk & wont write if at all for some time....</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">Note that Seagull will be publishing the wonderful and wonderfully short! THE GREAT FALL in Spring 2018 </span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">http://press.uchicago.edu/ucp/books/book/distributed/G/bo28483408.html</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">https://handke--revista-of-reviews.blogspot.com/2017/07/die-obstdiebin.html</span></b></span><br />
<b><span style="background-color: yellow; font-size: large;">where Scott Abbott & I have a go at this successor to AFTERNOON OF A WRITER</span></b><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">not to forget the miserable reception that the truly great MORAWIAN NIGHT received in the realm of the 50 unified pathetic idiots who are quarreling about who can take a shit and where!</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">http://moravian-nights-discussion.blogspot.com/ </span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">Here some links to interesting birthday wishes</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">https://www.vn.at/kultur/2017/12/01/aber-besser-illegal-als-die-legalen-gauner-weltweit.vn</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">http://www.aktuelle-nachrichten-online.eu/artikel/zum-75-geburtstag-von-peter-handke/4264909</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">http://www.suhrkamp.de/news/zum_geburtstag_von_peter_handke_2860.html</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">http://www.antenne1.de/musik/on-air/star-geburtstage/promi-geburtstag-vom-6-dezember-2017-peter-handke.html</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">https://www.facebook.com/DLFKultur/photos/a.459362520742028.106933.174552715889678/1733812646630336/?type=3&theater</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">http://iphoneapp.hz-online.de/ulm/nachrichten/kultur/Peter-Handke-zum-75-Das-Ereignis-der-Augen;art1222892,4469114</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">https://www.wr.de/kultur/alles-bloss-nicht-einverstanden-sein-id212748009.html</span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;">https://www.ndr.de/kultur/Schriftsteller-Peter-Handke-im-Portraet-zum-75-Geburtstag,peterhandke124.html</span></b></span><br />
<b><span style="background-color: yellow; font-size: large;">==================</span></b><br />
<span style="font-size: large;"><b><span style="background-color: yellow;"><br /></span>
<span style="background-color: yellow;"><br /></span>
</b></span><br />
<span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;"><b><a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a><span style="color: #0000ee; font-size: medium;"><u><span style="background-color: cyan;">h</span></u></span><u style="color: #0000ee;"><span style="background-color: cyan;">ttp://www.aktuelle-nachrichten-online.eu/artikel/zum-75-geburtstag-von-peter-</span></u></b></span><br />
<u style="color: #0000ee;"><b><span style="background-color: cyan; font-size: large;">handke/4264909</span></b></u><br />
<span style="font-size: large;"><b><u><span style="color: orange; font-size: medium;"><br /></span></u>
<span style="font-size: medium;"><u><span style="background-color: yellow;">http://www.suhrkamp.de/news/zum_geburtstag_von_peter_handke_2860.html</span></u></span></b></span><br />
<span style="font-size: large;"><b><span style="font-size: medium;"><u><span style="background-color: yellow;"><br /></span></u></span>
<span style="font-size: medium;"><u style="background-color: lime;">https://www.facebook.com/DLFKultur/photos/a.459362520742028.106933.174552715889678/1733812646630336/?type=3&theater</u></span></b></span><br />
<span style="font-size: large;"><b><span style="font-size: medium;"><u style="background-color: lime;"><br /></u></span>
</b></span><br />
<span style="font-size: large;"><b><u style="background-color: lime;">=========================</u></b></span><br />
<span style="font-size: large;"><b><span style="font-size: medium;"><u style="background-color: lime;"><br /></u></span>
<span style="font-size: medium;"><span style="background-color: #f9cb9c;"><u>"Ein größerer Gegensatz als zwischen uns ist nicht vorstellbar" https://www.ndr.de/kultur/Claus-Peymann-ueber-Peter-Handke,journal1098.html</u></span></span></b></span><br />
<span style="font-size: large;"><b><span style="font-size: medium;"><u style="background-color: lime;"><br /></u></span>
<span style="font-size: medium;"><u style="background-color: lime;"><br /></u></span>
<span style="font-size: medium;"><span style="background-color: #fce5cd;"><u>Sehr schoenes Interview. Komischer Weise verwechselt Peymann Bosnien mit dem Kosovo zu dem er ja mit Handke gereist ist um das Preisgeld zu verteilen. Die Yugoslavien Kriege sind sehr einseitig propagandistisch, en gros, in Westen berichterstatted worden, dagegen hat Handke sich gestreubt. Und sein Stueck dazu DIE FAHRT IM EINBAUM ODER DAS STUECK ZUM FILM UEBER DEN KRIEG ist ein ganz grosses Stueck Handkwerk, ebenbuertig mit dem besten was Brecht geleistet hat. Inwiefern Handke Mystiker ist oder religioes bedaddert kann ich nicht beurteilen, aber wie Peter Strasser schon vor einiege Zeit betonte, sein Zeug ist ein Freudenstoff, die beste Droge ueberhauipt sagt ein einmalike Anhaenger von Angel Flake.</u></span></span></b></span><br />
<span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;"><b><br /></b></span>
<br />
<header>
<h1>
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"> "Ein größerer Gegensatz als zwischen uns ist nicht vorstellbar"</span></h1>
</header><span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Mit seinem Sprechstück "Publikumsbeschimpfung" forderte Peter Handke
1966 das Publikum heraus, stellte Seh- und Spracherfahrungen infrage,
machte die Sprache selbst zum Ereignis. Nun feiert der Schriftsteller
seinen 75. Geburtstag. NDR Kultur gratuliert und spricht mit seinem
langjährigen Freund, dem Regisseur Claus Peymann, zuletzt Intendant des
Berliner Ensembles.</b></span><br />
<strong><span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;">Herr Peymann, welche Bestimmung hat Peter Handke?</span></strong><br />
<div class="contentimage w50">
<span style="font-size: large;"><b><span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace;"><a class="zoomimage" href="https://www.ndr.de/kultur/peterhandke116_v-contentgross.jpg" title="Theatermacher Claus Peymann und Schriftsteller Peter Handke verbindet seit den 1960er-Jahren eine enge Freundschaft. © dpa/epa Valdrin Xhemaj/EPA/Bildfunk">
</a></span>
</b></span><br />
<div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><a class="zoomimage" href="https://www.ndr.de/kultur/peterhandke116_v-contentgross.jpg" title="Theatermacher Claus Peymann und Schriftsteller Peter Handke verbindet seit den 1960er-Jahren eine enge Freundschaft. © dpa/epa Valdrin Xhemaj/EPA/Bildfunk"><b><img alt="Claus Peymann und Peter Handke © dpa/epa Valdrin Xhemaj/EPA/Bildfunk " class="resize" data-basename="/kultur/peterhandke116_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke116_v-zweispaltig.jpg" style="width: 100%;" title="Claus Peymann und Peter Handke" />
</b></a></span></div>
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><a class="zoomimage" href="https://www.ndr.de/kultur/peterhandke116_v-contentgross.jpg" title="Theatermacher Claus Peymann und Schriftsteller Peter Handke verbindet seit den 1960er-Jahren eine enge Freundschaft. © dpa/epa Valdrin Xhemaj/EPA/Bildfunk">
</a>
<span class="caption">Theatermacher Claus Peymann und Schriftsteller Peter Handke verbindet seit den 1960er-Jahren eine enge Freundschaft.</span>
</b></span></div>
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Claus Peymann: Das wird er selber am besten
wissen. Aber er ist sicherlich einer von den Aufrechten in der Kunst, in
der Literatur. Mehr und mehr ist er zu einem großen Bewahrer geworden.
Die Bestimmung, Visionen zu haben, die Bestimmung der Kunst, den Platz
in der Gegenwart immer wieder zu erkämpfen, auch der politischen Kunst.
Erinnert sei nur an den großen Streit um den Jugoslawien-Krieg. Aber von
Anbeginn an war auch die "Publikumsbeschimpfung" nicht nur Literatur,
sondern auch Politik. Es war das Stück der Stunde, der Unruhe, der
68er-Revolte. Und so sind seine heutigen Stücke immer Stücke, die
ausgehen von einer zerstörten Gegenwart in den Traum einer besseren
Welt. Wie Goethe mit seinem "Faust II", ein großer Träumer und Utopist.
Das ist sicherlich seine Berufung. Die hat er sich selbst genommen,
ergriffen und vertritt sie - ein toller Mensch!</b></span><br />
<strong><span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;">Die Literaturkritikerin Sigrid Löffler nennt Handkes Aufstieg
1966 "kometenhaft". Sie waren an diesem Aufstieg maßgeblich beteiligt.
Wie haben Sie damals den fünf Jahre jüngeren Handke erlebt?</span></strong><br />
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peymann: Wir haben uns in Frankfurt am Main
getroffen, er kam mit zwei Plastiktüten des Weges, wahrscheinlich direkt
vom Jesuiten-College, dem er, glaube ich, entflohen ist, die
Plastiktaschen voller Beatles- und anderer Popmusik. Er sah aus wie so
ein Milchbart. Wir sind dann zusammen den Main mit einem Tretboot rauf-
und runtergefahren. Ich glaube, er war auf dem Weg nach Amerika zur
Tagung der <a href="https://www.ndr.de/der_ndr/unternehmen/geschichte/Mit-Blick-aufs-Meer-Jahrestreffen-der-Gruppe-47,literatentreffen101.html" title="Zum Artikel: Mit Blick aufs Meer - Jahrestreffen der "Gruppe 47"">Gruppe 47</a>, wo der große Aufruhr ausbrach, als er Stellung bezog gegen die gesamte damalige zeitgenössische Literatur von <a href="https://www.ndr.de/kultur/geschichte/koepfe/Guenter-Grass-Multitalent-und-Moralist,biografiegrass101.html" title="Zum Artikel: Günter Grass - Multitalent und Moralist">Grass</a>, <a href="https://www.ndr.de/kultur/buch/Hans-Magnus-Enzensbergers-bewegtes-Leben,enzensberger104.html" title="Zum Artikel: Hans Magnus Enzensbergers bewegtes Leben">Enzensberger</a> und <a href="https://www.ndr.de/ndrkultur/sendungen/am_morgen_vorgelesen/Lesung-Dr-Murkes-gesammeltes-Schweigen,boell132.html" title="Zum Artikel: Lesung: "Dr. Murkes gesammeltes Schweigen"">Böll</a> und selber eine ganz neue Position behauptete. Er war immer auch ein Provokateur, jemand, der sich gegen Entwicklungen stellte.</b></span><br />
<div class="contentbox halb">
<div class="boxhead">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Porträt</b></span></div>
<div class="teaser" style="cursor: pointer;">
<div class="teaserimage">
<div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © dpa " class="resize" data-basename="/kultur/peterhandke108_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke108_v-zweispaltig.jpg" style="width: 100%;" title="Peter Handke" />
</b></span></div>
</div>
<div class="teaserpadding">
<h2>
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><a href="https://www.ndr.de/kultur/Schriftsteller-Peter-Handke-im-Portraet-zum-75-Geburtstag,peterhandke124.html" title="Zum Artikel: Peter Handke im Porträt zum 75. Geburtstag">
Peter Handke: Schreiben gegen den Zeitgeist
</a>
</span></h2>
<div class="teasertext">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>
Literatur und Aufmüpfigkeit, Sprache und Rebellion - sie begleiten Peter
Handke sein Leben lang. Heute wird der österreichische Schriftsteller
75.
<a class="cta " href="https://www.ndr.de/kultur/Schriftsteller-Peter-Handke-im-Portraet-zum-75-Geburtstag,peterhandke124.html" title="Zum Artikel: Peter Handke im Porträt zum 75. Geburtstag">mehr</a>
</b></span></div>
</div>
</div>
</div>
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Bis zum heutigen Tag zieht sich eine Linie durch: In seiner Literatur
schimmerten auch immer die Epochen der letzten 50 Jahre durch. Das
waren Stücke wie "Kasper" über den manipulierten Menschen, "Das Mündel
will Vormund sein" über die Revolte der Unterdrückten gegen die Starken,
dann diese traumverlorenen Stücke des Spätwerks, eines der letzten
Stücke, "Zurüstungen für die Unsterblichkeit", "Spuren der Verirrten" -
alles Bilder, Träume, Vorstellungen einer anderen Welt, auch in einer
großen Menschlichkeit. Aus dem Revolutionär von damals mit den
Plastiktaschen voller Beat-Musik ist heute ein gläubiger Mystiker
geworden, ein seltsamer, scheinbar rückwärtsgewandter Denker. Er ist ein
gefährlicher Freund, der nichts zulässt, wahrscheinlich inzwischen ein
gläubiger Christ, mit Reisen bis in die serbische Orthodoxie der Kirche.
Ein größerer Gegensatz als der zwischen Handke und mir ist gar nicht
vorstellbar. Aber ich sehe mich, und das war damals schon so in der
"Publikumsbeschimpfung", immer eher als Dirigent. Das Originalgenie -
und das ist ein Genie - ist der Dichter Peter Handke. Und wenn man sagt,
er sei berufen, dann ist er auch ein Auserwählter. Diese besonderen
Menschen - nicht nur Handke, auch Thomas Bernhard, Beuß und Picasso -
sehen mehr als wir normalen. Ich habe mich immer von ihm an die Hand
genommen gefühlt und bin ihm in seine verworrenen, hochinteressanten,
brisanten Wege in das Theater gefolgt - mit größter Freude und großer
Verlegenheit.</b></span><br />
<strong><span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;">Und wie ist es Ihnen in der Serbien-Kontroverse gegangen?
Konnten Sie ihm da auch folgen? Er löste 1996 viel Kritik aus, als er
den jugoslawischen Ex-Präsidenten und Kriegsverbrecher Slobodan
Milosevic unterstützte. Hat Handkes Liebe zu Serbien ihn blind gemacht
für die Verbrechen im Namen Serbiens? </span></strong><br />
<div class="module voll">
<div class="ndrgallerystage" data-slider-viewxs="{ "0":1200, "1":1 , "2":true }" data-slider="{"views" : false, "viewm" : false, "views" : false, "viewl" : false, "theme":"ndrslider3-gallerystage-theme", "counter":true, "pager":false, "elementNavigation": true, "gallerySliderType" : "stage", "elementHeightSelector" : ".item.active .image-container img", "leftMargin":0, "rightMargin":0}">
<span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;"><b><br /></b></span>
<br />
<header>
<h2>
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><span class="icon icon_gallery"></span>Peter Handke: Ein Schriftstellerleben
</span></h2>
</header>
<br />
<div class="rawslideshow" id="gallery_peterhandke114">
<ul class="ndrslider3 ndrslider3-gallery-theme ndrslider3-gallerystage-theme" id="sliderelement" style="opacity: 1; overflow: hidden;">
<div class="wrapper-outer">
<div class="wrapper" style="left: 0px; position: relative; transform: translate3d(0px, 0px, 0px); width: 12958px;">
<span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;"><b><br /></b></span>
<br />
<li class="item active" style="width: 589px !important;"><div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © dpa/Effigie/Leemage " class="resize" data-basename="/kultur/peterhandke112_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke112_v-vierspaltig.jpg" style="width: 100%;" title="Peter Handke" />
</b></span></div>
<div class="caption">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peter Handke gehört zu den bekanntesten
österreichischen Schriftstellern der Gegenwart.
Am 6. Dezember 1942 in Griffen (Kärnten) geboren. Die Familie
mütterlicherseits gehört zur slowenischen Minderheit in Österreich; der
Vater, ein Deutscher, war in Folge des Zweiten Weltkriegs nach Kärnten
gekommen.</b></span></div>
</li>
<li class="item" style="width: 589px !important;"><div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © dpa " class="resize" data-basename="/kultur/peterhandke108_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke108_v-thumbnailgross.jpg" style="width: 100%;" title="Peter Handke" />
</b></span></div>
<div class="caption">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Literatur und Aufmüpfigkeit, Sprache und
Rebellion gehörten für Peter Handke von Anfang an dazu. Schon sein
allererster Roman "Die Hornissen" aus dem Jahr 1966 warf die Frage auf,
wie sich überhaupt ein Roman schreiben ließe.</b></span></div>
</li>
<li class="item" style="width: 589px !important;"><div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © dpa " class="resize" data-basename="/kultur/peterhandke106_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke106_v-thumbnailgross.jpg" style="width: 100%;" title="Peter Handke" />
</b></span></div>
<div class="caption">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Theaterstücke wie "Publikumsbeschimpfung" und
"Kaspar" erzählen keine Geschichten, sondern spielen mit Versatzstücken
der Sprache. 1973 wird er dafür mit dem Georg-Büchner-Preises in
Darmstadt ausgezeichent.</b></span></div>
</li>
<li class="item" style="width: 589px !important;"><div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © imago/Leemage " class="resize" data-basename="/kultur/peterhandke122_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke122_v-thumbnailgross.jpg" style="width: 100%;" title="Peter Handke" />
</b></span></div>
<div class="caption">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Zu seinen weiteren Werken gehören u.a. "Die
Angst des Tormanns beim Elfmeter", "Die linkshändige Frau" und "Versuch
über den geglückten Tag". </b></span></div>
</li>
<li class="item" style="width: 589px !important;"><div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Claus Peymann und Peter Handke © dpa/epa Valdrin Xhemaj/EPA/Bildfunk " class="resize" data-basename="/kultur/peterhandke116_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke116_v-thumbnailgross.jpg" style="width: 100%;" title="Claus Peymann und Peter Handke" />
</b></span></div>
<div class="caption">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Durch seine Freundschaften mit Wim Wenders und Claus Peymann kamen seine Stoffe auch auf Leinwand und Bühne.</b></span></div>
</li>
<li class="item" style="width: 589px !important;"><div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Sophie Semin und Reda Kateb (l.) in einer Filmszene von "Die schönen Tage von Aranjuez von Wim Wenders, im Wettbewerb beim Filmfest Venedig 2016 © alfama films producion/NFP " class="resize" data-basename="/kultur/film/tipps/aranjuez100_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/film/tipps/aranjuez100_v-thumbnailgross.jpg" style="width: 100%;" title="Sophie Semin und Reda Kateb (l.) in einer Filmszene von "Die schönen Tage von Aranjuez von Wim Wenders, im Wettbewerb beim Filmfest Venedig 2016" />
</b></span></div>
<div class="caption">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>2016 verfilmte Wenders Handkes Stück "Die schönen Tage von Aranjuez" mit Reda Kateb und Sophie Semin in den Hauptrollen.</b></span></div>
</li>
<li class="item" style="width: 589px !important;"><div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © imago/Leemage " class="resize" data-basename="/kultur/peterhandke118_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke118_v-thumbnailgross.jpg" style="width: 100%;" title="Peter Handke" />
</b></span></div>
<div class="caption">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Darüber hinaus hat Peter Handke viele
Prosawerke und Stücke ins Deutsche übertragen: Aus dem Griechischen
Stücke von Aischylos, Sophokles und Euripides, aus dem Französischen
Emmanuel Bove, René Char und Francis Ponge, aus dem Amerikanischen
Walker Percy.
</b></span></div>
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © imago/Leemage " class="resize" data-basename="/kultur/peterhandke120_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke120_v-thumbnailgross.jpg" style="width: 100%;" title="Peter Handke" />
</b></span></div>
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Die Formenvielfalt, die Themenwechsel, die
Verwendung unterschiedlichster Gattungen erklärte er selbst mit den
Worten: "Ein Künstler ist nur dann ein exemplarischer Mensch, wenn man
an seinen Werken erkennen kann, wie das Leben verläuft. Er muß durch
drei, vier, zeitweise qualvolle Verwandlungen gehen."
</b></span></div>
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © dpa/Effigie/Leemage " class="resize" data-basename="/kultur/peterhandke110_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke110_v-thumbnailgross.jpg" style="width: 100%;" title="Peter Handke" />
</b></span></div>
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Auch politisch bezieht Peter Handke Position.
1996 veröffentlicht er seinen Reisebericht "Eine winterliche Reise zu
den Flüssen Donau, Save, Morawa und Drina oder Gerechtigkeit für
Serbien" und löst damit eine Kontroverse aus. Kritiker werfen ihm eine
Verharmlosung der serbischen Kriegsverbrechen vor. 2006 tritt Handke als
Grabredner bei Slobodan Miloševićs Beerdigung auf.</b></span></div>
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Amina Handke Fotograf: Maria Ziegelböck" class="resize" data-basename="/kultur/aminahandke100_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/aminahandke100_v-thumbnailgross.jpg" style="width: 100%;" title="Amina Handke" />
</b></span></div>
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>"Wenn er fortging, dann hatte er die
Angewohnheit, dass er in der Nacht noch zu mir ins Zimmer kam", erinnert
sich Handkes Tochter Amina im Interview mit dem Standard. "Er strich
mir dann über den Kopf und roch dabei nach Zigaretten und Wein, auch
nach Essen." Vielleicht wird ihn auch an seinem Geburtstag wieder der
Geruch von gutem Essen und Wein begleiten.</b></span></div>
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<li class="item" style="width: 589px !important;"><div class="image-container landscape">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Der Schriftsteller Peter Handke sitzt auf einem Sofa, am 22.11.2012 in Salzburg/Österreich © picture alliance / Barbara Gindl / APA / picturedesk.com Fotograf: Barbara Gindl" class="resize" data-basename="/kultur/buch/peterhandke101_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/buch/peterhandke101_v-thumbnailgross.jpg" style="width: 100%;" title="Der Schriftsteller Peter Handke sitzt auf einem Sofa, am 22.11.2012 in Salzburg/Österreich" />
</b></span></div>
<div class="caption">
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Eines dürfte gewiss sein und uns Lesern nur zu
wünschen: dass mit 75 Jahren bei Peter Handke das literarische Pulver
noch längst nicht verschossen ist. </b></span></div>
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Claus Peymann und Peter Handke © dpa/epa Valdrin Xhemaj/EPA/Bildfunk " class="resize" data-basename="/kultur/peterhandke116_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke116_v-thumbnailgross.jpg" style="width: 100%;" title="Claus Peymann und Peter Handke" />
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Sophie Semin und Reda Kateb (l.) in einer Filmszene von "Die schönen Tage von Aranjuez von Wim Wenders, im Wettbewerb beim Filmfest Venedig 2016 © alfama films producion/NFP " class="resize" data-basename="/kultur/film/tipps/aranjuez100_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/film/tipps/aranjuez100_v-thumbnailgross.jpg" style="width: 100%;" title="Sophie Semin und Reda Kateb (l.) in einer Filmszene von "Die schönen Tage von Aranjuez von Wim Wenders, im Wettbewerb beim Filmfest Venedig 2016" />
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © imago/Leemage " class="resize" data-basename="/kultur/peterhandke118_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke118_v-thumbnailgross.jpg" style="width: 100%;" title="Peter Handke" />
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke © dpa/Effigie/Leemage " class="resize" data-basename="/kultur/peterhandke110_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/peterhandke110_v-thumbnailgross.jpg" style="width: 100%;" title="Peter Handke" />
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Amina Handke Fotograf: Maria Ziegelböck" class="resize" data-basename="/kultur/aminahandke100_v-{imagetype}.jpg" data-type="contentklein,contentgross,contentxl,einspaltig,zweispaltig,vierspaltig,thumbnailgross,anderthalbspaltig" src="https://www.ndr.de/kultur/aminahandke100_v-thumbnailgross.jpg" style="width: 100%;" title="Amina Handke" />
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<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peymann: Ob er ihn unterstützt hat, weiß ich nicht.
Er wusste sehr genau Bescheid, was dort passiert, und wir sind alle
befangen in unserer Beurteilung. Er hat den alternativen
Heinrich-Heine-Preis bekommen - den offiziellen hat man ihm abspenstig
gemacht -, und dann gab es eine große Bewegung, die 50.000 Euro aus
anderen Quellen zu beziehen. Und dieses Geld hatte Handke dann nach
Serbien gebracht, und hat dort in einem kleinen serbischen Dorf in
Bosnien, in der Enklave, dieses Geld übergeben. Das ist humanitäres
Handeln in Reinkultur. Vergessen wir nicht, dass die Söhne und Enkel der
Nazi-Soldaten, die Belgrad bombardiert hatten, auch dann wieder das
heutige Belgrad bombardiert haben. Er hat mir in meiner Bewertung des
Serbien-Krieges, auch der dort handelnden Personen, einen anderen Blick
beigebracht, wie er auch einen anderen Blick auf die Welt, auf die
Geschichte hat. Ob er ein Parteigänger von Milosevic gewesen ist,
bezweifele ich aufs Tiefste. Das ist das Bild, was von ihm entworfen
wurde - ich selbst habe in Bosnien einen anderen Handke erlebt: einen
Handke, der sich gefreut hat, für eine Schule eine neue Pflasterung des
Hofs, für das Schwimmbad etwas zu machen. Man muss da unheimlich
aufpassen, wer der Provokateur ist, ob es die Zeitungen sind oder dieser
wunderbare, einmalige Mensch. Ein ganz großer Mann feiert seinen
Geburtstag.</b></span><br />
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><strong>Und nun ist der vielleicht sogar letzte große Roman Handkes erschienen: </strong><a href="https://www.ndr.de/kultur/buch/Peter-Handke-Die-Obstdiebin,dieobstdiebin104.html" title="Zum Artikel: Die Obstdiebin"><strong>"Die Obstdiebin oder Einfache Fahrt ins Landesinnere".</strong></a><strong> Sie lesen dieses Buch gerade - welche Assoziationen haben Sie dabei?</strong></span><br />
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peymann: Es ist wieder ein typischer Handke. Ich
probiere gerade im Stuttgarter Staatstheater Shakespeares "Lear", und
nachmittags vertiefe ich mich in die "Obstdiebin". Es ist eine
Fortsetzung in Bildern des Denkens einer vielleicht nicht mehr allzu
großen Lesegemeinde. Aber jedem kann ich wünschen, sich in diese
merkwürdige, schöne, tiefe Melodie des Peter Handke einzuschalten.</b></span><br />
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><em>Das Interview führte </em><a href="https://www.ndr.de/ndrkultur/team/Natascha-Freundel,freundel101.html" title="Zum Artikel: Natascha Freundel"><em>Natascha Freundel</em></a><em>.</em></b></span><br />
<span style="font-size: large;"><b><span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace;"><em><br /></em></span>
<span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace;"><em>------------------------------------</em></span></b></span><br />
<span style="font-size: large;"><b><span style="background-color: #fce5cd; font-family: "courier new" , "courier" , monospace;"><em><br /></em></span>
<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><em><span style="background-color: #ffd966;">http://www.filmdienst.de/aktuelles/einzelansicht/artikel/peter-handke-zum-75-geburtstag.html</span></em></span></b></span><br />
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<h1>
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;">Peter Handke zum 75. Geburtstag</span></h1>
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<h2>
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;">Peter Handke, geboren 1942 in Griffen (Kärnten), wird am 6.12.2017
75 Jahre alt. Der Schriftsteller, Theaterautor und Regisseur hatte
stets eine große Leidenschaft fürs Kino, und das nicht allein auf Grund
seiner langjährigen Freundschaft mit Wim Wenders. </span></h2>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Weltgefühl. Filmkunst. Der Schriftsteller Peter Handke und das Kino
</b></span></div>
<div class="bodytext">
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><em>Autor: Wilfried Reichart</em> <br /> </b></span><img alt="" src="http://www.filmdienst.de/fileadmin/_processed_/csm_bin-im-wald-kann-sein-dass-ich-mich-verspate_4_730a187b88.jpg" height="169" style="float: left; padding-bottom: 10px; padding-right: 10px;" title="" width="300" /><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peter
Handke und das Kino – das ist eine Liebesgeschichte. Schon in jungen
Jahren verfällt Handke dem Zauber der Kinematografie und bleibt ihr
treu, ein Leben lang, trotz gelegentlicher Enttäuschungen. Er ist ein
Kinogeher, im wahrsten Sinne des Wortes. Kein Kinobesucher. Er versteht
sich nicht als Gast, der einer Einladung folgt, sondern als Komplize.
Den Filmliebhaber zieht es in die Kinos, um Menschen zu begegnen (nicht
im Kinosaal, auf der Leinwand), mit denen er sich verbunden fühlt, um
neue Landschaften kennenzulernen, um Bilder zu sehen, die seine Fantasie
beflügeln. Das Kino war ihm »von allen Dingen dem Herzen am nächsten«.<br /><br />In Landkinos und Stadtkinos<br /><br />Gern
schreibt Peter Handke darüber, was das Kinogehen mit ihm anstellt. Zum
Beispiel 1962. Da ist er gerade 20 Jahre alt und beginnt ein Jurastudium
in Graz. In einem »stinknormalen, noch nicht spezialisierten Kino«
sieht er Michelangelo Antonionis »La Notte«. »Nach dem Film stand ich im
Zentrum von Graz an einer nächtlichen Straßenbahnhaltestelle und
erlebte die steirische Stadt in eine Weltstadt verwandelt. Damals erfuhr
ich zum ersten Mal so etwas wie ein Weltgefühl.«<br /><br />Antonioni!
Weltgefühl! Filmkunst! Darauf lässt sich Handkes Vorstellung von Film
nicht festlegen. Er kommt in seiner Filmsozialisierung von ganz unten.
»Das Wunderbarste am Kino war es, dass dort, ohne dass jene
Örtlichkeiten sich einem extra als ‚Kulturstätte’ brüsteten, Kultur
stattfand und nicht die herzenskalte, monopolitische, befremdende
Reinkultur, sondern immer die Mischkultur, die allseits offene,
menschenfreundliche, herzerwärmende.«<br /><br />Zum Beispiel in den
Landkinos im südlichen Burgenland. »In welchem Stadtkino sieht man sonst
im Monat zwei Fuzzyfilme so wie im Kino in Jennersdorf. Und in welchem
Stadtkino sieht man im Monat fünf Heimatfilme, zwei Herkulesfilme, zwei
Jerry-Cotton-Filme, zwei Edgar-Wallace-Filme, einen Angélique-Film,
einen Kommissar-X-Film, einen Maciste-Film, einen Zorro-Film, einen
Fantomas-Film, zwei italienische, einen amerikanischen Western und Walt
Disneys »Susi und Strolch« wie im Kino Windisch-Minihof an der
ungarisch-jugoslawischen Grenze?«<br /><br />Ein Pendeln zwischen Ablehnung und Zustimmung<br /><br />Das
ist alles lange her. 1968 noch beschreibt Peter Handke die Dramaturgie
des Heimatfilms »wie das Öffnen eines Adventskalenders: eins nach dem
andern zeigen sich Bilder in einer stereotypen, künstlichen Welt, und
trotzdem überrascht jedes einzelne Bild, und man ist neugierig«.</b></span><img alt="" src="http://www.filmdienst.de/fileadmin/_processed_/csm_bin-im-wald-kann-sein-dass-ich-mich-verspate_3_379b137b7e.jpg" height="162" style="float: left; padding-bottom: 10px; padding-right: 10px;" title="" width="300" /><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Da
muss man durch. Das muss man vielleicht alles gesehen haben, um es
hinter sich zu lassen. 1975 schreibt Peter Handke im »Spiegel« über die
neuen Filme von François Truffaut und Jean-Luc Godard (»Numéro 2«). Den
einen verreißt er brutal, den anderen beschreibt er ausführlich. In
seiner Ablehnung wird Handke zum Filmkritiker, in seiner Zustimmung ist
er Kinogeher, der das Gesehene beschreibt. In seiner Kritik von
Truffauts »L’histoire d’Adèle H.« formuliert er all das, um was es ihm
in seinem ersten (vom Fernsehen produzierten) Spielfilm »Chronik der
laufenden Ereignisse« (1971) ging, um die Aufdeckung von ritualisierten
Phrasen. Das ist es, was er Truffaut vorwirft: kostümierte Figuren,
Geschichten-Maschinerie, Einstellungen, die auf den bloßen
Stimmungsreflex eines errechenbaren Phantomzuschauers zielen, fertige
Formen für bestimmte Wirkungen.<br /><br />In »Chronik der laufenden
Ereignisse« bringt Handke zwei Motive zusammen, seine Liebe zum
amerikanischen Kino – besonders zu John Ford und zum Film noir – und die
Intention, sich dem konventionellen Geschichtenerzählen zu verweigern.
Der Film rekonstruiert Erinnerungsbilder des Kinos und des Fernsehens,
die bis zur Parodie verfremdet werden.<br /><br />»Peter Handke geht ins Kino«<br /><br />In
der Literatur Handkes spielt der Film immer eine besondere Rolle. Der
Mann, der sich als Enkel John Fords fühlt, beschreibt in »Der kurze
Brief zum langen Abschied« einen Besuch bei dem amerikanischen
Regisseur. (Handke hatte allerdings John Ford, der 1973 starb, nie
persönlich kennengelernt.) In »Der große Fall« (2011) geht ein
Schauspieler durch eine Metropole, einmal erinnert er sich an die
Filmgeschichten von Carl Theodor Dreyer, Robert Bresson, Maurice Pialat,
John Ford, Satyajit Ray, die er als Offenbarungen empfunden hat. Und
1980 übersetzt Peter Handke (es ist seine erste Übersetzungsarbeit von
inzwischen mehr als 30 Übertragungen aus vier Sprachen) den 1961 in den
USA veröffentlichen Roman von Walker Percy: »The Moviegoer«. Der Roman
kreist um das Familien- und Berufsleben des Wertpapier-Maklers John
Bickerson Bolling, der häufig ins Kino geht und dessen Verhältnis zur
Welt davon geprägt ist.<br /><br />»Peter Handke geht ins Kino« hieß eine
Filmschau, die das Österreichische Filmarchiv im Oktober/November 2014
mit von Handke ausgewählten Filmen organisierte. John Ford natürlich und
Wim Wenders, Ernst Lubitsch und Straub/Huillet, Abbas Kiarostami und
Robert Bresson, Yasujiro Ozu und Satyajit Ray, Pier Paolo Pasolini und
Werner Herzog, Andrej Tarkowskij und Ingmar Bergman, Federico Fellini,
Carl Theodor Dreyer, Luis Buñuel. Darunter lediglich zwei Filme aus der
BRD, Erwin Keuschs »Das Brot des Bäckers« und »Die große Ekstase des
Bildschnitzers Steiner« von Werner Herzog. Das junge deutsche Kino steht
nicht auf der Agenda des Kinogehers. <br /><br />Arbeiten mit Wim Wenders</b></span><img alt="" src="http://www.filmdienst.de/fileadmin/_processed_/csm_bin-im-wald-kann-sein-dass-ich-mich-verspate_2_cbd40deaf9.jpg" height="162" style="float: left; padding-bottom: 10px; padding-right: 10px;" title="" width="300" /><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Es
ist aber der deutsche Regisseur Wim Wenders, der Peter Handke zum
Filmemachen gebracht hat. Ein Glücksfall. »3 Amerikanische LP’s« hieß
der 13-minütige Film, den sie 1969 realisierten. Darsteller und
Drehbuch: Peter Handke und Wim Wenders, Regie, Kamera, Schnitt: Wim
Wenders, Musik: Creedence Clearwater Revival, Harvey Mandel, Van
Morrison. Lange Einstellungen aus fahrenden Autos, Autofriedhöfe,
Tankstellen, Autokinos in Kombination mit Popmusik.<br /><br />Zwei Jahre
später dann »Die Angst des Tormanns beim Elfmeter«. Dazu Wim Wenders:
»Keiner der 20 Absolventen der Münchner Filmhochschule drehte in den
nächsten Jahren nach dem Studium einen Film. Ich war der Einzige. Und
das lag an Peter Handke, der mir seinen Roman für einen Appel und Ei
schenkte. Da war ich 25 Jahre alt und er wurde 1972 in Venedig gezeigt.«<br /><br />Daraus
wurde eine lebenslange Freundschaft und berufliche Zusammenarbeit. Sie
realisierten fünf Spielfilme, wobei Peter Handke seine besondere Rolle
spielte. Der erfolgreichste war »Der Himmel über Berlin« (1987). Wim
Wenders hatte eine Geschichte von zwei Engeln im Kopf und trug Handke
an, mit ihm das Drehbuch zu schreiben. Doch der hatte gerade einen Roman
angefangen und wollte die Arbeit nicht unterbrechen. »So haben wir
schließlich einfach angefangen zu drehen, ohne festes Buch. Gleichzeitig
kamen dann diese dicken Briefe, einer nach dem anderen, über mehrere
Wochen. Absender: Peter Handke. Er schrieb, er habe nachträglich doch
bedauert, mich mit leeren Händen wieder fortzuschicken, und weil meine
Geschichte irgendwie in ihm nachgehallt hatte, habe er angefangen, auf
gut Glück Dialoge und Monologe zu schreiben. Der Dreh war wie ein Flug
ohne Instrumente, aber zwischendrin gab es diese Fixpunkte der Texte von
Peter, auf die wir immer zugeflogen sind. Diese Handke’schen Texte
waren wie unsere Leuchttürme.«<br /><br />Ihre jüngste (und fünfte)
Zusammenarbeit ließ den Film »Die schönen Tage von Aranjuez« entstehen,
ein Zweipersonenstück, das Handke auf Französisch für seine Frau Sophie
Semin verfasste, ein »Sommerdialog«, in dem ein Mann eine Frau nach
ihrer erotischen Vergangenheit befragt. Wenders hat das innerhalb von
zehn Tagen verfilmt, sein Inszenierungsarrangement hält sich streng an
das Theaterstück, in den Hauptrollen Sophie Semin und Reda Kateb. Peter
Handke hat einen Gastauftritt als Gärtner, das war’s. Er hatte sich aus
der ganzen Vorbereitung des Films völlig herausgehalten und weder beim
Drehbuch noch beim Schnitt Einfluss genommen. Was ihn am Ende gestört
hat, war das 3D-Format des Films. Wenders: »Er hat zum ersten Mal in
seinem Leben etwas in 3D gesehen, und das hat ihn sehr irritiert. Er hat
eine andere Raum- und Farbwahrnehmung als ich. Als er dann die
2-D-Version sah, war alles okay.«<br /><br />»Die schönen Tage von Aranjuez«
entstand 44 Jahre nach dem ersten Spielfilm »Die Angst des Tormanns
beim Elfmeter«, den Wenders nach einer Vorlage von Peter Handke
realisierte. Damals schrieb der Autor am Drehbuch mit. Die lange
Freundschaft wurde Mitte der 1990er-Jahre auf eine harte Probe gestellt,
als Handke seine Position aus Anlass des Zerfalls Jugoslawiens
formulierte und zum Begräbnis von Milosevic reiste. Wenders vertrat
öffentlich eine dezidiert andere Position. Doch wahre Freundschaft...
Wim Wenders: »Es gab immer eine große Gemeinsamkeit in unserer Arbeit
und er ist der Schriftsteller, dessen Werk ich am besten verstehe.
Niemand ist mir so nah. Wir haben parallel gelebt.« <br /><br />Der Regisseur im Schatten des Schriftstellers?<br /><br />Steht
der Filmregisseur Peter Handke im Schatten des Schriftstellers Peter
Handke? »Die linkshändige Frau« zum Beispiel, Handkes zweite
Regiearbeit, wurde 1976 zuerst als Filmdrehbuch geschrieben, dann zur
Erzählung umgeschrieben und bei Suhrkamp veröffentlicht. Danach erst
entstand der Film. </b></span><img alt="" src="http://www.filmdienst.de/fileadmin/bilder/startseite/dossiers/Peter_Handke.jpg" height="162" style="float: left; padding-bottom: 10px; padding-right: 10px; padding-top: 10px;" width="300" /><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Dieses
Zögern, hat es vielleicht etwas mit dem Zweifel des Literaten zu tun,
neben Filmregisseuren wie John Ford und Ozu und all den Favoriten des
Kinogehers bestehen zu können? Auf jeden Fall geht Handke bei diesem
Film auf Nummer sicher, kein Risiko, von allem das Beste, die
Schauspieler, die für sich selbst stehen, Edith Clever, Bruno Ganz,
Angela Winkler, Bernhard Wicki, Bernhard Minetti, Rüdiger Vogler, der
Kameramann Robby Müller, dem man nicht erklären muss, welche Bilder er
herstellen soll, der Cutter Peter Przygodda, der wie kein Anderer weiß,
wie man am Schneidetisch mit Bildern umgeht.<br /><br />Auch »Die
Abwesenheit«, Handkes bisher letzter Film, erschien zuerst 1987 als
Buch, das dann fünf Jahre später verfilmt wurde mit Jeanne Moreau, Bruno
Ganz, Sophie Semin. Kamera: Agnès Godard, Schnitt: Peter Przygodda. Nur
»Chronik der laufenden Ereignisse«, Handkes erste und interessanteste
Regiearbeit, entstand nach einem Originaldrehbuch, das später als
Erzählung von einem schon vorhandenen Film publiziert wurde.<br /><br />Heimwege nach dem Kino<br /><br />Zurück
zum Kinogeher, der im Kino seinen Gefühlen freien Lauf lässt, der Filme
»begrüßt«, voller Enthusiasmus, Ergriffenheit, manchmal auch
erschüttert, wacherzählt, aufgefrischt; der aus dem Kino kommt und auf
dem Heimweg die Bilder mit sich trägt.<br /><br />»Mit nichts auf der Welt
hat es für mich solche Heimwege gegeben wie zuzeiten nach dem Kino, nach
der ‚Reise nach Tokyo’ von Ozu, nach ‚Andrej Rubljow’ von Tarkowski,
nach ‘Mouchette’ von Bresson, nach ‘El Nazarin’ von Buñuel. Nach ‚The
Man Who Shot Liberty Valance’ bekam ich Appetit auf die Welt: den Wind,
den Asphalt, die Jahreszeiten, die Bahnhöfe und nicht allein der
appetitlichen Speisen wegen, die der Aushilfskellner James Stewart
serviert«. <br /><br />Peter Handke ist ein empfindsamer Kinogeher, wie
Franz Kafka (»Im Kino gewesen, geweint«). Für Kafka wie auch für James
Joyce, so konstatiert Hanns Zischler in seiner Publikation »Nase für
Neuigkeiten«, »bedeutet es einen ungetrübten passiven Genuss, von einer
illusionären Bewegung des Kinos fortgetragen und, durchaus wörtlich, der
Sorgen enthoben zu werden – für die Dauer des Eintauchens und des
Verweilens im dunklen Saal. Eine Spielform der Divagation, ausschweifend
sein, ohne sich vom Fleck zu rühren. Unbewegt gerührt und erregt
werden.«<br /><br />Gehen! Sich gehen lassen? Handke verknüpft die
Leidenschaft des Kinos mit der des Gehens. Sein Film »Die Abwesenheit«
(1992) thematisiert das Gehen, die Besonderheit des
Querfeldein-Unterwegsseins. (»Wer überlebt hat, geht querfeldein«,
meinte Herbert Achternbusch.) Ein Teil des Films spielt in Handkes Haus
in Chaville bei Paris, wo auch Corinna Belz’ subtile Annäherung an den
Schriftsteller </b></span><img alt="" src="http://www.filmdienst.de/fileadmin/bilder/startseite/dossiers/Peter_Handke2.jpg" height="162" style="float: left; padding-bottom: 10px; padding-right: 10px; padding-top: 10px;" width="300" /><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>stattfand.
Ihr Film zeigt einen Mann, nachdenklich, bestimmt, reflektiert, scheu,
lächelnd, ernst, überzeugt, bei dem jedes Wort zählt. Es geht immer um
alles. Die Zimmer des Hauses: unaufgeräumt, doch jedes Ding scheint am
richtigen Platz; der Herr des Hauses: weißes Hemd, Weste, schwarzer
Anzug, feste Schuhe, (nach)lässige Eleganz; er schneidet Steinpilze und
Nüsse, markiert im Garten mit Muscheln einen »unsterblichen Weg«, den er
auf und ab geht, er notiert seine Gedanken mit bunten Stiften in gut
leserlicher Schrift in sein Notizbuch.<br /><br />Als Corinna Belz mit der
Kamera zu Peter Handkes Haus kam, stand sie vor dem Eisentor, an dem der
Zettel hing: »Bin im Kino, kann sein, dass ich danach querfeldein
unterwegs bin.« Nein. Dummer Scherz. Corinnas Film fokussiert den
Schriftsteller, nicht den Kinogeher. Auf dem Zettel stand: »Bin im Wald,
kann sein, dass ich mich verspäte«, was sie dann zum Titel ihres Films
machte.
</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><em>Wilfried Reicharts Text erschien erstmals in FILMDIENST 23/2016.</em>
</b></span></div>
<div class="bodytext">
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><em>Fotos: Aus Corinna Belz' dokumentarischem
Porträt "Peter Handke - Bin im Wald, kann sein, dass ich mich verspäte".
Piffl Medien/good!movies</em><br /><br /><em>Literatur<br />Peter Handke: Mündliches und Schriftliches. Zu Büchern, Bildern und Filmen (Suhrkamp)<br />Peter Handke: Ich bin ein Bewohner des Elfenbeinturms (Suhrkamp)<br />Walker Percy: The Moviegoer (Übersetzung Peter Handke, Bibliothek Suhrkamp)<br />Werner Köster: Wim Wenders und Peter Handke (Tectum Verlag)<br />Lothar Struck: Der Geruch der Filme (Mirabilis Verlag)</em>
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<div class="bodytext">
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><em>DVD/BD-Tipps:<br />1. Ein dokumentarisches Porträt Handkes </em><em>von Filmemacherin Corinna Betz: <a class="external-link-new-window" href="http://www.filmdienst.de/kinokritiken/einzelansicht/peter-handke---bin-im-wald--kann-sein--dass-ich-mich-verspaete,548602.html" target="_blank" title="Opens external link in new window">»Peter Handke - Bin im Wald. Kann sein, dass ich mich verspäte«</a>. Anbieter: good!movies </em>
</b></span></div>
<div class="bodytext">
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><em>2. Wim Wenders’ Adaption von Peter Handkes <a class="external-link-new-window" href="http://www.filmdienst.de/kinokritiken/einzelansicht/die-schoenen-tage-von-aranjuez,548941.html" target="_blank" title="Opens external link in new window">»Die schönen Tage von Aranjuez«</a>. Anbieter: Warner Home</em>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b> <em><br /><img alt="" src="http://www.filmdienst.de/fileadmin/_processed_/csm_Die_sch%C3%B6nen_Tage_von_Aranjuez_77debab3d9.jpg" height="386" style="float: left; padding-right: 10px;" title="" width="300" /><img alt="" src="http://www.filmdienst.de/fileadmin/_processed_/csm_Peter_Handke_Doku_6660ceceb8.jpg" height="424" title="" width="300" /></em></b></span></div>
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<span style="color: #0000ee;"><u><br /></u></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-75679345417880394222017-10-30T18:22:00.000-07:002017-10-30T20:14:32.026-07:00Peter Handke : « Je suis Autrichien, je ne sais pas<a href="http://www.twitter.com/summapolitico"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></b></span></a><br />
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<header class="entry-header" style="box-sizing: border-box;"><h1 class="entry-title" style="box-sizing: border-box; color: #171617; line-height: 1.11111; margin: 0px 0px 0.88889em; padding: 0px; transform: translateY(0.22006em);">
<span style="background-color: orange; font-family: "courier new" , "courier" , monospace; font-size: large;"><strong style="box-sizing: border-box;">Peter Handke :</strong> « Je suis Autrichien, je ne sais pas ce que c’est, le subconscient » <em style="box-sizing: border-box;">(L’essai sur le fou de champignons)</em></span></h1>
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<span style="color: #3d3e40; font-family: courier new, courier, monospace; font-size: large;"><span style="background-color: cyan; box-sizing: border-box;"><i><b>https://flipbook.cantook.net/?d=%2F%2Fwww.edenlivres.fr%2Fflipbook%2Fpublications%2F289573.js&oid=3&c=&m=&l=&r=&f=pdf</b></i></span></span></div>
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<figure class="wp-caption aligncenter" id="attachment_27061" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 768px;"><img alt="" class="size-medium_large wp-image-27061" data-attachment-id="27061" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Peter Handke" data-large-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?fit=940%2C627&ssl=1" data-medium-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?fit=300%2C200&ssl=1" data-orig-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?fit=2727%2C1820&ssl=1" data-orig-size="2727,1820" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/avt_peter-handke_4573/" height="318" sizes="(max-width: 768px) 100vw, 768px" src="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?resize=768%2C513&ssl=1" srcset="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?resize=768%2C513&ssl=1 768w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?resize=150%2C100&ssl=1 150w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?resize=300%2C200&ssl=1 300w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?resize=1024%2C683&ssl=1 1024w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?resize=450%2C300&ssl=1 450w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?resize=899%2C600&ssl=1 899w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/AVT_Peter-Handke_4573.jpeg?w=1880&ssl=1 1880w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" width="476" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Peter Handke</b></span></figcaption></figure><br />
<div style="box-sizing: border-box; color: #3d3e40; line-height: 1.5; margin-bottom: 2.25em; padding: 0px; text-align: justify; transform: translateY(0.4145em);">
<span class="dropcap" style="box-sizing: border-box; color: #171617; float: left; line-height: 1; margin-bottom: -0.14634em; margin-right: 0.07317em; margin-top: -0.1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">J</b></span></span><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">e le dis d’emblée, je ne suis pas un grand connaisseur de Peter Handke et de son œuvre immense, j’espère qu’on me pardonnera les lacunes que je n’aurai plus le temps de combler dans cette vie et qui vont se faire ressentir dans cet article. En plus, on me tend un piège par ce petit essai de circonstance presque – il faut s’en méfier d’autant plus pour l’apprécier à sa juste valeur. En tentant une lecture de cet essai, un peu par biais, je voudrais en même temps lever un peu les couches pesantes qui se sont mises progressivement d’abord sur l’auteur, puis sur son œuvre, au fil des affaires autour de sa tentative de sauvetage de la Serbie, égarement politique, impardonnable et inexcusable, imprégné de la nostalgie yougoslave.<span id="more-27050" style="box-sizing: border-box;"></span></b></span></div>
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<img alt="" class="alignleft size-medium wp-image-27062" data-attachment-id="27062" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Peter Handke Essai sur le fou de champignons" data-large-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?fit=674%2C1024&ssl=1" data-medium-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?fit=197%2C300&ssl=1" data-orig-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?fit=2362%2C3590&ssl=1" data-orig-size="2362,3590" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/a14609/" data-recalc-dims="1" sizes="(max-width: 197px) 100vw, 197px" src="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?resize=197%2C300&ssl=1" srcset="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?resize=197%2C300&ssl=1 197w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?resize=99%2C150&ssl=1 99w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?resize=768%2C1167&ssl=1 768w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?resize=674%2C1024&ssl=1 674w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?resize=450%2C684&ssl=1 450w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?resize=1024%2C1556&ssl=1 1024w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?resize=395%2C600&ssl=1 395w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/A14609.jpg?w=1880&ssl=1 1880w" style="border: 0px; box-sizing: border-box; float: left; height: auto; margin-bottom: 1.125em; margin-right: 3em; margin-top: 1.125em; max-width: 50%; position: relative; z-index: 1;" /><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Alors, il ne suffit plus de souligner que son œuvre est considérée avec celle d’Elfriede Jelinek et de Thomas Bernhard (on oublie souvent les poètes – Elfriede Mayröcker et Ernst Jandl) comme la plus importante de l’Autriche contemporaine, mais aussi de langue allemande.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">L’écho quasi nul dans la presse française de cette dernière parution, n’est qu’une preuve supplémentaire, ou signe que l’on est resté un peu sur la dernière actualité en date : la déprogrammation d’une de ses pièces en 2006 par Marcel Bozonnet, directeur de la Comédie française, lorsqu’il découvre, d’après ses propres mots, la participation de Peter Handke à l’enterrement de Milosevic. Tout en désapprouvant cet engagement obstiné autant que la lecture que Handke fait du conflit des Balkans, je peux toujours apprécier ce qu’il écrit par ailleurs. C’est le vieux débat renouvelé, l’auteur ou l’œuvre, l’auteur est-il l’œuvre, l’œuvre peut-elle être indépendante, etc. ? Mais ce sera déjà le sujet, d’avance empoisonné, de tout un article, et certainement davantage. Je suis obligé de passer outre ce <em style="box-sizing: border-box;">Stolperstein</em>, qui ne disparaîtra pas pour autant, n’est pas censé disparaître, nous continuerons de boiter, de trébucher ou de bégayer, et c’est d’autant mieux.</b></span></div>
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<figure class="wp-caption aligncenter" id="attachment_27051" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 768px;"><img alt="Photos d'identité, extrait du film de Corinna Belz, Bin im Wald, kann sein, dass ich mich verspäte (2016)" class="size-medium_large wp-image-27051" data-attachment-id="27051" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="extrait du film de Corinna Belz, Bin im Wald, kann sein, dass ich mich verspäte (2016)" data-large-file="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?fit=940%2C415&ssl=1" data-medium-file="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?fit=300%2C132&ssl=1" data-orig-file="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?fit=1399%2C617&ssl=1" data-orig-size="1399,617" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/1_pass_handke/" height="210" sizes="(max-width: 768px) 100vw, 768px" src="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?resize=768%2C339&ssl=1" srcset="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?resize=768%2C339&ssl=1 768w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?resize=150%2C66&ssl=1 150w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?resize=300%2C132&ssl=1 300w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?resize=1024%2C452&ssl=1 1024w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?resize=450%2C198&ssl=1 450w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?resize=1360%2C600&ssl=1 1360w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/1_pass_handke.jpg?w=1399&ssl=1 1399w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" width="476" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Photos d’identité, extrait du film de Corinna Belz, <em style="box-sizing: border-box;">Bin im Wald, kann sein, dass ich mich verspäte</em> (2016)</b></span></figcaption></figure><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Supposons que j’aurais à écrire une critique d’un livre sans l’avoir ouvert, que j’exprime ce que son titre m’inspire. C’est d’ailleurs la première chose qui frappe dans l’œuvre de Handke, quel que soit le genre, roman, récit, journal, pièce de théâtre, essai, film, des contes, les titres de ses livres intriguent et attirent par leur beauté étrange : <em style="box-sizing: border-box;">L’Angoisse du gardien de but au moment du penalty, </em> <em style="box-sizing: border-box;">La courte lettre pour un long adieu</em>, <em style="box-sizing: border-box;">Par une nuit obscure je sortis de ma maison tranquille, La chevauchée sur le Lac de Constance, Préparatifs d’immortalité, Les ailes du désir, J’habite une tour d’ivoire, etc. </em>Des titres qui changent peu ou pas d’une langue à l’autre, et pour cause.</b></span></div>
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<figure class="wp-caption aligncenter" id="attachment_27052" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 768px;"><img alt="" class="size-medium_large wp-image-27052" data-attachment-id="27052" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="extrait du film de Corinna Belz, Bin im Wald, kann sein, dass ich mich verspäte (2016)" data-large-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?fit=940%2C504&ssl=1" data-medium-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?fit=300%2C161&ssl=1" data-orig-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?fit=1439%2C772&ssl=1" data-orig-size="1439,772" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/2_livres_dos_handke/" data-recalc-dims="1" sizes="(max-width: 768px) 100vw, 768px" src="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?resize=768%2C412&ssl=1" srcset="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?resize=768%2C412&ssl=1 768w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?resize=150%2C80&ssl=1 150w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?resize=300%2C161&ssl=1 300w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?resize=1024%2C549&ssl=1 1024w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?resize=450%2C241&ssl=1 450w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?resize=1118%2C600&ssl=1 1118w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/2_livres_dos_handke.jpg?w=1439&ssl=1 1439w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">extrait du film de Corinna Belz, <em style="box-sizing: border-box;">Bin im Wald, kann sein, dass ich mich verspäte</em> (2016)</b></span></figcaption></figure><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">« Juste pour le titre », Handke l’évoque dans les premières pages de l’essai dont il est question ici, en citant deux films : <em style="box-sizing: border-box;">La tragédie d’un homme ridicule</em> et <em style="box-sizing: border-box;">Two rode together</em>, pour annoncer un peu la couleur de cette histoire qui s’écrit à deux, en dédoublant, ou en moi et surmoi réunis se protégeant contre un ça encombrant, comme dans <em style="box-sizing: border-box;">Mon année dans la baie de personne</em>, où le narrateur se sent le plus amis avec les amis en voyage, ceux qu’il accompagne virtuellement dans leurs errances, mais j’anticipe.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Selon l’époque et l’endroit où vous êtes nés, le champignon ne vous fait pas la même chose, et je me souviens d’avoir <a href="https://www.youtube.com/watch?v=HJVE-VjC_ME" rel="noopener" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #59057a; text-decoration-line: none;" target="_blank"><span style="box-sizing: border-box; color: #666699;">vu en ligne une discussion au MoMA</span></a> avec ce duo qu’on connaît bien de leurs multiples coopérations, pour les uns <em style="box-sizing: border-box;">La Femme gauchère</em>, les autres la longue incantation : <em style="box-sizing: border-box;">Als das Kind noch Kind war</em>… (Lorsque l’enfant était enfant…) dans <em style="box-sizing: border-box;">Les Ailes du désir</em>, ou encore la dernière en date : <em style="box-sizing: border-box;">Les beaux jours d’Aranjuez</em>, donc <a href="https://diacritik.com/2015/10/11/wim-wenders-time-capsules-berlin/" rel="noopener" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #59057a; text-decoration-line: none;" target="_blank"><span style="box-sizing: border-box; color: #666699;">Wim Wenders</span></a> et Peter Handke, qui parlaient de leur rapport à l’Amérique : sans surprise la culture pop pour Wenders et la littérature pour Handke, et tous deux pouvaient se retrouver dans le cinéma américain. Cette culture pop qui d’après Wenders a colonisé le subconscient des jeunes Allemands comme le sien dans les années soixante au point qu’il fredonnait les airs et les paroles de Chuck Berry sans encore connaître leur sens paraît étrange à Handke : « I’m Austrian, I don’t know what’s subconscious » (« Je suis Autrichien, je ne sais pas ce que c’est, le subconscient »).</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Ȇtre Autrichien comme Sigmund Freud et faisant l’ignorant de cet héritage qui plane aussi sur son œuvre, il est impossible de ne pas penser à une boutade. Son adulation pour le juke-box, auquel il a aussi consacré un livre dans la même série d’essais, fait d’ailleurs douter de ses paroles sur le subconscient. Or, il se considère lui-même comme un <em style="box-sizing: border-box;">Pilztrottel</em> (un imbécile qui va aux champignons, ou qu’il est un imbécile parce qu’il va aux champignons) insistant sur une sorte d’innocence des bois, je suis peut-être obligé d’abandonner une intuition que cet essai traite aussi des effets de la psilocybine. Il est écrit noir sur blanc :</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;"><em style="box-sizing: border-box;">Et maintenant, en cette nouvelle époque, comment dit-on ?, à « notre époque », il semble qu’abondent les récits où les champignons obéissent davantage au rôle qu’ils jouent dans les fantasmagories du commun des mortels, soit comme instrument du meurtre, soit comme moyen, comment dit-on déjà ?, d’« expansion de la conscience »</em>.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Cette naïveté en surimpression est renforcée par le choix du traducteur, car il s’agit plutôt d’un renvoi à l’<em style="box-sizing: border-box;">ouverture d’esprit</em>learienne que d’une <em style="box-sizing: border-box;">expansion de la conscience</em>. Alors, Handke ne cache pas les rêves de sa propre jeunesse, ceux de la culture hippie des années soixante, de Timothy Leary et son « <em style="box-sizing: border-box;">art of mind-expanding</em> », et tout ce que l’auteur partage aussi avec Wenders. On pourrait par ailleurs, à l’instar de Wenders dans son adaptation de la pièce de Handke, <em style="box-sizing: border-box;">Les beaux jours d’Aranjuez,</em> connecter toute cette série d’essais, le jukebox, le lieu tranquille, la journée réussie, ou encore la fatigue, et le fou de champignons. Au début du film nous entendons <a href="https://www.youtube.com/watch?v=QYEC4TZsy-Y" rel="noopener" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #59057a; text-decoration-line: none;" target="_blank"><em style="box-sizing: border-box;"><span style="box-sizing: border-box; color: #666699;">A perfect day</span></em></a> de Lou Reed, sur une séquence de photos de lieux tranquilles (des rues désertées de Paris, ça peut passer même si son essai joue sur tous les sens du terme, ce qui va du petit coin jusqu’à la retraite dans le désert), elle se termine sur un gros plan sur la Wurlitzer, le clic et le grincement du bras remettant le disque dans l’archive, mettant fin à la chanson. Puis l’écrivain apparaît dans le cadre devant sa petite machine à écrire Olympia, insérant une feuille dans la machine, tapant quelques mots avant de retirer la feuille pour la chiffonner et jeter.</b></span></div>
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<figure class="wp-caption aligncenter" id="attachment_27053" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 738px;"><img alt="" class="size-full wp-image-27053" data-attachment-id="27053" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="extrait du film de Wim Wenders, Les beaux jours d’Aranjuez (2016)" data-large-file="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/3_aranjuez.jpg?fit=738%2C491&ssl=1" data-medium-file="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/3_aranjuez.jpg?fit=300%2C200&ssl=1" data-orig-file="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/3_aranjuez.jpg?fit=738%2C491&ssl=1" data-orig-size="738,491" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/3_aranjuez/" height="317" sizes="(max-width: 738px) 100vw, 738px" src="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/3_aranjuez.jpg?resize=738%2C491&ssl=1" srcset="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/3_aranjuez.jpg?w=738&ssl=1 738w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/3_aranjuez.jpg?resize=150%2C100&ssl=1 150w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/3_aranjuez.jpg?resize=300%2C200&ssl=1 300w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/3_aranjuez.jpg?resize=450%2C299&ssl=1 450w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" width="476" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">extrait du film de Wim Wenders, <em style="box-sizing: border-box;">Les beaux jours d’Aranjuez</em> (2016)</b></span></figcaption></figure><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Je pourrais évidemment m’arrêter au caractère suranné, désuet de cette représentation vintage (musique et écriture), y opposer l’hologramme de Frank Sinatra qu’on voit apparaître dans le jukebox du dernier <em style="box-sizing: border-box;">Blade Runner</em>, ou toute autre représentation futuriste de ce genre, bientôt aussi vintage que les précédentes. Rien que ce caractère de préemption rapide fait peut-être que Wenders est tellement attaché à ses images à lui, comme Handke aussi. Par conséquent, son éditeur munit son écrivain d’un « crayon et d’une table » pour écrire. Handke n’a plus besoin de l’écrire – aucune allusion directe dans son essai, il a suffisamment promulgué qu’il est repassé depuis longtemps au carnet et au crayon pour écrire, seul moyen selon lui d’appréhender l’érotisme de l’écriture, dont un clavier d’ordinateur serait complètement dépourvu. La machine électrique qu’il a tentée pendant un moment l’a tellement stressé par son bourdon, bruit « d’attente pressante » qu’il l’a aussitôt abandonné. Il n’y a que la machine à écrire mécanique qui trouve grâce à ses yeux, car « elle fait de ces bruits » qu’il aime, <a href="https://vimeo.com/175042254" rel="noopener" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #59057a; text-decoration-line: none;" target="_blank"><span style="box-sizing: border-box; color: #666699;">comme il l’avoue à Corinnaa Belz</span></a>. On peut supposer que son aversion contre l’évolution des claviers lui a fait oublier tout de suite les écrans tactiles, qui, eux, retrouvent en quelque sorte l’érotisme perdu, en (ré)activant notre sens du toucher d’une manière plus fluide, au demeurant, illustrant cette observation toujours d’actualité de Walter Benjamin :</b></span></div>
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<em style="box-sizing: border-box;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">La machine à écrire ne rendra étrangère au porte-plume la main de l’homme de lettres que le jour où la précision des mises en forme typographiques interviendra directement dans la conception de ses livres. Il est probable qu’on aura alors besoin de nouveaux systèmes, avec une organisation plus souple de l’écriture. Ces systèmes mettront l’innervation des doigts qui ordonnent à la place de l’écriture courante.</b></span></em></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Handke opère le sens inverse, il ne semble pas avoir « besoin de nouveaux systèmes », il se remet dès les années quatre-vingt à l’ancien, crayon et papier, ignorant délibérément tous les changements qui se sont mis en place. Mais il ne va pas aussi loin de demander à son éditeur d’imprimer ses livres en facsimilé. Une reproduction d’une page de carnet sur la couverture de temps à autre lui suffit (tous les essais et ses carnets portent ce signe distinctif), et le fait que son éditeur accepte ses manuscrits, pour le reste il y a le secrétariat, puis les allers-retours des modifications et corrections sur les épreuves imprimées. Mais avec Handke, il faut être prudent, on est rapidement dans les clichés, ce que le documentaire de Corinna Belz exploite aussi. Romantisme et nostalgie affichés ne signifient pas harmonie et idylle, ni même le désir de les trouver ou retrouver. Les forêts de Handke sont traversées par le bruit des avions et des autoroutes, qui ne sont jamais très loin, et elles ne sont pas épargnées par les interventions plus ou moins destructrices des humains. Par ailleurs les bruits sous toutes leurs formes, nuisibles ou inspirants, sont omniprésents dans son écriture. Dans <em style="box-sizing: border-box;">Les beaux jours d’Aranjuez</em>, le héros saisi par un bruit insupportable, bruissements, vent, sirènes se couvre les oreilles. Belz en compose sa bande sonore de son film, le bruissement, le tumulte des feuilles, le crissement des parterres arrangés par Handke, mais aussi le bruit de la découpe des cèpes en font partie.</b></span></div>
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<figure class="wp-caption aligncenter" id="attachment_27054" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 682px;"><img alt="" class="size-full wp-image-27054" data-attachment-id="27054" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="extrait du film de Wim Wenders, Les beaux jours d’Aranjuez (2016)" data-large-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/4a_les_beaux_jours.jpeg?fit=682%2C384&ssl=1" data-medium-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/4a_les_beaux_jours.jpeg?fit=300%2C169&ssl=1" data-orig-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/4a_les_beaux_jours.jpeg?fit=682%2C384&ssl=1" data-orig-size="682,384" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/4a_les_beaux_jours/" data-recalc-dims="1" sizes="(max-width: 682px) 100vw, 682px" src="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/4a_les_beaux_jours.jpeg?resize=682%2C384&ssl=1" srcset="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/4a_les_beaux_jours.jpeg?w=682&ssl=1 682w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/4a_les_beaux_jours.jpeg?resize=150%2C84&ssl=1 150w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/4a_les_beaux_jours.jpeg?resize=300%2C169&ssl=1 300w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/4a_les_beaux_jours.jpeg?resize=450%2C253&ssl=1 450w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">extrait du film de Wim Wenders, <em style="box-sizing: border-box;">Les beaux jours d’Aranjuez</em> (2016)</b></span></figcaption></figure><figure class="wp-caption aligncenter" id="attachment_27055" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 768px;"><img alt="" class="size-medium_large wp-image-27055" data-attachment-id="27055" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="extrait du film de Corinna Belz, Bin im Wald, kann sein, dass ich mich verspäte (2016)" data-large-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?fit=940%2C504&ssl=1" data-medium-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?fit=300%2C161&ssl=1" data-orig-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?fit=1439%2C772&ssl=1" data-orig-size="1439,772" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/4b_pilz/" height="255" sizes="(max-width: 768px) 100vw, 768px" src="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?resize=768%2C412&ssl=1" srcset="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?resize=768%2C412&ssl=1 768w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?resize=150%2C80&ssl=1 150w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?resize=300%2C161&ssl=1 300w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?resize=1024%2C549&ssl=1 1024w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?resize=450%2C241&ssl=1 450w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?resize=1118%2C600&ssl=1 1118w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/4b_pilz.jpg?w=1439&ssl=1 1439w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" width="476" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">extrait du film de Corinna Belz, <em style="box-sizing: border-box;">Bin im Wald, kann sein, dass ich mich verspäte</em> (2016)</b></span></figcaption></figure><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Il a aussi son côté obstiné, qui le mène patiemment dans tous les recoins du langage, mais aussi dans les causes perdues, comme son soutien indéfectible pour Milosevic et la Serbie, qui lui colle désormais à la peau, comme indiqué au début, mais cela, c’est une autre histoire et longuement documentée ailleurs — Thomas Deichmann (dir.), <em style="box-sizing: border-box;">Noch einmal für Jugoslawien: Peter Handke</em>, Suhrkamp, 1999. Loin de l’histoire avec le grand H, Handke affectionne dans ses essais l’infraordinaire de <a href="https://diacritik.com/2017/05/31/georges-perec-la-litterature-et-ses-fictions/" rel="noopener" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #59057a; text-decoration-line: none;" target="_blank"><span style="box-sizing: border-box; color: #666699;">Perec</span></a>, les petites choses, les microévénements, tout ce qui nous passe sous les yeux sans que l’on le perçoive forcément. Il est question d’aiguiser le regard, et dans ce sens il n’y a rien de mieux que de suivre au pas le « fou de champignons ». La quatrième de couverture annonce une transformation du « cœur des forêts en lieu d’enchantement », mais le pas vers des paysages hallucinés est vite franchi, sans forcément tout mettre au compte des effets de la psilocybine.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Il avait beau ramasser, utiliser même ses deux mains, à gauche, à droite, et encore à gauche, cueillir, récolter, amonceler : les champignons, jaunes dans la mousse, les renardelles, comme disaient les gens du clan qui traduisaient à partir de leur langue slave, les roussottes, les chanterelles, les <em style="box-sizing: border-box;">setas de San Juan</em> (nom qui ne lui deviendrait familier que beaucoup plus tard) ne cessaient de proliférer, le « jaunoiement » – « ce genre de mot, comme « bleuissement », « verdoiement » et « rougeoiement », aurait bien convenu ! », me dit-il longtemps après -, le « jaunoiement » n’en finissait pas. Reste à savoir si, plus tard, son attention à tout ce qui avait une couleur différente, un rouge différent, un gris différent, une jaune différent, venait de là.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Ce qui est en jeu, c’est le jeu lui-même. Handke semble dans cet <em style="box-sizing: border-box;">Essai sur le fou de champignons</em> à la différence des essais précédents écrits à la première personne vouloir se trouver une sorte d’alter ego, miroir ou double de l’écrivain qui tantôt s’approche tantôt s’éloigne de son créateur ou biographe – le narrateur nous informe qu’il nous relate l’histoire, la passion et la déchéance d’un ami d’enfance, de « son » fou de champignons. Son personnage partage un grand nombre de traits et faits avec son auteur : enfance à la campagne, des études de droit, écrivain, mais empêché, installé désormais aux abords d’une grande ville, l’amour pour la périphérie, les marges et les bords, ici ceux de la forêt et des métropoles, le vagabondage, la marche sans but précis, même quand on « va aux champignons », etc. Les champignons qui associent biographe et ami d’enfance jouent par ailleurs un rôle central dans les livres de Peter Handke, dans ses journaux et son roman le plus volumineux, <em style="box-sizing: border-box;">Mon année dans la baie de personne </em>(1997), où ils représentent déjà le rêve de l’indomptabilité : la plupart ne se laissent pas cultiver et ne continuent de proliférer que de manière sauvage. <em style="box-sizing: border-box;">L’essai sur le fou de champignons</em> paraît comme un petit cousin tardif du roman de plus de mille pages.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">C’est encore dans les métiers où narrateur et ami diffèrent le plus, mais avec des clins d’œil ironiques. Son ami d’enfance, contrairement au narrateur, a pu entamer une carrière d’avocat pénal auprès des tribunaux internationaux où il a pu sauver plus d’un des délinquants qu’on lui avait confié. Retourne-t-il le couteau dans la plaie serbe ? Non peut-être, car tout semble léger, excepté la passion de plus en plus obsessive de son ami. Quant au métier de l’écrivain, son ami est celui d’un livre non écrit, ce sont ses notes sur les champignons, en quelque sorte sa biographie qu’il dicte à l’écrivain Handke qui, quant à lui, ne compte plus ses publications. Mais ce livre empêché, s’approchant ainsi des crises d’écriture, thématique omniprésente dans l’œuvre de Handke, ressemble un peu au silence dont il faut parler pour le faire apparaître, une allusion aux pages blanches, ratées et arrachées de la petite machine à écrire, symbole de l’écrivain maudit qui traverse tant de films et documente aussi la vie de l’auteur.</b></span></div>
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<figure class="wp-caption aligncenter" id="attachment_27056" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 768px;"><img alt="" class="size-medium_large wp-image-27056" data-attachment-id="27056" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="extrait du film de Corinna Belz, Bin im Wald, kann sein, dass ich mich verspäte (2016)" data-large-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?fit=860%2C664&ssl=1" data-medium-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?fit=300%2C232&ssl=1" data-orig-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?fit=860%2C664&ssl=1" data-orig-size="860,664" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/5_a_machine1/" data-recalc-dims="1" sizes="(max-width: 768px) 100vw, 768px" src="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?resize=768%2C593&ssl=1" srcset="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?resize=768%2C593&ssl=1 768w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?resize=150%2C116&ssl=1 150w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?resize=300%2C232&ssl=1 300w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?resize=450%2C347&ssl=1 450w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?resize=777%2C600&ssl=1 777w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_a_machine1.jpg?w=860&ssl=1 860w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">extrait du film de Corinna Belz, <em style="box-sizing: border-box;">Bin im Wald, kann sein, dass ich mich verspäte</em> (2016)</b></span></figcaption></figure><figure class="wp-caption aligncenter" id="attachment_27057" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 768px;"><img alt="" class="size-medium_large wp-image-27057" data-attachment-id="27057" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="extrait du film de Corinna Belz, Bin im Wald, kann sein, dass ich mich verspäte (2016)" data-large-file="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?fit=860%2C664&ssl=1" data-medium-file="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?fit=300%2C232&ssl=1" data-orig-file="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?fit=860%2C664&ssl=1" data-orig-size="860,664" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/5_b_machine2/" height="367" sizes="(max-width: 768px) 100vw, 768px" src="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?resize=768%2C593&ssl=1" srcset="https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?resize=768%2C593&ssl=1 768w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?resize=150%2C116&ssl=1 150w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?resize=300%2C232&ssl=1 300w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?resize=450%2C347&ssl=1 450w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?resize=777%2C600&ssl=1 777w, https://i1.wp.com/diacritik.com/wp-content/uploads/2017/10/5_b_machine2.jpg?w=860&ssl=1 860w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" width="476" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">extrait du film de Corinna Belz, <em style="box-sizing: border-box;">Bin im Wald, kann sein, dass ich mich verspäte</em> (2016)</b></span></figcaption></figure><figure class="wp-caption aligncenter" id="attachment_27058" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 768px;"><img alt="" class="size-medium_large wp-image-27058" data-attachment-id="27058" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="extrait du film de Corinna Belz, Bin im Wald, kann sein, dass ich mich verspäte (2016)" data-large-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?fit=860%2C664&ssl=1" data-medium-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?fit=300%2C232&ssl=1" data-orig-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?fit=860%2C664&ssl=1" data-orig-size="860,664" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/5_c_machine3/" data-recalc-dims="1" sizes="(max-width: 768px) 100vw, 768px" src="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?resize=768%2C593&ssl=1" srcset="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?resize=768%2C593&ssl=1 768w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?resize=150%2C116&ssl=1 150w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?resize=300%2C232&ssl=1 300w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?resize=450%2C347&ssl=1 450w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?resize=777%2C600&ssl=1 777w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/5_c_machine3.jpg?w=860&ssl=1 860w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">extrait du film de Corinna Belz, <em style="box-sizing: border-box;">Bin im Wald, kann sein, dass ich mich verspäte</em> (2016)</b></span></figcaption></figure><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Retour aux champignons. Suivons les errances du fou de champignon, où les champignons peuvent devenir prétexte de la marche, de l’observation, de l’imagination :</b></span></div>
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<em style="box-sizing: border-box;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">En marchant, le regard toujours dirigé vers le sol où il savait qu’il y avait sous le feuillage que des feuilles et de l’argile, son regard s’affutait pour les apparitions espérées, sans que le marcheur fît quelque chose de plus ; de la même façon qu’il se mettait à marcher, il se mettait justement à voir là où il n’y avait rien de particulier à voir ; quand ensuite il parvenait aux endroits qui étaient prometteurs, ses yeux étaient prêts.</b></span></em></div>
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<figure class="wp-caption alignleft" id="attachment_27063" style="box-sizing: border-box; color: #3d3e40; float: left; margin: 1.125em 3em 1.125em 40px; max-width: 50%; position: relative; width: 205px; z-index: 1;"><img alt="" class="size-medium wp-image-27063" data-attachment-id="27063" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Le champignon de la fin du monde" data-large-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/9782359251364.jpg?fit=546%2C800&ssl=1" data-medium-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/9782359251364.jpg?fit=205%2C300&ssl=1" data-orig-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/9782359251364.jpg?fit=546%2C800&ssl=1" data-orig-size="546,800" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/attachment/9782359251364/" data-recalc-dims="1" sizes="(max-width: 205px) 100vw, 205px" src="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/9782359251364.jpg?resize=205%2C300&ssl=1" srcset="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/9782359251364.jpg?resize=205%2C300&ssl=1 205w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/9782359251364.jpg?resize=102%2C150&ssl=1 102w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/9782359251364.jpg?resize=450%2C659&ssl=1 450w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/9782359251364.jpg?resize=410%2C600&ssl=1 410w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/9782359251364.jpg?w=546&ssl=1 546w" style="border: 0px; box-sizing: border-box; display: block; height: auto; max-width: 100%;" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Le champignon de la fin du monde</b></span></figcaption></figure><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Anna Lowenhaupt Tsing ne dirait pas le contraire. Dans son livre <em style="box-sizing: border-box;"><a href="https://fr.calameo.com/read/000215022ef9a404ba07c" rel="noopener" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #59057a; text-decoration-line: none;" target="_blank"><span style="box-sizing: border-box; color: #666699;">Le champignon de la fin du monde</span></a>. Sur la possibilité de vivre dans les ruines du capitalisme</em> (<em style="box-sizing: border-box;">The Mushroom</em><em style="box-sizing: border-box;">at the End of the World</em>, dit la version originale, comme le but à atteindre), qui vient de paraître en français en même temps que l’essai de Handke, elle appelle cela un « regard polyphonique ». Nous avions été pendant trop longtemps enfermés dans une sorte de linéarité tantôt visuelle, tantôt auditive. Pourtant les madrigaux, les fugues et les polyphonies nous indiquent bien qu’il existe d’autres possibilités que l’unité du rythme d’abord introduite par la musique classique, et depuis standardisée par les musiques de grande écoute.<br style="box-sizing: border-box;" />C’est justement le type d’attention capable de saisir, dans leurs dissonances et décalages rythmiques, des mélodies séparées et simultanées qu’il ne faut pas seulement dans le regard du cueilleur de champignons, tel que le décrit Handke pour son alter ego, mais aussi pour le chercheur tout court afin d’« apprécier les multiples rythmes temporels et les trajectoires qui courent dans un agencement » (Tsing).</b></span><img alt="" class="alignright size-medium wp-image-27064" data-attachment-id="27064" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Eduardo Kohn, Comment pensent les forêts" data-large-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?fit=658%2C1024&ssl=1" data-medium-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?fit=193%2C300&ssl=1" data-orig-file="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?fit=900%2C1400&ssl=1" data-orig-size="900,1400" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/kohn_cover_72dpi_rgb/" height="300" sizes="(max-width: 193px) 100vw, 193px" src="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?resize=193%2C300&ssl=1" srcset="https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?resize=193%2C300&ssl=1 193w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?resize=96%2C150&ssl=1 96w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?resize=768%2C1195&ssl=1 768w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?resize=658%2C1024&ssl=1 658w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?resize=450%2C700&ssl=1 450w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?resize=386%2C600&ssl=1 386w, https://i2.wp.com/diacritik.com/wp-content/uploads/2017/10/kohn_cover_72dpi_rgb.jpg?w=900&ssl=1 900w" style="border: 0px; box-sizing: border-box; float: right; height: auto; margin-bottom: 1.125em; margin-left: 3em; margin-top: 1.125em; max-width: 50%; position: relative; z-index: 1;" width="193" /><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Comprendre que tout en admettant que « la vie pense ; les pierres non. » (Eduardo Kohn) cette même pierre sur laquelle je trébuche fait quelque chose dans le monde, bref, comme Tsing le décrit dans ses agencements (forêts détruites ou en ruines, apparition des Matsutake, puis les cueilleurs précaires, leur exploitation, la spéculation sur le prix de ces mêmes Matsutake, tellement prisés au Japon, la chaîne est ouverte) on observe une polyphonie à saisir et à comprendre.<br style="box-sizing: border-box;" />Handke, de son côté, serait aussi d’accord pour dire que c’est la seule manière de sortir de la linéarité dans laquelle nous enferme l’idée du progrès. Au lieu d’éviter les digressions (ressemblant aux polyphonies déjà évoquées) qui dans le quotidien d’avocat touchent l’ami comme une « chaîne de malheurs », le détournent « contre sa volonté du grand tout vers l’aberration », retrouvent dans l’univers des champignons leur pleins droit et champ d’expression :</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;"><em style="box-sizing: border-box;">Du moins, l’apparition ou le surgissement d’une forme remarquable entre les innombrables formes qui ne l’étaient pas (…) sur le tapis des feuilles de forêts ne le déboussolait pas plus que cette forme le figeait de saisissement : elle le transportait, elle le remettait en train au lieu de le dévier. (…) la supposée ou même réelle contre-nature du regard recouvrait son droit. Elle était la condition première pour chercher et trouver d’une façon générale ; sans cette sorte de contre-nature, pas d’œil de découvreur, dans lequel, avec lequel et par lequel la non-forme devenait forme et la forme trésor</em>.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Rien que l’emploi du terme « contre-nature » montre dans quelle mesure nous nous sommes enfermés dans l’unicité et la linéarité de nos pensées. Handke l’explique tout au long de son essai, il insiste que les deux domaines, les affaires de droit, le travail, et la recherche des champignons, le loisir, s’enrichissent mutuellement jusqu’au moment où la dernière prend le dessus et finit dans une autre forme de sclérose. Néanmoins, la « polyphonie » ou « contre-nature » du regard (comme il le dit) ne sont jamais remis en cause, ils ne sont pas imputables à la disparition de l’ami.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Tel Lenz, le célèbre personnage de Büchner, l’ami fou de champignons de Handke, dans un accès de folie, disparaît également dans la neige, non sans avoir fait une dernière cueillette, mais Handke, contrairement à Büchner, éprouve de la pitié pour son héros (ou est-ce pour soi-même ?) et ajoute un épilogue que je vous laisse découvrir vous-mêmes. Par ailleurs, le terme allemand utilisé tout au long de l’essai pour désigner cette disparition est plus ouvert que sa traduction : <em style="box-sizing: border-box;">verschollen</em>veut dire « porté/signalé disparu », rien n’est donc définitif, par contre (et j’espère que les étymologues me pardonnent ce détournement) la <em style="box-sizing: border-box;">Scholle</em> (glèbe) qui se trouve dans le même mot exprime aussi ce déracinement que subissent à la fois les champignons et les humains dans ce bref et vigoureux essai.</b></span></div>
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<figure class="wp-caption aligncenter" id="attachment_27059" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 940px;"><img alt="" class="size-large wp-image-27059" data-attachment-id="27059" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Sara Dosa, The last season (2016)" data-large-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?fit=940%2C531&ssl=1" data-medium-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?fit=300%2C169&ssl=1" data-orig-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?fit=1440%2C813&ssl=1" data-orig-size="1440,813" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/6a_matsutake/" height="269" sizes="(max-width: 940px) 100vw, 940px" src="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?resize=940%2C531&ssl=1" srcset="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?resize=1024%2C578&ssl=1 1024w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?resize=150%2C85&ssl=1 150w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?resize=300%2C169&ssl=1 300w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?resize=768%2C434&ssl=1 768w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?resize=450%2C254&ssl=1 450w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?resize=1063%2C600&ssl=1 1063w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6a_matsutake.jpg?w=1440&ssl=1 1440w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" width="476" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Sara Dosa, <em style="box-sizing: border-box;">The last season</em> (2016)</b></span></figcaption></figure><figure class="wp-caption aligncenter" id="attachment_27060" style="box-sizing: border-box; color: #3d3e40; margin: 3em 40px 2.25em; text-align: center; width: 940px;"><img alt="" class="size-large wp-image-27060" data-attachment-id="27060" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Sara Dosa, The last season (2016)" data-large-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?fit=940%2C531&ssl=1" data-medium-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?fit=300%2C169&ssl=1" data-orig-file="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?fit=1440%2C813&ssl=1" data-orig-size="1440,813" data-permalink="https://diacritik.com/2017/10/30/peter-handke-je-suis-autrichien-je-ne-sais-pas-ce-que-cest-le-subconscient-lessai-sur-le-fou-de-champignons/6b_companion/" height="269" sizes="(max-width: 940px) 100vw, 940px" src="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?resize=940%2C531&ssl=1" srcset="https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?resize=1024%2C578&ssl=1 1024w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?resize=150%2C85&ssl=1 150w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?resize=300%2C169&ssl=1 300w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?resize=768%2C434&ssl=1 768w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?resize=450%2C254&ssl=1 450w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?resize=1063%2C600&ssl=1 1063w, https://i0.wp.com/diacritik.com/wp-content/uploads/2017/10/6b_companion.jpg?w=1440&ssl=1 1440w" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 0px auto; max-width: 100%;" width="476" /><figcaption class="wp-caption-text" style="box-sizing: border-box; color: #8c888c; margin-top: 0.92308em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Sara Dosa, <em style="box-sizing: border-box;">The last season</em> (2016)</b></span></figcaption></figure><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;"><span style="box-sizing: border-box;">Peter Handke</span>, <span style="box-sizing: border-box;"><em style="box-sizing: border-box;">Essai sur le fou de champignons </em>(<em style="box-sizing: border-box;"><span class="subtitle original_title" style="box-sizing: border-box;">Versuch über den Pilznarren</span></em>), traduction de l’allemand (Autriche) par Pierre Deshusses, </span><span style="box-sizing: border-box;">Gallimard, oct. 2017, « Arcades », 14 € —<a href="https://flipbook.cantook.net/?d=%2F%2Fwww.edenlivres.fr%2Fflipbook%2Fpublications%2F289573.js&oid=3&c=&m=&l=&r=&f=pdf" rel="noopener" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #59057a; text-decoration-line: none;" target="_blank">Lire un extrait</a></span><br style="box-sizing: border-box;" /><span style="box-sizing: border-box;"><br style="box-sizing: border-box;" />Anna Lowenhaupt Tsing</span>, <span style="box-sizing: border-box;"><em style="box-sizing: border-box;">Le champignon de la fin du monde</em>. <em style="box-sizing: border-box;">La possibilité de vivre dans les ruines du capitalisme</em>, La découverte, Paris, 2017.</span><br style="box-sizing: border-box;" /><span style="box-sizing: border-box;"><br style="box-sizing: border-box;" />Eduardo Kohn, <em style="box-sizing: border-box;">Comment pensent les forêts. Vers une anthropologie au-delà de l’humain</em>, Zones sensibles, 2017.</span></b></span></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-45145292081491530032017-10-27T12:32:00.001-07:002017-12-11T18:57:11.604-08:00 „Mit den Malern bin ich fertig<a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a><br />
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<span data-offset-key="452nn-0-0" style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Alle Zeichnungen: Peter Handke | 2009-2017 | Bleistift, Kugelschreiber und Filzstift auf Papier | Maße variabel nächstes Bild ... https://www.galeriefriese.de/kuenstler/handke/14686-2/</span></b></span></div>
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<b>Peter Handke</b>, der Zeichner? Das ist die unbekannte Seite des Intellektuellen, der als junger Wilder 1966 mit seiner „Publikumsbeschimpfung“ angriff, ...</div>
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<span class="c-article-text__drop-cap" style="box-sizing: inherit; display: inline-block; float: left; font-family: "ffmark" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 104px; line-height: 72px; margin-left: -10px; margin-right: 14px; margin-top: 5px;">P</span>eter Handke kam sich vor wie ein Gauner. Das Heraustrennen von Zeichnungen aus seinen winzigen, vollgeschriebenen Notizbüchern war für den Schriftsteller ein gewaltiger Akt. Doch er konnte nicht widerstehen, wollte wissen, wie sich seine handtellergroßen Bilder auf leerem DIN-A4-Papier behaupten. Rund 100 Zeichnungen hat er herausgeschnitten und sie im Sommer in der Berliner Galerie Friese gezeigt – nicht zur Freude des Literaturarchivs in Marbach, das seine frühen Notizbücher bewahrt und vor wenigen Tagen zusätzlich 23.500 Seiten angekauft hat.</div>
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Peter Handke, der Zeichner? Das ist die unbekannte Seite des Intellektuellen, der als junger Wilder 1966 mit seiner „Publikumsbeschimpfung“ angriff, der Gruppe 47 mit seiner harschen Kritik den Todesstoß versetzte und später am Sarg des serbischen Despoten Milosevic sprach. In der morgigen Ausgabe von BLAU, die der WELT beiliegt, spricht Handke erstmals über seine Bilder – schreiende <a class="o-link" href="https://www.welt.de/themen/igel/" name="inlineLink_" style="background-color: transparent; border-bottom: 1px solid rgb(29, 29, 29); box-sizing: inherit; color: #1d1d1d; text-decoration-line: none; touch-action: manipulation;" title="Bilder und Informationen zu Igeln finden Sie in unserem Themenspecial.">Igel</a>, Lichtspiele am Fluss oder auch Christusfiguren – und die Todesangst, die ihn antrieb zu zeichnen. Christiane Hoffmans und Cornelius Tittel treffen ihn in seinem Haus in Chaville, einem Dorf unweit von <a class="o-link" href="https://www.welt.de/themen/paris-staedtereise/" name="inlineLink_" style="background-color: transparent; border-bottom: 1px solid rgb(29, 29, 29); box-sizing: inherit; color: #1d1d1d; text-decoration-line: none; touch-action: manipulation;" title="Bilder und Informationen zu Reisen nach Paris finden Sie auf unserer Themenseite.">Paris</a>, wo er seit 27 Jahren lebt. In den hellen Wohnräumen fühlt man sich wie im Hauptquartier eines belesenen Schamanen. Handke erzählt, wie er quer durch Europa reiste, um Werke von Poussin oder Cézanne zu sehen.</div>
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Mit der neueren Kunst aber geht er hart ins Gericht. Anselm Kiefer, der ihm immer als Vorbild galt, greift er an: „Wie kann man Paul Celans ,Todesfuge‘, Ingeborg Bachmanns Gedichte, wie den Holocaust für Bilder verwenden?“ Auch Gerhard Richter kritisiert er für seinen Zyklus über das Konzentrationslager Auschwitz-Birkenau: „Ich weiß nicht, warum die Künstler das machen. Ist es eine Methode des Hintersinns, die Bilder kunstmarktwürdig zu machen?“ Sein Urteil: Das sei keine Kunst, sondern Missbrauch von Kunst. „Mit den Malern bin ich im Moment fertig.“</div>
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I LEFT A COMMENT @ DIE WELT WHICH THEY REFUSED TO PUBLISH</div>
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"Ich stimme überein mit Peter Handke der selbst wenig unverkauft lässt ausser seiner Unterwäsche. Schon Adorno hat bemerkt, dass Auschwitz - und eo ipso alles dem aehnliche - Kunst unmöglich macht. Bei so viel Dummheit hören sogar die Spatzen auf zu zwitschern.</div>
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. Schon Adorno hat bemertkt</div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-64888439936347571382017-08-05T09:52:00.004-07:002017-12-11T18:58:50.623-08:00SELECTED COMMENTS ON HANDKE'S DIARY DRAWINGS<span style="font-size: xx-small;"><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-family: inherit; font-size: medium; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><br /></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: large; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: magenta; color: black; font-size: large;">To the drawings:</span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: large; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: magenta; color: black; font-size: large;"><br /></span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><span style="background-color: magenta; color: black; font-size: large;"><b>handke-magazin.blogspot.com/2017/10/mit-den-malern-bin-ich-fertig.html</b></span></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><span style="background-color: magenta; color: black; font-size: large;"><b><br /></b></span></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><span style="background-color: magenta; color: black; font-size: large;"><b></b></span></a><span style="background-color: magenta; color: black; font-size: large;"><b><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><br /></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn">Handke Zeichnungen</a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn">Galerie Klaus Gerrit Friese</a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn">Alle Zeichnungen: Peter Handke | 2009-2017 | Bleistift, Kugelschreiber und Filzstift auf Papier | Maße variabel nächstes Bild ... https://www.galeriefriese.de/kuenstler/handke/14686-2/</a></b></span><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: large; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: magenta; color: black; font-size: large;"><br /></span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: large; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: magenta; color: black; font-size: large;"><br /></span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: large; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: magenta; color: black; font-size: large;"><br /></span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: medium; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: yellow; color: black; font-size: large;">http://www.galeriefriese.de/ausstellungen/handke-2017/</span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: large; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: magenta; color: black; font-size: large;">https://thegoaliesanxiety.wordpress.com/2017/06/22/peter-handke-drawings-from-notebooks/</span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: large; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: magenta; color: black; font-size: large;"><br /></span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: small; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: lime; color: black; font-size: large;">https://thegoaliesanxiety.wordpress.com/2017/08/07/zarko-radakovic-art-critic-and-photographer/#respond</span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: large; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: magenta; color: black; font-size: large;"><br /></span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: medium; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: yellow; color: black; font-size: large;">https://www.facebook.com/events/313944835723270/</span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: medium; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: yellow; color: black; font-size: large;"><br /></span></b></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: x-small; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><span style="color: black; font-size: large;"><b></b></span></a><span style="color: black; font-size: large;"><b><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="background-color: yellow; border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn">kulturradio vom rbb | Frühkritik PodcastGestern 05:45 Uhr</a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="background-color: yellow; border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><br /></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="background-color: yellow; border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"> </a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><span style="background-color: #ffd966;">Galerie Klaus Gerrit Friese: Peter Handke - Zeichnungen</span></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><span style="background-color: #ffd966;">Dauer: 00:04:19 Noch bis zum 2. September sind in der Galerie Klaus Gerrit Friese rund 100 Zeichnungen, von Peter Handke aus den Jahren 2007 bis 2017 zu sehen. Linear auf Augenhöhe angeordnet hängen sie auf weißen Wänden, alle sehr klein und jede eine Welt für sich. Silke Hennig hat die Ausstellung gesehen. </span></a><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><span style="background-color: #ffd966;">Die Sendung ist eine Audio-Datei aus dem Kanal des Podcasts kulturradio http://www.podcast.de/episode/358260679/Galerie+Klaus+Gerrit+Friese%3A+Peter+Handke+-+Zeichnungen/</span></a></b></span><a class="ts-link" href="http://www.tagesspiegel.de/politik/migration-uebers-mittelmeer-der-deutsche-geht-nicht-wahn/20145988.html" style="border: 0px; box-sizing: border-box; display: block; font-size: large; font-stretch: inherit; line-height: inherit; margin: 0px; min-height: 63px; padding: 0px 0px 0px 120px; position: relative; vertical-align: baseline;" title="Der deutsche „Geht nicht“-Wahn"><b><span style="background-color: magenta; color: black; font-size: large;"><br /></span></b></a></span><br />
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Die Berliner Galerie Klaus Gerrit Friese zeigtE Miniaturen aus den Tagebüchern des Dichters Peter Handke. </div>
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VON <a class="ts-link" href="http://www.tagesspiegel.de/meixner-christiane/6064328.html" rel="author" style="border: 0px; box-sizing: border-box; color: #595959; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" title="Christiane Meixner">CHRISTIANE MEIXNER</a></address>
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<img alt="Das kleine Blatt mit der Pusteblume gehört zu Handkes zeichnerischen Notizen." class="kalooga_18663" src="http://www.tagesspiegel.de/images/heprodimagesfotos86420170805handke_622_1_20170804103929162-jpg/20149726/2-format6001.jpg" itemprop="contentURL" style="border: 0px; box-sizing: border-box; cursor: pointer; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: middle;" /><br />
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</a><figcaption itemprop="caption description" style="border: 0px; box-sizing: border-box; color: #595959; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 1.3em; margin: 15px 0px 0px; padding: 0px; vertical-align: baseline;"><span class="ts-figure-text" itemprop="description" style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Das kleine Blatt mit der Pusteblume gehört zu Handkes zeichnerischen Notizen.</span><small class="ts-credit" itemprop="copyrightHolder" style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px 0px 0px 5px; padding: 0px; text-transform: uppercase; vertical-align: baseline;">FOTO: GALERIE KLAUS GERRIT FRIESE</small></figcaption></figure></header><div class="ts-article-content" style="border: 0px; box-sizing: border-box; color: #333333; float: left; font-family: Arial, Verdana, Helvetica, sans-serif; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 1.5em; margin: 30px 0px 0px 83.325px; min-height: 1px; padding: 0px 3.328px 0px 15px; position: relative; vertical-align: baseline; width: 583.333px;">
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Distanz bringt gar nichts, da ist <a href="http://www.tagesspiegel.de/kultur/peter-handke-im-portraet-in-der-hoehle-des-graphomanen/14819654.html" style="border: 0px; box-sizing: border-box; color: #ce0000; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_self">Peter Handke</a> ohne Kompromisse. Wie sollte er auch? Seine Bilder sind Notate, die in DIN-A5-Büchlein passen. Darstellungen von heimischen Pilzen, verlorenen Federn oder kleinen wie größeren Tieren. Seit den siebziger Jahren entstehen sie kontinuierlich, ergänzend zum literarischen Werk. Und wenn nun ein Galerist auf die Idee kommt, diese Miniaturen an seine Wände zu hängen, dann müssen die Besucher halt zu den Blättern kommen. Ganz nah, die Nasen fast an der Wand. So wird man unversehens wieder zum Leser.</div>
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Dafür distanziert sich Handke vorsichtshalber selbst. Der vielfach preisgekrönte Dichter, dessen politische Haltung im Jugoslawienkrieg der neunziger Jahren für Aufruhr sorgte, begreift sich als Sprachkünstler. „Zeichnungen“ gibt es deshalb von ihm bloß in Anführungsstrichen. Genau so heißt auch die sehenswerte Ausstellung in der <a href="http://www.tagesspiegel.de/kultur/kunst-stuecke-von-menschen-und-schafen/19440946.html" style="border: 0px; box-sizing: border-box; color: #ce0000; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_self">Galerie Klaus Gerrit Friese</a>, die nichts verkaufen will. Außer einer erwirbt die gesamte Serie jener 103 chronologisch geordneten Blätter aus den jüngsten veröffentlichten Notizen „Vor der Baumschattenwand nachts“.</div>
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Handke nutzt ein Alphabet nervöser Striche</h3>
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Über die Gründe für Handkes Entscheidung, den Begriff der Zeichnung nur mit An- und Abführung zu verwenden, hat <a href="http://www.tagesspiegel.de/kultur/ausstellungsreihe-der-berliner-festspiele-quantenspruenge-in-der-kunst/20004506.html" style="border: 0px; box-sizing: border-box; color: #ce0000; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_self">Thomas Oberender</a> – Autor, Dramaturg und Intendant der Berliner Festspiele – jüngst öffentlich mit dem Schauspieler <a href="http://www.tagesspiegel.de/medien/tatort-aus-franken-das-elend-der-anderen/19631096.html" style="border: 0px; box-sizing: border-box; color: #ce0000; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_self">Fabian Hinrichs</a> gesprochen. Es war ein spannendes Podium und verhandelte vor den Bildern gleich mehrfach das Kategorisieren, das der Orientierung dienen soll, im selben Moment jedoch auch einengt. Handke etwa verlässt mit den zeichnerischen Sujets ja gerade sein vertrautes Terrain der Worte. Bereit, sich andernorts zu versuchen, doch ohne den Ehrgeiz, im akademischen Wettstreit der Virtuosen zu bestehen. Mit dem Titel „Zeichnungen“, so folgert Oberender, mache der Autor deutlich, dass er sich in diesem Sektor als Amateur begreife. Das mag stimmen. Peter Handke dilettiert, doch er tut dies auf eine großartig eigenwillige Weise.</div>
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Den Stift hält er weiter in der Hand, tauscht aber die Buchstaben gegen ein Alphabet ebenso feinnerviger wie nervöser Striche. Seine Motive wirken, als würden sie das eigentliche Thema permanent umfahren und einkreisen, ohne es gänzlich zu erfassen. Wachstum, Bewegung, Leben, Tod: Auf kleinstem Raum setzt der Künstler den Kugelschreiber oder Bleistift immer wieder an, stoppt, fährt fort. Wie ein Kupferstecher, der Strich um Strich in die Platte ritzt – schnell, kurz und schraffierend, weil das Medium nichts anderes zulässt. Handke bedient sich ähnlicher Methoden. Seine Platane wird von einem Meer aus Blättern überwuchert, die Boote am Chiemsee sind mehr Umriss als Körper und ein totes Tier liegt auf dem Asphalt so platt wie ein Fleck auf Papier.</div>
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Kirchen und Kaulquappen</h3>
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Je mehr Handke fokussiert, desto näher kommt er der Idee, im individuellen Ausdruck etwas Allgemeingültiges festzuhalten. Das Lapidare aufgelesener Steine, Nüsse, einer Muschel oder von Eiskristallen am Fenster eines Flugzeugs offenbart Strukturen, die bei der zeichnerischen Umsetzung sichtbar werden. Sie bringt Ordnung und eine Hierarchie in das Chaos der täglichen Eindrücke. Auch Schlafende oder die kleine Gruppe skizzierter Schulkinder mit ihren Ranzen auf den Rücken funktionieren, weil es dem Zeichner um Rhythmus und Strukturen geht. Farbe wird von Handke sparsam eingesetzt, wenn er feine Ölspuren auf der Straße festhalten oder im „Bild der Absurdität. Zeichnung eines Ameisenhaufens (Saualpe)“ die mobilen Massen zwischen den Baumnadeln porträtieren will. Wo Handke dagegen das komplexe Panorama einer Landschaft einzufangen versucht, driften solche Experimente noch in der klitzekleinen Darstellung einer Vignette geradewegs ins Anekdotische.</div>
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Ergiebiger ist der gesenkte, absichtslos konzentrierte Blick auf die Orte seines Wirkens. Handkes Haus im Pariser Vorort Chaville gehört ebenso zu den Schauplätzen wie das slowenische Stara oder die Picardie. Zypressen, kleine Kirchen, Kaulquappen, Flamingos – sie rangieren gleichwertig im Auge des Zeichners, der schreibend über und neben den Motiven ergänzt, was ihm wichtig ist. Diese schriftlichen Notizen sind oft bloß noch fragmentarisch vorhanden, weil Handke die Bilder für die Schau aus seinen Büchern herausgeschnitten hat. Ein Akt der Zerstörung, sicher. Aber auch einer, der deutlich macht, dass der Dichter – nach langen Stunden der Überzeugung durch den Galeristen – die Autonomie seiner Zeichnungen akzeptiert hat. Klaus Gerrit Friese kommt nun die famose Aufgabe zu, Handkes Zeichnungen in all ihrer Finesse im Original zu zeigen.</div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Galerie Klaus Gerrit Friese, Meierottostr 1; bis 2. 9., Di–Fr 11–18 Uhr und nach Vereinbarung</em></div>
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<span style="font-size: large;"><span style="background-color: yellow;"> http://www.begleitschreiben.net/die-belebung-der-reliquien/</span></span></h5>
<h1 class="entry-title" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; clear: both; color: #425a9c; font-family: "Helvetica Neue", Arial, Helvetica, "Nimbus Sans L", sans-serif; font-size: 21px; line-height: 1.3em; margin: 0px; padding: 0px; vertical-align: baseline;">
Die Belebung der Reliquien</h1>
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<span class="meta-prep meta-prep-author" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , "nimbus sans l" , sans-serif; font-size: 12px;">Pu</span><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>bliziert am</b></span></span><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b> <a href="http://www.begleitschreiben.net/die-belebung-der-reliquien/" rel="bookmark" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #888888; margin: 0px; padding: 0px; vertical-align: baseline;" title="8:48"><span class="entry-date" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">28. Aug. 2017</span></a> <span class="meta-sep" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">von</span> <span class="author vcard" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="url fn n" href="http://www.begleitschreiben.net/author/zarko-radakovic/" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #888888; margin: 0px; padding: 0px; vertical-align: baseline;" title="Zeige alle Beiträge von Zarko Radaković">Zarko Radaković</a></span></b></span></div>
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin-bottom: 24px; padding: 0px; vertical-align: baseline;">
<small style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>(Anlässlich der Ausstellung der Zeichnungen von Peter Handke in der <a ausstellungen="" handke-2017="" href="http://www.begleitschreiben.net/die-belebung-der-reliquien/" http:="" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #743399; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank" www.galeriefriese.de="">Galerie Friese in Berlin</a>)<span id="rf1-3202" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; bottom: 1ex; height: 0px; line-height: 1; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><a href="http://www.begleitschreiben.net/die-belebung-der-reliquien/#fn1-3202" rel="footnote" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #743399; margin: 0px; padding: 0px; vertical-align: baseline;" title="bis 2. September 2017">1</a></span></b></span></em></small></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b> Vor 35 Jahren habe ich im Nachwort für meine Übersetzung des Buches <em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Wunschloses Unglück</em> den Schriftsteller Peter Handke als einen »totalen Autor« beschrieben, der sich in vielen Kunstarten erprobt hat – in der Literatur, im Theater, in der Kinematographie; damals war nicht bekannt, dass Peter Handke auch zeichnet. Die gegenwärtige Ausstellung der Zeichnungen des Schriftstellers Peter Handke in der Galerie Friese in Berlin bringt das zutage. Die Ausstellung sei »fundamental«, war die Einschätzung vieler Medien im deutschsprachigen Raum. Gleich, wenn man die ungewöhnlichen Bilder des Künstlers anschaut, der als episch-lyrischer Erzähler, Dramatiker und Filmemacher bekannt ist, hat man ein überwältigendes ästhetisches Erlebnis. In der Auseinandersetzung mit diesen miniaturhaften Zeichnungen, die auf einfache Papierblätter des Formats DIN A4 aufgeklebt und dann mit Stecknadeln auf die weißen Wänden gesteckt wurden, bewegen uns die plastischsten Wahrnehmungen, erschütterndsten Gefühle und unterschiedlichsten Gedanken. Ich erinnerte mich an ein Gespräch mit Peter 1984, als ich mit ihm über das Kino sprechen wollte; er wich dem immer wieder aus, obwohl er damals einige wichtige Filme gedreht hatte; es war auch bekannt, dass Peter Handke gerade Wim Wenders entdeckt und dabei unterstützt hatte, zum Filmemacher zu werden; (sie hatten ihren ersten Film gemeinsam gedreht – »3 amerikanische LPs«). Das Gespräch über Kinematographie vermeidend, lenkte Peter die ganze Zeit meine Aufmerksamkeit auf die Malerei – insbesondere auf Paul Cézanne, der damals für Handkes Literatur sehr wichtig war. Gleich nach dem Gespräch begann ich auch meine Übersetzung des Buchs <em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Die Lehre der Sainte- Victoire</em>. Lange habe ich nicht verstanden, warum es zu diesem »Malerei contra Film« kam.</b></span></div>
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<a class="fancybox image" href="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zugfenster-friaul.jpg" rel="gallery" style="background: transparent; border: 0px; color: #743399; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke: Regen am Zugfenster Friaul - © Klaus Gerrit Friese" class="size-large wp-image-3201" src="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zugfenster-friaul-566x800.jpg" height="800" sizes="(max-width: 566px) 100vw, 566px" srcset="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zugfenster-friaul-566x800.jpg 566w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zugfenster-friaul-212x300.jpg 212w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zugfenster-friaul-768x1086.jpg 768w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zugfenster-friaul.jpg 1414w" style="background: transparent; border: none; height: auto; margin: 5px 5px 0px; max-width: 640px; padding: 0px; vertical-align: baseline; width: auto;" title="handke-zugfenster-friaul" width="566" /></b></span></a><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peter Handke: Regen am Zugfenster Friaul – © Klaus Gerrit Friese</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b> Jetzt, nachdem ich <a class="external" href="http://www.galeriefriese.de/kuenstler/handke/" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #743399; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">die Ausstellung von 107 Zeichnungen in Berlin</a> gesehen habe, ist mir klar geworden, dass Handkes Zeichnungen das Wesentliche seiner literarischen Kunst und seine Leidenschaft für das, was ihn künstlerisch beschäftigt, in sich tragen. Handkes Zeichnungen erscheinen mir als Embleme, Zeichen, Spiegelungen und Begleiter von allem, was er schreibend erlebt hat, sowohl des Realen als auch des Imaginären.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b> An den Zeichnungen Handkes, manchmal nur leichte Streifen mit dem Bleistift, Filzstift, Kuli oder Füller, in einem Heftchen, das in die Sakko- oder die Hosentasche passt, an diesen ganz einfachen und so zauberhaften Bildchen, liest man die Spuren von vielen Bewegungen des Schriftstellers, von seinen Wahrnehmungen, Gefühlen und Gedanken. Man erkennt aber auch vieles von seinen Verfahren sowohl im literarischen Erzählen, im Schreiben für das Theater, als auch in seinem filmischen Erzählen. Etwa das Bild des Tuchs an einem Haken in der Küche des Klosters Velika Remeta in Serbien und auf dem selben Papier unten waagrecht das Gesicht einer Frau im Flugzeug zwischen Belgrad und Paris: zeigen die beiden »Fragmente« nicht die »jumping cuts« aus den Beschreibungen vom Karst im Buch <em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Die Wiederholung</em>, oder jene Übergänge des Blicks von einem Punkt zum anderen durch das Fenster des Busses beim Verlassen der Enklave im Buch <em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Die morawische Nacht</em>, oder jenes Aneinanderreihen unterschiedlichster Erscheinungen beim Vorbeigehen im großartigen Text für das Theater <em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Die Stunde da wir nichts voneinander </em>wussten? »Mein Erzählen muss sich entwickeln wie eine Fahrt im Omnibus oder im Zug durch eine Landschaft, in der wir mal das Eine, mal das Andere wahrnehmen«, sagte Handke im selben Gespräch vor mehr als drei Jahrzehnten. Genau so erleben wir die Besichtigung der Bilder in der <a class="external" href="http://www.galeriefriese.de/" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #743399; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">Galerie Friese</a>: wie das Lesen der Bücher des Schriftstellers, jetzt aber als »besondere Manuskripte«; oder wie eine zauberhafte Fahrt mit dem Zug oder Omnibus, bei der wir neugierig, konzentriert, dieses und jenes registrieren und beobachten; oder wie das Betrachten eines Films über das Schreiben selbst, mit den Linien, Streifen, Flecken, Schraffuren und Buchstaben in Haupt- und Nebenrollen.</b></span></div>
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<a class="fancybox image" href="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-velika-remeta.jpg" rel="gallery" style="background: transparent; border: 0px; color: #743399; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke: Velika Remeta - © Klaus Gerrit Friese" class="size-large wp-image-3195" src="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-velika-remeta-566x800.jpg" height="800" sizes="(max-width: 566px) 100vw, 566px" srcset="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-velika-remeta-566x800.jpg 566w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-velika-remeta-212x300.jpg 212w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-velika-remeta-768x1086.jpg 768w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-velika-remeta.jpg 1414w" style="background: transparent; border: none; height: auto; margin: 5px 5px 0px; max-width: 640px; padding: 0px; vertical-align: baseline; width: auto;" title="handke-velika-remeta" width="566" /></b></span></a><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peter Handke: Velika Remeta – © Klaus Gerrit Friese</b></span></div>
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<a class="fancybox image" href="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zeichnet-remeta.jpg" rel="gallery" style="background: transparent; border: 0px; color: #743399; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke beim Zeichnen der Tücher in der Küche des orthodoxen Klosters in Velika Remeta in Serbien - © Zarko Radaković" class="size-large wp-image-3192" src="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zeichnet-remeta-600x800.jpg" height="800" sizes="(max-width: 600px) 100vw, 600px" srcset="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zeichnet-remeta-600x800.jpg 600w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zeichnet-remeta-225x300.jpg 225w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-zeichnet-remeta-768x1024.jpg 768w" style="background: transparent; border: none; height: auto; margin: 5px 5px 0px; max-width: 640px; padding: 0px; vertical-align: baseline; width: auto;" title="handke-zeichnet-remeta" width="600" /></b></span></a><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peter Handke beim Zeichnen der Tücher in der Küche des orthodoxen Klosters in Velika Remeta in Serbien – © Zarko Radaković</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b> Über die literarische Sprache Peter Handkes kann man sagen, dass sie, selbst wenn die Sätze sehr kompliziert gebaut sind, immer frei ist von jeglicher Unnatürlichkeit, Künstlichkeit, Besserwisserei und anmaßender Autorität. Handkes Texte gehen von einem leeren Raum aus und bewegen sich in Richtung einer Fülle konkreter Vorschläge für die Befreiung von einer sturen, überstabilen, erstickenden institutionalisierten Weltanschauung. Auch in diesen Zeichnungen geht es um jenen paradigmatischen »Blick des Kindes«, direkt, einfach, aufmerksam, zart, nicht gewaltsam. Diese Zeichnungen spiegeln die oft »naive », »elementare », »einfache« Rezeption der Größen des Kanons, die dann zu den »Lieblingen« des Schriftstellers werden: Homer, Juan de la Cruz, Hölderlin, Novalis, Antonio Machado, Goethe, Cervantes, Tolstoi, Walker Percy, Francis Ponge, Emmanuel Bove, Modiano; John Ford, Ozu , Godard, Eric Rohmer, Kiarostami; antike Tragiker, Shakespeare, von Horvath; Paul Cézanne. In der Kunst von Handke finden wir die Verifikation jenes ursprünglichen Impulses: es fängt mit freiem Schauen auf die Welt an, vom Herzen ausgehend. Man spürt dabei keinen Druck der Autorität der Schule, des Akademismus, der Ideologie. Kaum zu glauben, dass jemand, der in einem strengen Internat geschult wurde, so frei sein kann bei seinem Schauen auf die Welt und die Kunst. Man könnte sagen, dass Handke immer in der Rolle eines »Autodidakten« ist, selbst dann, wenn er kein Autodidakt ist. Er weiß sehr gut, dass er mit einem »einfachen Diskurs« und »naiven Blick«, ohne das Zerstören primärer Reaktionen, nah und wirklich bei sich selbst und seinen Lesern und Zuschauern sein kann.</b></span></div>
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<a class="fancybox image" href="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schal-paris.jpg" rel="gallery" style="background: transparent; border: 0px; color: #743399; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke: Vergessener Schal - © Klaus Gerrit Friese" class="size-large wp-image-3194" src="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schal-paris-566x800.jpg" height="800" sizes="(max-width: 566px) 100vw, 566px" srcset="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schal-paris-566x800.jpg 566w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schal-paris-212x300.jpg 212w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schal-paris-768x1086.jpg 768w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schal-paris.jpg 1414w" style="background: transparent; border: none; height: auto; margin: 5px 5px 0px; max-width: 640px; padding: 0px; vertical-align: baseline; width: auto;" title="handke-schal-paris" width="566" /></b></span></a><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peter Handke: Vergessener Schal – © Klaus Gerrit Friese</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Das Heft Peter Handkes mit der Zeichnung des Tuchs mit der Mütze – © Zarko Radaković</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b> Auf die Frage, woher die Idee für diese außergewöhnliche Ausstellung gekommen sei, sagte der Kurator und Galerist Klaus Gerrit Friese, dass er Peter Handke nicht als Zeichner gekannt habe, bis er im Buch <em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Vor der Baumschattenwand nachts</em> einige Illustrationen des Schriftstellers gesehen habe. Gleich sei er sehr beeindruckt gewesen durch die »einmalige, eigenartige, ganz ungewöhnliche Strichführung des Zeichners, die zu keiner Schule gehört«. Und als sich der Galerist die Zeichnungen in den Heften anschaute, sah er, dass der Zeichner Peter Handke eine evident erkennbare eigene »Handschrift« hat. Er dachte, eine Ausstellung der Zeichnungen des Schriftstellers würde eine wichtige Ergänzung seines Opus sein, und ein Versuch, dieses wertvolle zeichnerische Material zu retten, das kein langes Leben haben wird, weil billige Stifte benutzt wurden, deren Spuren schnell verbleichen werden. Peter Handke war mit der Ausstellung einverstanden. Danach kam zu einer einzigartigen Aktion: der Schriftsteller schnitt die Zeichnungen aus seinen Heften heraus, zum Entsetzen vieler Liebhaber dieser Notizbücher. Handke klebte die Zeichnungen auf Papierblätter und schrieb Sätze mit manchmal rätselhaften Inhalten dazu. Die Idee, die Papierblätter mit Stecknadeln an der Wand zu befestigen, kam vom Friese selbst. Die Zeichnungen wurden in einer langen Reihe an den Wänden der Galerie ausgestellt. Sie sind nicht zu kaufen, sondern nur zum einmaligen Schauen und Lesen. Ein Katalog wird vorbereitet, er soll das Leben dieser wertvollen Kunstwerke verlängern. Den Mitarbeitern der Literaturarchive in Wien und Marbach stehen die Haare zu Berge angesichts der Tatsache, dass die wertvollen Notizbücher, aus denen die Zeichnungen ausgeschnitten wurden, de facto »zerstört« sind. Das sind aber jene unwiederholbaren künstlerischen Aktionen – für Peter Handke sind seine Hefte kein archivarisches Material. Nach dem Besuch der Ausstellung habe ich mit einigen deutschen Künstlern darüber gesprochen. Die Künstlerin der cut-outs Nina Pops war begeistert vom Mut des Künstlers Peter Handke, mit dem Skalpell die Züge zu ziehen, nach denen es kein Zurück mehr gibt. Rainer Splitt, der Autor des Farbengusses, trauert den Heften nach und wünscht sich, dass die Zeichnungen, performativ, wieder dorthin zurückgebracht werden, wo sie hingehören. Ich, der ich oft Handkes Hefte in meiner Hand gehalten habe, selbst diejenigen, aus denen jetzt die Zeichnungen ausgeschnitten wurden – vermisse die alten Hefte und vermisse sie wieder nicht; ich bin vor allem bezaubert von dieser großartigen Ausstellung, in der ich sehe, dass selbst Reliquien, in diesem Fall die Hefte Handkes, ein Recht auf neue Lebendigkeit haben. Und der Schriftsteller hat das gerade durch seine Aktion des Ausschneidens ermöglicht.</b></span></div>
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<a class="fancybox image" href="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schattentanz-seine.jpg" rel="gallery" style="background: transparent; border: 0px; color: #743399; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><img alt="Peter Handke: Schattentanz der Uferplatanenstämme auf der Seine - © Klaus Gerrit Friese" class="size-large wp-image-3196" src="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schattentanz-seine-566x800.jpg" height="800" sizes="(max-width: 566px) 100vw, 566px" srcset="http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schattentanz-seine-566x800.jpg 566w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schattentanz-seine-212x300.jpg 212w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schattentanz-seine-768x1086.jpg 768w, http://www.begleitschreiben.net/wp-content/uploads/2017/08/handke-schattentanz-seine.jpg 1414w" style="background: transparent; border: none; height: auto; margin: 5px 5px 0px; max-width: 640px; padding: 0px; vertical-align: baseline; width: auto;" title="handke-schattentanz-seine" width="566" /></b></span></a><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Peter Handke: Schattentanz der Uferplatanenstämme auf der Seine – © Klaus Gerrit Friese</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>© Žarko Radaković</b></span></div>
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<em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Žarko Radaković (*1947), Schriftsteller, langjähriger Mitarbeiter der Deutschen Welle, übersetzte 26 Werke von Peter Handke ins Serbische.</b></span></em></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Dank an die Genehmigung zum Abdruck der Bilder an Klaus Gerrit Friese und Žarko Radaković – G. K.</b></span></div>
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<span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="color: #0000ee; font-size: medium;"><u><span style="background-color: yellow;">https://thegoaliesanxiety.wordpress.com/2017/06/22/peter-handke-drawings-from-notebooks/</span></u></span>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: lime;"><span style="color: #0000ee; font-size: medium;"><u><span style="background-color: yellow;"><br /></span></u></span></span>
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<a href="https://thegoaliesanxiety.wordpress.com/2017/06/22/peter-handke-drawings-from-notebooks/" rel="bookmark" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: black; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;"><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">Peter Handke: Drawings from Notebooks</span></a></h2>
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<b><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;"><span class="meta-prep meta-prep-author" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Posted on</span> <a href="https://thegoaliesanxiety.wordpress.com/2017/06/22/peter-handke-drawings-from-notebooks/" rel="bookmark" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #777777; margin: 0px; padding: 0px; vertical-align: baseline;" title="10:36 am"><span class="entry-date" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">June 22, 2017</span></a></span></b><span class="by-author" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; clip: rect(1px 1px 1px 1px); margin: 0px; padding: 0px; position: absolute !important; vertical-align: baseline;"><b><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;"><span class="sep" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">by</span> <span class="author vcard" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="url fn n" href="https://thegoaliesanxiety.wordpress.com/author/abbottsc/" rel="author" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #777777; margin: 0px; padding: 0px; vertical-align: baseline;" title="View all posts by Scott Abbott">Scott Abbott</a></span></span></b></span></div>
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<b><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">After posting some pages from Alex’s three new books I found this current exhibition of drawings from Peter Handke’s notebooks at the Galerie Klaus Gerrit Friese in Berlin. Both authors draw and write and write and draw. Neither is a trained artist. Both are superb writers. Both draw as interestingly as they write.</span></b></div>
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<b><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">First a photo of the gallery owner, Sophie Semin Handke, and Peter, with drawings along the wall:</span></b></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><b style="color: #333333;"><span style="background-color: lime; font-size: large;">CTD @ </span></b><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: large;"><b>https://thegoaliesanxiety.wordpress.com/2017/06/22/peter-handke-drawings-from-notebooks/</b></span></span></div>
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<b style="background-color: cyan; color: #333333;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;">=================</span></b><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: cyan; color: #333333;"><br /></span>
<span style="background-color: cyan;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;">http://www.stuttgarter-nachrichten.de/inhalt.peter-handke-als-zeichner-der-regen-ein-linienmeer.e2d12e2e-45b6-4c70-8b45-6729f747c6e7.html</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: cyan;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;"><br /></span></span>
<span style="background-color: cyan; color: #333333;"><span style="box-sizing: inherit; color: #333333;"><span style="font-size: medium;"><span style="background-color: white;">Kaum einer kann solch sanfte Sätze schreiben wie Peter </span><span style="background-color: cyan;">Handke, kaum ein Schriftsteller bestätigt sein Können so konsequent wie der am 6. Dezember 1942 in Griffen in Kärnten geborene Wahlpariser. Jetzt stellt er sich auch der Kunstöffentlichkeit – die Galerie Friese in Berlin zeigt Handke als Zeichner.</span></span></span></span></b></span><br />
<span style="background-color: #fce5cd;"><span style="color: #333333; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>======================</b></span></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: #fce5cd;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;"><br /></span></span>
<span style="background-color: #fce5cd;"></span></b></span><br />
<h1 class="title title--content" itemprop="headline" style="background-color: whitesmoke; color: #0a0a0a; line-height: 0.9375rem; margin: 0px auto; max-width: none; padding: 1.875rem 0.9375rem 0.9375rem; position: relative;">
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<span style="font-size: medium;">Plötzlich hockt da ein neugeborener Frosch im Notizbuch</span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: #fce5cd;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;"><br /></span></span>
<span style="background-color: #fce5cd;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;">https://www.nzz.ch/feuilleton/zeichnungen-von-peter-handke-der-dichter-kritzelt-neugeborene-froesche-ins-notizbuch-ld.1307301</span></span></b></span><br />
<span style="background-color: magenta;"><span style="color: #333333; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>====================</b></span></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: magenta;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;"><br /></span></span>
<span style="background-color: magenta;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;">http://handkeonline.onb.ac.at/forschung/pdf/buelow-2009.pdf</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: magenta;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;"><br /></span></span>
<span style="background-color: magenta;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;">https://handkeonline.onb.ac.at/node/982</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: magenta;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;"><br /></span></span>
<span style="background-color: #f9cb9c;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;">=======================</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: #f9cb9c;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;"><br /></span></span>
<span style="background-color: #f9cb9c;"><span style="background-color: white; color: #333333;"><span style="font-size: medium;">Handkes Zeichnungen erinnern in ihrer Genauigkeit an die Textmikrogramme Robert Walsers, die nach jahrelanger Entzifferungsarbeit unter dem Titel »Aus dem Bleistiftgebiet« erschienen sind.</span></span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: #f9cb9c;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;"><br /></span></span>
<span style="background-color: #f9cb9c;"><span style="color: #333333; font-family: "georgia" , "bitstream charter" , serif; font-size: medium;">https://jungle.world/artikel/2017/31/aus-dem-kugelschreibergebiet</span></span></b></span><br />
<span style="background-color: cyan; color: #333333; font-size: large;"><span style="color: #333333; font-family: "open sans" , "helvetica" , "arial" , sans-serif;"><span style="font-size: large;"><span style="background-color: #f9cb9c; font-family: "courier new" , "courier" , monospace;"><b>1982 veröffentlichte Peter Handke unter dem Titel »Die Geschichte des Bleistifts« ein Journal mit Notizen, Reflexionen und Prosaphantasien, die im Zeitraum von 1976 bis 1980 entstanden waren. Es war dies die Zeit einer ästhetischen Neuorientierung, die Liebhaber des früheren vermeintlichen Revoluzzers Handke gern als dessen Hinwendung zur literarischen Restauration abqualifizieren. In jenen Jahren entstanden die Werke »Langsame Heimkehr« (1979) und »Die Lehre der Sainte-Victoire« (1980), in denen Handke Abschied von seinen am Nouveau Roman geschulten Prosaexperimenten nahm und sich mit der Tradition des Bildungsromans auseinanderzusetzen begann. Neben Goethe trat der von der literarischen Moderne als toter Hund angesehene Adalbert Stifter in den Mittelpunkt von Handkes Aufmerksamkeit. Zugleich gewannen, befördert durch Handkes Interesse an der Malerei Paul Cézannes, Einflüsse der bildenden Kunst an Bedeutung. In dieser Zeit entwickelte Handke seine Poetologie ruhiger, eindringlicher Anschauung, die oft als Form der Wirklichkeitsflucht beurteilt wird, aber eher als Versuch zu werten ist, eine Sprache zu finden, die der Wirklichkeit widersteht, statt sie in der eigenen Form zu verdoppeln.</b></span></span></span></span><br />
<span style="background-color: cyan; color: #333333; font-size: large;"><span style="background-color: #f9cb9c; color: #333333;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Für dieses Sprachverständnis signifikant ist die Hinwendung zu Malerei und Zeichnung. Der Bleistift, der 1982 zur Titelfigur von Handkes Notaten avancierte, diente ihm schon in den frühen Achtzigern nicht nur zum Niederschreiben seiner Texte, sondern auch zum Zeichnen nach der Natur – auch darin an Goethe und Stifter anknüpfend, die beide neben ihrer literarischen Arbeit zeichneten und malten. Während in Handkes früher Prosa, in der Tradition von Alain Robbe-Grillet und Nathalie Sarraute, die äußere Wirklichkeit durch übergenaue Beschreibung, gleichsam durch groteske Feinjustierung des abschildernden Blicks, ihre Kohärenz verliert und ins Monströse verzerrt wird, diente Handkes neuer Rückgriff auf die bildende Kunst der Schulung eines anteilnehmenden, aber detachierten Blicks, der der Wirklichkeit gerecht wird, statt sie zu bemeistern. Zugleich ist Handkes Selbstverständnis als zeichnender Dichter keineswegs archaisch. Wichtiger als der Bleistift wurden für ihn die Utensilien Kugelschreiber und Filzstift, und seine Zeichnungen, fast immer verflochten mit handschriftlichen Notizen oder Kommentaren, verlieren nie den Charakter der Kritzelei, bleiben präzise und unpathetisch zugleich.</b></span></span></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: cyan; color: #333333;"><span style="background-color: #f9cb9c; color: #333333;"><span style="font-size: medium;"><br /></span></span></span>
<span style="background-color: cyan; color: #333333;"><span style="background-color: #b6d7a8; color: #333333;"><span style="font-size: medium;">===========================</span></span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: cyan; color: #333333;"><span style="background-color: #b6d7a8; color: #333333;"><span style="font-size: medium;"><br /></span></span></span>
<span style="background-color: cyan; color: #333333;"><span style="background-color: #b6d7a8; color: #1d1d1d;"><span style="font-size: medium;">An den Rändern der Texte wuchert die Wildnis: Was aus dem Schriftsteller Peter Handke wird, wenn er zeichnet</span></span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: cyan; color: #333333;"><span style="background-color: #b6d7a8; color: #1d1d1d;"><span style="font-size: medium;"><br /></span></span></span>
<span style="background-color: cyan; color: #333333;"><span style="background-color: #b6d7a8; color: #1d1d1d;"><span style="font-size: medium;"><br /></span></span></span>
<span style="background-color: cyan; color: #333333;"><span style="background-color: #b6d7a8; color: #1d1d1d;"><span style="font-size: medium;">Joseph von Eichendorff tat es, viele Dichter nach ihm taten es, und manche tun es bis heute – sie notieren ihre Beobachtungen, Gedanken, Fragmente, und irgendwann wird die Hand des Wortemachens ein wenig müde und weicht aus in kleine Wildnisse im Text, die sie sich selber schafft. Sie entwindet sich dem Buchstäblichen und beginnt zu skribbeln, zu zeichnen. In Eichendorffs Tagebuch sind solche Wildbildnisse eher rar, da taucht mal verkleidet der alte Knorz auf, der im elterlichen Schloss diente, das ist dann ein Ereignis im Text. In Peter Handkes Tagebuch führt die Hand ein regelrechtes Doppelleben. Sie schreibt und zeichnet, wild durcheinander, sie tut das die ganze Zeit.</span></span></span></b></span><br />
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<span style="background-color: #b6d7a8;"><span style="color: #333333; font-family: "open sans" , "helvetica" , "arial" , sans-serif; font-size: medium;">https://www.welt.de/print/die_welt/literatur/article165894214/Die-Hand-fuehrt-ein-Doppelleben.html</span></span></b></span><br />
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<span style="color: #0000ee; font-size: large;"><u><b style="background-color: yellow;"><br /></b></u></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-55610630433426634562017-07-08T09:21:00.003-07:002017-07-08T09:21:59.524-07:00„Métro Balard-Charenton“<a href="http://www.twitter.com/summapolitico"><b><span style="font-size: large;"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></span></b></a><br />
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<span style="background-color: blue; color: yellow; font-family: Georgia, serif; font-size: large;">http://www.faz.net/aktuell/feuilleton/buecher/frankfurter-anthologie/frankfurter-anthologie-peter-handke-metro-balard-charenton-15093971.html</span></h2>
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<span style="font-size: large;">Peter Handke: „Métro Balard-Charenton“</span></h2>
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<b><span style="font-size: large;">Eine Fahrt mit der Pariser Metro. Die Namen der Haltestellen sind die pure Musik, es geht quer durch die Vergangenheit. Dieses Gedicht öffnet epische Räume im lässigen Vorüberziehen.</span></b></div>
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<b><span style="font-size: large;">Ein kleines Gedicht mit epischem Atem: In vierzehn Versen wird eine Fahrt auf der Pariser Metrolinie 8 von Südwesten – La Motte-Piquet im XV. Arrondissement an der Rive Gauche – bis Südosten nach Charenton, schon außerhalb des Innenstadtrings, wo die Marne in die Seine fließt, erzählt. Die Namen der passierten Stationen sind Musik: Bonne Nouvelle, Filles du Calvaire, Daumesnil und die Porte Dorée, Punkte am rechten Seineufer, auf denen die frühesten Kapitel der Stadtgeschichte geschrieben stehen. Die Metro durchquert binnen der beschriebenen Dämmerstunde von Sonnenuntergang bei Motte-Piquet-Grenelle bis zur Nachtstunde in Charenton-Ecoles – Anfangs- und Endpunkt liegen oberirdisch – wie eine Zeitmaschine Räume und Zeiten. Historische Schichten und städtebauliche Palimpseste werden von der Röhre und ihren Gleisen durchschnitten, und im Neon der Haltepunkte wird sichtbar, was die Gegenwart zufällig zu bieten hat: die bunten Artikel im bis Bonne Nouvelle durchblätterten Stadtmagazin „Pariscope“, der leere Getränkeautomat bei Filles du Calvaire, die Schuhe in einem Schaufenster an Daumesnil, von oben aus einem Schacht bei Charenton das letzte Licht.</span></b></div>
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<b><span style="font-size: large;">Unwesentlich ist das nicht. Die Zeilenbrüche sind durch die Namen der Haltepunkte markiert, und je zwei im wirkungsvollen Enjambement verschränkte Zeilen bleiben der Wahrnehmung einer Station vorbehalten – bis auf die Gedichtmitte im siebten Vers, dem längsten, der die Schuhe in der Vitrine von Daumesnil ins Zentrum der Aufmerksamkeit rückt, und dem elften, der den Aufenthalt bei Charenton mit dem Blick auf die Marnemündung zu verlängern scheint. Dazu verleihen die klanglichen Korrespondenzen dem Gedicht seine eigene Melodie, zu der sich die von Station zu Station an- und abschwellende Geschwindigkeit der Metro und der Takt ihrer Waggons imaginieren lässt. Und dann steht am Ende – beim Sonett wären es die Couplet-Verse – eine Verlängerung des Schienenwegs ins Phantastische: Während die Metro nach Osten in die Nacht gefahren ist, setzt sich die Imagination nach Amerika ab und beschwört John Fords Film „Young Mr. Lincoln“ von 1939, der einer weichenstellenden Episode im Leben des späteren Präsidenten gilt. Einer der Filme, die John Fords Ruhm als Regisseur begründeten, einer der Filme, die <a class="rtr-entity" data-rtr-id="cc31d300eb0b017706062ad965c9bdfab2e4b01e" href="http://www.faz.net/aktuell/feuilleton/thema/peter-handke" style="border: none; color: #c60000; cursor: pointer; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none;">Handkes</a> Erzähler im Amerika-Trip „Der kurze Brief zum langen Abschied“ von 1972, der mit einer imaginären Begegnung beim alten John Ford endet, emphatisch beschwört.</span></b></div>
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<b><span style="font-size: large;">Wie digital muss Facility Management sein, um eine Universität mit 50.000 Studierenden am Laufen zu halten, Herr Greitemann?<span style="border: none; margin: 0px; padding: 0px;"> Mehr...</span></span></b></div>
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<span style="font-size: large;">Der Anfang von etwas</span></h2>
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<b><span style="font-size: large;">Über den in die Nacht versickernden Takt der Pariser U-Bahn schiebt sich die Erinnerung an ein prägendes Kinoerlebnis „Im hellen Westen irgendwo“. Gleichzeitig kommt die Ankündigung des neuen Tags nicht aus der üblicherweise mit Morgen assoziierten Himmelsrichtung – doch wenn man nur weit genug ostwärts geht, kommt man irgendwann auch von Paris aus in Amerika an. Dass der „Osten“ des Gedichts im „Westen“ liegt, ist nur relativ. Entscheidend ist: das Licht bleibt an, egal ob es die Sonne ist, das Neon der Stationen oder die Kinoreflektoren.</span></b></div>
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<li class="context-small serif" style="border: none; font-family: Georgia, serif; font-stretch: normal; line-height: 16px; margin: 0px 0px 7px 7px; padding: 0px; text-indent: -7px;"><b><span style="font-size: large;"> <a class="defaultLink arrowLink " href="http://www.faz.net/aktuell/feuilleton/buecher/frankfurter-anthologie/frankfurter-anthologie-hans-thill-muende-15074079.html" style="background: url("data:image/gif; border: none; color: #333333; cursor: pointer; margin: 0px; outline: 0px; padding: 0px 7px 0px 0px; text-decoration-line: none;" title="Frankfurter Anthologie: „-münde“ von Hans Thill">Frankfurter Anthologie: „-münde“ von Hans Thill</a></span></b></li>
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<b><span style="font-size: large;">Dass die in der Vitrine blitzenden Schuhe im Zentrum stehen, hat einen subtilen Grund. „Métro Balard-Charenton“ steht am Beginn des 1977 erschienenen Bandes „Das Ende des Flanierens“, der einen Umbruch in Handkes Schaffen markiert. Wenn sich die Namen der Metrostationen und selbst der Filmtitel auch irgendwie noch als „aufgelesene“ Poesie verstehen ließen, so hat das nichts mit den „Readymade“-Gedichten von Handkes Anfängen aus „Die Innenwelt der Außenwelt der Innenwelt“ wie etwa „Die Aufstellung des 1. FC Nürnberg“, „Die japanische Hitparade 25. Mai 1968“ oder „Warner Brothers und Seven Arts zeigen“ zu tun. Hier wird Sprache mit ihren zementierten Verwendungsweisen nicht mehr nur ausgestellt, sondern die Wirklichkeit wird zur Fundgrube eines potentiellen epischen Zusammenhangs. Das vermeintliche Ende des Flanierens – statt des Gehens über die Boulevards und durch die Galerien wird der Betrachter unterirdisch im Waggon geschaukelt – ist weder das Ende des Mythos Paris (an dem die Métro ihren Anteil hat) noch das Ende des Gehens. Es ist für den Autor, dem Gedichte meist nebenbei ,passieren‘, der Anfang des Spazierengehens.</span></b></div>
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<b><span style="font-size: large;">Von Paris und später von seiner „Niemandsbucht“ Chaville bei Paris aus wird Peter Handke in die nähere und fernere Welt aufbrechen und dabei die Landschaften, die er mitbringt, wie auch die Seine-Metropole in neuem, unerhörtem Licht darstellen. Es ist eine hoffentlich nie endende Geschichte von langem, epischem Atem und gutem Schuhwerk, die in Balard-Charenton ihren Anfang nimmt.</span></b></div>
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<b><span style="font-size: large;">Peter Handke: „Métro Balard-Charenton“</span></b></div>
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<b><span style="font-size: large;">Bei Sonnenuntergang stieg ich ein</span></b></div>
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<b><span style="font-size: large;">an Motte-Piquet-Grenelle</span></b></div>
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<b><span style="font-size: large;">An Bonne Nouvelle hörte ich auf</span></b></div>
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<b><span style="font-size: large;">das pariscope zu durchblättern</span></b></div>
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<b><span style="font-size: large;">An der Station Filles du Calvaire</span></b></div>
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<b><span style="font-size: large;">war der Flüssigkeitsautomat leer</span></b></div>
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<b><span style="font-size: large;">An Daumesnil waren in einer Vitrine Schuhe ausgestellt</span></b></div>
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<b><span style="font-size: large;">Vor der Porte Dorée sah ich noch Licht</span></b></div>
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<b><span style="font-size: large;">durch einen Schacht kommen</span></b></div>
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<b><span style="font-size: large;">In Charenton-Ecoles</span></b></div>
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<b><span style="font-size: large;">– Mündung der Marne in die Seine –</span></b></div>
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<b><span style="font-size: large;">war es schon Nacht</span></b></div>
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<b><span style="font-size: large;">Im hellen Westen irgendwo</span></b></div>
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<b><span style="font-size: large;">spielte <em style="border: none; margin: 0px; padding: 0px;">Young Mr. Lincoln</em></span></b></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-44267895682414667832017-02-25T09:13:00.001-08:002017-02-25T09:13:24.445-08:00„Gott erblickte das Licht der Welt .."<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;"><a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a></b></span><span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b><u>https://jochenteuffel.wordpress.com/tag/peter-handke/</u></b></span><br />
<h3 id="post-6989" style="color: #333333; margin: 30px 0px 0px; padding: 0px; text-align: justify;">
<a href="https://jochenteuffel.wordpress.com/2017/02/24/gott-erblickte-das-licht-der-welt-in-der-nacht-vom-vierundzwanzigsten-zum-fuenfundzwanzig%c2%adsten-dezember-peter-handkes-lebensbeschreibung/" rel="bookmark" style="color: #333333; text-decoration: none;"><span style="background-color: #ffe599; font-family: Courier New, Courier, monospace; font-size: large;">„Gott erblickte das Licht der Welt in der Nacht vom vierundzwanzigsten zum fünfundzwanzigsten Dezember“ – Peter Handkes Lebensbeschreibung</span></a></h3>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;"><small style="color: #777777; line-height: 1.5em; text-align: justify;">24. Februar 2017</small><span style="color: #333333; text-align: justify;"></span></b></span><div class="entry" style="color: #333333; line-height: 1.4em; text-align: justify;">
<img alt="" class="aligncenter size-full wp-image-6991" data-attachment-id="6991" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"http:\/\/www.dreamstime.com\/stock-photos-earthquake-wave-symbol-image12524993","created_timestamp":"0","copyright":"(c) Deskcube | Dreamstime.com","focal_length":"0","iso":"0","shutter_speed":"0","title":"http:\/\/www.dreamstime.com\/stock-photos-earthquake-wave-symbol-image12524993","orientation":"0"}" data-image-title="" data-large-file="https://jochenteuffel.files.wordpress.com/2017/02/earthquake-wave1.jpg?w=450&h=229?w=450" data-medium-file="https://jochenteuffel.files.wordpress.com/2017/02/earthquake-wave1.jpg?w=450&h=229?w=300" data-orig-file="https://jochenteuffel.files.wordpress.com/2017/02/earthquake-wave1.jpg?w=450&h=229" data-orig-size="1274,647" data-permalink="https://jochenteuffel.wordpress.com/2017/02/24/gott-erblickte-das-licht-der-welt-in-der-nacht-vom-vierundzwanzigsten-zum-fuenfundzwanzig%c2%adsten-dezember-peter-handkes-lebensbeschreibung/httpwww-dreamstime-comstock-photos-earthquake-wave-symbol-image12524993/" height="229" sizes="(max-width: 450px) 100vw, 450px" src="https://jochenteuffel.files.wordpress.com/2017/02/earthquake-wave1.jpg?w=450&h=229" srcset="https://jochenteuffel.files.wordpress.com/2017/02/earthquake-wave1.jpg?w=450&h=229 450w, https://jochenteuffel.files.wordpress.com/2017/02/earthquake-wave1.jpg?w=900&h=458 900w, https://jochenteuffel.files.wordpress.com/2017/02/earthquake-wave1.jpg?w=150&h=76 150w, https://jochenteuffel.files.wordpress.com/2017/02/earthquake-wave1.jpg?w=300&h=152 300w, https://jochenteuffel.files.wordpress.com/2017/02/earthquake-wave1.jpg?w=768&h=390 768w" style="display: block; margin-left: auto; margin-right: auto; max-width: 100%; padding: 0px;" width="450" /><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;"><em>So kann man auch eine biblische Gottes- bzw. Jesusgeschichte nacherzählen, wie es der junge, dreiundzwanzigjährige Peter Handke in seinem provozierenden Text </em>Lebensbeschreibung <em>getan hat – lakonische Aneinanderreihung von Ereignisse, und um das Geschehen ist es geschehen:</em></b></span><br />
<strong><span style="background-color: #ffe599; font-family: Courier New, Courier, monospace; font-size: large;">Lebensbeschreibung</span></strong><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;">Von Peter Handke</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;">Gott erblickte das Licht der Welt in der Nacht vom vierundzwanzigsten zum fünfundzwanzigsten Dezember. Die Mutter Gottes wickelte Gott in Windeln. Auf einem Esel flüchtete er sodann nach Ägypten. Als seine Taten verjährt waren, kehrte er in sein Geburtsland zurück, weil er fand, dass dort der Ort sei, an welchem ein jeder am besten gedeihen könnte. Er wuchs auf im Stillen und nahm zu an Alter und Wohlgefallen. Es litt ihn in der Welt. Er wurde die Freude seiner Eltern, die alles daransetzten, aus ihm einen ordentlichen Menschen zu machen.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;">So erlernte er nach einer kurzen Schulzeit das Zimmermannshandwerk. Dann, als seine Zeit gekommen war, legte er, sehr zum Verdruss seines Vaters, die Hände in den Schoß.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;">Er trat aus der Verborgenheit. Es hielt ihn nicht mehr in Nazareth. Er brach auf und verkündete, dass das Reich Gottes nahe sei. Er wirkte auch Wunder. Er sorgte für Unterhaltung bei Hochzeiten. Er trieb Teufel aus. Einen Schweinezüchter brachte er auf solche Art um sein Eigentum.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;">In Jerusalem verhinderte er eines Tages im Tempel den geregelten Geldverkehr. Ohne das Versammlungsverbot zu beachten, sprach er oft unter freiem Himmel. Aus der Langeweile der Massen gewann er einigen Zulauf. Indes predigte er meist tauben Ohren. Wie später die Anklage sagte, versuchte er das Volk gegen die Obrigkeit aufzuwiegeln, indem er ihm vorspiegelte, er sei der ersehnte Erlöser. Andererseits war Gott kein Unmensch. Er tat keiner Fliege etwas zuleide. Niemandem vermochte er auch nur ein Haar zu krümmen.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;">Er war nicht menschscheu. Unbeschadet seines ein wenig großsprecherischen Wesens war er im Grunde harmlos. Immerhin hielten einige Gott für besser als gar nichts. Die meisten jedoch erachteten ihn für so gut wie nichts. Deshalb wurde ihm ein kurzer Prozess gemacht. Er hatte zu seiner Verteidigung wenig vorzubringen. Wenn er sprach, sprach er nicht zur Sache. Im übrigen blieb er bei seiner Aussage, dass er der sei, der er sei. Meist aber schwieg er.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;">Am Karfreitag des Jahres dreißig oder neununddreißig nach der Zeitwende wurde er, in einem nicht ganz einwandfreien Verfahren, ans Kreuz gehenkt.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;">Er sagte noch sieben Worte. Um drei Uhr Nachmittag, bei sonnigem Wetter, gab er den Geist auf. Zur gleichen Zeit wurde in Jerusalem ein Erdbeben von mittlerer Stärke verzeichnet. Es ereigneten sich geringe Sachschäden.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #ffe599;">Quelle: Peter Handke, <em>Prosa. Gedichte. Theaterstücke. Hörspiele. Aufsätze</em>, Frankfurt 1969, Seite 99f.</b></span></div>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-77326910712615895612017-02-23T08:43:00.001-08:002017-02-23T08:43:15.835-08:00HANDKE & JAKOB Böhme<a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a><br />
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Es sind in neuerer Zeit nicht eben viele Autoren, aus deren Schriften hervorgeht, daß Jacob Böhme für sie einmal irgend von Bedeutung gewesen ist, und von denjenigen der Gegenwart gilt das am augenscheinlichsten gewiß für Peter Handke. Dabei handelt es sich in seinen Erzählungen und Aufzeichnungen meist um eher knapp gehaltene assoziative Bezugnahmen – mitunter, wie in der Morawischen Nacht, bleibt es bei einer einzigen im Text.1 Auf gleich eine ganze Reihe von solchen Hinweisen stößt man dagegen in seiner Sammlung von Notizen aus den Jahren 2007-2015, die 2016 unter dem Titel Vor der Baumschattenwand nachts2 von ihm veröffentlicht wurden <a href="http://www.begleitschreiben.net/peter-handke-und-jakob-boehme/">http://www.begleitsc<wbr></wbr>hreiben.net/peter-ha<wbr></wbr>ndke-und-jakob-boehm<wbr></wbr>e/</a></h2>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-76109079558254582122016-12-12T07:44:00.003-08:002017-02-24T15:22:22.043-08:00CORINNA BELZ/ PETER HANDKE FILM - BIN IM WALD<h2 style="box-sizing: border-box; line-height: 1.1; margin-bottom: 4px; margin-top: 8px;">
<a href="http://ef-magazin.de/2016/11/23/10134-peter-handke-ueber-kinder-wie-sollen-wir-leben-was-ist-das-glueck" rel="bookmark" style="box-sizing: border-box; color: #0066cc; display: block; outline-offset: -2px; outline: -webkit-focus-ring-color auto 5px; text-decoration: none;"><span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;"><span style="color: #1d2129; font-family: Helvetica, Arial, sans-serif;">Peter Handke - Bin im Wald. Kann sein, daß ich mich verpäte</span><br style="color: #1d2129; font-family: Helvetica, Arial, sans-serif;" /><span style="color: #1d2129; font-family: Helvetica, Arial, sans-serif;">vonPeter Handke</span><br style="color: #1d2129; font-family: Helvetica, Arial, sans-serif;" /><span style="color: #1d2129; font-family: Helvetica, Arial, sans-serif;">Format: DVD|Ändern</span><br style="color: #1d2129; font-family: Helvetica, Arial, sans-serif;" /><span style="color: #1d2129; font-family: Helvetica, Arial, sans-serif;">Preis:18,99 €+ Kostenfreie Lieferung mit Amazon Prime </span></span></a><span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;"><a href="https://www.amazon.de/product-reviews/B01MZC4HSG" rel="nofollow noopener" style="color: #365899; cursor: pointer; font-family: Helvetica, Arial, sans-serif; text-decoration: none;" target="_blank">https://www.amazon.de/product-reviews/B01MZC4HSG</a></span><a href="http://ef-magazin.de/2016/11/23/10134-peter-handke-ueber-kinder-wie-sollen-wir-leben-was-ist-das-glueck" rel="bookmark" style="box-sizing: border-box; color: #0066cc; display: block; outline-offset: -2px; outline: -webkit-focus-ring-color auto 5px; text-decoration: none;"><span style="background-color: yellow;"><br /></span></a><a href="http://ef-magazin.de/2016/11/23/10134-peter-handke-ueber-kinder-wie-sollen-wir-leben-was-ist-das-glueck" rel="bookmark" style="box-sizing: border-box; display: block; outline: 5px;"><span style="background-color: yellow; color: #0066cc;">https://www.amazon.de/product-reviews/B01MZC4HSG</span></a><a href="http://ef-magazin.de/2016/11/23/10134-peter-handke-ueber-kinder-wie-sollen-wir-leben-was-ist-das-glueck" rel="bookmark" style="box-sizing: border-box; color: #0066cc; display: block; outline-offset: -2px; outline: -webkit-focus-ring-color auto 5px; text-decoration: none;"><br /></a><a href="http://ef-magazin.de/2016/11/23/10134-peter-handke-ueber-kinder-wie-sollen-wir-leben-was-ist-das-glueck" rel="bookmark" style="box-sizing: border-box; color: #0066cc; display: block; outline-offset: -2px; outline: -webkit-focus-ring-color auto 5px; text-decoration: none;"><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;"><br /></span></a><a href="http://ef-magazin.de/2016/11/23/10134-peter-handke-ueber-kinder-wie-sollen-wir-leben-was-ist-das-glueck" rel="bookmark" style="box-sizing: border-box; color: #0066cc; display: block; outline-offset: -2px; outline: -webkit-focus-ring-color auto 5px; text-decoration: none;"><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;"><br /></span></a><a href="http://ef-magazin.de/2016/11/23/10134-peter-handke-ueber-kinder-wie-sollen-wir-leben-was-ist-das-glueck" rel="bookmark" style="box-sizing: border-box; color: #0066cc; display: block; outline-offset: -2px; outline: -webkit-focus-ring-color auto 5px; text-decoration: none;"><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">Wie sollen wir leben? Was ist das Glück?</span></a></h2>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Ein neuer Dokumentarfilm löst große Gefühle aus</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">https://askhelmut.com/productions_v1/peter-handke-bin-im-wald-kann-sein-dass-ich-mich-verspate?date=2016-12-25</b></span></div>
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<span style="color: #333333; font-family: "courier new" , "courier" , monospace; font-size: large;"><span style="background-color: orange;"><b>Peter Handke, Schriftsteller, Erzähldeuter, Brummbär, ist in dieser vitalisierend ungeschliffenen Dokumentation über sich selbst wahrlich viel zu viel im "Wald". Daraus folgt, dass er sich zwangsläufig "verspäten" muss. Peter Handke verliert sich im Naturnahen, Corinna Belz dagegen, Regisseurin, Beobachterin, Nachfragerin, im menschlich Nahen. Drehte die studierte Philosophin und Medienwissenschaftlerin mit "Gerhard Richter – Painting" bereits ein anderes stotternd säuselndes Tiefenporträt ungeahnter Nähe, das im reflexiven Augenblick der Tätigkeit zerging, so diskutiert "Peter Handke: Bin im Wald. Kann sein, dass ich mich verspäte…" die sinnästhetischen Empfindungen, die zu dieser Tätigkeit führen. Das Unerklärliche überwindend, das direkt aus dem "Müssen" einer inneren Pflicht resultiert, versucht Belz, das Fühlen beim Schreiben zu theoretisieren. Obgleich ihr das nicht gelingen mag – konsequent ist sie, wenn sie vollkommen ungezwungen eine Zeit einfriert, die, fernab jener Hektik, die uns sonst umgibt, ihre eigene kleine, vergängliche Geschichte schreibt. http://blockbuster-entertainment.blogspot.com/2017/02/dokumentation-peter-handke-bin-im-wald.html</b></span></span><br />
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<span style="color: #333333; font-family: "courier new" , "courier" , monospace; font-size: large;"><span style="background-color: orange;"><span style="background-color: #cfe2f3; color: #1d2129; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; white-space: pre-wrap;">Handke riecht, schmeckt, gurgelt, proustet und murmelt. Auf dem Weg zum Zuschauer passieren seine Abgangsmeldungen keinen Filter der Skepsis. Hier kostet einer sein Leben aus, das gesteigerte Dasein erzeugt Erlebnisstürme bis zu den Kapillaren. Jedes Schnitzgeräusch kommt als Notiz ins Moleskine. Denn da ist kein Rechner in der Niemandsbucht. Der technische Fortschritt endete für Handke bei der elektrischen Schreibmaschine, die falsch brummte. Im Film taucht zu der Bemerkung eine mechanische Schreibmaschine auf. In einer Einspielung aus den Siebzigern schlägt Handke dieselbe Taste immer wieder an, begeistert vom Anschlagslärm. Er reißt das Papier von der Walze und kaspert es ins Abseits des Geschehens. http://faustkultur.de/2999-0-Tuschick-TEXTLAND-Peter-Handke-Film-Bin-im-Wald.html#.WKcVFDsrKyJ</span></span></span><br />
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Das Sichgenügen auf dem Brevierweg</h1>
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<span style="font-size: large;"><span class="catchword">Peter Handke/Doku</span>
Erfind</span><span style="background-color: yellow;"><b><span style="font-size: large;">ungen schaffen Materie - Corinna Belzs Dokumentation
„Peter Handke - Bin im Wald. Kann sein, dass ich mich verspäte“ zeigt
den Dichter zwischen Wald und Flur
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<span style="background-color: yellow;"><b><span style="font-size: large;">
Ein Blog-Beitrag von Freitag-Community-Mitglied <a href="https://www.freitag.de/autoren/jamal-tuschick">Jamal Tuschick</a>
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<span style="background-color: yellow;"><b><span style="font-size: large;">Eine Großproduktion könnte so
losgehen: vor einem Nachthimmel, den ein Lichtfries begrenzt. Der Fries
verliert sein Geheimnis als Scheinwerferfräse. Am nächsten Morgen kommt
Peter Handke mit Pilzen pünktlich aus dem Wald. Er präsentiert die
Strecke. Er arrangiert und erwägt die Gültigkeit des Arrangements. Er
spielt mit einem Fruchtkörper. Er befriemelt Hut und Stiel in
animatorischer Absicht. Er teilt die Trama mit dem Taschenmesser und
inszeniert den Schnitt als Akt zwischen Gewalt und Hochamt.</span></b></span><br />
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<span style="background-color: yellow;"><b><span style="font-size: large;">Handke
riecht, schmeckt, gurgelt, proustet und murmelt. Auf dem Weg zum
Zuschauer passieren seine Abgangsmeldungen keinen Filter der Skepsis.
Hier kostet einer sein Leben aus, das gesteigerte Dasein erzeugt
Erlebnisstürme bis zu den Kapillaren. Jedes Schnitzgeräusch kommt als
Notiz ins Moleskine. Denn da ist kein Rechner in der Niemandsbucht. Der
technische Fortschritt endete für Handke bei der elektrischen
Schreibmaschine, die falsch brummte. Im Film taucht zu der Bemerkung
eine mechanische Schreibmaschine auf. In einer Einspielung aus den
Siebzigern schlägt Handke dieselbe Taste immer wieder an, begeistert vom
Anschlagslärm. Er reißt das Papier von der Walze und kaspert es ins
Abseits des Geschehens.</span></b></span><br />
<span style="background-color: yellow;"><b><span style="font-size: large;">In der Gegenwart pflanzt Handke
Muscheln in seinem Garten. Er feiert den Sand in einer Kalkschale und
datiert dessen Alter nach einer Geschmacksprobe auf zwei Millionen
Jahre. Handke wird sich auch an Maronen noch vergreifen. Er zeigt sich
als Einfädelungsversager mit geringer Frustrationstoleranz. Ein Nadelöhr
muss sich als Arschloch verunglimpfen lassen.</span></b></span><br />
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<span style="background-color: yellow;"><b><span style="font-size: large;">Die
Kurzstrecke zur Gedankenverfertigung im Gehen vor dem Pariser
Vorstadthaus vergleicht Handke mit den Brevierwegen der Pfarrer als
einer Einübungsroutine. Er deutet Gewinne aus Litanei, Monotonie und
religiöser Bindung an. Belz bastelt dieser beinah konfessionellen,
François Mauriac und Julien Green streifenden Einlassung ein lächerlich
kunstgewerbliches Passepartout. Sie zeigt ein Bündel mit Halsketten
verbundener Kreuze. Aus einem Pendlerzugfenster sieht Handke Hanna
Schygulla im Jugendstil der Generation Protest. Der surreale
Zusammenschnitt erinnert an den Wendersfilm “Falsche Bewegung”, zu dem
Handke, inspiriert von Howard Hawks, das Drehbuch lieferte. Später
erfreut sich Handke an einer Tochter im Restaurant. Es gehört paradox zu
Handkes Sichgenügen, Vater zu sein. Das führt er aus, alte Aufnahmen
illustrieren das Textprogramm Vaterschaft in den Hyperfarben der
Polaroidära. Die Textgewordenen zeigen sich gnädig, aber nicht
unkritisch. Sie versperren sich einem durchgreifenden Deutungsanspruch
und den Vernebelungsabsichten des Nachlassenden.</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-size: large;">Manche
Archivaufnahmen funktionieren wie Rückblenden in Spielfilmen. Man sieht
Handke 1966 als Provokateur bei einer Tagung der Gruppe 47 in Princeton
und als Merlin in der Frankfurter Publikumsbeschimpfungspremiere.</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-size: large;">Ein
Schriftsteller lebt für sich und gegen seine Zeit und ihre
Behauptungen. Jahrzehnte nach den Etablierungsskandalen reist Handke ”in
die falsche Richtung”. Sein Einsatz für Serbien und Milošević im
Jugoslawien-Krieg wird bis heute als Verfehlung historischer Tatsachen
bewertet. Weit davon entfernt: sich selbst zu erklären, rückt Handke
weiter Nebensachen ins Licht. Dabei erscheint er so, als wolle er eine
Person, die allein mit ihrer Stimme anwesend ist, aus ihrem Versteck
locken. Das ist die vor Handkes sanfter Tyrannei hörbar einknickende
Regisseurin.</span></b></span></div>
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<div class="community-notice">
<span style="background-color: yellow;"><b><span style="font-size: large;">Dieser Beitrag gibt die Meinung des Autors wieder, nicht notwendigerweise die der Redaktion des Freitag.</span></b></span><br />
<span style="background-color: yellow;"><b><span style="font-size: large;"><br /></span></b></span>
<span style="background-color: yellow;"><b><span style="font-size: large;">https://www.freitag.de/autoren/jamal-tuschick/das-sichgenuegen-auf-dem-brevierweg</span></b></span><br />
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<figure style="box-sizing: border-box; color: #333333; margin: 22px 0px;"><img alt="Artikelbild" class="img-responsive img-stretch" src="http://ef-magazin.de/media/assets/article/2016/11/Peter-handke.jpg.940x450_q75_box-0%2C567%2C1417%2C1245_crop_detail.jpg" style="border: 0px; box-sizing: border-box; display: block; height: auto; max-width: 100%; vertical-align: middle; width: 687.867px;" /><figcaption style="box-sizing: border-box; line-height: 21px; margin: 5px 0px;"><span class="pull-right" style="box-sizing: border-box; float: right; font-style: italic; line-height: 21px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Bildquelle: <a href="https://commons.wikimedia.org/wiki/File:Peter-handke.jpg" style="box-sizing: border-box; color: #0066cc; text-decoration: none;" target="_blank">Wild + Team Agentur - UNI Salzburg/Mkleine CC BY-SA 3.0)/Wikimedia Commons</a></b></span></span><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Meidet gewöhnliche Ausdrücke: Peter Handke</b></span></figcaption></figure><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Zusammen mit dem Schriftsteller Ludwig Lugmeier war ich in dem neuen Dokumentarfilm von Corinna Belz über Peter Handke. Wir waren neugierig. Was würde uns erwarten? Würden wir etwa einen Showdown virtuoser Formulierungskünstler erleben, als würde ein Herausforderer wie Michael Krüger gegen Peter Handke antreten, um sich einen Kampf der Wortgiganten zu liefern, bei dem sich noch in der neunten Runde nur ein knapper Sieg nach Punkten abzeichnet und immer noch keiner den anderen k.o. gequatscht hat?</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Die Eintrittskarte wirkte verdächtig. Der vollständige Titel „Peter Handke – bin im Wald. Kann sein, dass ich mich verspäte“, war nicht in voller Länge ausgedruckt, der Titel ist zu lang, er passt nicht in eine Zeile, und mitten in „bin im Wald“ hörte die Zeile auf und ließ nur das „i“ aus dem „im“ zurück, so dass auf der Eintrittskarte der Film auf gut Bayrisch hieß: „Peter Handke bin i“ – und damit zu Befürchtungen Anlass gab, dass wir es mit einer Beweihräucherung zu tun haben würden, die das abgehobene Ego eines Großschriftstellers in den Mittelpunkt stellt.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">So war es nicht. Ganz und gar nicht. Es war ein bewegender Film zu der großen Frage: Wie sollen wir leben? Ich will nicht allzu viel verraten; ich will nur einen Teil der Fragestellung aufgreifen, die Frage eingrenzen und etwas umformulieren: Mit wem sollen wir leben?</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Zwar wusste ich schon, dass Handke mit seiner Tochter – wie wir heute sagen würden – als „Alleinerziehender“ gelebt hatte, doch ich hatte es glatt wieder vergessen, nun konnte ich Handke wieder entdecken als jemanden, für den das Leben mit einem Kind zu einer bedeutenden Selbstverständlichkeit gehört.</b></span></div>
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<strong style="box-sizing: border-box;"><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">Unscheinbarer Titel, starke Wirkung</span></strong></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Sein Buch mit dem unscheinbaren Titel „Kindergeschichte“ war sein letzter Bestseller, jedenfalls fand es sich auf entsprechenden Listen – das war, lang ist es her, im Jahre 1981. Da war er als „Heranwachsender“ mit seinem Kind zusammen.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Peter Handke spricht auch heute noch – auch im Film – über sich in der dritten Person, er tut es offenbar gerne, so wie ich es früher auch getan habe, als ich als Kind Indianer gespielt und mich als großen Häuptling Spitze Feder gesehen habe. Es heißt in der Kindergeschichte:</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">„Ein Zukunftsgedanke des Heranwachsenden war es, später mit einem Kind zu leben. Dazu gehörte die Vorstellung von einer wortlosen Gemeinschaftlichkeit, von kurzen Blickwechseln, einem Sich-dazu-Hocken, einem unregelmäßigen Scheitel im Haar, eine Nähe und Weite in glücklicher Einheit.“</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Schon beim ersten Anblick des Kindes spürt der Heranwachsende, dass er nun ein für allemal mit dem Kind eine verschworene Gruppe bilden wird, die ihm zur „einzig gültigen Wirklichkeit“ wird. Er nimmt es der Mutter übel, dass sie das Berufsleben vorzieht und sich nicht der unbedingten Notwendigkeit stellt, und er verachtet all diejenigen, die ihm eine andere Lebensweise aufreden wollen. Er spürt deutlich, dass er den gesamten Zeitgeist gegen sich hat und dass ihn die Dringlichkeit des politischen Lebens immer wieder herausruft aus der Enge und Gefangenschaft des Häuslichen mit dem bequemen Glück der Zweisamkeit.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Es ist kein reines Glück. Es ist nicht immer nur das Anwehen des Paradieses zu spüren, das sowieso nur unauffällig und beiläufig auftritt, es ergeben sich genauso tiefe Momente des Versagens, des Ungenügens und Momente einer Schuld, die so heftig sind, dass er das Gefühl hat, als würde er – um es ausnahmsweise in meinen Worten zu sagen – vor der höchstmöglichen Instanz in Ungnade fallen. Als Peter Handke sein Kind in einem Zornesanfall schlägt, schreibt er (wieder über sich in der dritten Person): „Das Entsetzen des Täters war fast gleichzeitig. Er trug das weinende Kind, selber bitter ermangelnd der Tränen,in den Räumen umher, wo überall die Tore des Gerichts offenstanden, mit den schalltoten Hitzestößen der Posaunen ...“</b></span></div>
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<strong style="box-sizing: border-box;"><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">„Schalltote Hitzestöße der Posaunen“</span></strong></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Die Formulierung von den „schalltoten Hitzestößen der Posaunen“ fand ich damals schon übertrieben, ja geradezu lächerlich, das war 1981, als ich, selber noch kinderlos, das Buch zum ersten Mal gelesen hatte. Ich dachte nur: Geht’s vielleicht auch ne Nummer kleiner? Doch womöglich war es gerade die Übergröße der Formulierung, die bewirkt hatte, dass mir der Wortlaut bis heute in Erinnerung geblieben ist. Weiter heißt es über die erwähnte dritte Person, also über den Täter: „Erstmal sah sich der Erwachsene da als einen schlechten Menschen; nicht bloß ein Bösewicht war er, sondern ein Verworfener; und seine Tat konnte durch keine weltliche Strafe gesühnt werden. Er hatte das einzige zerstört, das ihm je das Hochgefühl von etwas dauerhaft Wirklichem gegeben hatte, das einzige verraten, das er je zu verewigen und zu verherrlichen wünschte. Als Verdammter hockt er sich zu dem Kind und redet es an ...“</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Ludwig, der selbst keine Kinder hat, erzählte mir, als wir wenig später bei Rotwein und Tapas den Film verdaut haben, dass er vor vielen Jahren einer Frau ins Gesicht geschlagen habe. Es sei das Widerwärtigste gewesen, das er jemals getan habe. Zwar sei er besoffen gewesen, doch das könne keine Entschuldigung sein. Ich wiederum weiß von einer Frau, die vor über 20 Jahren ihren Dreijährigen verprügelt hatte, die es immer noch bereut, ihn schon mehrfach um Verzeihung gebeten hat und es immer noch tut. Von einer anderen Frau, die sich inzwischen in Frömmigkeit geflüchtet hat, weiß ich, dass auch sie eine unselige Zeit mit ihrem Kleinkind hatte und dass sie dann, wie sie es nannte, „den anderen Weg“ gegangen ist.</b></span></div>
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<strong style="box-sizing: border-box;"><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">Der Film löst große Gefühle aus</span></strong></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Wir haben viel geredet. Über Peter Handke, über Edmund Husserl und seine Methode, einzelne Phänomene aus Zusammenhängen zu lösen, aber eben auch über private, über sehr intime Dinge. Ich erwähne das, um erneut zu unterstreichen, dass dies kein Literatur-Fuzzi-Film ist. Es geht nicht um Papierkram. Der Film löst große Gefühle aus. Wer hätte das gedacht? Man erwartet von Peter Handke, dass er andersgelbe Nudeln in Einzelheiten beschreibt und jedes Blatt, das vom Baum gefallen ist, zweimal umwendet, ehe er es wieder beiseitelegt, und dass er sich im Kleinen und Klitzekleinen verliert.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Doch er schreibt über die großen Tatsachen des Lebens, die erst erkennbar werden, wenn wir uns ungeschützt ausliefern, wenn das Gerümpel des Vorgestanzten und Vorgemeinten beiseite geräumt ist und die eigengesetzliche Lebenswelt mit ihrer ganzen Wucht wirksam wird. Dann erscheinen uns auch seine übergroßen Worte, die ins Subjekt gegossenen Gedenksteine aus den persönlichen Weltkriegen, am rechten Platz.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Er erklärt ausführlich seine Gegnerschaft zu den Kinderlosen, zu den „Wustmenschen“, zu denen, die die Kulissen der Aktualität für die allein gültige Wirklichkeit halten, und lässt den großen Häuptling, der bekanntlich niemals mit gespaltener Zunge spricht, ausführlich zu Wort kommen: „Später sollte er es noch des öfteren mit weit ärgeren überzeugt-Kinderlosen zu tun bekommen, einzeln oder in Paaren. In der Regel hatten sie einen scharfen Blick und wussten auch, selber in furchtbarer Schuldlosigkeit dahinlebend, im Expertisendeutsch zu sagen, was an einem Erwachsenen-Kind-Verhältnis falsch war; manche von ihnen übten solchen Scharfsinn sogar als ihren Beruf aus.“</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Der Heranwachsende, der inzwischen unmerklich zum Erwachsenen und zum Täter geworden ist, der Schuldbeladene, der Alleinerziehende lebte im ständigen Zerwürfnis mit den Besserwissern und ihren wohlfeilen Naseweisheiten, die selber nur in die eigene Kindheit und in das eigene fortgesetzte Kindsein vernarrt waren und sich in der Nähe als ausgewachsene Monstren erwiesen. Es gab – damals schon – die für ihn so bezeichnende Konstellation: Peter Handke gegen den Rest der Welt. Einer gegen alle.</b></span></div>
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<strong style="box-sizing: border-box;"><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">„Doch sein Wohlsein ist verfehltes Glück“</span></strong></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Mir wurde sofort klar, warum ich von der Prosa schon damals so tief beeindruckt war: Handke meidet gewöhnliche Ausdrücke. Er bemüht sich, Sätze zu finden, die einem wie Uraufführungen vorkommen; Sätze, die man so noch nie gelesen oder gehört hat und die einen die Welt so sehen lassen, als sähe man sie zum ersten Mal, auch wenn da gelegentlich die Posaunen erklingen. Und noch etwas: Ich habe dahinter stets das Bemühen um Aufrichtigkeit gesehen. Wie soll ich sagen? Um Ehrlichkeit? Wahrhaftigkeit? Dass Handke hart und hemmungslos gegen sich selbst sein kann und dass er seine Wunden vorzeigt, hat mich ermutigt, das auch im Umgang mit mir selbst zu probieren und mich besser kennenzulernen.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Ich habe die „Kindergeschichte“ gleich noch einmal gelesen. Diesmal als jemand, der inzwischen mit einem kleinen Kind gelebt hat. Es hat mich – um es in einem gewöhnlichen Satz zu sagen – stark berührt. Deshalb will ich ihm das letzte Wort erteilen, aber vorher noch einmal darauf hinweisen, dass das Zusammensein mit einem Kind nur eine Szene aus dem Film ist, über den Ludwig zusammenfassend gesagt hat, es gebe darin nichts, das ihm nicht gefallen hätte. Hier also noch etwas aus der „Kindergeschichte“: „Er verfluchte diese selbstgerechten kleinlichen Propheten als den Auswurf der modernen Zeiten, hob vor ihnen das Haupt und schwor ihnen die ewige Unversöhnlichkeit. Bei dem antiken Dramatiker fand er den ihnen gebührenden Bannfluch: Sind Kinder allen Menschen doch die Seele. Wer dies nicht erfuhr, der leidet zwar geringer, doch sein Wohlsein ist verfehltes Glück.“</b></span></div>
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<span style="background-color: yellow; font-size: large;">Corinna Belz’ „Peter Handke – Bin im Wald. Kann sein, dass ich mich verspäte“ gibt Einblicke ins Leben des Schriftstellers. <br style="box-sizing: border-box;" /><span class="external-author" style="box-sizing: border-box; color: #333333; line-height: 24px; margin-bottom: 8px;">Von Helmut Hein, MZ</span></span></div>
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<span style="background-color: yellow; font-size: large;"><span class="date" style="box-sizing: border-box; color: #999999; font-family: sans-serif; line-height: 28px; margin-bottom: 32px;">11. Dezember 2016</span> <span class="time" style="box-sizing: border-box; color: #999999; font-family: sans-serif; line-height: 28px; margin-bottom: 32px;">21:53 Uhr</span></span></div>
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<figure class="article-image article-top-image" style="box-sizing: border-box; margin: 0px 0px 24px; position: relative; width: 520px;"><span style="background-color: yellow; font-size: large;"><img class="image-loader" data-breakpoints="520-779x467" src="http://www.mittelbayerische.de/imgserver/_thumbnails/images/34/3541800/3541797/779x467.jpg" style="border: 0px; box-sizing: border-box; max-width: 100%; width: 520px;" /></span><figcaption style="box-sizing: border-box; color: #999999; font-family: sans-serif; line-height: 16px; overflow: hidden; padding-top: 8px;"><span style="background-color: yellow; font-size: large;">Verehrt und umstritten: Peter Handke, hier im März bei der Verleihung des Würth-Preis für Europäische Literatur in Stuttgart <span class="image-source" style="box-sizing: border-box; line-height: 16px;">Foto: dpa</span></span></figcaption></figure></div>
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<span style="background-color: yellow; font-size: large;"><span class="article-location" style="box-sizing: border-box; color: #999999; font-family: sans-serif; letter-spacing: 0.0625rem; line-height: normal; text-transform: uppercase;">REGENSBURG.</span>Manchmal hat es auch Corinna Belz schwer mit ihm. Dann faucht er sie wie aus dem Nichts an: „Soll das eine Frage sein?!“ Sprachliche Schludrigkeiten, ungenaues Denken, schiefe Bilder duldet dieser Autor nicht, für den Sprache und die existenzielle Klarheit, die sie im besten Fall hervorruft, alles oder jedenfalls das Wichtigste ist.</span></div>
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<span style="background-color: yellow; font-size: large;">Poetisch-präzises Porträt</span></h2>
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<span style="background-color: yellow; font-size: large;">Aber meist in diesen anderthalb Stunden bleibt sie von seinem berüchtigten Wüten verschont. Er wendet ihr nicht die zornige, sondern die sanfte Seite seines Wesens zu. In raren Momenten werden Blicke, die er ihr verstohlen zuwirft, fast liebevoll. Nicht ohne Grund: Denn Corinna Belz ist ein poetisch-präzises Porträt gelungen, das Peter Handke gerecht wird, gerade weil die beiden nichts auslassen, alles an- und aussprechen. Von der heftigen Ohrfeige, die er einst seiner Tochter Amina, der Heldin seiner „Kindergeschichte“, verpasste und die ihn heute noch mehr zu schmerzen scheint als sie jemals. Bis hin zur Parteinahme für Milosevic, durch die er für viele zum Outcast und fast vogelfrei wurde.</span></div>
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<span style="background-color: yellow; font-size: large;">Ich erinnere mich, wie ich einst in der alten Buchhandlung Dombrowsky einen mir von meinen Studienanfängen als besonders zart-empathisch vertrauten Universitätslehrer traf, der noch kein Bildungs-Technologe im neuesten Stil, sondern ein hemmungslos altmodischer Literaturfreund und Autorenversteher war – und der sich jetzt plötzlich in einen furchterregenden Wutbürger verwandelte. Er war dabei, alle Handke-Bücher aus den Regalen zu räumen, weil er nicht wollte, dass jemals wieder jemand diese schändliche Prosa lese. Nicht einmal, als ich vorschlug, ihm zu helfen, die Bücher hinaus auf die Wollwirkergasse zu schaffen und dort anzuzünden, wurde er nachdenklich.</span></div>
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<span style="background-color: yellow; font-size: large;">Es herrschte Krieg damals, ein totaler, moralischer, gerechter Krieg, der nur mit der Vernichtung Handkes enden konnte. Gerechtigkeit für Handke? Undenkbar. Die hatte er mit seinem Essay bzw. eher seiner Erzählung „Gerechtigkeit für Serbien“ verwirkt, die in der SZ erstveröffentlicht wurde und sofort für ungeheures Aufsehen sorgte. Man spürt beim Betrachten dieses Films, dass Handke fast 20 Jahre später, mit Mitte 70, die Ereignisse von damals noch nicht überwunden hat.</span></div>
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<span style="background-color: yellow; font-size: large;">Kein Parteinehmer</span></h2>
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<span style="background-color: yellow; font-size: large;">Dabei ging es ihm ja zuallerletzt um „Parteinahme“, schon gar nicht für Milosevic. Er war nie ein Parteinehmer gewesen. Ihn stieß nur der schwirrende, vernebelnde Schwarz-Weiß-Sound der Medien ab, die ausschließlich die Sicht der einen Seite gelten ließen und das Leid und den Schmerz der anderen vollkommen missachteten. Obwohl es bei Corinna Belz um die Poetik und die Lebenslehre Handkes geht, obwohl die Kamera vor allem das Haus, den Garten und die Umgebung des kleinen Anwesens in einem Pariser Vorort erkundet und dann natürlich auch die Linien des älter gewordenen Gesichts, obwohl das alles unverkennbar so ist, bildet Serbien oder noch besser: das untergehende Jugoslawien, das Land seiner Mutter, das Kraftzentrum.</span></div>
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<span style="background-color: yellow; font-size: large;">Uraufführung in Locarno</span></h2>
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Regisseurin Corinna Belz</h3>
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Corinna Belz war als Autorin, Regisseurin und Produzentin bereits an zahlreichen Film- und TV-Produktionen beteiligt. Für eine Kinodokumentation über das Schaffen des Künstlers Gerhard Richter wurde sie 2012 mit dem Deutschen Filmpreis in Gold ausgezeichnet.</div>
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Die Produktion</h3>
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„Peter Handke – Bin im Wald. Kann sein, dass ich mich verspäte...“ ist eine Produktion der „Zero One Film“ unter Beteiligung des SWR.</div>
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<span style="background-color: yellow; font-size: large;">=================</span><br />
<span style="background-color: yellow; font-size: large;">Es ist ein Gegenwarts- oder eher ein sehr gegenwärtiger Film, der mit dem Ruf Handkes als Waldgänger, Pilzsammler und sogar Gärtner spielt. Aber in die vielen Blicke und Gespräche im reinsten Präsens sind Szenen aus vergangenen Jahrzehnten hineinmontiert. Von seinem legendären Auftritt bei der Gruppe 47 in Princeton, der die alten Herren der Literatur ganz schön durcheinanderbrachte, über seine reine, fast schon kindliche Freude an Peymanns Inszenierung seiner „Publikumsbeschimpfung“ bis zu den vielen Zitaten aus seinen zahllosen Büchern, die ihren Halt, manchmal auch ihren Rand finden in dem, was seine Töchter, Amina und Leocadie, und seine Frau Sophie Semin sagen. Eine weise Frau, die weiß, dass ein Dichter oder auch nur ein Mann, der als Schriftsteller leben will, wie Handkes eigene frühe Formel lautet, viel allein, ja oft sogar unberührbar sein muss.</span></div>
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<span style="background-color: yellow; font-size: large;">Altmodischer Erzähler</span></h2>
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<span style="background-color: yellow; font-size: large;">Fasziniert scheint Belz von Handkes Gesicht zu sein. Man sieht in Hunderten von Aufnahmen, wie es sich von Anfang 20 bis Anfang 70 entwickelt. Und von seiner Handschrift. Handke schreibt ja immer noch auf diese archaische Weise, mit einem Bleistift in Kladden, die er mit sich herumträgt und die er beizeiten auch mit Zeichnungen oder eher Kritzeleien versieht.</span></div>
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<span style="background-color: yellow; font-size: large;">Handke ist ein altmodischer Erzähler, über dieses Rüstzeug hinaus, der nichts absurder findet als „Stories“, „Plot-Points“ und ähnlichen Unsinn, der in Schreibwerkstätten gelehrt wird. Kann man denn das Schreiben überhaupt lehren? Genauso wenig wie das Leben. Man kann es nur mühsam selbst erfahren, wunderbarerweise aber nicht, indem man sich sklavisch der vermeintlichen Realität anvertraut, sondern sich der mit einem Mal auftauchenden Erfindung, der Fiktion überlässt.</span></div>
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<span style="background-color: yellow; font-size: large;">Mal schauen, wohin sie einen führt. Der Film läuft im Andreasstadel, Regensburg</span></div>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-51474211328490998092016-12-08T14:48:00.003-08:002016-12-08T14:48:34.819-08:00 eleftheriosarelis handke poems in greek<a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a><br />
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">PETER HANDKE[GRIFFEN, AUSTRIA, 6-12-1942]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> O Πήτερ Χάντκε είναι Αβάν γκάρντ ποιητής, μυθιστοριογράφος, θεατρικός συγγραφέας και σεναριογράφος. </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Γεννήθηκε στις 6-12-1942 στο Γκρίφεν της Αυστρίας. Ο Χάντκε και η μητέρα του [που η καταγωγή της ήταν απ’ την Καρινθία και την Σλοβενία και η οποία αυτοκτόνησε το 1971, ένα θέμα που απασχόλησε τον συγγραφέα στο βιβλίο του "Θλίψη πέραν των ονείρων" ως μια αντανάκλαση της ζωής της] έζησαν στο Ανατολικό Βερολίνο απ’ το 1944 ως και το 1948, προτού εγκατασταθούν στο Γκρίφεν της Αυστρίας. Σύμφωνα με κάποιους απ’ τους βιογράφους του ο αλκοολισμός του πατριού του και το περιοριστικό πολιτιστικό πεδίο δράσης της μικρής πόλης που έζησε συνετέλεσαν στην στάση του ενάντια στις απαγορεύσεις και στην συμβατικότητα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Το 1954 ο Χάντκε εστάλη ως οικότροφος σ’ ένα ρωμαιοκαθολικό σχολείο αρρένων στο Τάντζεμπεργκ της Καρινθίας. Εκεί δημοσίευσε τα πρώτα του κείμενα στην σχολική εφημερίδα "Fackel".To 1959 μετακόμισε στο Kλάγκενφουρτ και το 1961 ξεκίνησε νομικές σπουδές στο Πανεπιστήμιο του Γκράντζ.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Ο ίδιος ο Πήτερ Χάντκε ερμηνεύει την πολυπλοκότητα της γραφής του στο γεγονός πως ως Αυστριακός έζησε στην μεταπολεμική περίοδο, ενώ το έργο του έχει προκαλέσει διενέξεις και σοκ σε μια ποικιλία πλευρών.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Ενώ σπούδαζε συνδέθηκε με την ομάδα "Grazer Gruppe" μια ομάδα νέων συγγραφέων η οποία εξέδιδε το λογοτεχνικό συμπίλημα "Manuscripte". H </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Ελφρίντε Γέλινεκ [Μούρτζουσχλαγκ, Στυρία, Aυστρία, 20-10-1946] και η Μπάρμπαρα Φρίσχμουθ[Aλτάουσε, Σάλτζκαμμεργκουτ, Aυστρία, 5-7-1941] υπήρξαν μέλη αυτής της ομάδας.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Ο Χάντκε παράτησε τις σπουδές του το 1965 όταν ο εκδοτικός οίκος "Suhrkamp Verlag" δέχθηκε να εκδώσει το μυθιστόρημά του με τίτλο "Οι κούρκοι". </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Ο Χάντκε απέκτησε μεγάλη δημοτικότητα μετά από μια θεαματική εμφάνιση σε μια συνάντηση αβάντ γκάρντ καλλιτεχνών που ανήκαν στο "Gruppe 47" στο Πρίνστον του Νιού Τζερσευ των Ενωμένων Πολιτειών Αμερικής όταν παρουσίασε το έργο του "Προσβάλλοντας το κοινό".</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Υπήρξε ένας απ’ τους συνιδρυτές του εκδοτικού οίκου "Verlag der Autoren" το 1969 και συμμετείχε ως μέλος στην ομάδα "Grazer Autorenversammlung" απ’ το 1973 ως και το 1977.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Κατά την δεκαετία του 80' ο Χάντκε ταξίδευσε σε μέρη όπως η Αλάσκα, η Ιαπωνία και η Γιουγκοσλαβία.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Εγκαταλείποντας το Γκράτζ ο Χάντκε έζησε στο Ντύσεντολφ, στο Kρόνμπεργκ και στο Βερολίνο της Γερμανίας, στο Παρίσι, στις Ενωμένες Πολιτείες Αμερικής [απ’ το 1978 ως το 1979] και στο Σάλτζμπουργκ της Αυστρίας απ’ το 1979 ως το 1988. Απ’ το 1991 ζει στο Chaville της Γαλλίας.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Όταν απενεμήθηκε το βραβείο Νόμπελ Λογοτεχνίας 2004 στην Ελφρίντε Γέλινεκ εκείνη δήλωσε πως θεωρούσε τον Πήτερ Χάντκε πιο άξιο αποδέκτη από εκείνην και πως είχε βραβευθεί απλώς γιατί ήταν γυναίκα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Το 1996 η ταξιδιωτική του περιγραφή "Ένα ταξίδι στα ποτάμια: Δικαιοσύνη για την Σερβία" προκάλεσε πολεμική και διενέξεις γιατί παρουσίαζε την Σερβία ως ένα απ’ τα θύματα του εμφυλίου πολέμου που ξέσπασε στην Γιουγκοσλαβία κατά την δεκαετία του 90'.Στο ίδιο δοκίμιο ο Πήτερ Χάντκε επιτέθηκε στα Δυτικά Μέσα Μαζικής Ενημέρωσης, υποστηρίζοντας πως διαστρεβλώνουν τις αιτίες και τις συνέπειες αυτού του πολέμου.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Ο πρώην πρόεδρος της Γιουγκοσλαβίας Σλόμπονταν Μιλόσεβιτς [Ποζάρεβατς, πρώην Γιουγκοσλαβία, 20-8-1941- Χάγη, Ολλανδία, 11-3-2006] ζήτησε απ’ τον Πήτερ Χάντκε να τον στηρίξει ως μάρτυρας υπεράσπισης στο Διεθνές Δικαστήριο της Χάγης, ο τελευταίος όμως αρνήθηκε. Εν τούτοις επισκέφθηκε το δικαστήριο ως θεατής και αργότερα δημοσίευσε τις παρατηρήσεις του στο βιβλίο "The tablas of Daimiel".</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Στις 18-3-2006 ο Πήτερ Χάντκε ενώπιον 20.000 προσώπων στην κηδεία του Μιλόσεβιτς έδωσε λόγο στα σερβικά που προκάλεσε θύελλα αντιδράσεων </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">στην πολιτισμένη Δύση. Ο ίδιος αργότερα αρνήθηκε ότι είχε εκφράσει</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">την ευτυχία του που ήταν κοντά στον Μιλόσεβιτς ο οποίος υπερασπίσθηκε τον λαό του. Μάλιστα σε μια επιστολή του προς την "Nouvel Observateur" προσέφερε μια μετάφραση της ομιλίας του: <<Ο κόσμος, ο καλούμενος κόσμος γνωρίζει τα πάντα αναφορικώς με την Γιουγκοσλαβία, την Σερβία. Ο κόσμος, ο καλούμενος κόσμος γνωρίζει τα πάντα σχετικώς με τον Μιλόσεβιτς. Ο καλούμενος κόσμος γνωρίζει την αλήθεια. Αυτός είναι και ο λόγος που ο καλούμενος κόσμος είναι απών σήμερα και όχι μόνον σήμερα, όχι μόνον εδώ. Δεν γνωρίζω την αλήθεια. Αλλά κοιτάζω. Ακούω. Αισθάνομαι. Θυμάμαι. Αυτός είναι ο λόγος που είμαι εδώ σήμερα κοντά στην Γιουγκοσλαβία, κοντά στην Σερβία, κοντά στον Σλόμπονταν Μιλόσεβιτς.>></b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Οι επόψεις του Πήτερ Χάντκε σχετικώς με τον πόλεμο της Γιουγκοσλαβίας </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">προκάλεσαν την αντίδραση του Σλοβένου συγγραφέα και δοκιμιογράφου </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Ντράγκο Γιανκάρ[Mάριμπορ, Σλοβενία, 13-4-1948] και οι δυο τους ανεμείχθησαν σε μια μακρά πολεμική.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Ο Πήτερ Χάντκε κέρδισε το 1975 το χρυσό βραβείο για γερμανικό φιλμ με το σενάριό του "Falsche Bewegung", ενώ το φιλμ "Ο καιρός περνάει και το κοινό κοιμάται" ήταν υποψήφιο για το Φεστιβάλ Καννών 1978.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Μερικά απ’ τα έργα του: "Oι σφήκες" [1966], "Γερμανικά ποιήματα." [1969],"Άνεμος και θάλασσα. Τέσσερα ραδιοφωνικά έργα." [1970], "Όταν η ελπίδα ακόμη βοηθούσε.[Ποιήματα, δοκίμια, κείμενα και φωτογραφίες]" [1974], "Η στιγμή ενός αληθινού αισθήματος." [1975], "Το βάρος του κόσμου." [1977], "Η ιστορία ενός παιδιού." [1981] "Τα φτερά του έρωτα." [1987], "Ποιήματα." [1987] "Θεατρικά έργα." [1992], "Προετοιμασίες για την αθανασία. Ένα βασιλικό δράμα." [1997], "Δον Ζουάν." [2002], "Ταξιδεύοντας εχθές." [2005]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">ΤΡΑΓΟΥΔΙ ΣΤΗΝ ΠΑΙΔΙΚΗ ΗΛΙΚΙΑ </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">περπάτησε με τα μπράτσα του ταλαντευόμενο,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">ήθελε το ποταμάκι να γίνει ένα ποτάμι</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και αυτή η λάσπη να γίνει η θάλασσα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">δεν γνώριζε πως ήταν ένα παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">τα πάντα ήταν γεμάτα ζωντάνια</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και όλες οι ψυχές ήταν ένα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">δεν είχε γνώμη για το οτιδήποτε,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">δεν είχε συνήθειες,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">συχνά καθόταν σταυροπόδι,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">ξεκινούσε το τρέξιμο</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">είχε ένα τσουλούφι στα μαλλιά του </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και δεν έκανε γκριμάτσες όταν φωτογραφιζόταν.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">ήλθε ο καιρός γι’ αυτές τις ερωτήσεις:</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Γιατί να είμαι εγώ και γιατί όχι εσύ;</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Γιατί να είμαι εδώ και γιατί όχι εκεί;</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Πότε ο χρόνος ξεκίνησε και που ο χώρος τελειώνει;</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Είναι η ζωή κάτω απ’ τον ήλιο απλώς ένα όνειρο;</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Είναι αυτό που βλέπω και ακούω και οσφραίνομαι </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">απλώς μια παραίσθηση του κόσμου πριν απ’ τον κόσμο;</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Δοσμένα τα γεγονότα του κακού και του κόσμου.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Το κακό υπάρχει πραγματικά;</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Πως μπορεί να ’ναι αυτό που εγώ αυτός που είμαι </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">δεν υπήρξα πριν έλθω, για να γίνω [αυτό]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και πως, μια ημέρα, εγώ, αυτός που είμαι </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">δεν θα είμαι πια αυτός που είμαι;</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"><br /></b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">πνίγηκε στο σπανάκι, στα μπιζέλια, στο ρυζόγαλο</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και στο αχνισμένο κουνουπίδι</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και τρώει όλα από αυτά τώρα και όχι απλώς γιατί έτσι πρέπει.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"><br /></b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">ξύπνησε μια φορά σ’ ένα περίεργο κρεβάτι</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και τώρα το κάνει ξανά και ξανά.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Πολλοί άνθρωποι, τότε, έδειχναν όμορφοι</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και τώρα μόνον μερικοί [δείχνουν όμορφοι], από καθαρή τύχη.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Είχε σχηματίσει μια καθαρή εικόνα του Παραδείσου</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και τώρα μπορεί το περισσότερο να μαντεύει,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">δεν μπορεί ν’ αντιληφθεί την ανυπαρξία</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και τρέμει το σήμερα μόνον με την σκέψη.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">έπαιξε με ενθουσιασμό</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και τώρα έχει τον ίδιο ζήλο όπως ακριβώς τότε</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">αλλά μόνον όταν αφορά τη δουλειά του.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">ήταν αρκετό για εκείνο να φάει ένα μήλο…άρτο</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και έτσι είναι ακόμη και τώρα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"><br /></b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">μούρα γέμιζαν το χέρι του όπως μόνον τα μούρα κάνουν</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και το κάνουν ακόμη και τώρα,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">φρέσκα καρύδια κάνουν την γλώσσα του γδαρμένη </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και το κάνουν ακόμη και τώρα,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">είχε σε κάθε βουνοκορφή</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">την επιθυμία για ένα υψηλότερο βουνό ακόμη</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και σε κάθε πόλη</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">την επιθυμία για μια ακόμη σπουδαιότερη πόλη</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και αυτό εξακολουθεί ακόμη,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">έψαξε για κεράσια στα υψηλότατα κλαδιά των δένδρων</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">με μια αγαλλίαση που ακόμη έχει σήμερα,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">έχει μια ατολμία μπροστά σε ξένους</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και την έχει ακόμη και τώρα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Ανέμενε το πρώτο χιόνι</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και περιμένει έτσι ακόμη και τώρα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Όταν το παιδί ήταν παιδί,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">πέταξε ένα κλαρί σαν λόγχη κατά ενός δένδρου</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">και τρεμοπαίζει εκεί ακόμη και σήμερα,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">πίσω στα Φτερά του Έρωτα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">http://www.wim-wenders.com/movies/movies_spec/wingsofdesire/wod-song-of-childhood. </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">ΒΙΟΓΡΑΦΙΚΟ ΣΗΜΕΙΩΜΑ</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">[2008]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">O Ελευθέριος Άρελης γεννήθηκε στην Αθήνα στις 30 Ιουλίου 1979. Σπούδασε φιλοσοφία [1998-2003] και ιστορία- αρχαιολογία [2005-2010] στην Φιλοσοφική Σχολή Αθηνών. Εργάστηκε ως πολιτιστικός διαχειριστής και επιμελητής εικαστικών εκθέσεων στον δήμο Χολαργού. Άρθρα του για την μοντέρνα ελληνική, ευρωπαϊκή και αμερικανική τέχνη έχουν δημοσιευθεί στην free press εφημερίδα του Πειραιά "Pass to port" υπό την διεύθυνση της Ελένης Βλάμη, στο ηλεκτρονικό περιοδικό "Urban Style Magazine" υπό την διεύθυνση του Μιχάλη Μειμάρογλου και στην προσωπική του ιστοσελίδα www.arelis.gr. Έργα του υπάρχουν στις ιδιωτικές συλλογές του Στέλιου Γκαρίπη, του Ματίας Γκόυβαρτς, του Μιχάλη Ρωμανού και του Νοσοκομείου Σωτηρία.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">[1] Συγγραφική δραστηριότητα:</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"><br /></b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">2003: "Έκθεση ορθόδρομης αναδρομίας."[Το θαύμα του μήνα των θεών.] </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> [ποιητική σύνθεση]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">2004/5: "Ο Υπερπολιτικός."[Η αψίδα του τετραγώνου /</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Το μανιφέστο ενός αναρχικού/ Οι ουτοπίες ενός ιδεαλιστή.] </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> [θεατρικό έργο]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">2006: "Ερωτονομικόν." [Οι αναμνήσεις μιας παρακμιακής ζωής.] </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> [μυθιστορηματική επιστολογραφία]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">2007: "Μεταξύ ενδοκοσμικού και υπερβατικού."[Λόγος δαιμονικός.]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> [θεατρικό έργο]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">2008: "Ηλιογάβαλος." [θεατρικό έργο]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> "Νέα Υόρκη –Ολυμπία."[θεατρικό καλλιτεχνικό ποίημα]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">2009: "Ο ερημίτης."[ποίημα]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> "Κόμοδος." [θεατρικό έργο]</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">[2] Εικαστικές εκθέσεις:</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"><br /></b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">2008: "Why Noam Chomsky should be the next American president",</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> "Θερινή ισημερία", Πνευματικό Kέντρο Δήμου Χολαργού, Αθήνα,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Ελλάδα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">2009: "Έκθεση ορθόδρομης αναδρομίας"[σε ψηφιακή μορφή], "Δημιουργώ, </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> άρα υπάρχω", Κέντρο Σύγχρονης Τέχνης Θεσσαλονίκης, Κρατικό </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Μουσείο Σύγχρονης Τέχνης, Θεσσαλονίκη, Ελλάδα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> "Φόρος τιμής στον Ανδρέα Εμπειρίκο"[Ωδή στην ηδονή], "Αrt for more", [Τέχνη χωρίς διακρίσεις], Αrt house, Γκάζι, Αθήνα, Ελλάδα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">2010: "Επιδιόρθωση", "Άνθρωποι-χρώμα-σίδερο", Πέραμα, Αθήνα, Ελλάδα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> "Ελιά", Athens fine arts festival 2010, Αθήνα, Ελλάδα.</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> "Oι συνεδρίες της γραμματικής", ContACT #2Abnormal </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> Cocreation Festival 2010, Θεσσαλονίκη, Ελλάδα. </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">[3] Μεταφραστική δραστηριότητα:</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Αdunis[Λατάκια, Συρία, 1-1-1930],</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">John Pepper Clark[Ιγιάου, Νιγηρία, 6-4-1935],</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Bei Dao [Πεκίνο, Κίνα, 2-8-1949],</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Peter Handke[Γκρίφεν, Αυστρία, 6-12-1942],</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Jaan Κaplinski[Ταρτού, Εσθονία, 22-1-1941],</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Edoardo Sanguinetti[Γένοβα, Ιταλία, 9-12-1930],</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Jesper Svebro[Λαντσκρόνα, Σουηδία, 10-3-1944],</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Tomas Transtromer[Στοκχόλμη, Σουηδία, 15-4-1931],</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Κo Un[Γκουνσάν, Νότιος Κορέα, 8-1-1933], </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Αdam Ζagaziewski [Λβωφ, Ουκρανία, 21-6-1945]. </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Ζει και εργάζεται στην Αθήνα.<span class="Apple-tab-span" style="white-space: pre;"> </span></b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"> </b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;"><br /></b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">ARELIS</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">VOUTSINA 42 STREET,</b></span></div>
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<span style="color: #0000ee; font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">ZIP CODE 116 32,</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: #a2c4c9;">Atjens, Greece</b></span></div>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-2027460710740541492016-09-04T20:05:00.000-07:002016-09-07T13:03:18.729-07:00ROUNDUP OF U.S. HANDKE RECEPTON<div style="text-align: center;">
<b><span style="background-color: #f9cb9c; font-size: large;"> ROUND-UP OF U.S.HANDKE RECEPTION</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">Matters did not start of badly. </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">There were friendly noises from the NY Times, Mel Gussow, at the first Handke performance in 1971, Frank Conroy of Goalie, Dick Gilman wrote a nice essay on Handke in his The Making of Modern Drama, which would have been better if he had written it after he had seen performances of the plays and come to appreciate their effect & given thought to their relation to the activism of the happening aethetic. </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"> http://handke-drama.blogspot.com/2016/03/toc-of-handke-happening-roloff-assaying.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-drama.blogspot.com/2014/11/peter-handke-thomas-oberender-50-jahre.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">At the NYRB Frank Kermode & Michael Wood made friendly noises about the early work, but then matter went south, even prior to Handke’s contentious engagement to salvage the Serbian from being accused of exclusive responsibility for the disintegration and crimes committed </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">(the only one you may recall who were prohibiteed from being nationalists whereas the rest were encourageed, by the West!)</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">there in his love of a united</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">2nd Federation;</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">that is of his zany love of a</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">United Yugoslavia .</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-yugo.blogspot.com/2010/05/lead-page-periodically-updated_10.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">leads to a host of information on that aspect</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">& </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">I always thought that this Roger Cohen</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">piece </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://www.nytimes.com/2001/07/22/magazine/slobo-was-here.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">that makes Slobodan Milosevic exclysivelly responsible for what occurred in that part of the world, that this dreadful piece’s simple-mindedness captured the essence of how the great majority came to think = think? – on this matter.</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">I myself spent a least a year of my life during a 20 year period thinking, trying to figure out what happened, also of and about Handke’s involvement & </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">now think his Slovenian grandfather</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">-<span class="Apple-tab-span" style="white-space: pre;"> </span>that man’s voting in favor of the first Federation that was done in by the Nazis- played a significant role. </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">I myself ended up, most unexpectedly considering my initial apprehensions, quite proud of Handke’s intervention; initially I had found it suspect. I still wish that he had chosen to write about the matter in the dog language, say, of some kind of political sociologist in which case I doubt that he would have been as misunderstood and maligned, misread or not read at all, as he then was for taking his own poetic approach, not that Handke might not have gone about the matter differently in other respects as well and not doubled down in his contrarian way and antagonized the sheeples so as to incurr the bleating wrath of the intellectual pret-a-porters.</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">Susan Sontag, who had spent time exhibiting herself as war tourist in Sarajevo rehearsing Beckett’s End Game, then stated that „Handke was finished in New York” whereas she might have spent time checking out the game that was being played in the region and not become a „human rights hyena” par excellence.</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">That is I suppose what upset me most, that a certain fraction from a country that had killed millions in the most war criminal manner during the past 50 years then decided to have an orgy of righteousness in this matter!</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">Handke himself claimed that Habermas finished himself off as a philosopher for justifying the NATO bombing to get Milosevic to grant the Kosovo Albanians their independence and so Handke became guilty of gratuitous verbal violence of his own:</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">Not a pretty picture that parallel war of words, not at all and the best thing that came out of it verbally was Handke’s great modular play</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">VOYAGE BY DUGOUT: THE PLAY ABOUT THE FILM ABOUT THE WAR</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-drama.blogspot.com/2010/06/voyage-by-dugout-play-that-came-out-of.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">A smart Brechtian director would know how to adopt it to a lot of contemporary situations.</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"> But even now the verbal skirmishing continues: </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">https://thegoaliesanxiety.wordpress.com/2014/05/28/received-ideas-killing-peter-handke/</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">whe we find a Professor Durantaye calling Handke an asshole for his involvement.</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">Meself always loved the fact that as of the beginning of the internecine intellectual warfare the likes of Salmon Rushdie, these famous Balkan experts, crowed what an idiot Hanke was who had been walking in those parts since childhood. If I weren’t so concerned about the lining of my stomach you could imagine what I could not stop doing in that respect and in so many others.</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">Handke himself („aufmuepfig” is the wonderful Austrian adjective that fits a nearly preternatural side of his – an uppit mosquito comes to mind - happens to be the kind of fellow who doubles down on his position when attacked; occasionally he encounters someone who will double down to the same extent, and that is something he cannot handle at all! </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">I sought to find a publisher for a big collection of these writing on Yugoslair of his and must have approached fifty of the scholars in that field: Nada – you can calumnize an author in typical Americasn McCarthyite fashion – this time also chiefly from left-field though a host of rigt wing oBsniaks chimed in, too - but won’t give him a chance to speak up, which in this instance meant to make available the pertinent – also amusing! - writings, well introduced, by someone who knows his way around Handke & Yugoslavia, the recently deceased Fabjian Haffner is whom I had in mind. </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">=II=</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">In addition to the below </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">LINK COLLECTION </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-magazin.blogspot.com/2015/04/peter-handke-ny-times-50-year-horror.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-discussion.blogspot.com/2009/12/letter-to-robert-silvers-ny-review-of.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-magazin.blogspot.com/2015/12/letter-to-new-yorker-about-their.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-scholar.blogspot.com/2011/06/wandel-der-handke-rezeption-wandel.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-scholar.blogspot.com/2010/07/not-so-brief-note-on-handke-reception.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-discussion.blogspot.com/2010/09/neil-gordons-review-of-handkes-del.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-discussion.blogspot.com/2010/01/letter-to-david-remnick-at-new-yorker.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-discussion.blogspot.com/2007/08/ny-times-murders-handke-once-again.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-discussion.blogspot.com/2007/03/b-c-reverse-of-initial-posting-of-open.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-watch.blogspot.com/2010/10/summary-letter-to-jonathan-galassi-of.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"> </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">I want to call attention to certain stand-outs</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">in this gallery of infamy,</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"> and memorialize a number of local and West Coast infamies, Arne Zaslove here in Seattle a former artistic director of the Bathouse Theater who wasted his venue for a grandiose fantasy and who never read a single word of Handke’s yet nonethless a few weeks ago e-mailed me to the effect that he had no interest in anything having to do with Handke – that is, ZaZaGaborlove is a prime example of the parochial; and a </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">; Harold Jaffe, editor of Fiction International in San Diego whom Handke friend the novelist and professor emeritus at San Diego Stat Erich Wolfgang Skwara once took on a tour of Handke’s book-ridden house in Chaville, outside Paris, and who commuicated two matters about Handke to me, that he found Handke “fat” </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">(Jaffe only saw the inside of the house, he never met Handke)</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">And that Handke was “utter bullshit.”</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">I had not asked Jaffe anything about Handke but was merely trying to get ak in touch with Skwara two of whose novels, including the marvelous </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">Plague in Sieana (Ariadne Book)</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">5hat I translated around 1990. </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">Utterly gratuitous expressions of hate, coming from an alleged editor!!</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">All kinds of worms in the woodworks in other words. </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;"> The fella by the name of delaRuntaye in Orange County who called Handke an “asshole” in the London Review of Books</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-yugo.blogspot.com/2014/05/durantayes-infamy.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">has been dealt with above.</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">Seattle Handke reception links</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://artscritic.blogspot.com/2015/04/seattle-uconducive-to-artistic.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://artscritic.blogspot.com/2012/09/handke-in-seattle.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;"> I am not quite sure to whom award first prize but I think that </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">Steven Marcus</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">who did the most damage for the simple reason that his piece appeared in the the NYRB </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"> http://handke-discussion.blogspot.com/2009/12/letter-to-robert-silvers-ny-review-of.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">is most deserving, not because he is unsympathetic to Handke’s stand on Yugoslavia but for his ignorant belittling of Handke’s abilities and specific talents such as dream writing. It is one of numerous instances where a political disagreement is then used to denigrate an author’s work,</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">and of course this piece of shit is so deserving its blue ribbon for having apppeared in the allegedly marvelously edited NYRB! That then refuses to engage in an online discussion.</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;"> .<span class="Apple-tab-span" style="white-space: pre;"> </span>For individual very worst we have</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">David Price Jones</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://www.nytimes.com/1988/08/07/books/austria-without-austrians.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"> who uses Handke’s THE REPETITION to express his animus of Marshal Tito – the editor who greenlighted the infamy comes in for a session with Hieronymus Bosch as does David Siegel for his ignorant, incompetent and snarky review of MY YEAR IN THE NOMAN’S BAY as does Neil Gordon for his of</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"> Sierra del Gredos.</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-magazin.blogspot.com/2015/04/peter-handke-ny-times-50-year-horror.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">These pieces do a disservice to literature & to potential readers, not just to the author who of course I anything but a saint. </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">In INNERWORLD Handke once wrote a poem where he stated that he, too., had problems, and boy does he ever. Yet after a 50 year acquainted with this oddball bastard from Griffen Voelkermark Carinthia I have to admit that despite finding him to be in many ways as ordinary as the next monkey with some seriously reprehensible qualities</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">I find him to be yet the most marvelous person I have encountered especially for the experience with his work</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-magazin.blogspot.com/2016/08/roloffs-experience-of-handke-texts-in.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">which polarity leaves me in the enviably ambivalent position to be able to “call ‘em as I see work” much of which has afforded me the most unique literary experiences in my life, a matter in which, fortunately,</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">I am not entirely alone. </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">Then in the matter of U.S. Handke critique there are certain uniquely American instances such as wetback Benjamin Weiss suggesting to Handke in the L.A. Times Book Review that he should take a leaf from Thomas Bernhard in writing his next Assaying as I think of Handke’s essayistic explorations… and I suppose a passion fruit will turn into a sea urchin!</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">Another gross instance of Handke’s Yugoslav Politics being used to denigrate his work can be found in the American Scholar</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke-discussion.blogspot.com/2007/03/b-c-reverse-of-initial-posting-of-open.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">where a McDonald uses the occasion of Handke’s “scandalous” appearance at the Milosevic funeral to question his genius for being allegedly under the influence or the grilled robbe, quoting John Updike as an authority, but failing to quote a Handke or Robbe-Grillet text where he might have the slightest of cases if he had known Handke’s second novel, DER HAUSIERER, which some German scholars find was influenced in that fashion. I myself see none really unless you think a very cool way of playing with immense anxiety and literary forms (black mask detective fiction)</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">requires Robbe-Grillets orderly procedures. You could claim as easily that Handke in this book was influenced by Virginia Woolf, and no doubt the crowds would run panting to buy it!</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">Yes, look at this piece of shit, in the frigging Phi Beta Kappa backed </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">American Scholar!</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">Amazing to behold after fifty years that I would reprint ONLY one single piece from those that have appeared in the NY Times, and that the only pieces overall that are worth repreinting are William Gass’s on Noman’s Bay from the L.A. Times Book Review</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">and</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">-wonders will not cease!-</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">a piece that appeared in Cosmo where the writer actually understood what Handke was doing in </span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;">One Dark Nigt I Left my Silent House!</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">See below blog for all of this:</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;">So maybe Mother Theresa really was a Saint???</span></b><br />
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
<b><span style="background-color: #f9cb9c; font-size: large;"><br /></span></b>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-50602960839946773872016-08-30T12:49:00.002-07:002016-10-12T09:47:48.018-07:00ROLOFF'S EXPERIENCE OF HANDKE TEXTS IN NUCE<div style="text-align: center;">
<span style="background-color: #9fc5e8;"> <b><u><span style="font-family: "courier new"; font-size: 20.0pt;">My - Michael Roloff’s - Experience with Peter Handke’s
Texts</span></u></b></span><br />
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">=I=<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">As I mention in a fun essay @<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></b><b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><a href="http://www.handketrans.scriptmania.com/">http://www.handketrans.scriptmania.com/</a></span></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> <o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">I had no initial intention of translating the
early Handke plays when I acquired them for Farrar, Straus & Giroux in the
late 60s, I was just testing what translator to give the work, which then
turned out to be fun, KASPAR becoming a bit strenuous! <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">[see notes]<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> Handke’s
performance at Princeton in May 1966 had intrigued me & at the party that
Jakov Lind and Pannah Grady and I gave for the Gruppe 47 at Pannah’s splendid
apartment in the Dakota in Manhattan I had tried to find out what writers
Handke had in mind whose work he objected to at Princeton<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">(that he called himself “the new Kafka” I only
found out later from Ted Ziolkovsky); <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">In the query process got a hint of someone who
was certainly spirited in his Beatles get-up and small-checkered brown shirt
with the flower in the button hole and the grin of a village sadist at a
certain very memorable moment at which Alan Ginsberg earned life-long contempt.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">The texts of the <i>Sprechstuecke </i>did not come out of the blue for someone who had
become familiar with the work of the <u>Wiener Gruppe</u> – whether I realized
the very classical manner in which Handke even then used language I do not
recall. Comparatively speaking though, my tastes were more conservative at the
time though the term conservative becomes quickly useless, but I was a Musil
man & theatrically a Brechtian who liked and felt close to a lot of German
writers from the 20s and 30S and not only to the postwar crew with whose work I
had familiarized myself during the then past six years.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Of Handke’s prose I did <i>Goalie<o:p></o:p></i></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/goalies-anxiety-at-penalty-kick.html">http://handke--revista-of-reviews.blogspot.com/2010/05/goalies-anxiety-at-penalty-kick.html</a><o:p></o:p></span></b></div>
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<b><i><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/thegoaliesanxietyatthepenaltykick/peterhandke">http://us.macmillan.com/thegoaliesanxietyatthepenaltykick/peterhandke</a><o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9780374531065">http://us.macmillan.com/excerpt?isbn=9780374531065</a><o:p></o:p></span></i></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> but even
though I was reading Roman Jakobson, Wittgenstein and especially Noam Chomsky’s
work on language I did not figure out until later the degree to which Handke’s
dissociative grammatical procedures [Handke had made it a point to consult a
text on schizophrenia and language for the writing of GOALIE] actually worked,
in addition to the evident more standard phenomenology. Thus it will not
surprise the reader that I became especially sensitive to astonishing formal
grammatical maneuvers in later work such as <i>One
Dark Night, Absence & Sierra del Gredos.<o:p></o:p></i></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Instances where Handke uses dream metaphor – <i>Afternoon of a Writer’s </i>use of dream
metaphor<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">does not really require recourse to contemporary
analytic psychology, Shakespeare or Faulkner would have been capable of similar
metaphoric efficiency and depth.<o:p></o:p></span></b></div>
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<b><span lang="DE" style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Handke’s first novel <o:p></o:p></span></b></div>
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<b><i><span lang="DE" style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Die Hornissen<o:p></o:p></span></i></b></div>
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<span style="background-color: #9fc5e8;"><b><i><span lang="DE" style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></i></b><b><i><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2012/12/die-hornissen-hornetslos-avispones.html"><span lang="DE">http://handke--revista-of-reviews.blogspot.com/2012/12/die-hornissen-hornetslos-avispones.html</span></a></span></i></b><b><i><span lang="DE" style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></i></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">I realized at once was nothing I could put over
at Farrar, Straus where I had a fief for German literature. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Even now HORNETS presents problems for me in
understanding how it works - perhaps it demands too much work from the reader –
see anon on the subject of how Handke involves the reader in unusual ways.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Had I been a junior editor at Grove, which had
Fred Jordan and Richard Seaver, or at Viking, my own publisher, both places I
would much have preferred to work than at Farrar Straus, I might have persuaded
friend Fred to do <i>Hornets</i> – but was <i>Hornissen </i>sufficiently perverse for this
incarnation of Austro-British love of perversity?<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><i><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">HORNISSEN</span></i></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> was too experimental for
me to try it out at FSG where a very limited non-standard experimental work
found a home, Donald Barthelme, Susan Sontag’s early novels, and the early Tom
Wolfe – these were all Henry Robbins authors, the one editor with whom I
connected and who soon left. I ought to have tried <i>Hornets</i> out with Susan Sontag who, after all, had endorsed Handke’s
early plays which had helped in putting him over. My oversight I realize in
retrospect!<o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">–<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">FSG’s tenor was conservative. I published Nossack
there, Nelly Sachs, Christa Wolf. These are main-line authors. And some fine
things -including an Adorno reader I had spent a year developing and that Susan
was going to write an introduction to - were shot down by one particular
nemesis [see anon]. I was quite young and had not encountered back-stabbing or
envy until that time, and more insecure than I am now.<o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">–<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> <o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Matters changed with the publication of Handke’s
second novel, DER HAUSIERR<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2013/04/der-hausier-handke.html">http://handke--revista-of-reviews.blogspot.com/2013/04/der-hausier-handke.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">the book from which he had read at Princeton and
reading an excerpt from which can’t possibly give the reader an idea of how it
works.<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><i><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">The Peddler</span></i></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> or <i>Tramp </i>or <i>Intinerant,
Panhandler</i><o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">as the title might be translated, drew me in at
once for the work & play it required & discipline on the part of the
reader, the lightness with which it treated a fright that is in fact extremely
sinister, and the way <i>literature </i><u>-
black mask American detective fiction -<o:p></o:p></u></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> is used
as a <u>defense</u>: there!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">That is the heart of Handke’s endeavor at that
time!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Defensive/ aggressive – but against what terror!?<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">It pervades his early work and I understood why
he had also pronounced himself <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">“The New Kafka”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">at Princeton!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">{We all recall Franz calling himself “the First”!}<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> Now that
I’ve had a fine course in psychoanalysis I appreciate <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">DER HAUSIERER <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">even more and what lies in back of it!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">It was also a very well done work, as delicate
as Virginia Woolf at her best,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and so it became part of the first contract but
was replaced by the far simpler, <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">straight-forward <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">GOALIE’S ANXIETY AT THE PENALTY KICK <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/goalies-anxiety-at-penalty-kick.html">http://handke--revista-of-reviews.blogspot.com/2010/05/goalies-anxiety-at-penalty-kick.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/thegoaliesanxietyatthepenaltykick/peterhandke">http://us.macmillan.com/thegoaliesanxietyatthepenaltykick/peterhandke</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9780374531065">http://us.macmillan.com/excerpt?isbn=9780374531065</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">which seems a very logical outgrowth from <i>Hausierer, </i>it so obviously derived, and
there was a time I knew exactly at what point I figured the idea for the later
book had occurred to Handke while he was writing DER HAUSIER<i>.</i> The pre-occupation, obsession with anxiety
and fear and how to overcome it are at their strongest and most complex and
deepest and demanding here, a period which ends<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">after he had explored anxiety<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">in the fear drenched<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">My Foot My Tutor<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handkedrama.scriptmania.com/">http://handkedrama.scriptmania.com/</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> <a href="http://handke-drama.blogspot.com/2012/07/peter-handke-plays-in-english.html">http://handke-drama.blogspot.com/2012/07/peter-handke-plays-in-english.html</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">MF/MT is also the essence of the Master/Slave
& S/M<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">dialectic.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">It is a beautiful text and I think it was
pre-published in TDR, by Erika Munk.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">The other fear and terror drenched text is<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">HOESPIEL I/ Radio Play I<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://www.abebooks.com/Radioplay-LP-recording-Handke-Peter-English/433063214/bd">http://www.abebooks.com/Radioplay-LP-recording-Handke-Peter-English/433063214/bd</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://www.pacificaradioarchives.org/recording/pz014715">http://www.pacificaradioarchives.org/recording/pz014715</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Every sentence each word become drenched in
fearful associations. And yet matters always remain in some sense very
literary, as Bob Giroux remarked about KASPAR who certainly has his terrors,
too. A ritualizing literariness as defence against fear! in childhood night’s
the defender would have been masturbating would be Kohut’s guess. -<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">One silly question that keeps haunting me is
whether a book like <i>Der Hausierer </i><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">might be of homeopathic use, as an inoculation,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">instead of taking anti-anxiety drugs! Was Handke
writing as “surrogate” as he was in the early plays? I certainly led a much terrorized
German childhood, too, and bombers were part of it as of Spring 1940.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> Meanwhile Handke has pronounced himself the
anti-Kafka, <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">it took a while to appreciate that.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">He was not going to be done in by fear, if he
could possibly help it and had a mother to back him up, internally and externally,
<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">I even found an exemplary example <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">for the stilling of anxiety in one of the texts
from the early INNERWORLD <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">where you can see and feel and experience Handke
overcoming anxiety in the writing <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://analytic-comments.blogspot.com/2011/11/reading-of-handkes-singular-plural.html">http://analytic-comments.blogspot.com/2011/11/reading-of-handkes-singular-plural.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> Is there
anything more self-empowering and grandiose-making then the ability to conquer
fear,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and not by rationalizing it away?<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Thus no wonder that the justifiably anxiety-disposed
Handke would be writing all the time and, as we now know, from Malte Herwig’s
biography<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></b><b><span lang="DE" style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">meister-der-daemmerung <o:p></o:p></span></b></span></div>
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<b><span lang="DE" style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://www.worldcat.org/title/meister-der-dammerung-peter-handke-eine-biographie/oclc/699614130">http://www.worldcat.org/title/meister-der-dammerung-peter-handke-eine-biographie/oclc/699614130</a><o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><span lang="DE" style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">The biography may not be
immediately useful in adding to appreciation of Handke’s texts, but Herwig has
done some good “shoe leather” work & come up with a lot of matters, also
quite unfavorable about Handke the person which confirmed certain suspicions I
myself had in that regard. <o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Handke, the person, who is not the focus, may be
in many respects the most marvelous marvel I have encountered in a not
altogether parched life, but as there is a devil in Ms. Jones there exists a
monster and it is not sacred in Handke.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Nor is how the person and the work relate the
focus here, although this relationship –<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">= and its varieties -<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">will be/ cannot help but be entertained in the<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> <u>Morawian
Night <o:p></o:p></u></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> Discussion. <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; color: red; font-family: "courier new"; font-size: 20pt;"><a href="http://moravian-nights-discussion.blogspot.com/2012/06/anouncement-driving-directions.html">http://moravian-nights-discussion.blogspot.com/2012/06/anouncement-driving-directions.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Handke practiced writing as of an early age the
way some pianists and violinists start out and would say later on<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">“I am so nervous but everything I write is then
so calm.”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and by the time that he composed<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">A MOMENT OF TRUE FEELING<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2014/04/the-moment-of-true-feeling-die-stunde.html">http://handke--revista-of-reviews.blogspot.com/2014/04/the-moment-of-true-feeling-die-stunde.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/books/9781466806955">http://us.macmillan.com/books/9781466806955</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">EXCERPT<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9781466806955">http://us.macmillan.com/excerpt?isbn=9781466806955</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> he wrote me, and probably not only me, that he<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">“was now capable of doing anything in writing”<o:p></o:p></span></b></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">a matter I think you ought to think of as coming from
a composer who now had complete and virtuoso control over his métier – <o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">= that is he senses he has the right way of presenting
matters in his artistic way -<o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">something that was confirmed by the composition of the
1981 dramatic poem<o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><u><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">WALK ABOUT THE VILLAGES <o:p></o:p></span></u></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">See anon.<o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">By the time of <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">A MOMENT OF TRUE FEELING<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Handke, however, had suffered anxiety attacks
against which no writing would protect him,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">See the three progressively stormier poems in <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">NONSENSE ANd HAPPINESS<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://analytic-comments.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html"></a> <a href="http://analytic-comments.blogspot.com/2011/11/reading-of-handkes-singular-plural.html">http://analytic-comments.blogspot.com/2011/11/reading-of-handkes-singular-plural.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Thus I have always regretted thatI didn’t manage
to get<o:p></o:p></span></b></div>
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<b><i><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Der Hausierer<o:p></o:p></span></u></i></b></div>
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<span style="background-color: #9fc5e8;"><b><i><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></i></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">done in English as it has been in all other major
languages. <o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">HAUSIERER requires, asks the same kind of work
on the part of the reader that is asked of audiences at Handke’s plays that<u><o:p></o:p></u></span></b></div>
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<span style="background-color: #9fc5e8;"><b><i><u><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">Klaus Kastberger</span></u></i></b><b><u><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> has called attention to</span></u></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">, <o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">a matter that requires yet another assaying to
be explored to a further extent.<u><o:p></o:p></u></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2013/01/dde-arbeit-des-zuschauers-handke.html">http://handke-drama.blogspot.com/2013/01/dde-arbeit-des-zuschauers-handke.html</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2014/11/peter-handke-thomas-oberender-50-jahre.html">http://handke-drama.blogspot.com/2014/11/peter-handke-thomas-oberender-50-jahre.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">By that time I myself was getting hooked<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">also on what the performance of the plays can
effect<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2012/01/how-handkes-ride-across-lake-constance.html">http://handke-drama.blogspot.com/2012/01/how-handkes-ride-across-lake-constance.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">When a trial run proved much fun I then did I
all the plays up to and including the 1981<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> <u>Walk
About the Villages<o:p></o:p></u></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">which,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> as I
state in its long postscript<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">part of it is online at<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><a href="http://www.handketrans.scriptmania.com/">http://www.handketrans.scriptmania.com/</a></span></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> has it,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> had left
me a husk, gasping for air.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Nor had I any intention of participating in the
directing these plays & I would not have I suppose if U.S theater had been
on the ball and friend, actor, author Michael Locascio had not returned from
San Miguel D’Allende in 1070 with his hippie troupe, including one J.B. in
whose arms “The Hammer” breathed his last on some railways ties one cold
Mexican tequila nite,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> and we did the first rehearsed readings at a
variety of venues all over New York. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">In the instance of <o:p></o:p></span></b></div>
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<b><i><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">The Ride Across Lake Constance<o:p></o:p></span></u></i></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">I had not the faintest what to expect of a
performance<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and would never have been able to formulate the
experience if I had not done an analysis and come to understand that what is
called a “good hour” is subliminally cathartic. The
insistent shock therapy of<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><i><u><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">Offending the Audience</span></u></i></b><b><i><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></i></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">an analyst at the Goethe
House performance compared to first-rate group therapy. <o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Thus I sensed from early on, with all these
texts, that they were experienced in ways other than the more usual drama, not
that drama of every kind constitutes an experience of some kind; but Handke’s
early work I think is best approached via the<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">“happening” aesthetic.<i><o:p></o:p></i></span></b></div>
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<span style="background-color: #9fc5e8;"><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></b><b><span style="font-family: "courier new"; font-size: 20.0pt;"> </span></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">=II=<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">As I was leaving from one of these peculiar
early 1970s visits to Handke’s domicile on the Rue Montmorency in Paris -<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">- Handke, typically, quickly tiring of his visitors
but then, invariably, asking them to come again <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">(MORAVIAN NIGHT, at the beginning as the guests arrive,
contains an allusion to this modus) -<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> Handke
gave me a copy of <o:p></o:p></span></b></div>
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<b><i><u><span lang="DE" style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Als das Wuenschen noch geholfen hat<o:p></o:p></span></u></i></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and said that if I wanted to I might want to
translate its three long poems, which became the volume <o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">NONSENSE & HAPPINESS<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">in American and was published by Urizen Books in
1976.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Handke himself described these poems as
successor to those in <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">INNERWORLD OF THE OUTERWORLD OF THE INNERWORLD<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">which I translated<o:p></o:p></span></b></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">again a lot of fun! -<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> and
published at Continuum Books in 1974.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Only with respect to the chronological truth of
successors however, do these three, successively stormier, poems <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://analytic-comments.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html">http://analytic-comments.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">relate to the prior very varied collection.
Whereas quite a few of the prior poems featured very concrete moments of
anxiety, these three poems seemed to deal with the time once anxiety had struck
and knocked the recipient’s socks off into a state of panic – and so it is not
all that surprising that around that time Handke ended up in a hospital with a
panic-induced tachycardia attack and started to take valium, two pieces of
information I only gathered later. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">So what had happened to the fellow who was
riding high, a multiple best-selling author Buechnerprize winner lay-a-broad
par excellence who had found a way of conquering fear, the anti-Kafka, what had
laid him low?<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">First of all I would say<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">The suicide of Handke’s mother,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Maria Sivec<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">as evidence in Handke’s<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">SORROW BEYOND DREAMS<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/books/9780374533649">http://us.macmillan.com/books/9780374533649</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">seemed to have induced the kind of shocked state
in which that book is so evidently composed.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Secondly, wife # I, the <i>rasante<o:p></o:p></i></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">actress Libgart Schwartz who haunts the “German
author” in <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">SHORT LETTER LONG FAREWELL<o:p></o:p></span></b></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">(the physical equivalent of her longing I expect is
what Handke sensed but did little to respond to! <o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/shortletterlongfarewell/peterhandke">http://us.macmillan.com/shortletterlongfarewell/peterhandke</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9781466807037">http://us.macmillan.com/excerpt?isbn=9781466807037</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">had escaped what<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Handke ,far in the future, in<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> MORAVIAN
NIGHT<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">would describe as<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">“the cold salamander”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">(writing hotly!)<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and one would assume, the constant insult of a
multiply cheating husband who himself, in pasha fashion, would of course not
allow even one of his affairs to have a second lover!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> A Libgart
Schawartz who sought refuge with Klaus Peymann, the director of Handke’s plays.
<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">All I, translator and Suhrkamp Verlag
representative, knew in 1971, when Handke and his wife and fellow Austrian
cultural package content Freddie Kolleritsch, S.L.L.F. dramaturg, arrived in
New York, was that daughter Amina, who had been shown to me in Berlin <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">(where I had gone IN 1969 to discuss my translation
of his play KASPAR)<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> had been
left with Handke’s mother.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">That Handke’s wife would leave him unless he
radically changed his way was eminently evident to someone who would have much
preferred not to be the SuhrkRampF agent in New York and to have had the money
to abscond with <i>rasante </i>Libgart,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">And during the so typically Elaine’s Big Table
under the table hanky-panky<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">I failed to slip one of those yellow Elaine’s
matchbooks into her hot clever hands hand with my # and the suggestion <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">FRISEUR!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">And the utterly delightful actress thus did not
have the opportunity to call the number<o:p></o:p></span></b></div>
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<b><span lang="DE" style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and ask<o:p></o:p></span></b></div>
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<b><span lang="DE" style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">“Ist da beim Frisuer”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">And I did not have the opportunity to deliver
the line<o:p></o:p></span></b></div>
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<b><span lang="DE" style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">“Ja, Spezialangebot fuer Schamhaare
heute!”<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><span lang="DE" style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">at which point Handke would
have started to <i>fugue </i>a few years sooner
than he did and we would have been the kind of interesting but typical scandal
that attends the life of authors.<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">However, the focus here is not on my personal
relationship to the author and on respective lay-abroad-ness and of man-eaters
and Jezebels and space-cadets and bimbos but on Handke’s texts.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Whereas my relationship until NONE-SENSE<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> had been
chiefly one of great verbal delight <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">(with some strenuousness in the KASPAR
translation)<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> but
little emotional involvement, <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">-as there were few passages in these texts that
were overtly emotional but for one note of pathos in <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">SELF-ACCUSATION<i> </i> =<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">the reading of <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">SORROW BEYOND DREAMS<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and translation of the three poems in<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">NONSENSE & HAPPINESS <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">started to involve matters of my heart.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">However, I also could not help noticing that
during moments of relief from the attack of nonsense - as which Handke
experienced the onslaught of the storm - there were periods of <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">great musicality in the text <o:p></o:p></span></b></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> which have
deeply entered my verbal being so that I have caught myself a few times over
the years in reprieving their mode-<o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">This confirmed that if anything would cure him as it
had previously of fear it would be his kind of beauty which pretty much is my
kind of beauty, too. Handke, I recall loved the word “humbug” that I found to
transate “Unsinn/non-sense”<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">=II-B=<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">At about the time in 1973 that I returned from a
six-month half-way around the world and back trip on the <i>Hellenic Splendor and sent Handke my translation of the extraordinarily
important<o:p></o:p></i></span></b></div>
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<b><i><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">QUODLIBET<o:p></o:p></span></u></i></b></div>
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<b><i><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">(see anon)<o:p></o:p></span></i></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">I received to translate his<o:p></o:p></span></b></div>
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<b><i><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Unvernuenftigen Sterben Aus<o:p></o:p></span></u></i></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">{They Are Dying Out]<o:p></o:p></span></u></b></div>
<div align="center" class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Handke’s only play with identifiably “real
people”<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">And a curious work it was for someone who had
made it a point to become well informed what constituted the “new left” [2] for
the various shibboleths of that movement now found themselves in the mouths of
all kinds of business folk, like ideological chaff, or dandruff – which
constitutes the verbal fun of that piece and is one of its few connections with
its otherwise so different immediate predecessor <i>Ride Across Like Constance -<o:p></o:p></i></span></b></div>
<div align="center" class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">For that reason the play is sometimes regarded
as a critique of capitalism, which I would say is a misreading of a very
ambiguous text that, after all, also contains the ambiguous figure of business
mogul would-be monopolist Quitt who an usual aesthetic appreciator of poetry, Stifter
to be precise. Quitt & his servant Hans, shades of Brecht’s wonderful <o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Puntilla & his servant Mattei, modeled on
the only mogul of that kind that Handke knew, our mutual acquaintance the Bull
in the Chinashop publisher <o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Siegfried Unseld & his unhappy first
marriage<o:p></o:p></span></b></div>
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style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;font-family:
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</v:shape><span style='mso-element:field-end'></span></span></b><![endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">THEY ARE DYING OUT<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2011/09/they-are-dying-out.html">http://handke-drama.blogspot.com/2011/09/they-are-dying-out.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/therideacrosslakeconstanceandotherplays/peterhandke">http://us.macmillan.com/therideacrosslakeconstanceandotherplays/peterhandke</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Bob Kalfin at Chelsea theater Co who had done
several of the first Handke productions in New York at B.A.M. turned the play
down & Carl Weber and I, who now worked together, did not get it mounted
until 1979 at the Yale Repertory Company. I myself subsequently always felt
that if I had my druthers I would employ child actors, and the words in young
mouths would in and of itself manifest what a peculiar language it was &
what a thoroughly ambiguous piece it is. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">While translating the piece Handke sent one
small change with the note to excuse him that he had lost his concentration
during the writing because he had not been well, a note that I found touching
considering how minor the change was.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Subsequently in texts such as<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">A MOMENT OF TRUE FEELING <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">&<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">LEFT HANDED WOMAN <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/lefthandedwomen/peterhandke">http://us.macmillan.com/lefthandedwomen/peterhandke</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9781466806962">http://us.macmillan.com/excerpt?isbn=9781466806962</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">you could sense the author recuperating from the
crisis and entering a mytho-poetic way of experiencing. <o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">I think Walter Benjamin’s great metaphor <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">“The work is the death mask of the experience”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">applies to <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">A MOMENT OF TRUE FEELING <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">However, as compared to some other writers of my
acquaintance, Handke had not learned the lessons taught by his first wife’s
leaving. It took the leaving of Wife II, Sophie Semin,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and his winning her back for the “cold
Salamander” to learn to divide home & work space.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">=II-C=<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">QOUDLIBET<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><a href="http://handke-drama.blogspot.com/2012/07/peter-handke-plays-in-english.html"><b><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">http://handke-drama.blogspot.com/2012/07/peter-handke-plays-in-english.html</span></b></a></span><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></span></div>
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<span style="background-color: #9fc5e8;"><b><span lang="PL" style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">w</span></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">hich I translated during my six month freighter
trip<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">[as I did two volumes worth of H. M. Enzensberger
essays]<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">is in many respect<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">the very heart of Handke and<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">it was the one time that my immersion in Joyce’s
<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">FINNEGAN’S WAKE <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">proved fruitful. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">For QUODLIBET is an <o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">auditory projection screen:<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">The powerful of this world walk about the world
stage mouthing mouthings that are thoroughly ambiguous. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">And “As You Like it”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">is <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">“the thing wherein I’ll captures the conscience
of the king”.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">The king of the modern stage is of course the
audience.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">QUODLIBET/ AS YOU LIKE IT<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">is the clearest demonstration of Handke’s
ambiguous endeavor,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and of his writing on that<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">difficult trapeze of ambiguity,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">which is then what creates<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">THE EXPERIENCE<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and experienced ambiguity <o:p></o:p></span></b></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">at least theoretically -<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">leads not so much to <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">INTERPRFETATION<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">but to confusion which leads thoughtfulness<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">which leads to…<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> =III=<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">=A= <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The first
time, in 1980, that I read A GRADUAL HOME-COMING as I translate the title of
the 1979 Handke novel <i>Die Langsame
Heimkehr,<o:p></o:p></i></span></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/slowhomecoming/peterhandke">http://us.macmillan.com/slowhomecoming/peterhandke</a><o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">EXCERPT<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9781466807280">http://us.macmillan.com/excerpt?isbn=9781466807280</a><o:p></o:p></span></i></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">made - and still does upon each reading - an
unusually powerful impact which methinks may be more than usually entirely subjective
and related to a host of circumstances - certainly it differs greatly from my
relationship to the preceding texts some of which I translated, as I did not
HOMECOMING though I sometimes wish I had or rewrote Mannheim’s translation so
as to impose at least a semblence of Handke’s pathose-drenched rhythms.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">My
relationship to this text has a backstory, several. Say, around 1070 Handke
writes me and asks what American winters are like & I reply that New
England winters are like Bavaria, Rocky Mountain winters are like those in the
Alps and if he wants something really different he ought to check out Alaska. –
It appears I forgot about winters in the Midwest and wind sweeping across the
lake into Chicago. – Siberia!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">In the
later 70s Handke found time - daughter
Amina secured with mother Libgart Schwartz - to visit Alaska several times, the
final time prior to writing HOMECOMING in Fall 1978. Subsequent to Handke’s leaving
a green satchell in my Urizen Books office and retrieving it upon his return from
a side trip to Frisco I think - we had one of those idyllic evening walks
across the Brooklyn Bridge during a light snowfall. Meanwhile, as of the
mid-70s certain actions of Handke’s – and not his odd ways as a host - had
managed to spook the so spookable me, and emotionally I kept him though not his
texts, at what I thought was a safe distance, and I noticed even then that I
failed to engage where I might have fruitfully to certain comments of his, such
as “how hard” New York was, a comment made within days of his moving into the
Hotel Adams at 86<sup>th</sup> & Madison & Fifth: after all, for the
discerning, just the sight of folks on Madison and Fifth or Park will suffice,
won’t it?, familiar territory of mine since the mid-1050s, where he was about
to set out to write HOMECOMING, and had one hell of a time getting beyond its
initial sentence which he had been rehearsing internally, so he has stated, for
years: “<i>Sorger had outlived several of
those who had become close to him, had</i> <i>ceased
to long for anything but often felt a selfless love of existence and at times a
need for salvation so palpable it weighed on his eyelids”</i> – it reads in my
slight alteration of Mannheim’s arythmic syntax. – Reading Handke‘s account of
his struggles to get beyond this priestly opening sentence I wonder whether the
truth or untruth of this pathos-ridden sentence may not have been the chief
problem – how many people had Handke been close to aside his mother who had
famously, as Handke made it, committed suicide so that Handke could write his
in many ways most famous book, <o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><u><span style="font-family: "courier new"; font-size: 20.0pt;">Sorrow
Beyond Dreams</span></u></b><b><span style="font-family: "courier new"; font-size: 20.0pt;">?<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/asorrowbeyonddreams/peterhandke">http://us.macmillan.com/asorrowbeyonddreams/peterhandke</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Or close
to for that matter? The wife who had run away + in the early 70s? Freddie
Kolleritch, the dramaturg of<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Short
Letter Long Farewell<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/shortletterlongfarewell/peterhandke">http://us.macmillan.com/shortletterlongfarewell/peterhandke</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">EXCERPT<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9781466807037">http://us.macmillan.com/excerpt?isbn=9781466807037</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">looked to
me closer than his wife.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Both still
alive in 2016 & the interesting correspondence with Kolleritch<o:p></o:p></span></b></div>
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<strong><i><span lang="PL" style="background-color: #9fc5e8; color: #777777; font-family: "courier new"; font-size: 20pt;">Schönheit ist die erste Bürgerpflicht<o:p></o:p></span></i></strong></div>
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<span style="background-color: #9fc5e8;"><b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><a href="http://www.jungundjung.at/content.php?id=3&a_id=26">http://www.jungundjung.at/content.php?id=3&a_id=26</a></span></b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">has been
published meanwhile by Jung & Jung.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Unless of
course Sorger is not entirely Handke but an imagined lens and responder
seismograph personae just like the archeologist Loser of <o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Across<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/across/peterhandke">http://us.macmillan.com/across/peterhandke</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">EXCERPT<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9780374527648">http://us.macmillan.com/excerpt?isbn=9780374527648</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> of a kind that Handke employs, also, in <o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Morawian
Night<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/themoraviannight/peterhandke">http://us.macmillan.com/themoraviannight/peterhandke</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">the sort
of thing that might warn readers and especially reviewers from thinking that
these <i>personae</i> and the author are
synonomous or identical with each other, and even if they are? Can the really
be and for how long and when??? <o:p></o:p></span></b></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="font-family: "courier new"; font-size: 20.0pt;">–<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="font-family: "courier new"; font-size: 20.0pt;">how so? <o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="font-family: "courier new"; font-size: 20.0pt;">–<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="font-family: "courier new"; font-size: 20.0pt;">To throw a
host of wrenches into the forthcoming discussion.<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> whereas, as readers, they ought to focus and
respond to the text, or rather on what these texts do inside their minds where
their reading eyes have transposed them and where they start to live effect second
lives! – The reading experience, Watson!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">- Sorger sounds a though he is lonely is one
matter that I take away from that sentence not that one would expect a young
best-selling author who lives in Paris to be lonely unless (1) he has burned a lot of bridges to those who were
once close to him or (2) is socially just too damn difficult, for reasons
- as we eventually find out – that other
bodies at boarding school nauseated the autistically challenged ultra sensitive
but actually love imbued <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://www.suhrkamp.de/buecher/versuch_ueber_den_stillen_ort-peter_handke_42317.html?d_view=english">http://www.suhrkamp.de/buecher/versuch_ueber_den_stillen_ort-peter_handke_42317.html?d_view=english</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">complicated
being!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">If only
life were simpler!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">But if you
want to be one hell of a lot lonelier go to Alaska my friend and muck around in
the snow and unlees you have an assistant <i>Laufer</i>
with you as does Sorger your only companion may be a lone wolf who may be
hungry or just as lonlely as you! – The opening of the book is nearly the
sentence of an old man, isn’t it? It made me think of the Austrian émigré
biologist at the University of Alaska, Fairbanks who went out, the weather
temperate, to check whether some ten foot <u>urbeavers</u> might have survived
the last ice age in a volcanic hotsprings. - At any event, once Handke had overcome
the hump of this sentence the book became the below described event in my life.
<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">It was
during that walk across the Brooklyn Bridge to have dinner at Michael Brodsky’s
that Handke revealed to me that, though he had forgotten that it had been I who
had sung the praises of Alaska <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">{not that
it takes me to do that!) <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">he was
going to write a book about Alaska - which revelation elicited instant concern
of mine that anyone would dare something of the kind about such a huge and
varied stretch of the earth after a few visits of a few weeks each. I myself
had spent nine months in interior Alaska and had
worked as a fire fighter along the Yukon and in the Brooks Range and then as a
geological surveyor’s assistant in the Alaskan Range and in the vastness north
of Fairbanks surveying what eventually became the road to Point Barrow and
pipeline; an experience as a whole of a kind that I did not want to repeat,
wanted to leave undisturbed, it acquired a kind of sacred wholeness
incomparable or associatable to any other, but Handke was not interested in my
Alaska stories – he said he was full-up, which I understood since I was still
full-up nearly 20 years after the event. But despite being spooked, the mother
hen in me expressed a certain anxiety and asked if he had done some reading, at
least John McPhee’s wonderful big book.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">He had of
course, as I ought to have known.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">So much
for initial <i>backgrounding</i>, which
merely needs a few further paragraphs before we can get to the prolegema to the
second significant.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Prior to
returning to Europe Handke told Nancy Meiselas his then editor at Farrar,
Straus that he felt he had fucked up the book – it appears it is a fragment
with a mere three chapters of something that was conceived on a far grander
scale. Grandiosity had come a cropper for once, for whatever reason, perhaps
New York was the reason. Grandiosity would succeed many time during the coming
decades. -<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Handke did
not show the m.s. to me and I think we saw each other only twice more during
that visit, and I made sure to have the usual Michael Brodsky buffer along each
time<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://en.wikipedia.org/wiki/Michael_Brodsky">https://en.wikipedia.org/wiki/Michael_Brodsky</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I did not
want to be alone with Handke if I could help it. If he had not done what he had
done - behave schizophrenically??? - I suspect he would have had a much better
time, I could have shown him a much better time if he had been game, than being
locked up in his room high up in the Hotel Adams over-looking Central Park and
talking at midnight to the Hotel Adam’s doorman as we read Sorger doing in the
later parts of the book, and not complained back in Europe how cold New York
was, and sought refuge with Hermann Lenz and - who knows? - might even have
followed up on the once impulse of living in or around New York. I checked out
for Handke several French lycees in New York that daughter Amina was meant to
attend. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I meself
might have been working hard and late hours and in a difficult relationship
with the working Urizen partner, precarious Urizen a permanent crises since its
founding three years earllier, but I then went out around 10 or 11 p.m and
played and at that time was not living with a lover and didn’t either have a
real steady squeeze and haunted the clubs and wonderful bars in our downtown
world and rarely ended up in bed alone, the darling hussies had become very
forward, it was effortless, and so I had no problem, later, understanding
Handke’s wonderful <o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Don Juan
(as told by himself)<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/donjuan/peterhandke">http://us.macmillan.com/donjuan/peterhandke</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">EXCERPT<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9780374532642">http://us.macmillan.com/excerpt?isbn=9780374532642</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">where the
Don merely needs to lie back and the <i>deliceuse</i>
clamber into his bed, irresistible heart-breakers the lot of them.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">=B=<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">In Fall
1980 I spent a month working as an ICA cultural exchange parcel in Bulgaria and
as a matter of fact worked my ass off running around trying to create the
bridges for cultural peaceful co-existence and in the process became
progressively more charged, it had to be from inhaling the rich air that the so
rich Bulgarian soil exuded, I was not taking drugs of any kind, but swimming a
lot, and but for one evening,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> in Plodviev,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> kept my intake of plum brandy to a minumum
& I don’t think my wonderful young philosophical faculty guide was feeding
me anything during our meals and the KGB was easily identified and I was
resolved and succeeded in averting Mata Hari <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">[oh how
proud I was of meself!] <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">& <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">On my
return to the USA via Zurich and Frankfurt I was meant to stop by Salzburg
where Handke had ended up during his gradual – St. Victoire {The Lesson of}-
return.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">In Vienna,
the third time in my life, the first had been at age 6 for an operation to
remove an infected vestigial gill, and there had not been a second until the
trip <u>to</u> Sofia – the very prospect of Vienna and I kept falling ill! –
until I took the plane to Sofia, Bulgaria, four weeks prior and now the third
time after debarking Air Bulgaria’s version of the 727 that struck me as
readily convertible into a troop transport.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">A few days
rest in Vienna were meant to coincide with one of my most delicious lovers,
acquired during the preceding Frankfurt bookfair, holing up with me at a
pension, who then did not show.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I had not
read LANGSAME HEIMKEHR, no one had sent it to me, and so with time on my hand
and about to see Handke I bought a regretful second edition<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and became
progressively more overwhelmed, walked around Vienna, a girl saw me reading the
book and asked if I was Sorger, and by the time I got to Salzburg I felt I had
entirely forgotten the matter that made me so cool towards Handke in New York,
and was one train late and some years ago wrote up the entire visit as <o:p></o:p></span></b></div>
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<b><i><span lang="DE" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">EIN BESUCH AUF DEM MOENSCHBERG<o:p></o:p></span></i></b></div>
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<span style="background-color: #9fc5e8;"><b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><a href="http://www.van.at/see/mike/index.html">http://www.van.at/see/mike/index.htm<span style="font-weight: normal; mso-fareast-font-family: "Lucida Sans Unicode";">l</span></a></span></b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Question
these many years later and after a long self-analysis is still what set off the
whelming reaction to LANGSAME HEIMKEHR.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Yes, the
four weeks in Bulgaria had infused me, I was smiling a lot & if you smile a
lot the pretty ones will smile back and off your are to make love.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I did not
react in the same fashion to any other book at the time.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Upon
returning to New York & the Urizen Book offices Linda Coverdale <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">[who has
become a fine translator from the French] who had started to work for us, noted
that I seemed to be on something but encouraged it since I was fired up and the
firm needed all the fire it could get.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">In
retrospect, I should have used the fire to get the partner fired who had played
the other two partners off against each other & taken over the firm and was
robbing it right and left while I managed to obtain yet one more tax shelter
infusion.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">[see
notes]<o:p></o:p></span></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html">http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html</a><o:p></o:p></span></u></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and the Bulgaria infused energy only gradually wore off, it even
persisted during what I felt was a needed vacation on St. Simon’s Island on the
Georgia Gold Coast.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">One
sound-seeming self-explanation for the effect of LANGSAME HEIMKEHR was that the
Alaska experience had been very much of a whole, something very substantial and that I had
never articulated it as I have now certain episodes in my memoir<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> <i>Screen
Memories. <o:p></o:p></i></span></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://artscritic.blogspot.com/2015/05/fighting-fire-in-land-of-midnight-sun.html">http://artscritic.blogspot.com/2015/05/fighting-fire-in-land-of-midnight-sun.html</a><o:p></o:p></span></i></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The
momentous experience of Alaska had laid in wait to be pricked = and Handke’s
book had been the elicitor. None of the other books I had read about Alaska
had; like McPhee’s, they had only contributed to the experience. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">And it is
present now: I see scores of rabbits on the frozen brook in the gold mining
area north of Fairbanks, dashing about in the November snow nibbling at the
frozen willows! The lone lonely or starving woolf that accompanied me each
daylight deprived morning on my futile surveyor quests… and whom I tossed
rabbit carcasses.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Talking to
Handke about what the book meant to me and that a girl had mistaken me for
Sorger elicited the comment that during the writing of the book he had only
thought once of me, at which point there occurred to me the idea that,
improbably, he recalled every <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">thought he
had about a book!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> Perhaps if Handke had been willing to hear me
out during our walk across the Brooklyn Bridge during which he said that he was
“full up” with Alaska he might have thought more and perhaps not got stuck at
the beginning? After all, I had my experience of working with the Inuit and how
violent they could be under the influence of alcohol. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">In
HOMECOMING it remains mysteriou why the Inuit turns violent. – Knowing Handke
the idea occurs that perhaps he had made the mistake of making a pass at an
Indian maiden! Perhaps just stroked her hair? Yet the irruption of violence is
as mysterious, isn’t it, as Bloch’s suddenly killing the girl he picked up the
night before at the Prater in Vienna, which is preceded by the brilliant
metaphor of boiling water bubbles on the hot plate being like angry ants!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> – The violence in Handke, these impulses to
run amok! -<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I would
say that Handke’s antennae – the Handke seismograph - the way they picked up
Alaska and transmitted it through his use of language was what triggered and
continues to trigger my reaction to <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">A SLOW
HOMECOMING<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://www.suhrkamp.de/buecher/langsame_heimkehr-peter_handke_37569.html">http://www.suhrkamp.de/buecher/langsame_heimkehr-peter_handke_37569.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handkeonline.onb.ac.at/node/124/notizbuch">http://handkeonline.onb.ac.at/node/124/notizbuch</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> - and to describe the seismograph’s mimosa
hair and how that is translated into language – into lyrical narrative prose –
and how it then find the appropriate sensitive receptor and elicits an
experience if you want to do more than emit impressionistic effusions requires
an essay and scientific experiments. Metampsychosis or Joyce’s - Bloom’s-Molly’s witty play on that words <o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;">“<b>met him pike
hoses.”</b></span><b><span style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">There are
other Handke texts to which I have had powerful visceral responses <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">One them
is: <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> =IV=<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">WALK ABOUT
THE VILLAGES<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://www.ariadnebooks.com/ProductInfo.aspx?productid=1572410000">http://www.ariadnebooks.com/ProductInfo.aspx?productid=1572410000</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Handke’s
great 1982 weaving dramatic poem,one of his most important works, <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">my
effusion,believe me dear reader,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> is a <o:p></o:p></span></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">mere stub<o:p></o:p></span></i></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">of a tale
of yet another phoenix that turned into an albatross<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> around this mariner’s neck.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html">http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2013/07/par-les-villages-avignon-handkes.html">http://handke-drama.blogspot.com/2013/07/par-les-villages-avignon-handkes.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">In late
1981 Handke sent me a set of galleys of<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> <u>Ueber die Doerfer</u> <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">with a
note that<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">“it wasn’t
anything for business” <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">& <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I suspect
that the note signified that he had noticed my constant worries about Urizen
Books when he was in New York as well the last time we had met a year earlier
in Salzburg<o:p></o:p></span></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html">http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> These worries were nearly at an end at the
time the future albatross reached me as the firm was about to go down in
flames. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">[see notes]
<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> . <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">After
reading the text my response could not have been more positive, but also
realistic in saying that it would tax me to the utmost, as in fact it then did.
Circumstances had it that I would not start on the translation for about a
year.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The
translation took several years and several onslaughts and was completed in 1983<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> in an extreme state<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">= the high
point of an analysis=<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> by myself in a loft, all alone with the text –
<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">occasionally
playing <o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><i><span style="font-family: "courier new"; font-size: 20.0pt;">Credence Clearwater Revival</span></i></b><b><span style="font-family: "courier new"; font-size: 20.0pt;"> records<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and
shouting out the text so <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">that it
became a translation for voice as the original author, but few others, was the
first to appreciate<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">[“cutting,
in the good sense” he wrote, unaware of course of my also being in an all-around
cutting mood so that you didn’t really want to get in my way during that period.]<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> In the process of such an intense involvement
with a text that touched every element of my being and memory, that for the
analysis was already in the heightened state, I felt I got a whiff of how the
desert fathers had come to create sacred texts and it turned out that the
original author had oracled a bit during
its composition, and once again I entirely forgot all about the grave injury
the author had once caused me, and I could see why one might love an author for
his text alone, and I felt rather queasy recalling the veni vidi vici manner in
which I had outplayed him at Tarok in Salzburg in 1980 because it might have
interfered with the composition of that text.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">A section from my postcript
which gives a fuller account <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">can be found at<o:p></o:p></span></b></div>
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<br /></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://www.handketrans.scriptmania.com/">http://www.handketrans.scriptmania.com/</a><o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;">The long tale of how the translation then came
to be published by Ariadne Books & how it became an Albatross I put into
the footnote.</span></b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">=V=<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">With
Handke’s<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The Repetition<o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/repetition.html">http://handke--revista-of-reviews.blogspot.com/2010/05/repetition.html</a><o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/repetition/peterhandke">http://us.macmillan.com/repetition/peterhandke</a><o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">EXCERPT<o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9781466807013">http://us.macmillan.com/excerpt?isbn=9781466807013</a><o:p></o:p></span></u></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">there ensued what I call an
addiction to his work and need to read him constantly. Not that his work had
ever fallen into the<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> „take it or leave it”<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">category<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">or that I had failed to
appreciate its artistry<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">but it had not become
essential.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Again circumstances played a
role:<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I had finally freed myself of
all women & of invariably being in a state of love.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> I even had to give away my female bitch who
despite all preventive measures had managed to get herself knocked up by a
wolfish dog in Billie the Kid country<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> and had whelped 9 puppies: the lord of the
marvelous bucolic St. Monica Mt. loft I had found did not permit dogs on his
flower-growing property. I could finally get to work. The impulse to secede
from New York and be hermetic had hit me during a needed vacation after the
exertion in Bulgaria when I had spotted the so-called cottages;<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">that is, the mansions, that the
19th century moguls had built on Jekyll Island on the Georgia Gold coast, and I
realized that all I wanted was a single room there, that sufficed, and the
convenient tiny coffee shop at the end of the shrimp dock sticking out into the
Marshes of Glynn<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://en.wikipedia.org/wiki/The_Marshes_of_Glynn">https://en.wikipedia.org/wiki/The_Marshes_of_Glynn</a><o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">There had even been one more
major love affair, but even then the girl’s parents small cottage with their
refugee hermit scholar was as interesting as the girl, which of course spelled
doom for the affair & nearly taught me the lesson that the final affair <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">a mariage,<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> that had taken me to Billie the Kid Country<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://www.truewestmagazine.com/trailing-billy/">http://www.truewestmagazine.com/trailing-billy/</a><o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">then drove home with an
entrapment.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">In late Spring 1986 I started
to fall under the sway of the Malibu surf,<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> waves that started out in the South Pacific
and that broke at very slow intervals, <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and I was walking the dusty paths
in the chaparall <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and living in a shed with
pepper corns trickling and evergreen resin dripping<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> on the tin roof of my once flower assembly
loft at the end of a dirt road and so I was in the kind of state of mind to
respond to the slow rhythms of <o:p></o:p></span></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The Repetition<o:p></o:p></span></u></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and then wrote a number of
things with even longer periods (se Notes), but I’ve gone on too long already.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I am by no means the only one
to have fallen under <u>The Repetion’s</u> sway <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Fellow Handke translators Scott
Abbott & Zarko Radokovic as well provide written evidence<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://punctumbooks.com/titles/repetitions/">https://punctumbooks.com/titles/repetitions/</a><o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://punctumbooks.com/titles/vampires-a-reasonable-dictionary/">https://punctumbooks.com/titles/vampires-a-reasonable-dictionary/</a><o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Since I was also completing
something as incompleatable as a psycho-analyis but had a fair idea of my
problematics yet needed a case other than myself I then added Handke’s psyche
to the involvement with his texts.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://analytic-comments.blogspot.com/2009/09/peter-hhandke-wounded-love-child.html">http://analytic-comments.blogspot.com/2009/09/peter-hhandke-wounded-love-child.html</a><o:p></o:p></span></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">=VI=<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">MY YEAR IN
THE NO-MAN’S BAY<o:p></o:p></span></u></b></div>
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<span style="background-color: #9fc5e8;"><b><u><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--></span></u></b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></span></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/william-gass-review-ofmy-year-in-no.html">http://handke--revista-of-reviews.blogspot.com/2010/05/william-gass-review-ofmy-year-in-no.html</a><o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/myyearinnomansbay/peterhandke">http://us.macmillan.com/myyearinnomansbay/peterhandke</a><o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">EXCERPT<o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9781466806825">http://us.macmillan.com/excerpt?isbn=9781466806825</a><o:p></o:p></span></u></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I read five times in a row
three times in German & than twice in English at a particular place in
Seattle that was then called „Lolas” a
Hmong lady’s donut shop on 45th N.E. between Roosevelt & 11th Ave N.E. in
the evening in the company of as No-Man’s crew as you can find in Seattle,
Smerdjakov as a darkly bearded Persian software engineer who had had mental
breakdown and held his bowl of goldfish, the cab driver with only two front
teet, a variety of homeless who could afford a coffee and donut to stay warm at
night as the book kept me warm, who has his own reasons for seeking out the
kind of warmth the book seems to emit, and it wasn’t really anything warming in
the book that I could point to that made me feel that way but its writing, the
way this portrait of a many sided artist writer for whom reading too is an art
is woven together, I even have a few quibles with it, who doesn’t with the kind
of monstrum that Handke once promised never to write!<o:p></o:p></span></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/my-year-in-no-mans-bay-niemandsbuch-t.html">http://handke--revista-of-reviews.blogspot.com/2010/05/my-year-in-no-mans-bay-niemandsbuch-t.html</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Not that each and every work draws a similar
response, or that I don’t express disappointment if I find something deficient.
Handke is only a demi-god after all!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">But I think it ought to be comprehensible to you
why the Kid from Griffen/ Voelkermarkt in Carinthia, the Griffen Kid, that<i> Balg,</i> whom I first heard and caught
sight off in May 1966 in Princeton University, New Jersey, became a major and
most unexpected event in my life, <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and in that respect I feel anything but unlucky
and one if not the only lasting continuity going back 50 years!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">& <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">I can’t imagine how much more destitute I would
have been the past 30 years in this cultural semi-desert<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><i><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> </span></i></b><b><i><span style="color: #222222; font-family: "courier new"; font-size: 19.0pt;">[</span></i></b><b><i><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">Mauberly’s “Old Whore” occurs]<o:p></o:p></span></i></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> without
his work, that and Freud and his disciples<i>
and a few friends and me crows.<o:p></o:p></i></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">=VII=<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">A GENERAL
ROUND-UP<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">It is of
course scarcely the case - as with some other Handke afficionados - that I am
like the world’s most loving &mother & say that my darling can do no
wrong, not that he often does serious wrong within his own terms, but Handke,
too, has stretches of genius and occasionally sputters, or strikes me as
flatfooted = see anon <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">for
specifics!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Then there
is a large variety of Handke’s works – across the board - of prose & plays
& diary condens-acretions<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">that are
important to me for one or the other reason<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">or for
technical innovation<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">or supreme
success but which don’t necessarily warm each and every cockle of my heart.<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Of the <o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Assayings<o:p></o:p></span></u></b></div>
<div align="center" class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> as I call his five different probing essays –
into fatigue, the successful day, being a fool for mushrooms, and escaping
nauseating fellow students into the shithoue, <o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> the one on the<o:p></o:p></span></b></div>
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<br /></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">JUKEBOX<o:p></o:p></span></u></b></div>
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<span style="background-color: #9fc5e8;"><b><u><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><br />
</span></u></b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/essay-on-juke-box-daniel-gutmann-etc.html"><b><span style="color: blue; mso-fareast-font-family: "Courier New";">http://handke--revista-of-reviews.blogspot.com/2010/05/essay-on-juke-box-daniel-gutmann-etc.html</span></b></a></span><b><u><span lang="PL" style="color: blue; font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></u></b></span></div>
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<br /></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; color: blue; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/jukeboxandotherwritings/peterhandke">http://us.macmillan.com/jukeboxandotherwritings/peterhandke</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; color: blue; font-family: "courier new"; font-size: 20pt;">EXCERPT<o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; color: blue; font-family: "courier new"; font-size: 20pt;">http://us.macmillan.com/excerpt?isbn=9781466806986<o:p></o:p></span></u></b></div>
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<br /></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">is the
most imprtant for me because it goes deepest to his need to isolate himself
within an aesthetic playful sacred & profane environment, and of course
because it is so well done and, charactestically, is anchored in a place, the
Spanish Soria.<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I have
already mentioned<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">DON JUAN
{AS TOLD BY HIMSELF)<o:p></o:p></span></b></div>
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<br /></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/04/review-of-peter-handkes-don-juan-short.html">http://handke--revista-of-reviews.blogspot.com/2010/04/review-of-peter-handkes-don-juan-short.html</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/donjuan/peterhandke">http://us.macmillan.com/donjuan/peterhandke</a><o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9780374532642">http://us.macmillan.com/excerpt?isbn=9780374532642</a><o:p></o:p></span></b></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<br /></div>
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<span style="background-color: #9fc5e8;"><b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"> </span></b><b><span style="font-family: "courier new"; font-size: 20.0pt;">also for
the humor of it<o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and the
way it reveals conceals.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I am
astonished that the Nabokovians have not picked this as gem-worthy of their
champion.<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The early
collection of stories<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">BEGRUESSUNG
DES AUFSICHTRATS<o:p></o:p></span></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Greeting the Board of Directors<o:p></o:p></span></i></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">whose
delightfully playful title-story methinks I translated at one point<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">[but
where?]<o:p></o:p></span></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2014/04/greeting-board-of-directors-begruung.html">http://handke--revista-of-reviews.blogspot.com/2014/04/greeting-board-of-directors-begruung.html</a><o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://www.bookrags.com/studyguide-sudden-fiction-international/chapanal005.html">http://www.bookrags.com/studyguide-sudden-fiction-international/chapanal005.html</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">ACROSS THE
SIERRA DEL GREDOS<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Especially
for its amazing <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">ascent
decent<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">ending<o:p></o:p></span></b></div>
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<br /></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2011/12/der-bildverlust-sierra-del-gredos.html">http://handke--revista-of-reviews.blogspot.com/2011/12/der-bildverlust-sierra-del-gredos.html</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/07/my-long-piece-on-crossing-sierra-del.html">http://handke--revista-of-reviews.blogspot.com/2010/07/my-long-piece-on-crossing-sierra-del.html</a><o:p></o:p></span></u></b></div>
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<span style="background-color: #9fc5e8;"><b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><a href="http://us.macmillan.com/crossingthesierradegredos/peterhandke">http://us.macmillan.com/crossingthesierradegredos/peterhandke</a></span></b><b><u><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></u></b></span></div>
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<br /></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">EXCERPT<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9780374281540">http://us.macmillan.com/excerpt?isbn=9780374281540</a><o:p></o:p></span></b></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">ONE DARK
NIGHT I LEF MY SILENT HOUSE<o:p></o:p></span></u></b></div>
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<br /></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://www.amazon.com/Dark-Night-Left-Silent-House/dp/0374175470">https://www.amazon.com/Dark-Night-Left-Silent-House/dp/0374175470</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">For its
technical innovation of involving the reader in a protagonist’s dream syntax.<o:p></o:p></span></b></div>
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<br /></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/one-dark-night-i-left-my-silent-house.html">http://handke--revista-of-reviews.blogspot.com/2010/05/one-dark-night-i-left-my-silent-house.html</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">AFTERNOON
OF A WRITER<o:p></o:p></span></u></b></div>
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<br /></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://www.amazon.com/Afternoon-Writer-Peter-Handke/dp/0749399058">https://www.amazon.com/Afternoon-Writer-Peter-Handke/dp/0749399058</a><o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2011/12/afternoon-of-writer-nachmittag-eines.html">http://handke--revista-of-reviews.blogspot.com/2011/12/afternoon-of-writer-nachmittag-eines.html</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">for an instance of writing in dream syntax & its laconic
brevity, and for a bit of pathetic dellusion!<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">A gem!<o:p></o:p></span></b></div>
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<br /></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">THE HOUR
WE KNEW NOTHING OF EACH OTHER<o:p></o:p></span></u></b></div>
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<br /></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2012/02/platzregen-hour-we-knew.html">http://handke-drama.blogspot.com/2012/02/platzregen-hour-we-knew.html</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">for being
the most perfect peformance of Handke’s linguistic command virtuosoty<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and as an
absolute genius summation of his early work<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">&<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">in
peformance <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">for
inducing catharsis as does <o:p></o:p></span></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Ride Across Lake Constance<o:p></o:p></span></i></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Both works
occasionally suggest to me that our man is a positivist, too, in the way he
knows and uses language and images.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://www.amazon.com/Voyage-Sonorous-Asking-Nothing-Other/dp/0300062745">https://www.amazon.com/Voyage-Sonorous-Asking-Nothing-Other/dp/0300062745</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://yalebooks.com/book/9780300062748/voyage-sonorous-land-or-art-asking-and-hour-we-knew-nothing-o">http://yalebooks.com/book/9780300062748/voyage-sonorous-land-or-art-asking-and-hour-we-knew-nothing-o</a><o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">ABSENCE<o:p></o:p></span></u></b></div>
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<br /></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">For adding
to the reader’s experience of narrative prose the dimension of film & thus<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">augmenting
the writer’s repertoire<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><u><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2012/02/absence-die-abweseneit.html">http://handke--revista-of-reviews.blogspot.com/2012/02/absence-die-abweseneit.html</a></span></u></b><b><u><span style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></u></b></span></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/absence/peterhandke">http://us.macmillan.com/absence/peterhandke</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9780374527631">http://us.macmillan.com/excerpt?isbn=9780374527631</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">ACROSS<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/across/peterhandke">http://us.macmillan.com/across/peterhandke</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://us.macmillan.com/excerpt?isbn=9780374527648">http://us.macmillan.com/excerpt?isbn=9780374527648</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2012/02/across-chinesse-des-schmerzens.html">http://handke--revista-of-reviews.blogspot.com/2012/02/across-chinesse-des-schmerzens.html</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">STORM
STILL<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://press.uchicago.edu/ucp/books/book/distributed/S/bo16880859.html">http://press.uchicago.edu/ucp/books/book/distributed/S/bo16880859.html</a><o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2011/08/immer-noch-sturm-still-storm-stormy.html">http://handke--revista-of-reviews.blogspot.com/2011/08/immer-noch-sturm-still-storm-stormy.html</a><o:p></o:p></span></u></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">http:/www.amazon.com/Storm-Still-German-Peter-Handke/dp/0857421816<o:p></o:p></span></u></b></div>
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<br /></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">And all
the volumes that contain <u>condensacrietons from Handke’s diaries and<o:p></o:p></u></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> <i>which
need to be read in tandem with the contemporaneous prose narratives <o:p></o:p></i></span></u></b></div>
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<span style="background-color: #9fc5e8;"><b><i><u><span style="font-family: "courier new"; font-size: 20.0pt;">if you want to get a fair idea of the writer and his
work</span></u></i></b><b><i><span style="font-family: "courier new"; font-size: 20.0pt;"> <o:p></o:p></span></i></b></span></div>
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<span style="background-color: #9fc5e8;"><b><i><span style="font-family: "courier new"; font-size: 20.0pt;">and</span></i></b><b><u><span style="font-family: "courier new"; font-size: 20.0pt;"> </span></u></b><b><span style="font-family: "courier new"; font-size: 20.0pt;">Handke is certainly worth getting to know in that
fashion<u><o:p></o:p></u></span></b></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">And you
don’t need to live in the same abode and suffer as the <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">“mommie’s
boy”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> turns <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">as cold as a Salamander! <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">(vide
Morawian Night)<u><o:p></o:p></u></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Or one of
his cussing explosions!<o:p></o:p></span></u></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Die Geschichte des Bleistifts/ The History of the Pencil/<o:p></o:p></span></i></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2014/04/geschichte-des-bleistifts-lhistoire-de.html">http://handke--revista-of-reviews.blogspot.com/2014/04/geschichte-des-bleistifts-lhistoire-de.html</a><o:p></o:p></span></u></b></div>
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<span style="background-color: #9fc5e8;"><b><u><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;">&</span></u></b><b><i><span style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></i></b></span></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Am Felsfenster Morgens/ At the Rock Window, Mornings<o:p></o:p></span></i></b></div>
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<b><u><span lang="PL" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2014/04/am-felsfenster-morgens-mornings-at-rock.html">http://handke--revista-of-reviews.blogspot.com/2014/04/am-felsfenster-morgens-mornings-at-rock.html</a><o:p></o:p></span></u></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> & <o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Gestern Unterwegs/ Traveling yesterday <o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2014/04/gestern-unterwegs-yesterday-on-my-way.html">http://handke--revista-of-reviews.blogspot.com/2014/04/gestern-unterwegs-yesterday-on-my-way.html</a><o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">&<o:p></o:p></span></i></b></div>
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<b><i><span lang="DE" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">& Fantasien der
Wiederholung/Fantasies of Repetition<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2014/04/phantasien-der-wiederholung-fantasies.html">http://handke--revista-of-reviews.blogspot.com/2014/04/phantasien-der-wiederholung-fantasies.html</a><o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> &<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> Vor der
Baumschatten Wand/ In Front of the Wall with the Shadow of a Tree<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2016/02/vor-der-baumschattenwand-nachts.html">http://handke--revista-of-reviews.blogspot.com/2016/02/vor-der-baumschattenwand-nachts.html</a><o:p></o:p></span></i></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Handke’s texts advance literature in extraordinary
ways & are difficult in the sense of what he does syntactically in that he
demands work from readers unaccustomed to unexpected and multi-leveled ways of
writing in the big books like <u>repetition, absence, no mans bay, del gredos,
one dark night</u>,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> and numerous
sections in <o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">morawian night.<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> in his plays he
is, for my money, Shakespeare’s cousin <o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">and he will take the experiencer’s mind</span></b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></span></div>
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<span style="background-color: #9fc5e8;"><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"> to unusual and
unaccustomed places.</span></b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">The only way this dark-analytically experienced reader
can account for his addiction to certain of his texts, such as NO-MAN’S BAY
& THE REPETITION & THE HOUR is that Handke must love writing the way
his mother loved him who served as surrogate for the absent love of her life
who would not marry her - at any event, a healthier response than to the rather
limited array of legit and illegit drugs or numerous beauties whose
acquaintance this summer-nights dream creature made over the years, which is
why his work - subsequent to translating <o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><u><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;">Walk about the Villages</span></u></b><b><span style="color: #222222; font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> and as of th
experience of<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">The Repetition<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> in the 80S<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> became
addictive, and I can’t imagine what I would have done without.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">This list does not include a number of titles not
available in English to date<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">DIE KUKUCKE VON VELICA HOCA<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">(The Cuckoos of Velica Hoca)<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">I stand by my
comments @-<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2011/12/note-on-velica-hoca.html">http://handke--revista-of-reviews.blogspot.com/2011/12/note-on-velica-hoca.html</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">and ctd., astonished that this utterly brilliant piece
of reporting that is utterly superior to anything anyone does in this country
has not been translated, but blame, first of all, his incompetent U.S
publisher.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">The VELICA HOCA text is also extremely interesting
within the context of a MORAVIAN NIGHT discussion, because MORAVIAN has one
brilliant section of a bus trip where the driver keeps re-iterating the song
“Apache” in the angriest most furious manner, and if he didn’t have to drive
you’d expect him to go beserk and run amok at what has transpired in the
Kosovo! – It is my guess that Handke, during one of his own bus trips to the
Kosovo, witnessed Serbians on their way to a cemetery of their ancestors in
what is now Kosovo. It is one of those perfect joints in Handke’s work,
stretches of which fit together in jigsaw fashion that gave me the idea that
something along that line would be feasible for all his work, thus creating one
of the more amazing self-portraits.<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">KALI/ the Saltworks<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"><a href="https://draft.blogger.com/blogger.g?blogID=9008892029208773728#allposts">https://draft.blogger.com/blogger.g?blogID=9008892029208773728#allposts</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Der Grosse Fall/ The Major Case???<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">Great Falls??<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;"> <a href="http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html">http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">And I also fail to list some of the ones I have
translated<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">which may not be all that important <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">within the oeuvre<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">INNERWORLD OF THE OUTEWRODL OF THE INNNERWORLD<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">& <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; color: #222222; font-family: "courier new"; font-size: 20pt;">NONSENSE & HAPPINESS<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">QUIBBLES<o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">SUBDAY
BLUES<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2010/06/untertags-blues-subday-blues.html">http://handke-drama.blogspot.com/2010/06/untertags-blues-subday-blues.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://plus.google.com/photos/106505819654688893791">https://plus.google.com/photos/106505819654688893791</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">is an odd
throwback to the formalist, wordless procedures which rang so true in<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">MY FOOT MY
TUTOR<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://photos.google.com/album/AF1QipNvPsRLfoGdRBfbeUZOpdLjaf9XQTUOvWOghdUo">https://photos.google.com/album/AF1QipNvPsRLfoGdRBfbeUZOpdLjaf9XQTUOvWOghdUo</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">But as I
read SUBDAY BLUES it quickly becomes tiresomely repetitive - although since I
have not experienced a performance I cannot tell whether tiresomeness has a
performative function!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">SUBDAY
BLUES has not been translated into English but it played extremely well under
Klaus Peymann at the Ensemble and many other languages.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">It
certainly is one of the great excercise pieces for an actor.<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">THE ART OF
ASKING<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I tried to
get the two major psycho-analytic outfits in Seattle to put on at least a
reading for its members, for them to be confronted with a different approach; no
such luck in these parochial quarters,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2016/02/art-of-asking-kunst-des-fragens.html">http://handke-drama.blogspot.com/2016/02/art-of-asking-kunst-des-fragens.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">however,
meanwhile, the play is not as present to me as most of the others or Handke’s
books – for reasons that are beyond me, unless the perverse little joker in my
brain has decided to throw a block, as he can any time his perversity so
decides. ART OF ASKING IS THE FAMOUS PLAY that became embroiled in France being
upset at Handke appearing at the Milosevec funeral<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://www.swans.com/library/art12/ga209.html">http://www.swans.com/library/art12/ga209.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">See also:<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-yugo.blogspot.com/2010/05/discussion-page.html">http://handke-yugo.blogspot.com/2010/05/discussion-page.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">&<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-yugo.blogspot.com/2010/05/lead-page-periodically-updated_10.html">http://handke-yugo.blogspot.com/2010/05/lead-page-periodically-updated_10.html</a><o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">CHILD
STORY<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">If you
happen to know Handke and his first daughter, as I did, you too will find <i>Child Story</i> seriously lacking in numerous dimensions. It might even
infuriate you and make <u>you cuss the author as a miserable </u>dad! Who
meanwhile has expressed his regret<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">[I have
this via the mutual prattle-mouth Erich Wolfgang Skwara)<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and
spoiled the 2nd daughter in recompense as we see in the wonderful<o:p></o:p></span></b></div>
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<b><u><span lang="DE" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">LUCY IN
DEM WALD MIT DEN DINGSBUMS<o:p></o:p></span></u></b></div>
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<b><span lang="DE" style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2011/12/lucie-im-wald-mit-den-dingsda.html">http://handke--revista-of-reviews.blogspot.com/2011/12/lucie-im-wald-mit-den-dingsda.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">which I
keep being amazed is not in English as a Y.A. or younger fairy tale!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">It is
incredibly easy to come down on the 30 year old Hsndke dad like the proverbial “ton
of bricks” - the book itself records and object to how several women object to
his fatherly ways. It’s lacking in awareness and dimension, e.g. – the girl
doesn’t have a mother, well que pasa? Etc. and off we are into a far more
complicated oeuvre.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">For
example, it would be easy to maintain that by age 30 Handke had pretty much
reprieved both his physical and and stepfather’s delinquencies vis a vis him.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">If we are
to believe <u>Moravian Night</u><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Handke had
fathered an illegitimate child while writing <u>The Hornets</u> on the Adriatic
Corfula. In <u>Morawian</u> <u>Night</u> the former girlfriend has turned fiendish
crone in her old age and pursue him Erynje fashion as do other female figures.
We wonder what happened to the child - it appears that the author if he knew of
his girlfriends pregnancy was not as concerned as his actual physical father
was with his mother Maria Sivec’s pregnacy – vide <u>Sorrow Beyond Dreams </u>and
as we also find out from Malte Herwig’s Handke biography where this fellow
Schoenherr was truly concerned about his illegitimate offspring.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">At age 30,
the violence-prone Handke might easily have killed or permanently injured his
three year old daughter when rising water in the basement of his dwelling in
combination with a screaming child made him lose his temper. His famous beating
of Marie Colbin was scarcely the first time he was engaged violently with a
woman, and I can imagine Moreau, who had
to contend with all these French sadists, having at least held her own during
on of their fights!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">It’s
always good to know the women an author has slept with to get down to the nitty
gritty, and so one finds out that the first daughter, Amina Handke, was exposed
to the primal scene at a young age as Handke was repeatedly if we are to
believe what we read in <u>Sorrow Beyond Dreams.</u> Thus <u>Sorrow</u>, too,
is not among my favorites, because if you read Herwig you find out that Handke
lied a bit sooner than he expressed the wish to at the end. There was no
graduation trip with the real father who allegedly expressed the fear that he and
his son might be taken for a gay couple. The lie only manifests Handke’s all to
justified homophobia.<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">ON
DURATION<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Though it
was a great pleasure to look over Scott Abbott’s fine translation and tighten a
few screws I find the long poem flatfooted – lacking in ambiguity - as if
anyone might not want for those good things to last! – <o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://works.bepress.com/scott_abbott/29/">https://works.bepress.com/scott_abbott/29/</a><o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://www.thelastbooks.org/the-last-books/cannon-magazine-no3--to-duration/">http://www.thelastbooks.org/the-last-books/cannon-magazine-no3--to-duration/</a><o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I devoted
quite a bit of time recently to looking very carefully at the 2015/6 play<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><u><span style="font-family: "courier new"; font-size: 20.0pt;">THE
INNOCENTS</span></u></b><b><span style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2016/02/iv-of-innocent-comments-directors-take.html">http://handke-drama.blogspot.com/2016/02/iv-of-innocent-comments-directors-take.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">My
detailed work there is a good example of my differentiated approach, where I
find some matters extraordinary and others lacking, yet cannot tell - because I
did not see the production - to what degree Klaus Peymann,the director of its
premiere, made it an evidently successful theater evening.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The play<o:p></o:p></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">PREPARATIONS
FOR IMMORTALTY<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://handke-drama.blogspot.com/2016/02/zuruestungen-unsterblichkeit-immortality.html">http://handke-drama.blogspot.com/2016/02/zuruestungen-unsterblichkeit-immortality.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">deserves
an equally differentiated evaluation, and might get it if it is ever
translated. It has one of Handke’s most superb openings,like the <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">DA DA DA
DA<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">of thee
Fifth Symphony,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">but then a
Novalike figure<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">(the Nova
from the end of <u>Walk about the Villages</u>)<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">appears
and matters become problematic for me, yet no end of positive qualities.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">As noted:
in one respect and during one particular incident, I find/found the author a
bit too German - he seems to lack the capacity for the supernal laugh, although
I suspect we might be able to laugh the matter off at this point? though the
wench is still alive.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The writing
in dream syntax in <u>one dark night</u>, the ability to have the reader
experience text as film, <u>absence</u>, and sporadically in <u>sierra del
gredos</u>, the effect of the being inducing syntax of <u>the repetition</u>,
how marvelous reading <u>no mans bay</u> made me feel that I read it five times
in a row, the end of <u>del gredos </u>- I am not the only person who thinks
that that ascent and descent, those one hundred pages are the greatest ending
experiencially that anyone has ever written.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">And the
catharsis inducing plays like <u>lake constance, the hour</u>.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Gosh,
at least I lived in the age of Handke
and not just of a disgrace like Donald Trump!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The Nobel
Prize will be that much poorer if it is not awarded to Handkde.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://www.handke-nobel.scriptmania.com/">http://www.handke-nobel.scriptmania.com/</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> <u>NOTES<o:p></o:p></u></span></b></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">THEY ARE
DYING OUT DYING OUT<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I was
pretty well versed in New Left material, had translated and published Michael
Schneider’s <i>Neurosis and Civilization, </i>which
was a kind of compendium of the large variety of matters on the dear hearts of
the New Left – and so it was of course highly amusing to see these wishes
reduced to slogans that might be fitted to cartoon characters AND appear in the
mouths of business folk, one reason I always felt the play ought to have kids
as actors! <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">There are
other dimensions to DYING aside its derisive treatment of left slogans, and
those are the notion of a tycoon businessman with aethetic pretensisons, a not
that unusual phenomenon in Germany. Quitt and his side kick Hans, much like
Brecht’s Puntilll and servant Matti, have intereting and deep aesthetic
concerns which were alo Handke’s at the time and which he aired in this manner
and which grew out of his origianl defiant essay and stance “I am an inhabitant
of the ivory tower” in defiance of the
convention of being on imaginary baricades. Thus to think of DYING as a vehicle
for capitalism critique is to shoot far short of the conundrum it poses. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">As to Left
politics: my heart was really Old Left Rosa Luxemburg & Karl Liebknech but
I started to realize fairly early on that the New Left, as the newest coming of
the 19<sup>th</sup> century Russian Social Revolutionaries, were an avant-garde
without any kind of back-up, especially in Germany. The police the workers the
army were not behind these middle class kids whose critique was spot-on in many
ways.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Latin
America was obviously a very differet kettle of fish,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Aad that
is where I longed to be who, however, did not suffer either heat or amoeabas
for longer than a few days without seriously succumbing. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">In North
America the Vietnam Vets returning in a revolutionary mood seemed promising.
All it took to take the wind out of the sails of the middle class revos though
was the end of the draft.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Domage.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Carl Weber
and I, with which Brechtian director whom I had first seen in at the
Ensemble in Becher’s STALINSCHLACHT in 1957 and was now
happily working, tried to introduce some song & dance into DYING OUT via my
then friend Jerry Leiber & his delightful partner Michael Stoller, but
after a raft of wonderful lox & bagel Sunday brunches at Leiber’s Patchen
Place Mews <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">(prior
owners e.e. cummings and my friend michael lebeck) <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Leiber
copped out – all we really needed was a few more songs, Leiber & Stoller <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="https://en.wikipedia.org/wiki/Jerry_Leiber_and_Mike_Stoller">https://en.wikipedia.org/wiki/Jerry_Leiber_and_Mike_Stoller</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">had
wonderful left-overs from their unproduced Brechtian musical <i>The International Wrestling Match. <o:p></o:p></i></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Typical of
Leiber whose specialty during the last 35 unproductive years of his life was to
jerk other artists off & then drop out while going around saying that he
was working with Handke, whom he met once through me in Paris<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> [where Handke had pronounced the famous line<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">“I don’t
do Singspiel” -<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">and
practically puked at the sight of Leiber’s mutiply hideous wife,<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Barbara
Rose!]<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I at the
time did not have the confidence I have now in being able to write lyrics to
songs.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Domage.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"> And a nice Gussow Review<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">May he
rest in theatrical heaven<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;"><a href="http://query.nytimes.com/mem/archive-free/pdf?res=9407EEDB1039E732A25752C0A9679D946890D6CF">http://query.nytimes.com/mem/archive-free/pdf?res=9407EEDB1039E732A25752C0A9679D946890D6CF</a><o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8;"><b><span style="font-family: "courier new"; font-size: 20.0pt;"> </span></b><span style="font-family: "courier new"; font-size: 20.0pt;"> </span><b><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></b></span></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">WALK ABOUT
THE VILLAGES<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"> The WATV “albtross” is so many feathered that I am making it into a piece in its own
right. As mentioned above, it came as a godsend at time that I was
transitioning out of the more activist role as a publisher into a writing
research translating analytic life that I have led since the mid-80s. First of all,
my nemesis, the “ass-licking stilletto- twerp children’s book editor” Michael
DiCapua had most improbably become editor in jefe at F & SG where no end of
fine people spent a year or with the swine Roger Straus before they called it
quits. And so they turned it down, but Roger Straus had made a promise to do it
when I alerted him in 1981 that the work was under way – after all, FSG had
done two collections of my Handke translations and various other trranslations
– Hesse, Nelly Sachs - so I persisted, and it seemed to bother Handke, whom I
was keeping partially informed, and I suspect I ought to have given him a
complete lay of the land and he would have been a lot less mystified about what
was transpiring between me and FS&G, which also involved Straus having
tricked and cheated me out of ¾ out of my royalties<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">See:<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"><a href="http://artscritic.blogspot.com/2013/07/roger-straus-robert-giroux-jonathan.html">http://artscritic.blogspot.com/2013/07/roger-straus-robert-giroux-jonathan.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"><a href="http://artscritic.blogspot.com/2009/07/farrar-straus-giroux.html">http://artscritic.blogspot.com/2009/07/farrar-straus-giroux.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"> – which, as of the decade from the early 70 to
early 80 amounted to several hundred thousand dollars, quite enough to keep
Urizen Books going, to mention just one consequence of that kind of
dastardliness. The once owner of Noonday Books had even warned me about Straus
who had cheated him, too, in the sale of his company, so I can only plead
guilty to being a chump & schmock in these matters in thinking that someone
who has made millions from the books I brought him would not screw me. At the
time of the contention about WATC<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">I was
intent on catching Straus openly in a lie = and I did, and it made no
difference!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">Then PAJ
(Performing Arts Journal), who had done work for me at Urizen, took the play, I
won the first of two suits against the former Urizen Books partner<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"><a href="http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html">http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"><a href="http://artscritic.blogspot.com/2013/08/wieland-schulz-keil-hunting-socieity.html">http://artscritic.blogspot.com/2013/08/wieland-schulz-keil-hunting-socieity.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"> & I cut out to a new wife in Billie the
Kid country in the Winter of 1985. Upon my return to New York a year and a half
later to close up my loft and move to my idyll in the St. Monicas PAJ welched
on their contract. I was in no mood to take this kindly and wrote them the kind
of drop-dead letter to smash your toes I could write with ease at that point
with as much foulness I had endured, copy to Handke in Salzburg -where he was
in wahtever sate of nind he was in - who wrote back that “he did not want his
name associated with this kind of letter” and if I continued to persist in
writing the like that “would be the end of our friendship.” <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">You can’t
imagine how glad I was to come on Handke’s threat to Freddie Kolleritsch in
Malte Herwig’s biography that if <i>Manuskripte</i>
ran another critical piece on Handke they would never get another conribution
from him. Of course, my darling pasha
was a threatener, too, that was about all that had been missing until then,
he’d show you his baby but if you had out-played him at Tarok! How childish!
Moreover how unaware or schizophrenic that we couldn’t possibly be personal friends as of what he had done in
the mid-70s! The man was daft! And so I wrote back, “aren’t we lucky y regarding friendship” with a reminder of
what had transpired, but as a joke – also to the good fortune of my not taking
Libgart from him during the 1971 visit to NY -<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">so in fact
he could have laughed the threat off, and we could have been the kind of best
friends that we might otherwise have easily become. Meanwhile, I understand only too well the
kind pathetic state that Libgart Schwarz’s leaving him had left him in, and so
it didn’t seem that what he had done was designed, as it was in many other
cases - as you can read in Herwig’s book & as Wim Wenders told me here in
Seattle that Handke throughout his life
has made it a point to injure thosee closest to him – i.e. but if a specifically designed gratuitous
sadistic injury it certainly was an injury that testified to to a level of
unawareness, from A to Z<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">Wenders
for whom Handke played the role of the older brother, too! I did not ask for
specifics, perhaps I ought to have. But this is not a police dosssier! <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">At any
event, there I was with WATV a piece of really good work & it took about a
decade before it then came out with Ariadne Books, for $ 500!, who then did not
send out galleys or review copies, morons, self-defeating cheapskates of the
worst kind.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">Meanwhile
Handke had turned to Ralph Mannheim to produce another translation in addition
to ‘the best translation he had ever seen’, incurring wrath from me. Handke
might read Pound’s <i>Pisan Cantos</i>
occurrs to me.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">WATV
quickly became my heart test and the degree of failure does not bode well for the world, the woman in question merely
reacted to the line <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">“the hefty
taxes”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">and the
thought flitted through my mind that perhaps Handke had been right in treating
the person I had designated my “great fondness”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">- as
compared to<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">“great
passion”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">“sexiest”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">“best in
and out of bed”<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">etc -<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">as
entirely dispensable.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">I may have
some literary talent<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">but lack
it in evaluating human beings,
especially pretty women <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">I am or
used to be so stupid and even made it a point to overlook real physical
ugliness, ideologically as it were<o:p></o:p></span></b></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="font-family: "courier new"; font-size: 22.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="font-family: "courier new"; font-size: 22.0pt;">as
compared to the wonderful beautifully ugly! –<o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="font-family: "courier new"; font-size: 22.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="font-family: "courier new"; font-size: 22.0pt;"> the brute Roger Straus, the hideous Barbara
Rose, the total creep Joachim Neugroeschel –<o:p></o:p></span></b></span></div>
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<!--[if !supportLists]--><span style="background-color: #9fc5e8;"><span style="font-family: "courier new"; font-size: 22.0pt;">-<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="font-family: "courier new"; font-size: 22.0pt;"> By chance Handke had seen them all and voiced
how ugly he found them physically – draw your own moral.<o:p></o:p></span></b></span></div>
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<b><u><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">THE
REPETITION<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Thus
inspired I delivered myself of a quite long piece on Handke and “Being” which
the NYRB “nearly took” so then friend R. Silvers wrote, for 2<sup>nd</sup>
choice Partisan who had just taken a long excerpt from my translation of <i>Walk About the Villages</i> it was twice as
long as their compliment allowed, <i>ancien
ami </i>Gus Blaisdell was then going to issue it in enlarged form as a chapbook
with his <i>Living Batch Books </i>in
Albuquerque, but somehow never got around to it prior to an early heart attack
demise, and though Gus was my safebox for various things I was writing as I was
moving around – the Chihuaha desert, the Western U.S. and then the Baja - the
piece was not found among my others. Since the piece was written prior to
electronic record keeping I myself lost my only copy to a major storm in
Seattle, but there may be a copy at Suhrkamp. Jim Krusoe then of St. Monica
Review who had much liked the piece and then a fairly superficial outline
sketch that I wrote to envision to myself what a book on all of Handke’s work –
late 80s – might be like did not locate any material either. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">The
long piece I wrote on the Wenders/ Handke film <i>Wings of Desire </i>for the St. Monica Review<i> </i>was very much within the mode of the original “being” piece; that
is, its sentences did not end until the next Malibu surf wave hit! Jim took the
trouble to tamp down the wave intervals to half their normal size, although he
and I then realized he might have spared himself the trouble for the reaction
it received from most, though not quite all, readers for challenging their
“natural” interior grammar!<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">NOTES
ON NOTES<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">Subsequent
to one of these unhappy making visits to the Montmorency basement apartment,
Handke mentioned that he had exposed himself to the 16 year old Austrian space
cadet who had been there at my visit and during which the idea flitted through
my head that Handke and I might both fuck her right then. Hande said she had
blushed – I am not sure what he expected. What would have been odd if she had
not blushed and remained entirely different. However, the incident then alerted
me to the exhibitionistic quality of Handke’s work Your mother commit’s suicide
– in no time you publish a book about the event and her, it made me feel a
touch queasy. What is to be said for Handke’s artistic exhibitionism, as
compared to its sociallly reprehensible aspect, is that his ability as an
artist of course shapes, transmutes, makes into something attractive. Handke’s
sexual exhibitionism strikes me has a pathetic and pleading quality in addition
to its overt aggressive component. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">During the
Moneschberg visit I realized that during the appr. 10 years that I knew his
domiciles<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"> our man had worked himself from living in a
dank news-paper filled apartment in the Meineke (not apparently the Uhland
Strasse) in Berlin (a familiar area to me where we met in 1969 to discuss my
KASPAR translation and where baby Amina was shown to me), [2] via the
intriguing basement apartment on the 77 Rue Montmorency Paris in the Les Marais<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"><a href="https://en.wikipedia.org/wiki/Rue_de_Montmorency">https://en.wikipedia.org/wiki/Rue_de_Montmorency</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"><a href="http://handkeonline.onb.ac.at/node/1583">http://handkeonline.onb.ac.at/node/1583</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">& to
what struck the prejudiced me, [who disliked these buildings that have embedded
field stones wrapped around the ground floor walls, as you can find a quite a
few both in France and Germany as, say, you drive through the Mosel valley)<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;"> as a typical Gruenderzeit castelet <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">in
Clamart, Paris where the <i>Lefthanded Woman
</i>was filmed, and the book provides a fine description of how Paris looks
from that perspective. Again it was an area I was somewhat familiar with
because war correspondent author Wilfred Burchett lived in the neighboring
Meudon. <o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">Now, in
1080,our man was living with the “big animals”- as the Salzburgers called Moenchsberg residents – as king of the hill.
A yuppie of sorts I suppose. I myself was definitely and would always be a
declasse with little interest in living on high, though not in depoosing as I
found out that evening, though for reasons that a Hirsch or a male Mulie might
well understand I realized looking back at my entirely unusual behavior.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">It turned
out Handke can be impatient, I was a train late and there he was already
walking towards me after I had checked into my Hotel Mirabelle and was walking
to get up on the hill – I noticed the annoyance and of course ought to have
called and said that I had missed the agreed upon train. The second comment was
that he was not surprised at my staying at the fancy Mirabelle – which struck
me as wrong since the only reason I was staying there was because it had a big
swimming pool, those were the days I swam fiendishly downtown New York and at
all the hotels during that trip that was funded by ICA. Urizen Books was poor
and so was I and I stayed at pension or with friends at Book Fair time. He was
proejcting I realized.<o:p></o:p></span></b></div>
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<b><span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 22pt;">So as to
engage on the subject that fillled me like air pressure does a tire to near
bursting I mentioned that I had shown the first page of LANGSAME HEIMKEHR to
the deskman when I had noticed him reading a popular <i>Schmoeker </i>as certain kinds of bestsellers used to be called in
German...<o:p></o:p></span></b></div>
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<span style="background-color: #9fc5e8; font-family: "courier new"; font-size: 20pt;">I</span><b style="background-color: white;"><span lang="PL" style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></b></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-85145686554049507382016-08-30T12:35:00.001-07:002016-09-06T15:42:00.844-07:00U.S HANDKE. PUBLICATION HISTORY<span style="background-color: #ffe599;"> <b><u><span style="color: #222222; font-size: 20pt;"> </span></u></b></span><br />
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<b><u><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">PETER HANDKE’S <o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">U.S. PUBLICATION HISTORY – <o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">EMPHASIS ON <o:p></o:p></span></u></b></div>
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<b><u><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">FARRAR, STRAUS & GIROUX<o:p></o:p></span></u></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Every decade or so the august firm of Farrar, Straus<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 18pt;"><a href="http://us.macmillan.com/themoraviannight/peterhandke" target="_blank"><span style="color: #1155cc;">http://us.macmillan.com/themoraviannight/peterhandke</span></a><o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">publishes a Handke text while during the same
time span the author’s German <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;"><a href="http://www.suhrkamp.de/buecher/days_and_works-peter_handke_42492.html?d_view=english">http://www.suhrkamp.de/buecher/days_and_works-peter_handke_42492.html?d_view=english</a>
and Austrian publisher JUNG & JUNG <a href="http://www.jungundjung.at/">http://www.jungundjung.at/</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;"><a href="http://jungundjung.at/content.php?id=3&a_id=19&ag=d">http://jungundjung.at/content.php?id=3&a_id=19&ag=d</a>
will have issued more than a score of his works, several of which ought to have
been published shortly after in English, as they were expeditiously at one time
and still are by his major French, Spanish, Italian Serbian & many another publisher,
and in two instances were published by the firm that has taken up FSG’s slack, <i>Blue Booby</i>, no <i><u>Seagull</u> Press </i>in way-off Kolkata on the Hoogly<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;"><a href="http://www.seagullbooks.org/index.php?p=book_list&cat_id=MTE1">http://www.seagullbooks.org/index.php?p=book_list&cat_id=MTE1</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">by the meadow with the pigs and goats and cows
at King George Dock Annex, I am kidding, who have done the novel/drama STILL
STORM & Handke’s riff on Beckett’s KRAPP’S LAST TAPE, UNTIL THE DAY US PART<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;"> <a href="http://handke-drama.blogspot.com/2010/05/index-page-for-this-and-all-other.html">http://handke-drama.blogspot.com/2010/05/index-page-for-this-and-all-other.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">(both distributed by U. of Chicago Press) which
were published in German since Farrar’s publication of Handke’s <u>Don Juan (as
told by himself)</u> in 2007, the publication date of MORAWISCHE NACHT in
German. Moreover, Seagull has two marvelous Handke novels scheduled that FSG
has turned dowb DER GROSSE FALL [THE MAJOR CASE ???] + KALI /THE SALTWORKS<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/kali-saltworks-which-has-not-been.html">http://handke--revista-of-reviews.blogspot.com/2010/05/kali-saltworks-which-has-not-been.html</a>
<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">an unusually well-formed rather near standard
novel that Handke I think wrote more out of fascination with such a mine and
how it operates than its two protagonists. Unusual also for being, at least on
the surface, unusually non-self-referential for our autistically inclined
author. But that it has a fine mysterious air it might have been acceptable to
a socialist realist publisher! Hesse would have been proud of it as well &
FSG turned it down at the advice of their advisor in these matters, the
marvelous Handke translator Krishna Winston, who claimed to me that she felt
that the book represented nothing new, that Handke was repeating himself.
Handke never repeats himself, as a formalist he will at most explore the limits
of certain formal possibilities. E.G. his five ASSAYINGS as I call the essays
on THE JUKEBOX, THE FOOL FOR MUSHROOMS, etc. each of which features a different
approach no matter how playful yet has a unique focus and is anchored in a particular place if
only to revolve on it as in THE MAKINGS OF A PERFECT DAY. Or the variations of
procedures in INNERWORLD OF THE OUTERWORLD, etc etc, just look at what Handke
does over the decades with one of his ancient modernist earliest procedures,
the serial. Among Handke’s prose work KALI/ THE SALTWORKS is quite unique in
every which way and is the kind of book that could gain for him a wider following
than texts that are more difficult for the ordinary reader. <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">DER GROSSE FALL, fellow Handke translator Scott
Abbott and I discussed at length<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html">http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;"> <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">and it may be regarded a kind of successor,
updating of THE AFTERNOON OF THE WRITER, now located near Paris, and it is one
hell of a ferocious and adventurous text by an anything but transfigured writer
& would fit into FSG’s alleged interest in “the forefront of literature”
[something that calls itself that an FSG robot deposits in my e-mail inbox once
a week!] if those dear folk actually knew what they were talking about rather
than spewing platitudes, damn them and their advisor Krishna Winston, since the
amateurish (stil) firm apparently lacks the expertise to reach these decisions
on their own they rely on someone who may be a wonderful translator but who is
intellectually not equipped to reach decisions on that order, she seems to
think because Handke objects to the hideous leaf-blowers in his suburban nature
preserve – one of my banes as well in Seattle – Handke has become some kind of
suburban writer. As a dean at Wellesley Winston is also far too busy tending,
and translating other works, to keep up with the whelming Handke studies and
work. “Der neue Kafka” as the Griffen Kid called himself in 1966 is just a
sufficiently unusual author to become the second most studied German author
after Kafka who ranks first, Goethe a close second at present. Currently our
Grandiosity may still be thinking of himself as “the new Goethe” as he did in
the 90s. For my money he is “The new Shakespearean!” Farrar Straus, after the
first decade of publishing Handke, became a cherry picker and not the kind of
backstop that an author of Handke’s range and import ought to have and that in
fact in the long run would pay for itself by making him the same kind of
household name he has become in the German language world – albeit also among
the sharper spices at times.<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">=II=<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">That said, initially, for about a decade, until
the 70s, as of the publication of KASPAR & OTHER PLAYS via that of GOALIE’
ANXIETY AT THE PENALTY KICK an SHORT LETTER LONG FAREWEELL, WEIGHT OF THE
WORLD, A SORROW BEYOND DREAMS, A MOMENT OF TRUE FEELING to LEFT HANDED WOMAN in
the early 70s and as far as late 70s publication of the second play
collection, RIDE ACROSS LAKE CONSTANAE
& AND OTHER PLAYS, matters ran smoothly and even generated several mass paper
collections <u>2 & 3 by Handke</u>, WEIGHT OF THE WORLD even was picked up
by Collier/MacMillan’s semi-mass line. But FSG’s failure & lack of real
interest in Handke as an author is manifested when they turn down THE HISTORY
OF THE PENCEIL as <i>Geschichte des
Bleistifts w</i>ould be called, the successor volume to the diary excerpt
collection WEIGHT, for PENCIL, published in all other major languages, provides
not only a continued record of the author’s state of mind but of the work he is
planning, in this instance especially what then is puBlished at the beginning
of the 80s as one of his most important works, the dramatic poem WALK ABOUT THE
VILLAGES. Of course, FSG then does not do the subsequent volumes of that kind,
no matter how rich and inmportant, AM FELSFENSTER MORGENS & GESTERN
UNTEWEGS, etc.<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">=III=<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">After leaving FSG in 1969 and via a stint as
Suhrkamp rep I published INNERWORLD at Continuum Books and NONSENSE & HAPPINESS at Urizen Books in
1975 and if it had not been for a partner who - though he had directed Handke’s first
performances in this country, but had come to dislike his person as they had
each other - Urizen would also have done Handkes seond novel (1967) DER
HAUSIERER/ THE PEDDLER as it might be called,
that had been part of the original Farrar, Straus contract but then
replaced by the commercially more promising GOALIE. Even now, after all these
years, I have problems with Handke’s first novel DIE HORNISSEN – see links to all these titles @ this review
site:<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html">http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html</a>
<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">The translation magazine <u>Dimension</u><i> </i>did mine of Handke’s <u>Radio Play I</u>,
yet a further exploration of matters that might make you anxious but that can
be overcome – if you are hip to the fact of what Handke meant when he said in
1966 at Princeton “I am the new Kafka.” - The New Yorker did LEFT HANDED WOMAN in its entirety in the early
70s, as they would later do big exerpts
from SLOW HOMECOMINNG & THE REPETTION in the 80s, as well as poems from
INNERWORLD. Other pre-publications in magazines at that time are too numerous
to mention. But at the point that Handke published LANGAME HEIMKEHR/ A SLOW
HOMECOIMG IN 1979 in Germany [the title novel of the collection that contains <u>St.
Victoire</u> and <u>Child’s Story</u>] there was no earthly reason to publish
these three very different titles – one a novelization of Handke’s experience
in Alaska, the second a travel journal cum aesthetic ruminant, the third a
personal account of life with his daughter… in one volume – because it only
made for stupid speculations about postmodernism & really was impossible to
review unless you did a major examination of the author and his work. But that
is what FSG did - for reasons that are beyond me. Perhaps Handke’s late-70s
editor at FSG, Nancy Meiselas, will know why FSG delayed publishing A SLOW
HOMEOMING for about ten disastrous years.. It is she to whom Handke said after
he stopped working on the book at the Hotel Adams in New York in 1978 that he
felt he had fucked it up. The firm waited about ten years before putting out
that collection in 1885 instead of continuing to proceed to publish these tight
books individually as they had been doing, thus interrupting the building, as
it continued in Germany, of the foundation of his oeuvre. After all: successful
as Handke was in the U.S.A. he had not yet published a really big book, at
which point a big break might be in order for the audience to absorb it. No –
speaking as a publisher of both his and his author’s interest - the embers of
interest that Handke had stirred needed to be kept alive on a continuous basis,
and the more so because the U.S. audience, fickle as it is, does not really
cotton to too many foreign authors. Matters, however, are about to get worse.
FSG stopped publishing Handke’s plays,
the very greatest ones, as of WALK ABOUT THE VILLAGES in the mid-80s. Yes,
Watson, right on!<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">III<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Sometime
the late Eighties, after FSG had published <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">ACROSS<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">Absence <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">Afternoon OF A WRITR<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">THE REPETION <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">but<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Stopped
publishing Handke’s plays<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt;">[see anon]<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;"> Roger Straus, the publisher<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">[See
<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">http://artscritic.blogspot.com/2015/04/summa-farrar-straus-roloff.html
]<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">writes
Handke’s publisher Siegfried Unseld, at Suhrkrampf Verlag, that he has a “Handke
problem.” <o:p></o:p></span></b></div>
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<span style="background-color: #ffe599;"><span lang="PL" style="color: #222222; font-family: "arial" , sans-serif; font-size: 13.0pt;"><a href="http://www.thelastbooks.org/the-last-books/cannon-magazine-no3--to-duration/" target="_blank"><span style="color: #1155cc;">http://www.thelastbooks.org/th<wbr></wbr>e-last-books/cannon-magazine-<wbr></wbr>no3--to-duration/</span></a></span><span style="color: #222222; font-family: "arial" , sans-serif; font-size: 13.0pt;"><o:p></o:p></span></span></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">–
Mind you, after all the prior successes, after the various New Yorker
pre-publications, the semi-mass paperback editions, titles such as my <i>Kaspar & Other Plays </i>being reprinted
over and over, after publishing successfully the first of Handke’s four “big
books”, the “being endowed”-<br />
as I think of it - <i>The Repetition.. </i>Handke
is apparently not pulling his commercial weight, a matter where I, once a small
publisher himself, who knows the way one can assess the p+l of a book, can only
assume that if unprofitability was the problem FSG may at that time have worked
on a far higher profit per book and author margin - e.g. contribution to overhead! – than I was
accustomed to, and knew about from other firms. At any event, Handke, who had the
letter from Unseld, showed it to fellow translator Scott Abbott which is how I
came to know of this infamy. If Straus had been a better hustler at selling and
promoting his books he would not need to have been as chintzy while personally
living on the hog!<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Handke
himself had noticed what he regarded as severe lack of interest in his work
during those ten years of non-publication of course, and indeed I would say the
interest overall has only been sporadic and at times directly oppositional –
see anon.<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;"> How many editors has Handke had during his
fifty-year association with FSG? Ten at least! The current, Jesse Coleman, will
have edited the translation of a single book – MORAVIAN NIGHT - in ten years!<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">In
1981 my FSG nemesis, Michael diCapua, had become editor in jefe, a childens
book editor!<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Incroyable!<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Who
had already opposed Handke early on <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">{without
Bob Giroux’s intervention KASPAR & OTHER PLAYS would not have been done!
Bob Giroux, editor of Elliot, Lowell, Mary McCarthy etc].<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;"> DiCapua had sabotaged other efforts of mine,
including killing a big contracted Adorno Reader that I had spent a year
assembling – and which was to have a Susan Sontag foreword (imagine the
difference an Adorno reader migt have made in the early 70s) & killed my
translation of Handke’s great dramatic poem WALK ABOUT THE VILLAGES, no matter
that I had two collections in print with the firm, RIDE ACROSS LAKE CONSTANCE
& OTHER PLAYS being the second, and that KASPAR was reprinted nearly
annually. VILLAGES (WATV) happens to be
my best work along those line and it made no difference to the firm that Handke
said it was the best translation he had ever seen, at that point. Subsequently
FSG has turned down every other Handke play, no matter how important, Gitta
Honegger’s of THE ART OF ASKING & THE HOUR WE KNEW NOTHING OF EACH OTHER
was done by Yale University Press – Steve Wasserman who ran sub-division Hill
& Wang turned those plays down he confessed a few years back. Brilliant
job, Watson! <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">WATV
became a saga, and yet another Albatross of this now truly ancient Mariner, who
not only had the Urizen Books Albatros, and meanwhile has yet another, the
DARLINGS & MONSTERS albatross and so no wonder that Handke once observed I
seemed to have little luck, one doesn’t if one deals with too many of <o:p></o:p></span></b></div>
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<span style="background-color: #ffe599;"><b><i><span style="color: #222222; font-size: 20pt; line-height: 150%;">THE WRONG PEOPLE.</span></i></b><b><span style="color: #222222; font-size: 20pt; line-height: 150%;"> <i><o:p></o:p></i></span></b></span></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;"> Beautiful
ugly is another matter!<o:p></o:p></span></i></b></div>
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<span style="background-color: #ffe599;"><b><span style="color: #222222; font-size: 20pt; line-height: 150%;">.
It may be worth your while to read my long postscript to WATV if you are
interested <a href="http://www.ariadnebooks.com/ProductInfo.aspx?productid=1572410000">http://www.ariadnebooks.com/ProductInfo.aspx?productid=1572410000</a>
</span></b><span style="color: #222222; font-size: 20pt; line-height: 150%;"><o:p></o:p></span></span></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">in
what became involved there, also for Handke. Read his subsequent work and note
how DOERFER’S rhythms continue to reverberate in his creative life; to talk
about a healthy making literary workd!<o:p></o:p></span></b></div>
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<span lang="PL" style="background-color: #ffe599;"><a href="http://handke-drama.blogspot.com/2013/07/par-les-villages-avignon-handkes.html"><b><span style="color: blue; font-size: 24pt;">http://handke-drama.blogspot.com/2013/07/par-les-villages-avignon-handkes.html</span></b></a><a href="http://handke-drama.blogspot.com/2013/07/par-les-villages-avignon-handkes.html"></a><o:p></o:p></span></div>
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<span lang="PL" style="background-color: #ffe599;"><a href="http://handke-drama.blogspot.com/2013/07/par-les-villages-avignon-handkes.html"></a><o:p></o:p></span></div>
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<span style="background-color: #ffe599;"><span lang="PL"><a href="http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html"><b><span style="color: blue; font-size: 24pt;">http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html</span></b></a></span><b><u><span lang="PL" style="color: blue; font-size: 24pt;"><o:p></o:p></span></u></b></span></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">that
became my heart test. Ah, and how many only respoonded to the line that referred to "hefty taxes"!<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Subsequently
Farrar, Straus published the following Handke titles<o:p></o:p></span></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">No=Man’s Bay<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">THREE ESSAYS: ON THE JUKEBOX, FATIQUE & THE
NEAR PERFECT DAY<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">ONE DARK NIGHT I LEFT MY SILENT HOUSE<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">CROSSING THE SIERRA DEL GREDOS<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">DON JUAN AS TOLD BY HIMSELF <o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">&<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">now <o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">MORAWIAN NIGHT<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">&<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">I gather the firm has contracted for the ESSAY
ON “THE QUIET PLACE”<o:p></o:p></span></i></b></div>
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<b><i><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">And a volume of essays.<o:p></o:p></span></i></b></div>
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<br /></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">=IV=<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Little
surprise that someone like Roger Straus who hated nothing as much as egg on his
$ 1,200 suits, but I guess perpetruity was not much on his mind, turned down
Handke’s first <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Yugoslavia
title<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">A
WINTER’S JOURNEY, <o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Scott
Abbott’s first published Handke translation which Viking Press did,<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">And
was going to do more but then didn’t and no further of Handke’s writings on
that whelming subject have been published except for the great fillm/war play<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">VOYAGE
BY DUGOUT CANOE<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">Also
in Scott’s translation<o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;"><a href="http://handke-drama.blogspot.com/2009/12/long-comment-on-handkes-voyage-by_29.html">http://handke-drama.blogspot.com/2009/12/long-comment-on-handkes-voyage-by_29.html</a><o:p></o:p></span></b></div>
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<b><span style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 150%;">AND
SEE<o:p></o:p></span></b></div>
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<b><u><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt;"><a href="http://handke-yugo.blogspot.com/2011/06/wandel-der-handke-rezeption-mit.html">http://handke-yugo.blogspot.com/2011/06/wandel-der-handke-rezeption-mit.html</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<b><u><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt;"><a href="http://handke-yugo.blogspot.com/2010/05/lead-page-periodically-updated_10.html">http://handke-yugo.blogspot.com/2010/05/lead-page-periodically-updated_10.html</a><o:p></o:p></span></u></b></div>
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<br /></div>
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<br /></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">I myself spent about a year of my life during a 20 year stretch on
the subject of Handke & that of disintegration & and ended up truly
proud of his intervention. And I had no reason to, initially was apprehensive
of the degree to which his exhibitionistic impulses played a role, not that
Handke might not have gone about the matter differently or doubled down when
attacked so as not to incurr the wrath of the propagandized masses, the
intellectual pack being the worst of course <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">(pace dear Teddy!)<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">I sought at one time to find a publisher for a big collection of
these writing and mut have approached 50 of the scholarly ones in that field: Nada
– you can calumnize an author in typical Americasn McCarthyite fashion but
won’t give him a chance to speak up, which in this instance meant to make
available the pertinent writings, well introduced, by someone who knows his way
around Handke & Yugoslavia, the recently deceased Fabjian Haffner is whom I
had in mind.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">My translation of Handke’s<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">Hot, so very <i>geil </i>exhibitionistic
erotic<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">THE BEAUTIFUL DAYS OF ARANJUEZ <o:p></o:p></span></b></div>
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<span style="background-color: #ffe599;"><span lang="PL" style="font-family: "arial" , sans-serif; font-size: 18pt;">http://handke-drama.blogspot.com/2015/03/aranjuez-comments-for-world-english.html</span><span lang="PL"><o:p></o:p></span></span></div>
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<br /></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">Done with invaluable editorial help from Scott on short notice
for Serbian-American director Zejlko Dukic and Theater Y in Chicago in 2015<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">has not a publisher so far.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">However, Scott’s fine translation of Handke’s long poem<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">TO DURATION<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">was done by LAST BOOKS this year.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;"><a href="http://www.thelastbooks.org/the-last-books/cannon-magazine-no3--to-duration/">http://www.thelastbooks.org/the-last-books/cannon-magazine-no3--to-duration/</a><o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">And that would be it for this saga<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">at this time of day!<o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">You may wish to to look at the <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">Summary of the U.S. Reception History of Handke’s work as I am
putting it up <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">@<br />
<a href="http://handke-magazin.blogspot.com/2016/09/roundup-of-us-handke-recepton.html">http://handke-magazin.blogspot.com/2016/09/roundup-of-us-handke-recepton.html</a><o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">Up prior to the inception of the <o:p></o:p></span></b></div>
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<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">MORAVIAN NIGHT DISCUSSION <o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<b><span lang="PL" style="background-color: #ffe599; color: #222222; font-size: 20pt; line-height: 200%;">In late Fall of 2016.<o:p></o:p></span></b></div>
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<b><span lang="PL" style="color: #222222; font-size: 20pt; line-height: 200%;"><a href="http://moravian-nights-discussion.blogspot.com/2016/07/2016-us-publication-discussion.html" style="background-color: #ffe599;">http://moravian-nights-discussion.blogspot.com/2016/07/2016-us-publication-discussion.html</a><o:p></o:p></span></b></div>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-47368517366718518192016-04-22T17:10:00.001-07:002016-04-22T17:10:11.254-07:0050th ANNIVERSARY OF PRINCETON!<span style="font-family: Courier New, Courier, monospace;"><a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a><span style="color: #0000ee; font-size: large;"><u style="background-color: yellow;"><b>http://www.faz.net/aktuell/feuilleton/buecher/autoren/schriftsteller-peter-handke-bei-gruppe-47-in-princeton-14191769.html</b></u></span></span><br />
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<span itemprop="name" style="border: none; margin: 0px; padding: 0px;">Schriftsteller Peter Handke bei Gruppe 47 in Princeton</span></h1>
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<div class="lastUpdated" content="2016-04-22T15:41:45+0200" itemprop="dateModified" style="border: none; color: #999999; font-stretch: normal; line-height: 28px; padding: 0px;">
<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Veröffentlicht: 22.04.2016, 15:41 Uhr</span></b></span></div>
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<span class="Stichwort" style="border: none; color: #666666; display: block; line-height: 22px; margin: 0px 0px 5px; padding: 0px;"><span style="background-color: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Das Ende der Gruppe 47</span></span></span><span style="background-color: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Literatur? Alles läppisch</span></span></h2>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Vor fünfzig Jahren versetzte ein junger Schriftsteller, den viele für ein Mädchen hielten, der Gruppe 47 einen Schlag, von dem sie sich nicht mehr erholte. Ein Besuch in Princeton, wo Peter Handke Furore machte.</span></b></span></div>
<span class="Autor" style="background-color: yellow; border: none; color: #999999; line-height: 24px; margin: 0px 20px 0px 0px; padding: 0px; width: 570px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><span class="Datum" content="2016-04-22T15:41:45+0200" itemprop="datePublished" style="border: none; margin: 0px; padding: 0px;">22.04.2016,</span> von <span class="caps last" style="border: none; margin: 0px; padding: 0px; text-transform: uppercase;"><a href="http://www.faz.net/redaktion/juergen-kaube-11104108.html" itemprop="author" itemscope="" itemtype="http://schema.org/Person" style="border: none; color: #c60000; cursor: pointer; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;"><span class="caps last" itemprop="name" style="border: none; margin: 0px; padding: 0px;">JÜRGEN KAUBE</span></a></span></span></b></span><div class="sharebuttons" data-class-template="GETS;lk;artikel.buttons.{{service}};lp;oben" data-comment-displayif-fn="document.querySelector('div#lesermeinungscontainer') !== null;" data-drucken-onclick="ArtikelDrucken();" data-mail-onclick="toggleMailLb();" data-mode="" data-permalink-onclick="showPermaLink(this);" data-services="facebook,twitter,xing,mail" data-trackdata-template="lk;artikel.buttons.{{service}};lp;oben" data-weitersagen-onclick="openSharebuttonDropDown(this);" style="border: none; margin: 39px 0px 15px; padding: 0px;">
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<a href="http://www.faz.net/aktuell/feuilleton/buecher/autoren/schriftsteller-peter-handke-bei-gruppe-47-in-princeton-14191769/einer-musste-ja-unter-lauter-14191780.html" style="background-color: yellow; border: none; cursor: pointer; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" title="39737127"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><img alt="39737127" class="media" data-process-retina="1" height="344" src="http://media0.faz.net/ppmedia/aktuell/feuilleton/2430549813/1.4191780/article_multimedia_overview/einer-musste-ja-unter-lauter.jpg" style="border: none; color: #434343; font-style: italic; margin: 0px; padding: 0px;" title="Einer musste ja unter lauter Männern eine feminine Seite zeigen: Peter Handke, 1966" width="610" /></span></b></a></div>
<span class="Bildnachweis" style="border: none; color: #999999; display: block; margin: 0px; padding: 0px; position: relative; right: 0px; text-align: right; text-transform: uppercase; top: 0px;"><span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">© VERLAG KIEPENHEUER & WITSCH</span></b></span><a class="BildGroesse right" href="http://www.faz.net/aktuell/feuilleton/buecher/autoren/schriftsteller-peter-handke-bei-gruppe-47-in-princeton-14191769.html?printPagedArticle=true#aufmacherOverlay" style="border: none; cursor: pointer; display: inline-block; float: right; height: 19px; margin: 2px 0px 0px 10px; outline: 0px; padding: 0px; text-decoration: none; width: 19px;" title="Vergrößern"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><span class="icon-video_enlarge" style="background-color: yellow; background-image: url("../img/sprites_1458804413003.png"); background-position: -320px -262px; background-size: 522px; border: none; display: inline-block; height: 19px; margin: 0px; padding: 0px; width: 19px;"></span></span></b></a></span><span class="Bildunterschrift" itemprop="description" style="border: none; color: #333333; display: block; line-height: 16px; margin: 0px 20px 12px 0px; padding: 0px; position: relative; top: 5px;" title="Einer musste ja unter lauter Männern eine feminine Seite zeigen: Peter Handke, 1966"><span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Einer musste ja unter lauter Männern eine feminine Seite zeigen: Peter Handke, 1966</span></b></span></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Am 22.April 1966, vor fünfzig Jahren also, stand ein junger Mann im Publikum auf. Man hatte ihn während der Tagung „das Mädchen“ genannt – vielleicht, weil er wenig sagte und sich immer abseits hielt; vielleicht auch, weil man seine Frisur komisch fand; oder, weil einer das Mädchen sein musste, damit alle anderen sich überaus männlich vorkommen konnten. Peter Handke also stand auf in Princeton, als die literarische <a class="rtr-entity" data-rtr-id="0fb80890ebf2a0379f729262ef9bed2ed0a58ff7" href="http://www.faz.net/aktuell/feuilleton/thema/gruppe-47" style="border: none; color: #c60000; cursor: pointer; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;">Gruppe 47</a> dort tagte, und nannte ihre Literatur läppisch, ihren Sprachgestus völlig öd, ihre Form völlig konventionell, man könne diese läppische Prosa ebenso gut aus einem Lexikon abschreiben. Genauso läppisch sei die Literaturkritik, die mit dieser läppischen Prosa einverstanden sei, weil sie eine andere gar nicht verstehen würde. Danach drängten sich die Medien um Handke, die Gruppe 47 aber tagte nur noch einmal und war praktisch am Ende.</span></b></span></div>
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<span class="autorBox clearfix" style="border-bottom-color: rgb(153, 153, 153); border-bottom-width: 1px; border-style: none none dotted; display: block; margin: 7px 0px 0px; padding: 0px 0px 10px;"><img alt="Jürgen Kaube" class="media left" height="55" src="http://media1.faz.net/ppmedia/redaktion/795499331/1.1125993/avatarAuthor/juergen-kaube-kau.jpg" style="border: none; color: #434343; cursor: pointer; float: left; font-style: italic; margin: 0px; padding: 0px; position: relative; top: 3px;" title="Jürgen Kaube" width="55" /><span class="autorTxt" style="border: none; display: block; margin: 0px 0px 0px 65px; padding: 0px;"><a class="linkTextUnderline arrowLink" href="http://www.faz.net/redaktion/juergen-kaube-11104108.html" rel="author" style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: url("data:image/gif; background-origin: initial; background-position: 100% 55%; background-repeat: no-repeat; background-size: initial; border: none; color: #666666; cursor: pointer; margin: 0px; outline: 0px; padding: 0px 7px 0px 0px; text-decoration: none;" title="Jürgen Kaube"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Autor: Jürgen Kaube, Herausgeber.</span></b></a><span class="shareAutor" style="border: none; display: block; margin: 5px 0px 0px; padding: 0px;"><span class="shareAutorTxt left" style="border: none; color: #666666; float: left; line-height: 13px; margin: 0px 5px 0px 0px; padding: 0px;"><span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Folgen:</span></b></span></span><a href="http://twitter.com/kaube" style="border: none; color: #666666; cursor: pointer; float: left; height: 14px; margin: 0px 10px 0px 0px; outline: 0px; padding: 0px; text-decoration: none; width: 14px;" target="_blank" title="Jürgen Kaube auf Twitter folgen"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><span class="icon-twitter-14" style="background-color: yellow; background-image: url("../img/sprites_1458804413003.png"); background-position: -373px -482px; background-size: 522px; border: none; display: inline-block; height: 14px; margin: 0px; padding: 0px; width: 14px;"></span></span></b></a><a class="autorFolgen" href="https://www.blogger.com/null" rel="nofollow" style="background-image: url("/img/f50_sprite_vert.png"); background-position: 0px -3798px; background-repeat: no-repeat; border: none; color: #666666; cursor: pointer; float: left; height: 14px; margin: 0px 10px 0px 0px; outline: 0px; padding: 0px; width: 14px;" title="Jürgen Kaube folgen"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><span class="icon-F" style="background-color: yellow; background-image: url("../img/sprites_1458804413003.png"); background-position: -345px -482px; background-size: 522px; border: none; display: inline-block; height: 14px; margin: 0px; padding: 0px; width: 14px;"></span></span></b></a></span></span></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Um zu verstehen, wie es dazu kommen konnte, muss man in die Geschichte dieses literarischen Vereins gehen. Wie ihr Name sagt, war die Gruppe 47 eine Gründung der unmittelbaren Nachkriegsjahre gewesen. Unter Führung des Schriftstellers Hans Werner Richter trafen sich Autoren von 1947 an in regelmäßigen Abständen, um einander aus ihren gerade entstandenen Werken vorzulesen. „Hans Werner Richter ist ein Manager von großem Geschick, seine ‚Gruppe 47‘ verleiht sich gegenseitig Literaturpreise, und im Schallkreis seines Megaphons verwandelt sich jedes zaghafte Beginnen in ein Lebenswerk, das die Rundfunkprogramme und die kulturellen Pressenotizen füllt.“ So kommentierte der Literaturkritiker Friedrich Sieburg 1952 das Ritual. Richter bestimmte, wer zwanzig Minuten lang vorlesen durfte und wer als Publikum eingeladen wurde. Die Vorlesenden hatten zu schweigen, während die anderen das Gelesene kommentierten. Am Ende wurde mitunter ein Sieger im Vorlesewettbewerb gekürt.</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Anzeige</span></b></span></div>
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<span style="background-color: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Die Herrin d </span></span></h2>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Sieburg, der auch die Darmstädter Dichterakademie, die Buchmesse und überhaupt den ganzen aufkommenden Literaturbetrieb fatal fand, argwöhnte in all dem einen Konformismus, der einer wirklich radikalen Intellektualität unangemessen sei. Mittels der Gruppe 47 organisierte sich für ihn ein prägender Teil der deutschen Literatur nach 1945 als Zusammenhang des Dabeiseins und Dazugehörens.</span></b></span></div>
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<span style="background-color: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Diskussion als Sozialmodell</span></span></h2>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Das war insofern ein merkwürdiger Vorwurf, als deutsche Schriftsteller seit dem achtzehnten Jahrhundert immer wieder in Gruppen und als Gruppe aufgetreten waren. Wer etwas Außergewöhnliches wagt, sucht Unterstützung bei Gleichgesinnten. Die urbanen Avantgarden nach 1900 sind – geteilte Provokation ist doppelte Provokation – voll solcher ästhetischer Programmparteien, vom Expressionismus über den Futurismus und, in England, Vortizismus bis zum Dadaismus und Surrealismus. Andernorts sortierte man sich nach Meister und Schülern; Sieburg selbst war in seiner Jugend ein heißer Anwärter auf die Mitgliedschaft im George-Kreis.</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Doch wo in den Avantgarden der Gefolgschaftswille oder die aggressive Aktion zur Gruppenbildung drängten, stand im Zentrum der Gruppe 47 ein ganz anderes Sozialmodell: die Diskussion. Das war, wie die Kölner Historikerin Nina Verheyen in ihrem klugen Buch „Diskussionslust“ (Göttingen 2010) gezeigt hat, zeittypisch. Nach 1945 stand in Deutschland unter dem Einfluss vor allem der amerikanischen Besatzungsmacht die politische Erziehung durch Diskutieren in höchstem Ansehen. Hans Werner Richter und sein Schriftstellerkollege Alfred Andersch hatten im Unterricht für Kriegsgefangene als Lehrer den jüdischen Emigranten Henry W. Ehrmann, der wie viele andere Pädagogen der Re-Education die Übung im Diskutieren als Einführung in die demokratische Praxis verstand. Wer diskutiert, muss lernen, vom Status eines Sprechers abzusehen, muss sich die Perspektive anderer vor Augen führen und begreifen, dass Dissens konstruktiv sein kann, wenn er nicht zwangsläufig auf den Sieg einer Position über eine andere hinausläuft, sondern zu wechselseitigem Lernen und zu Kompromissen führt.</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Dass Schriftsteller durch Diskussion voneinander lernen können, gehörte zu den Gründungsideen der Gruppe 47. Nikolaus Wegmann, der heute in Princeton Germanistik lehrt, hat zusammen mit seinem Berliner Kollegen Cornelius Reiber die Materialien zur historischen Tagung von 1966 – erst vor fünf Jahren wurde der komplette Tonbandmitschnitt in einem Büroschrank in Princeton entdeckt – wie überhaupt zur Gruppe 47 gesichtet. Er bringt sie in Verbindung zu dem, was<a class="rtr-entity" data-rtr-id="612a35a1a4c0a0196caa011396c34c4fa53aada1" href="http://www.faz.net/aktuell/wissen/thema/johann-wolfgang-von-goethe" style="border: none; color: #c60000; cursor: pointer; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;">Johann Wolfgang von Goethe</a> 1795 in seinem Aufsatz über „Literarischen Sansculottismus“ schrieb. Kurz gefasst: Ein Land ohne politische Metropole, in dem die räumlich voneinander getrennten Schriftsteller dazu neigen, vor sich hin zu schreiben, hat den Vorteil, dass sie nicht unter starkem sozialen Nachahmungsdruck und dem Diktat der Mode stehen. Es hat aber den Nachteil, dass seine Nationalliteratur leicht eine von Sonderlingen werden kann. Also ist es wichtig, dass sie bereit sind, voneinander zu lernen und einander zu korrigieren. Die Gruppe 47, deren Tagungsorte vor 1966 zumeist Landgasthöfe in der tiefen Provinz waren, versuchte in diesem Sinne das fehlende Zentrum der deutschen Literatur zu ersetzen.</span></b></span></div>
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<span style="background-color: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Wem las die Gruppe 47 wirklich vor?</span></span></h2>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Zu sehen, was die anderen machen, sich daran zu schulen und insofern einen<em style="border: none; margin: 0px; padding: 0px;">state of the art</em> zu vergegenwärtigen, war zumindest ihr Ideal. Hinzu kamen Rollenübergänge zwischen Schriftstellern und Kritikern. Nicht nur kritisierten die Dichter einander, es gab auch jede Menge Doppelrollen: In Princeton las als Erster der Kritiker, Professor und Dramatiker <a class="rtr-entity" data-rtr-id="c2735755362dde6f99bb14595567b9dc35294942" href="http://www.faz.net/aktuell/feuilleton/thema/walter-jens" style="border: none; color: #c60000; cursor: pointer; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;">Walter Jens</a> aus einem wohl zu Recht vergessenen Theaterstück. Weitere Mehrfachbegabungen der Gruppe waren beispielsweise Walter Höllerer, Martin Walser und Hans Magnus Enzensberger. Das berührte freilich die Frage der Unabhängigkeit von Kritik und Literatur ebenso, wie es die Anwesenheit von Journalisten und Verlegern beim „Lernprozess“ der Autoren tat. Eigentlich hätte man ihrer, wenn es nur um Verbesserungen an Texten gegangen wäre, nicht bedurft. Oder, anders formuliert: Mit zunehmender medialer Prominenz der Gruppe 47 wurde immer unklarer, ob man die Texte einander oder nicht vielmehr einer angeblich ausgeschlossenen Öffentlichkeit vorlas, die aber in Gestalt von Journalisten und Verlegern präsent war.</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">War die Regel, Öffentlichkeit nicht zu suchen, also im Licht der tatsächlichen Praxis unglaubwürdig, so dementierte die Regel, dass der kritisierte Schriftsteller selbst zu schweigen habe, den offiziellen Zweck der Tagungen. Denn weshalb sollte dem Autor eine Antwort auf Kritik versagt bleiben, wenn es primär um Lernen an Texten gehen soll? Und warum hatte die Kritik spontan, unter dem Eindruck des soeben gehörten Vortrags zu erfolgen, wo doch nicht Schauspielerleistungen, sondern schriftstellerische in Frage standen? Dass Paul Celan bei einer Tagung der Gruppe 47 wohl auch darum durchfiel, weil der Stil seines Vortrags nicht konvenierte, weckt Zweifel am Zweck der gegenseitigen Verbesserung des Schreibens. Denn für die Bedeutung eines Gedichts ist es ja ganz gleichgültig, ob sein Autor es vorteilhaft aufzusagen vermag.</span></b></span></div>
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<span style="background-color: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Handkes fünf Minuten Ruhm</span></span></h2>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Ging es bei den Tagungen der Gruppe 47 also doch noch um etwas anderes als um Lernen durch Diskussion und Verbesserung der deutschen Literatur mittels Zusammenkunft von dezentralen Existenzen? Auch <a class="rtr-entity" data-rtr-id="cc31d300eb0b017706062ad965c9bdfab2e4b01e" href="http://www.faz.net/aktuell/feuilleton/thema/peter-handke" style="border: none; color: #c60000; cursor: pointer; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;">Peter Handke</a> verstieß mit seiner „Alles läppisch“-Intervention in Princeton gegen eine Regel der Gruppe. Es sollte nämlich immer nur über den gerade vorgetragenen Text gesprochen werden, jedoch nicht über ästhetische Maßstäbe im Allgemeinen und auch nicht über die Tagungstexte im Vergleich. Warum nicht? Handkes Verstoß gegen diese Regel war flagrant: Zu Hermann Peter Piwitts Lesung, die seinem Auftritt voranging, verlor er kein einziges Wort. Dafür wurde er von Hans Werner Richter auch gleich mehrmals gerügt: „Sie müssen zum Text sprechen“, „kein Seminar“.</span></b></span></div>
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<span class="WBHead" style="border: none; display: block; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 8px !important; padding: 0px;"><span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Mehr zum Thema</span></b></span></span></div>
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<li class="context-small serif" style="border: none; font-stretch: normal; line-height: 16px; margin: 0px 0px 7px 7px; padding: 0px; text-indent: -7px;"><span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;"> <a class="defaultLink arrowLink " href="http://www.faz.net/aktuell/feuilleton/buecher/regisseur-und-schriftsteller-oskar-roehler-ueber-gruppe-47-14182569.html" style="background-attachment: initial; background-clip: initial; background-image: url("data:image/gif; background-origin: initial; background-position: 100% 55%; background-repeat: no-repeat; background-size: initial; border: none; color: #333333; cursor: pointer; margin: 0px; outline: 0px; padding: 0px 7px 0px 0px; text-decoration: none;" title="So eine Gruppe würde mich völlig fertigmachen: Oskar Roehler zur Gruppe 47">So eine Gruppe würde mich völlig fertigmachen: Oskar Roehler zur Gruppe 47</a></span></b></span></li>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">Handke war es egal. Er hatte durch eine Intervention, von der danach die Worte „Beschreibungsimpotenz“, das „Mädchen“ über die Männer und „läppisch“ erinnert wurden, seine fünf Minuten Ruhm, aus denen sich Weiteres ergab. Was die Treffen der Gruppe 47 früh ausgezeichnet hatte, die Begleitung durch die Medien, war hoch effektiv genutzt worden. 1947 waren die Strukturen der öffentlichen Verteilung von Ruhm in der deutschen Literatur noch schwach ausgeprägt. Auch sie sind in einer Kultur ohne maßgebliche Metropole, wie sie von Goethe beschrieben worden war, oft unterentwickelt. Die Selbsterzeugung von Ruhm durch privilegierte Mitgliedschaft, Wettbewerb und Diskussionen, die als solche bewiesen, dass sie sich lohnten, gehörte zu den Funktionen dieses Spiels: Literatur als Ereignis.</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">In den Akten von Princeton ist nachzulesen, wie wichtig einzelne Schriftsteller das Ereignis nahmen – nur eben nicht mehr literarisch wichtig: Heinrich Böll etwa fand, dass die Diskussion von „ach so bewährten kritischen“ Texten in Amerika den Anschein erwecke, bei der Bundesrepublik handele es sich um ein freies Land. Andere zweifelten, ob man sich von Leuten einladen lassen dürfe, deren Staat gerade in Vietnam Krieg führte. Es ging also gar nicht mehr primär um die Verbesserung an Texten; sondern die Aufmerksamkeit, die man sich erarbeitet hatte, wurde längst moralisch bewirtschaftet. Auch über diese Abwendung von der Sprache hin zur „so genannten deutschen Gegenwart“ machte sich Handke lustig. Dass ihm das seinerseits Ruhm eintrug, beweist, wie gut die Weiterverwertung von Literatur in anderen Zusammenhängen inzwischen funktionierte. Zwanzig Jahre nach ihrer Gründung bedurfte der Literaturbetrieb der Gruppe 47 nicht mehr.</span></b></span></div>
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<b><span style="font-family: Courier New, Courier, monospace;"><span class="commentsIconSmall" style="background-image: url("/img/f50_sprite_vert.png"); background-position: 0px -3715px; background-repeat: no-repeat; border: none; display: inline-block; margin: 0px 10px 0px 0px; padding: 0px; width: 10px;"> </span>Lesermeinungen <span class="commentsInfoDisc" style="background: rgb(198, 0, 0); border-radius: 11px; border: none; color: white; display: inline-block; font-size: 9px; font-stretch: normal; height: 11px; line-height: 11px; margin: 0px; padding: 0px; text-align: center; width: 11px;" title="Fragen und Antworten zu Lesermeinungen">i</span> <span class="Anzahl" style="border: none; color: #999999; font-size: 12px; margin: 0px; padding: 0px;">(6)</span> <a class="ArrowLink commentsRules" href="http://www.faz.net/hilfe/richtlinien-fuer-lesermeinungen-160626.html" style="background-image: url("/img/f50_sprite_vert.png"); background-position: 100% -936px; background-repeat: no-repeat; border: none; color: #333333; cursor: pointer; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; outline: 0px; padding: 0px 24px 0px 0px; text-decoration: none;" title="Richtlinien für Lesermeinungen">Wie Sie mitdiskutieren</a></span><span style="color: #222222; font-family: monospace, monospace; font-size: 17.6px;">MY COMMENT AT THE F.A.Z . KAUBE PIECE</span></b><div class="clear" style="border: none; clear: both; font-size: 0px; height: 0px; line-height: 0; margin: 0px; padding: 0px;">
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<span style="font-family: monospace, monospace;"><b>Als Teilenehmer an der Tagung, spaeterer Handke Uebersetzer, etc.</b></span></div>
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<span style="font-family: monospace, monospace;"><b>faellt mir wohl mehr zu Herrn Kaubes Artikel ein als in einem Zwitter Telegram von 1000 Buchstaben moeglich ist. Aber zur Maedchenhaftgkeit von Handke: von meinem psychoanalytisschen Standpunkt sowie aus Beobachtung, auch von Handkephotos, moechte ich bemerken dass die ungeheure Leistung des dann Freudenstoff erzeugenden Dichters ein guter Schuss Konflikt maennlicher wie weiblicher Eigenschaften gehoert. Oder: man kann wenn sich auch Gendanken machen ueber die Enge auch des innerpsychischen Verhaeltnises von Handke's Mutter Maria Sivec und ihrem erstgeborenen, Superliebeskind ! ihr Michael Roloff</b></span></div>
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<img alt="michael roloff" class="media Userfoto " height="24" src="http://media0.faz.net/ppmedia/3309216752/1.1104606/avatar24x24/defaultavatar5.png" style="border: none; color: #434343; float: right; font-style: italic; margin-bottom: 0px; margin-left: 10px !important; margin-right: 0px; margin-top: 0px; padding: 0px; position: relative; top: 2px;" title="michael roloff" width="24" /><span style="font-family: Courier New, Courier, monospace;">Angemeldet als <br style="border: none; margin: 0px; padding: 0px;" /><span class="Username" style="border: none; font-size: 10px; font-weight: 700; margin: 0px; padding: 0px; text-transform: uppercase;">MICHAEL ROLOFF</span></span></div>
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<span class="recomm right" id="button_19_3173890" style="border: none; color: #999999; float: right; font-size: 11px; font-stretch: normal; line-height: 14px; margin: 0px; padding: 0px;"><span style="font-family: Courier New, Courier, monospace;"><a href="http://www.faz.net/aktuell/feuilleton/buecher/autoren/schriftsteller-peter-handke-bei-gruppe-47-in-princeton-14191769.html?printPagedArticle=true#" style="border: none; cursor: pointer; margin: 0px -5px 0px 0px; outline: 0px; padding: 0px;" title="Lesermeinung auf FAZ.NET empfehlen"><span class="recommsIcon" style="background-image: url("/img/f50_sprite_vert.png"); background-position: 0px -3670px; background-repeat: no-repeat; border: none; display: inline-block; height: 15px; margin: 0px; padding: 0px; width: 18px;"> </span></a> <span class="recommsAmount" style="border: none; margin: 0px; padding: 0px;" title="16 Mal empfohlen">16</span></span></span><span style="font-family: Courier New, Courier, monospace;"><span class="LMFussLink" style="background: url("/img/icon_arrow_right.gif") 0px 5px no-repeat; border: none; color: #333333; cursor: pointer; margin: 0px 0px 0px -15px; padding: 0px 0px 0px 15px;">Handke ist ein liebenswertes Phänomen.</span> <br style="border: none; margin: 0px; padding: 0px;" /><span class="Username" style="border: none; font-size: 10px; margin: 0px; padding: 0px;"><a data-loginname="Caterwaul" href="http://www.faz.net/suche/?query=&BTyp=lesermeinungen&username=%22Caterwaul%22" style="border: none; color: #333333; cursor: pointer; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" title="Alle Beiträge von Peter Zentner (Caterwaul)"><span class="caps" style="border: none; margin: 0px; padding: 0px; text-transform: uppercase;"><span class="truncate truncate300" style="border: none; display: inline-block; margin: 0px; max-width: 300px; overflow-x: hidden; padding: 0px; text-overflow: ellipsis; vertical-align: middle; white-space: nowrap;">PETER ZENTNER</span> <span class="grayTxt truncate" style="border: none; color: #999999; display: inline-block; margin: 0px; overflow-x: hidden; padding: 0px; text-overflow: ellipsis; vertical-align: middle; white-space: nowrap;"> (</span><span class="grayTxt nickname truncate truncate120" style="border: none; color: #999999; display: inline-block; margin: 0px; max-width: 120px; overflow-x: hidden; padding: 0px; text-overflow: ellipsis; vertical-align: middle; white-space: nowrap;">CATERWAUL</span><span class="grayTxt truncate" style="border: none; color: #999999; display: inline-block; margin: 0px; overflow-x: hidden; padding: 0px; text-overflow: ellipsis; vertical-align: middle; white-space: nowrap;">)</span></span></a><span class="grayTxt dateTime" style="border: none; color: #999999; margin: 0px; padding: 0px; vertical-align: middle;"> - 22.04.2016 18:21</span></span></span></div>
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<a class="TeaserHeadLink" href="http://www.faz.net/aktuell/feuilleton/buecher/autoren-zusammenschluss-wie-gruppe-47-nach-50-jahren-14182559.html" style="border: none; cursor: pointer; display: block; line-height: 22px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;"><span class="Stichwort" style="border: none; color: #434343; display: block; font-size: 13px; line-height: 13px; margin: 0px 0px 4px; padding: 0px;"><span style="font-family: Courier New, Courier, monospace;">50 Jahre Gruppe 47 in Amerika</span></span><span class="Headline" style="border: none; color: black; font-size: 20px; margin: 0px; padding: 0px;"><span style="font-family: Courier New, Courier, monospace;">Wir brauchen eine neue Gruppe</span></span></a><div class="Copy" style="border: none; color: #555555; font-size: 12px; line-height: 17px; padding: 0px;">
<span style="font-family: Courier New, Courier, monospace;"><span class="TeaserText" style="border: none; margin: 0px; padding: 0px;">Sollte es wieder einen Zusammenschluss einiger Autoren geben? Ja, meint unser Autor Simon Strauss, er könnte der Literatur neue Impulse geben. </span><a class="LinkMehr" href="http://www.faz.net/aktuell/feuilleton/buecher/autoren-zusammenschluss-wie-gruppe-47-nach-50-jahren-14182559.html" style="background-image: url("/img/f50_sprite_vert.png"); background-position: 100% -1363px; background-repeat: no-repeat; border: none; color: rgb(198, 0, 0) !important; cursor: pointer; font-size: 10px; margin: 0px 7px 0px 0px; outline: 0px; padding: 0px 7px 0px 0px; text-decoration: none;" title="Wir brauchen eine neue Gruppe ">Mehr</a> <span class="Autor" style="border: none; color: rgb(153, 153, 153) !important; font-size: 10px; margin: 0px; padding: 0px;">Von <span class="caps last" style="border: none; margin: 0px 10px 0px 0px; padding: 0px; text-transform: uppercase;">SIMON STRAUSS</span></span></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span class="Date" style="border: none; color: #434343; font-size: 11px; font-stretch: normal; line-height: 11px; margin: auto; padding: 0px; position: relative; text-align: center; top: 0px; width: 230px;">19.04.2016, 13:52 Uhr</span> | Feuilleton</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span class="TeaserText" style="border: none; margin: 0px; padding: 0px;">Go ist ein 3000 Jahre altes Brettspiel aus Asien. Es hat weltweit 40 Millionen Anhänger. Einige wenige träumen davon, als professioneller Go-Spieler zu Ruhm und Ehre zu gelangen. In der südkoreanischen Hauptstadt Seoul gibt es eine Ausbildungsstätte für Go-Spieler.</span> <a class="LinkMehr" href="http://www.faz.net/aktuell/gesellschaft/video-der-traum-vom-grossen-ruhm-als-go-spieler-14148794.html" style="background-image: url("/img/f50_sprite_vert.png"); background-position: 100% -1363px; background-repeat: no-repeat; border: none; color: rgb(198, 0, 0) !important; cursor: pointer; font-size: 10px; margin: 0px 7px 0px 0px; outline: 0px; padding: 0px 7px 0px 0px; text-decoration: none;" title="Der Traum vom großen Ruhm als Go-Spieler">Mehr</a></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span class="Date" style="border: none; color: #434343; font-size: 11px; font-stretch: normal; line-height: 11px; margin: auto; padding: 0px; position: relative; text-align: center; top: 0px; width: 230px;">28.03.2016, 18:28 Uhr</span> | Gesellschaft</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span class="TeaserText" style="border: none; margin: 0px; padding: 0px;">Am 22. April 1966 fuhr die Gruppe 47 nach Princeton. Es wurde die berühmteste Klassenfahrt des deutschen Literaturbetriebs. Ein Gespräch mit dem Schriftsteller F. C. Delius, der dabei war. </span><a class="LinkMehr" href="http://www.faz.net/aktuell/feuilleton/buecher/friedrich-christian-delius-ueber-gruppe-47-in-princeton-14182555.html" style="background-image: url("/img/f50_sprite_vert.png"); background-position: 100% -1363px; background-repeat: no-repeat; border: none; color: rgb(198, 0, 0) !important; cursor: pointer; font-size: 10px; margin: 0px 7px 0px 0px; outline: 0px; padding: 0px 7px 0px 0px; text-decoration: none;" title="Saßen Sie auch auf dem elektrischen Stuhl?">Mehr</a></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span class="Date" style="border: none; color: #434343; font-size: 11px; font-stretch: normal; line-height: 11px; margin: auto; padding: 0px; position: relative; text-align: center; top: 0px; width: 230px;">19.04.2016, 13:53 Uhr</span> | Feuilleton</span></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-17705972619750973.post-5200985574526073642016-04-01T21:17:00.000-07:002016-04-07T05:21:33.109-07:00HANDKE MAGAZINE MAGAZINE INDEX<b><a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a> </b><br />
<span style="color: #0000ee;"><u><b>COMPLETE</b></u></span><br />
<span style="color: #0000ee;"><u><b>&</b></u></span><br />
<span style="color: #0000ee;"><u><b>ITEMIZED</b></u></span><br />
<span style="color: #0000ee;"><u><b>INDEX</b></u></span><br />
<span style="color: #0000ee;"><u><b>OF </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2016/04/handke-magazine-magazine-index.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>& </b></u></span><u style="color: #0000ee;"><b>sub-sites &</b></u><br />
<span style="color: #0000ee;"><u><b>spillover</b></u></span><br />
<span style="color: #0000ee;"><u><b>from ArtsCritic, Translation-Plus & AnalyticComments blogs</b></u></span><br />
<span style="color: #0000ee;"><u><b> =</b></u></span><br />
<span style="color: #0000ee;"><u><b>500 + Entries!</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>handke.drama</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/httphandke-dramablogspotcom201005index.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>handke.scholar:</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2010/05/index-page-for-handke-scholar-and-all.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>handke.watch:</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/05/index-page-for-this-and-all-other.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>handke.revista-of-reviews</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>handke.discussion:</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>handke.trivia</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2010/05/index-page-for-this-and-all-other.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>handke.yugo</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>Moravian-night.discussion, etc</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>ITEMIZED BELOW</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><span class="Apple-tab-span" style="white-space: pre;"> </span> =0=</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>HANDKE MAGAZINE MAIN</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2014/03/the-hub-navel-to-todos-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>INDEX TO PORT ENTRANCE</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2016/03/mostbeloved-prize-child-baby-peter.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2016/03/peter-handke-receptioin-in-german.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/12/opening-tease-of-summary-essay-on.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/12/keys-to-city-of-belgrad.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/12/2015-round-up-of-handke-magazine.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/12/letter-to-new-yorker-about-their.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/11/scott-abbbotts-translation-of-handkes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/11/handkes-moravian-nights-scheduled-for-d.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/10/httpwww.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/08/the-death-of-reading-call-for-discussion.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/08/peter-handke-blickt-auf-sein-jahr-in.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/04/peter-handke-ny-times-50-year-horror.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/02/else-lasker-schuler-preis-fur-sein.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/01/peter-handkes-aranjuez-to-be-done-at.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2014/12/2014-news-summary-2015-foreshow.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2014/11/links-to-handke-drama-photo-collections.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2014/09/celebrating-handkes-ibsen-prize-drama.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2014/03/the-hub-navel-to-todos-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2013/12/meta-data-for-handke-project_4374.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2013/05/addendum-to-handke-gruppe-47-at.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2012/12/the-metamorphoses-of-peter-kaspar-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2012/11/seventieth-birthday-celebration.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2011/06/handke-idiot-savant-prize.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/main-script-mania-sitehttpwwwhandkescri.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/httphandke-dramablogspotcom201005index.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/httphandke-watchblogspotcom201005index.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/httphandke-discussionblogspotcom.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/httphandke-triviablogspotcom.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/httphandke-scholarblogspotcom2.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/httphandke-revista-of.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/httphandke-yugoblogspotcom.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>=1=</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>HANDKE.DRAMA INDEX</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/03/handke-you-tube-drama-performances.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/03/toc-of-handke-happening-roloff-assaying.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/03/2nd-page-of-unschuldige-reviews.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/02/part-i-2016-1994-us-handke-drama.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/02/iv-of-innocent-comments-directors-take.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/02/zuruestungen-unsterblichkeit-immortality.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/02/art-of-asking-kunst-des-fragens.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/01/comments-on-handkes-ich-und-die.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2015/10/handkes-kindergeschichteas-theater.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-magazin.blogspot.com/2015/01/peter-handkes-aranjuez-to-be-done-at.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2015/01/theater-y-handkes-beautiful-days-of.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2015/03/aranjuez-comments-for-world-english.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b> http://handke-drama.blogspot.com/2015/06/american-aranjuez-discussion.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2015/12/interesitng-2015-offending-audieence.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/01/comments-on-handkes-ich-und-die.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/10/die-unschuldigen-ich-und-die-unbekannte.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2015/10/handkes-kindergeschichteas-theater.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2015/04/seattle-unconducive-to-artists-part-i.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/02/zuruestungen-unsterblichkeit-immortality.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2012/02/platzregen-hour-we-knew.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2016/02/art-of-asking-kunst-des-fragens.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/10/les-belles-jour-de-aranjuez.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2015/01/theater-y-handkes-beautiful-days-of.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/11/peter-handke-thomas-oberender-50-jahre.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/09/celebrating-handkes-ibsen-prize.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/09/knausgard-laudatio-of-handke-ibsen-price.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/10/die-unschuldigen-ich-und-die-unbekannte.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/03/handke-wins-ibsen-prize.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://artscritic.blogspot.com/2012/09/handke-in-seattle.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/01/los-hermosos-dias-de-aranjuez-de-peter.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>\</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2013/07/par-les-villages-avignon-handkes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2013/01/dde-arbeit-des-zuschauers-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2012/06/handkes-forever-storm-wins-muehlheim.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>STILL STORM</b></u></span><br />
<span style="color: #0000ee;"><u><b>-drama.blogspot.com/2011/08/directors-view-of-forever-storm.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/08/still-storm-introductory-thoughts-on.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http STORM://handke</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/08/handke-immmer-noch-sturm-still-storm.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/08/background-material-for-still-storm.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/06/still-storm-discussion.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>https://plus.google.com/photos/106505819654688893791/albums/5640738175153983697</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2013/04/nikolic-awarded-gold-medal-to-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>STILL STORM</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/08/still-storm-introductory-thoughts-on.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke</b></u></span><br />
<span style="color: #0000ee;"><u><b>-drama.blogspot.com/2011/08/directors-view-of-forever-storm.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/08/handke-immmer-noch-sturm-still-storm.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/08/background-material-for-still-storm.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2014/06/still-storm-discussion.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>https://plus.google.com/photos/106505819654688893791/albums/5640738175153983697</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2012/01/how-handkes-ride-across-lake-constance.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/09/muehheimer-kaspar.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/09/excerpt-from-on-reading-how-reading.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/09/they-are-dying-out.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/06/traces-of-lost-philip-glass-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/05/robert-ciulli-ueber-handkes-kaspar.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/2011/04/until-day-sunders-your-two-comments-by.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>https://draft.blogger.com/blogger.g?blogID=2387157545353176427#allposts</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>=2=</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>HANDKE.REVISTA-OF-REVIEWS</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>INDEX PAGE FOR HANDKE REVISTA-OF-REVIEWS</b></u></span><br />
<span style="color: #0000ee;"><u><b> FOR REVISTA OF REVIEW MATERIAL FOR THE SEVERAL DOZEN PLAYS</b></u></span><br />
<span style="color: #0000ee;"><u><b>GO T0</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-drama.blogspot.com/</b></u></span><br />
<span style="color: #0000ee;"><u><b>================= </b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2016/02/vor-der-baumschattenwand-nachts.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2016/02/tagebuchern-2007-bis-2015.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2015/12/tage-und-werke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/11/peter-handke-thomas-oberender-50-jahre.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/11/horspiel-nr-2.html </b></u></span><br />
<span style="color: #0000ee;"><u><b> </b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/11/versiuch-essay-on-lucky-geglueckter-tag.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/am-felsfenster-morgens-mornings-at-rock.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/the-moment-of-true-feeling-die-stunde.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/weight-of-world-das-gewicht-der-welt.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/greeting-board-of-directors-begruung.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/the-lesson-of-st-victoire.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/geschichte-des-bleistifts-lhistoire-de.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/gedicht-die-dauer-poem-to-duration.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/aber-ich-lebe-nur-von-den.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/langsam-im-schatten-gesammelte.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/phantasien-der-wiederholung-fantasies.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/sorrow-beyond-dreams.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/rund-um-das-groe-tribunal-walkabout-de.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/gestern-unterwegs-yesterday-on-my-way.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/nonsense-happiness-leben-ohne-poesie.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/once-more-for-thucydedes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/a-childs-story-kindergeschichte.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/notizbuch-4.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2013/04/der-hausier-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/12/handke-siegfried-unseld-correspondence.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/10/versuch-uber-den-stillen-ort-reviews.html\</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/02/absence-die-abweseneit.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/06/moravian-night-reviews.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/02/across-chinesse-des-schmerzens.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/12/afternoon-of-writer-nachmittag-eines.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/12/lucie-im-wald-mit-den-dingsda.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/12/derbildverlust-sierra-del-gredos.html\</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/10/innerworld-outerworld.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/08/peter-handke-dragoljub-milanovic.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/08/immer-noch-sturm-still-storm-stormy.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/12/handke-siegfried-unseld-correspondence.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/am-felsfenster-morgens-mornings-at-rock.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/sorrow-beyond-dreams.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/once-more-for-thucydedes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2013/08/essay-assaying-fool-for-mushrooms.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/10/versuch-uber-den-stillen-ort-reviews.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/02/absence-die-abweseneit.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/06/moravian-night-reviews.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/02/across-chinesse-des-schmerzens.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/12/afternoon-of-writer-nachmittag-eines.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/12/der-bildverlust-sierra-del-gredos.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/07/my-long-piece-on-crossing-sierra-del.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/08/immer-noch-sturm-still-storm-stormy.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/kali-saltworks-which-has-not-been.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/my-year-in-no-mans-bay-niemandsbuch-t.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/william-gass-review-ofmy-year-in-no.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/repetition.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/short-letter-long-farewell.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/goalies-anxiety-at-penalty-kick.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/slow-home-coming-german-and-english.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/essay-on-juke-box-daniel-gutmann-etc.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/one-dark-night-i-left-my-silent-house.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/left-handed-woman-scott-abbott-and-few.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/04/review-of-peter-handkes-don-juan-short.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2013/08/essay-assaying-fool-for-mushrooms.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/the-moment-of-true-feeling-die-stunde.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://www.handkeprose.scriptmania.com/</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b> http://handke--revista-of-reviews.blogspot.com/2014/11/versiuch-essay-on-lucky-geglueckter-tag.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/weight-of-world-das-gewicht-der-welt.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/greeting-board-of-directors-begruung.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/the-lesson-of-st-victoire.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/12/handke-siegfried-unseld-correspondence.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/am-felsfenster-morgens-mornings-at-rock.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/geschichte-des-bleistifts-lhistoire-de.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/sorrow-beyond-dreams.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2014/04/once-more-for-thucydedes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2013/08/essay-assaying-fool-for-mushrooms.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/10/versuch-uber-den-stillen-ort-reviews.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/02/absence-die-abweseneit.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/06/moravian-night-reviews.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2012/02/across-chinesse-des-schmerzens.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/12/afternoon-of-writer-nachmittag-eines.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/12/der-bildverlust-sierra-del-gredos.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/07/my-long-piece-on-crossing-sierra-del.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/08/immer-noch-sturm-still-storm-stormy.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2011/03/der-grosse-fall-major-case-handkes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/kali-saltworks-which-has-not-been.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/my-year-in-no-mans-bay-niemandsbuch-t.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/william-gass-review-ofmy-year-in-no.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/repetition.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/short-letter-long-farewell.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/goalies-anxiety-at-penalty-kick.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/slow-home-coming-german-and-english.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/essay-on-juke-box-daniel-gutmann-etc.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/one-dark-night-i-left-my-silent-house.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/05/left-handed-woman-scott-abbott-and-few.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke--revista-of-reviews.blogspot.com/2010/04/review-of-peter-handkes-don-juan-short.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>========</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>=3=</b></u></span><br />
<span style="color: #0000ee;"><u><b>HANDKE.SCHOLAR</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2015/06/ubersetzt-von-peter-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2016/03/links-to-scott-abbotts-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2014/11/peter-handke-thomas-oberender-schreiben.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2015/06/peter-handke-leben-ohne-poesie.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2015/06/ceci-nest-pas-une-auto-traduction-zu.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2016/02/hoeller-handke-der-klassische.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2013/03/may-1966-princeton.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b> http://www.handke.scriptmania.com/favorite_links_1.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2014/09/excerpts-from-aber-ich-lebe-nur-von-den.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2013/03/seebald-on-repetition.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2014/10/lidiot-de-griffen-part-i.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2013/02/peter-handke-and-hermann-lenz.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>THE AUSTRIAN STATE HANDKE SCHIOLARLY SITE</b></u></span><br />
<span style="color: #0000ee;"><u><b> http://handkeonline.onb.ac.at/node/11</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2013/02/peter-handke-and-hermann-lenz.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2012/02/blog-post.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2010/09/singular-and-plural-regarded-from-and.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2011/10/ein-klarer-blick-fur-das-soziale-oben.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2011/08/handke-archiv-salzburg.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2011/05/time-capsule-peter-handkes-1989.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2010/07/not-so-brief-note-on-handke-reception.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2010/09/principle-of-langsamkeit-in-peter.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2010/10/easing-out-of-winding-down-25-year-plus.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2010/09/weiter-im-blues-karl-wagners-aufsatze.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-scholar.blogspot.com/2010/09/principle-of-langsamkeit-in-peter.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>=4=</b></u></span><br />
<span style="color: #0000ee;"><u><b>HANDKE.DISCUSSION</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-discussion.blogspot.com/2013/04/handkes-reality-surfeit-versus-david.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-discussion.blogspot.com/2012/12/comments-on-nyu-deutsches-haus-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-discussion.blogspot.com/2010/12/marie-colbin-review-of-herwigs-meister.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-discussion.blogspot.com/2010/11/malte-herwigs-handke-biography-meister.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>INTRA-LINK PAGES FOR ALL HANDKE-BLOGS AND</b></u></span><br />
<span style="color: #0000ee;"><u><b>HANDKE.SCRIPTMANIA SITES</b></u></span><br />
<span style="color: #0000ee;"><u><b>via</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>http://www.handkeprose.scriptmania.com/</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>1]] http://handke-discussion.blogspot.com/2010/11/malte-herwigs-handke-biography-meister.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>2] http://handke-discussion.blogspot.com/2010/04/most-remarkable-prose-poem-that-ought.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>3] http://handke-discussion.blogspot.com/2009/10/note-on-cuckooks-of-velica-hoca.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>4] http://handke-discussion.blogspot.com/2009/11/few-commments-on-handke-tale-kali.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>5] http://handke-discussion.blogspot.com/2009/12/morawian-night-tough-love-for-peter_22.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>6] http://handke-discussion.blogspot.com/2009/12/letter-to-robert-silvers-ny-review-of.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>7] http://handke-discussion.blogspot.com/2010/01/letter-to-david-remnick-at-new-yorker.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>8] http://handke-discussion.blogspot.com/2010/03/handke-reader-under-discussion.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>9] http://handke-discussion.blogspot.com/2009/06/best-handke-books.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>10] http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>11] http://handke-discussion.blogspot.com/2009/09/peter-handke-wounded-love-child.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>12] http://handke-discussion.blogspot.com/2009/06/part-ii-handke-psycho-bio-memoir.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>13] http://handke-discussion.blogspot.com/2009/06/scott-abbotts-bar-raising-comment-on.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>14] http://handke-discussion.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>15] http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>16] http://handke-discussion.blogspot.com/2008/08/just-little-excerpt-re-mcdonald-from.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>17] http://handke-discussion.blogspot.com/2007/08/ny-times-murders-handke-once-again.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>18] http://handke-discussion.blogspot.com/2007/12/yes-page-of-handke-day-with-your-apple.html</b></u></span><br />
<span style="color: #0000ee;"><u><b>19] http://handke-discussion.blogspot.com/2008/02/london-reviews-of-handkes-hour.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>20] http://handke-discussion.blogspot.com/2008/09/handke-withdraws-from-competition.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>21] http://handke-discussion.blogspot.com/2009/03/resume-of-handke-case.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>22] http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>23] http://handke-discussion.blogspot.com/2007/03/4-mireille-handkes-sense-of-place.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>24] http://handke-discussion.blogspot.com/2007/02/part-3-weller-handkes-poetry-of-handke.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>25] http://handke-discussion.blogspot.com/2007/02/2-posting-wefelmeyer-handkes-drama.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>26] http://handke-discussion.blogspot.com/2007/02/incremental-eventually-complete-essay.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>27] http://handke-discussion.blogspot.com/2006/10/anouncement.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>28] http://handke-discussion.blogspot.com/2007/04/letter-to-phi-beta-kappa-members-re.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b>29] http://handke-discussion.blogspot.com/2007/03/b-c-reverse-of-initial-posting-of-open.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>30] http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>31} http://handke-discussion.blogspot.com/2010/09/neil-gordons-review-of-handkes-del.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>======</b></u></span><br />
<span style="color: #0000ee;"><u><b>=5=-</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>HANDKE.WATCH INDEX</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2016/03/handke-interviews-on-you-tube.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2013/04/nikolic-awarded-gold-medal-to-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2012/11/der-groe-kunstpreis-des-landes-salzburg.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2015/01/wenders-handke-at-museum-of-modern-art.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2012/11/der-groe-kunstpreis-des-landes-salzburg.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2012/05/handke-bondy-zeit-interview-may-2012.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/10/call-for-handke-symposium.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/09/lothar-struck-finally-gets-some-notice.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/10/summary-letter-to-jonathan-galassi-of.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b> http://handke-watch.blogspot.com/2010/08/peter-handke-ein-jahr-aus-der-nacht.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/08/colbin-reads-handke-back-at-him.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/08/handke-auffuerng-im-austria-house-in.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/08/handke-honor-his-own-current-french.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/06/first-handke-stamp-martin-krusche-of.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/06/handke-weinzierl-talk-about-soccer.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/06/httpwwwburgtheateratcontentnode2homespi.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/06/is-handk-shtupping-her-or-not-is.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/06/handke-euripedis-helena-translation-and.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/06/handke-weinzierl-talk-about-soccer.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-watch.blogspot.com/2010/06/zsolnay-verlags-peter-handke-freiheit.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>1] http://handke-watch.blogspot.com/2010/05/index-page-for-this-and-all-other.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>2] http://handke-watch.blogspot.com/2010/05/announcement-regarding-indexes-to.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>3] http://handke-watch.blogspot.com/2010/04/yugoslav-discussion-page.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>4] http://handke-watch.blogspot.com/2010/04/handke-discussion-page-try-to-focus-on.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>5] http://handke-watch.blogspot.com/2010/05/storm-still-now-storming-round-storm.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>6] http://handke-watch.blogspot.com/2010/05/invitation-to-inquiry-into-witchhunt.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>7] http://handke-watch.blogspot.com/2010/05/handke-yugo-blog-spot-has-become.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>8] http://handke-watch.blogspot.com/2010/05/index-page-for-this-and-all-other.html</b></u></span><br />
<span style="color: #0000ee;"><u><b> </b></u></span><br />
<span style="color: #0000ee;"><u><b>9] http://handke-watch.blogspot.com/2010/04/handke-reader-under-discussionapril.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>10]http://handke-watch.blogspot.com/2010/04/note-on-handkes-slow-home-coming.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>11] http://handke-watch.blogspot.com/2010/04/note-on-handkes-slow-home-coming.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>12] http://handke-watch.blogspot.com/2009/11/intro-to-comment-on-handkes-kali.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>13] http://handke-watch.blogspot.com/2009/11/handke-milosevic-controversy-roundup.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>14] http://handke-watch.blogspot.com/2009/12/handkes-storm-still-title-derives-from.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>15]http://handke-watch.blogspot.com/2009/12/handkes-storm-still-title-derives-from.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>16] http://handke-watch.blogspot.com/2010/01/note-on-pyotr-handkes-die-tablas-des.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>17] http://handke-watch.blogspot.com/2009/09/truth-and-poetry-and-lies-handkes_2817.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>18] http://handke-watch.blogspot.com/2009/09/ein-kurz-kommentar-zu-lothar-strucks.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>19] http://handke-watch.blogspot.com/2009/09/ctd-discussion-of-keuschnig-strucks.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>20] http://handke-watch.blogspot.com/2009/11/weinzierl-inteview-with-handke-re.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>21] http://handke-watch.blogspot.com/2010/06/httpwwwburgtheateratcontentnode2homespi.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>=6=</b></u></span><br />
<span style="color: #0000ee;"><u><b>HANDKE.TRIVIA INDEX</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2010/05/index-page-for-this-and-all-other.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2014/11/handke-ny-times-deficiencies.html</b></u></span><br />
<br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2014/10/and-yet-another-drama-prize.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2014/11/anna-kinders-handke-buch.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/09/auf-den-spuren-vonpeter-handke-film.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2014/01/premiere-griffen-auf-den-spuren-von.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/12/handke-verteufelt-hans-barlach.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/12/end-of-2012-handke-trivia-collection.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/11/handke-peter-wieser-lojze-die-sprachen.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/06/handke-note-from-synopsis-of-grass-poem.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/07/man-wei-ja-von-handke-dass-er-die.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/10/bundesprasident-fischer-am-donnerstag.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/05/handke-interview-re-france-sarkozy.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/10/sz-interview-of-oct-2012.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/05/tween-teens-competing-in-handke-reading.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://www.handke.scriptmania.com/favorite_links_1.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/06/begegnung-mit-peter-handke.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/03/list-of-prizes-handke-has-won.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/04/my-two-whores-and-peter-handke-play-by.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<br />
<span style="color: #0000ee;"><u><b>http://handke-trivia.blogspot.com/2012/03/list-of-prizes-handke-has-won.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>============</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>=7=</b></u></span><br />
<span style="color: #0000ee;"><u><b>HANDKE YUGOSLAVIA INDEX</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2015/12/handke-my-place-is-with-you.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2011/06/wandel-der-handke-rezeption-mit.html </b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2015/05/handke-wettert-gegen-westliche-politiker.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2014/09/yvind-bergs-attack-on-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2014/05/durantayes-infamy.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2012/11/stephan-jungk-peter-handkes-serbische.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2010/07/english-language-interview-with-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2010/10/botho-strau-on-handke-and-serbia-et.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://handke-yugo.blogspot.com/2011/08/handkes-politische-serben-klage.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b> 1] http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<br />
<span style="color: #0000ee;"><u><b>2] http://handke-yugo.blogspot.com/2010/05/lead-page-periodically-updated_10.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>3] http://handke-yugo.blogspot.com/2010/05/opening-salvo-open-letter-decimation-of.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>4] http://handke-yugo.blogspot.com/2010/05/psychoanalytic-page-mass-and-class_15.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>5] http://handke-yugo.blogspot.com/2010/05/summary-of-handke-yugo-controrsy.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>6] http://handke-yugo.blogspot.com/2010/05/austrian-writer-peter-handke-european.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>7] http://handke-yugo.blogspot.com/2010/05/voyage-by-dugout-play-that-came-out-of_10.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>8] http://handke-yugo.blogspot.com/2010/05/dear-mrrs-sulzberger-kelleret-al-i.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>9] http://handke-yugo.blogspot.com/2010/05/back-ground-texts-habermas-etc.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>10] http://handke-yugo.blogspot.com/2010/05/roloff-breviary-of-handke-position.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>11] http://handke-yugo.blogspot.com/2010/05/handke-die-tablas-des-daimiel-with.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>12] http://handke-yugo.blogspot.com/2010/05/discussion-page.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>13] http://handke-yugo.blogspot.com/2010/05/consequences.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>14] http://handke-yugo.blogspot.com/2010/04/history-of-yugo-slavia-and-its-break-up.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>15] http://handke-yugo.blogspot.com/2010/04/human-rights-watch-resource-for-crimes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>16] http://handke-yugo.blogspot.com/2010/04/interviews-with-handke-about-his.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>17] http://handke-yugo.blogspot.com/2010/04/cross-sections-of-opinions-on.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>18] http://handke-yugo.blogspot.com/2010/04/two-futher-handke-pieces-in-german-on.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>19] http:/handke-yugo.blogspot.com/2010/04/gerechtigkeit-fuer-serbien-by-peter.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>20] http://handke-yugo.blogspot.com/2010/04/sorting-out-handkes-intervention-in.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>21] http://handke-yugo.blogspot.com/2010/04/this-is-first-piece-i-wrote-on-subject.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>22] http://handke-yugo.blogspot.com/2010/05/roloff-summary-of-handke-yugo.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>23] http://handke-yugo.blogspot.com/2010/05/handke-yugoslav-intervention-reception.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>24] http://handke-yugo.blogspot.com/2010/05/links-to-scott-abbotts-work-on-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>25] http://handke-yugo.blogspot.com/2010/05/roloff-summary-take-on-handkes.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>===============</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>=8=</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>MORAVIAN NIGHT DISCUSSION</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://moravian-nights-discussion.blogspot.com/2016/04/moravian-discussion-index.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://moravian-nights-discussion.blogspot.com/2012/06/anouncement-driving-directions.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://moravian-nights-discussion.blogspot.com/2012/10/serbian-translation-of-moravian-night.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://moravian-nights-discussion.blogspot.com/2012/11/french-review-of-la-nuit-morave.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://moravian-nights-discussion.blogspot.com/2012/12/french-reviews-of-morawian-night-la.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://moravian-nights-discussion.blogspot.com/2012/11/german-reviews-of-moravian-night.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://moravian-nights-discussion.blogspot.com/2012/11/roloffs-initial-2007-take-on-moravian.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://moravian-nights-discussion.blogspot.com/2015/12/opening-of-summary-essay-on-occasion-of.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>=9=</b></u></span><br />
<span style="color: #0000ee;"><u><b>HANDKE MATERIAL FROM ANALYTIC COMMENTS BLOG</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2014/10/handke-idiocy.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2011/11/reading-of-handkes-singular-plural.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2010/06/scotomization-verneinung-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2009/12/communication-about-handke-case.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2009/12/dear-louise-lambrich.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2009/09/peter-hhandke-wounded-love-child.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2009/03/resume-of-handke-case-opening-of-part.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2009/03/resume-of-handke-case-opening-of-part.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2009/02/part-1-of-condensed-psychoanalytic.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://analytic-comments.blogspot.com/2010/05/index-page-all-handke-blogs-and-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>&</b></u></span><br />
<span style="color: #0000ee;"><u><b>SOME SPILL-OVER TO MY ARTS CRITIC BLOG</b></u></span><br />
<span style="color: #0000ee;"><u><b> DUPES OF MATTERS THAT STRADDLE THE TWO REALMS</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://artscritic.blogspot.com/2010/05/index-page-for-this-and-all-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>http://artscritic.blogspot.com/2012/09/handke-in-seattle.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>An entry from:</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://translation-plus.blogspot.com/2015/06/ubersetzt-von-peter-handke.html</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>also see:</b></u></span><br />
<span style="color: #0000ee;"><u><b>http://www.handketrans.scriptmania.com</b></u></span><br />
<span style="color: #0000ee;"><u><b>for pieces relating to translating Handke texts.</b></u></span><br />
<span style="color: #0000ee;"><u><b><br /></b></u></span>
<span style="color: #0000ee;"><u><b>THAT’S ALL FOLKS!</b></u></span><br />
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<span style="color: #0000ee;"><u><br /></u></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0