Biographical allocations.
life paths in Norbert Gstrein's novel "The Register"
Julie Rehnolt
The novel "The Register" by Norbert Gstrein divided into a Prologue, Part I, an intermezzo, part II and a Epilogue.
travel in the prologue, the brothers Vincent and Moritz to her hometown to attend the wedding ceremony of the joint participate ex-girlfriend Magda. Almost by chance, they meet at the arrival on the domestic station, because they are unconsciously driven by the same train. Part I and Part II found in the living room of his sister Kreszenz, a "[...] unclear, [...] acting elderly woman [...]" (p. 25), instead, expressed by the parental home. The epilogue is situated in the flow of the wedding festivities.
Vincent, the elder of the brothers, Moritz and travel back to the place of their childhood, but this is not only formally, display and content, the biographies of the brothers. In the first place in the sister's living room is done by means of photo albums and questions Kreszenz ', that many and initiate extensive memory sequences: "Whether it [the living room] nothing but a model of a still life, only the background when we tell ourselves, or rather refuse to tell and memories sink in more and different" (p. 33)?.
The childhood of the brothers is another rivalry and competition among themselves. Both vie for the attention of the father, but remains oddly unrelated to his sons, which it has just as its product. That and to the father figure is discussed later. In any event, the brothers follow different life cycles. Vincent is a professional athlete who actually makes a great career, and to crown the World Champion title in the Slalom wins. After a serious accident, he must end his career as a skier, however. He then opened a cafe in town (it is never said, to which city it is, rather, seems> city, the antithesis of \u0026lt;to> Village \u0026lt;present, is about to be discussed later), this must include, but soon, for economic reasons and is now traveling through Europe on several occasions. Moritz, however, is taken in the city on the study of mathematics, which he revered almost sensual, and whose "[...] feel of a non-existing world" (p. 229), he succumbs. He is an assistant professor at the chair and finally himself. His students' enthusiasm, however, is long fizzles, it increasingly takes his work is no longer seriously, but spends his working hours in the coffee room, where he plays sink ships with colleagues and plays poker. Ultimately, he resigned and has been converted to the idleness - he is walking and in his local pub.
addition to these contradictions of childhood and the CVs but there is also a great similarity to one another of the brothers, the same in the prologue up is invoked: "[...] while Moritz Directions noise on the output is received on the platform underpass, not taking his eyes from the disappearing taillights, her red, red fuzzy glow - and when he turns around one last time, suddenly - as he sees it - suddenly stands Vincent, in front of him, and he does not know what to say or do, it looks just like a phenomenon and looks, looks again, and again defenseless, how similar they are. "(p. 14). A few pages further Vincenz's arrival described "little light on the platform. And in it he recognizes when he gets out, a man, and immediately: It is Moritz, and while chasing him to the output is received, step by step closer, he looks at him and sees sees again and again defenseless how similar they are [...] "(p. 17).
by almost verbatim repetition of the situation the brothers are introduced as almost mirror images. This motive intensifies in the epilogue to even when acting during the wedding celebrations Vincent and Moritz as follows: "I see a few tables away Vincent, he looks at me, or no, he looks at me not, he is sitting there with closed eyes, probably drunk, and somehow it seems as if he thinks he's invisible if he just does not look - as children believe - and he seems surrounded by a region of absolute silence, I see all possible, I more or less known people, I see Magda, I see Kreszenz as poking around with a toothpick in her mouth as she, a Hand in the other, her hands holds up, bashful, insolent, sucks, and with a hiss between his teeth air, I see the minister [...], as he lit a cigarette and greedily attracts her, and when the smoke in rings ejects, it works präpotent. I see the minister [...], as he lit a cigarette and greedily attracts her, and when he lets out the smoke in rings, it does präpotent, I see Kreszenz as poking around with a toothpick in her mouth as she, a hand in the other, holds up her hands, bashful, insolent, and sucks with a hiss between his teeth air, I see Magda, I see all sorts, I more or less well-known people, I see a few tables away Moritz, as he looks at me, or no, he looks at me not, he is sitting there with closed eyes, drunk probably, and somehow it's as if he thinks he's invisible if he does not look - as children believe - and he seems surrounded by a region of absolute silence. "(p. 297f.). The symmetry is enhanced to the extreme, if the brothers have the same view of society and have the same thoughts. They are confusingly similar. However, this similarity is
in the prologue with the addition of "defenseless" provided. Perhaps one can operate here with the term Selbstabrückung to succeed the brothers will not or can. While the memory of relapses in the living room of his sister sitting Moritz and Vincent together on the couch, and whenever Kreszenz want to start a real discussion by addressing words to the brothers, put these on each other, but remain - with one exception - the entire evening together on the sofa - without a word: "[...] we seem more and more a limitation of the doubt to move away from each other, instead of saying something [...]" (p. 112).
The communication is not successful. In general, there unrelatedness before in the family. The brothers are the names of her nieces and nephews, children Kreszenz add 'not, and it will also not particularly interested. Even among themselves it is the brothers right to go their separate ways. Unavoidable family events are completed as a compulsory program without concern.
In the biographies of the two indifference is also characteristic. Neither of the two leads closer relationship or has children. The Intermezzo is clear that even grave and existential situations such as declarations of love or grief are just hypocritical. The brothers despise unchanging and predictable patterns of behavior of each partner, as just emotion after the oath or comforter in mourning. It is more the isolation of the fascinating> lonesome cowboy ', the Vincent and Moritz.
also in relation to their professions that attitude is essential. The mathematician Moritz finally lost the early zeal and announces his job entirely, without that it is a desirable alternative. The initially enthusiastic sportsman Vincent it's similar. First, his sport is very important to increasing his self-doubts come to light, so that everything, even their own performance, degraded to a nullity and, finally, after his career ended, he met all with "apathy as a living" (p. 205).
Where does this attitude? To explore this, it comes from the father figure not pass. However, this father clearly on his own father, the grandfather of the brothers who directed "But from the beginning was the life, the story of his grandfather was his father's side dominant, in a family tradition that all that came from that direction, full advantage was, such an extent that father spoke of his genetic and educational potential, responsible for some of our properties are let it, and every blemish on my mother's cap and that of their ancestors came. "(p. 53). Moritz and Vincent hit the grandfather never imagine him as a hero and adventure. This grandfather was the owner of a hotel in an attractive tourist ski village (the location of the hotel owner also appeared in "One" or "The Kommerzialrat" on). The father can not connect as second son in his footsteps, but must leave the hotel business to his older brother. Instead, he became a teacher in the city.
This village is dominated by an enormous materialism - possessions and money are key issues and seem to determine the value system of the village. It is precisely this paradigm assumes the father, although he is now in the city, and transfer it to his sons: "We were surprised when Father presented us for the first time the bill -> Register \u0026lt; was his word - in an attention twice its original thickness swollen account book of black cardboard box with inlaid and glued cash slips, payment receipts and bills, and unbelievable, but true: it included all expenses listed in detail what had been needed them and, since its birth, starting with diapers and baby food, year after year, the food allowance and a clothing penny, Christmas and birthday gifts, school supplies, Vincent 'hospitalization, prescription lenses to prescription lenses, the Moritz was eventually broken, whatever had what they lost or ruined father's watch, the chronometer, scooters, tricycles and bikes, ski equipment or and yet - and together, Vincent, you so much, Moritz, you're so, this results in a number of important, one that would grow even more, over time, to terrifying six-digit millions and millions. Whether we were so much at all worth it? "(P. 82f.). The father is now demanding back exactly the amount issued, so that it stands at the end of zero to nil. The father
oscillates between palpable tyranny with senseless beatings to his sons and a lability, he plays the suffering and threatens in any way to get sick. Anyway, it's a fairly depressing childhood, which is summarized as follows: "[...] and they came in front of small and stupid, pathetic, a piece of dirt, and another piece, Vincent, Moritz [...] "(p. 90).
The father is indeed a teacher, but feels as a writer in disguise. Teachers existence it is only just bearable, he despises the institution, especially his colleagues and with it himself, for the brothers too the conclusion of: "[...] we were not teaching children, we were grandsons of a hotelier [...]" (S. 100).
It is this contempt of woman, the mother will finally learn the negative attributed, and work quite so immersed in the sons again.
"The register is" not only a family history. Rather plays beside the father and the country a major role in the prologue evokes the foregoing statement is. Here, significantly, Thomas Bernhard has his say. "How many of our talents, we could develop astonishing size in us, we would not have been born and raised in Tirol" (p. 6).
Gstrein engages in the text on the subject of Tyrol scolding, which unfolds in a view of a country's capital, preparing for winter games. On the surface there is a wild, pandering to local patriotism. The city feels like a glittering, sparkling and shiny world center. However, the homogeneous mass of city dwellers of strangely anachronistic figures is interspersed. It is the villagers who have found their way on the occasion of the games in the now sports capital. Their clothing is clearly rural and trams instead use it for moving tractors. They are past and people only characters on stage - always "Tyrolean with the addition," the only constitutes its real identity. From the splendor of a world city, it is far away. There is only the same old mediocre celebrities, average taste in art that is made known to more than choked with twisted aunts Ohs and Ahs, folk music evenings, literal basement theater, exhibitions mediocre painter and bad movies. General thus backwoods while complacent mentality is typical.
When it comes to Tirol addition to all of Austria, the country noted a disturbed self-esteem, language spoken and Sinnverfinsterung, a basic sense of guilt and a strong fixation on the particular origin. The latter two traits confirmed the following quote: It was again, "[...] from the outset to excuse himself, by himself to himself and to know at all with the most obvious guilty - like from a child to be unavoidable. And the top priority was to look at his background, they do not not for a moment careless, thoughtless to forget, or you got a bad name to be ashamed of her, and has been viewed obliquely from below and from above. "(p. 195). Any ravings from abroad must make an Austrian carefully and constantly enhanced with the dark side of the country. When Moritz after his return from a temporary stay in the U.S. even by its own merit, speaks and this is not immediately degraded as a pure, random luck, so "[...] was talking to him, pointed to its tick, and that before so and so been many years in the U.S. was, and since then - how can you say batty, since it went him no good. "(p. 196).
The United States is based on two brothers, a backdrop, in front of her Austrian identity is denied or ridiculed hard. wants "[...] I no longer his - atrial Vorarlberg, backpack Tyrol, Salzburg dumplings, cider skull upper or lower Austrians, SS Carinthia, cod or stone Styrian, Schleimscheißerwiener, Burgenland Witzenburg Countries - I: Moritz 'first thoughts on his arrival in San Francisco are will no longer be Austria. "(p. 179). The desire for Selbstabrückung is not only to individual memories, but also a greater Context of a deep-seated national crisis moored. Vincent also travels to the end of his career in the U.S. and even receives an offer from Hollywood. In a television series, he is to play a cameo role as an Austrian ski instructor according to the scheme blond, blue-eyed, stupid, its only text "I'm Austrian, hi, I'm Austrian" (p. 213f.) Is. The former world champion is only a caricature of himself, and is also ready to take on this role. The scene is but never aired.
The brothers are therefore subject to this complex and Austria in the text, this interaction have been compelling if it is after the previously quoted passage "[...] and they came in front of small and stupid, pathetic, piece of trash, and another piece, Vincent, Moritz [...] "in the sentence continues:" [...] a lot of abortions, often cited too much Austrian soul and soulless "(. p. 90).
This is in addition to the family genealogy from Austria as well as the determinant of a biography.
In conclusion as to a very interesting process Gstrein be demolished. In the text itself are reflections on the text and inserted under the heading stage directions in italics. These are based on the craft of his writing and theorizing the style of the novel. Is an example of is the brief introduction: One of the three stage directions begins: "With violence and so-called violent scenes as we would have to be sparing. Unbelievable but true, they had shown all too quickly implausible, exaggerated, and their effect tipped over. In an instant, yet repugnant, they were in the next you laugh or at least no more reason for concern. "(P. 87). And this is what is implemented in the text. There are actually a few violent scenes in the book, which are then placed in its extreme representation effectively just shocking, for example, the arbitrariness of his father's punishment. Equally disgusting is the scene of torture in the brothers one of them stray cat.
But it is not restricted to these proper discharge of the norm, but also reflects the failure to comply with other standards: "At the same time seemed all too simple knitted stories always suspect, with introduction, body and conclusion, as in school, and we usually had enough, when we needed from the barrel of a plot only heard. In these stories the heroes wore their birth and their forced terrible childhood become something of an indicator - a mark of Cain -, invisible, out of which then led step by step, everything, murder or suicide at the end "(p. 128f.. ). This happens in "The Register is not." The point at the end the brothers, is not dramatic event, but they sink, on the contrary, in pure idleness, the Austrian sloppiness.
of fathers and daughters and fathers and sons against remembering or remembering and telling stories to designing.
An attempt to Norbert Gstrein "next day"
Grit Loitzsch
With thirty years of George begins the story next day in the "tube" of a room by a perceptive apartment in the district Wilten one am Inn, Austria tourist city. George dissociated into a present narrator and a personal memory of the narrator, whose life at the seemingly "cheap [n] Trick, a story only when the news came: Kathrin dead" [1] reconstructed and will be questioned. In eleven chapters, each about 10 pages accompanied to the I of the presence of George, his Past-alter-ego and the Hobby-editors of a local, seemingly biting satire magazine Kampl, the two Schroeck and Ewald in the experiments, the mayor Grams a political scandal demonstrate and explain to Kathleen's life and death. At that journalists first round also includes George, but the more persistent Kathrin including want, the more George retires. The acquaintance of George and Kathy remains nebulous, is closely linked with the discovery research of George. Acquaintance with and research also coincides the beginning of a book project of the narrator, but the notice required remain - "one afternoon, suddenly, as without my help, they found the first sentence, not a line long. I started "- [2] classified strangely inaccurate. As vague the message breaks from Kathleen's death came over George. How often in Gstrein works are the narrative layers and layers of time neither chronological nor consistent, but contradictory, picking and often within a sentence durchkreuzend arranged in next day. reconstruct the attempt, the election fraud of the Mayor Grams by editorial or seemingly scientific research to be able to motivate, rumors and an accident with personal injuries after a festival, caused by the bailiff fails in a court case in the oral memories, speculations and opinions. George's reasoning model of the coterie of old brothers connection is deleted from the other editors. Also, Kathleen's life and character to refuse to George's narrative intent. Psychological insights, such as selective perception, orientation or temporal order of causal patterns of the experienced, retrospective reinterpretations or the emotional impact on the construction of reality in the medium of language interviews Gstrein means of a deeply insecure, withdrawn, relationship-impaired narrator and author, traces of reality based on his mistress, his relationship and his life, indicating pre-setting design, contrasting flashbacks and statements third Respondent in the writing process fails, the beginning just as murky as its continuation is: "It was only months later, the sentence was written was to him again his first thought: that so now, everything could be was killed or took a step aside, and it was nothing. " [3]
The facts are confined to Kathy that she was blonde, light eyes and her mouth was like bright red paint. The only non-writing, but the "little adult" drawing Kampl they characterized as "lousy poet bride, Dreckskuh" [4] with intellectuals half-glasses, "you fuss, that they all great place and asked, standing there, with bright eyes -. until you drove a between the legs and gave her what she needed, " [5] This description at the beginning of the story contrasts sharply with George Kathy perception northern German as a Professor daughter, who stands between rebellion and adaptation to the father's values and contribute to world analogous to George, left early on the all-powerful father to his character as a measure of her life with him. But while George fascinated at the beginning of the strange and maladjusted to Kathy outweighs "[i] the few weeks that they slept together," n [6] ultimately want to please in his perception of her compulsion to belong, the change from the attractive unusual word choice and emphasis of this woman - "Here had the story, which told Kathy, her eyes shone, they seemed eloquent; when she was silent, " [7] - to the actors be temporary waitress at the stage of the basement theater" they did - or betrayed the spotlight just about as much " [8] » In your own room, she seemed to be yourself, "want to believe George, referring to the fragile perception of personal identity that results from the psychologically motivated attempt by the people, the expectations of the social environment in their power and mechanisms of action to be situational needs , therefore by any change of Umgebungskonstituenten an adjustment performance of identity, a behavior change leads. "For George was to the perverse, the truth that Kathy was advertising the magazine, but even, so she stood behind a bottle, laughed, ran, walked up and down and poured beer in glasses, a bright image in their clothes, the red painted mouth, [...] and everything seemed a bit -. and therefore too much, " [9] The uncertainty about Kathy George throws back to himself and his precarious situation leads to the poetic reflection of the author, therefore, the uncertainty in the reader about the received and to recipients': had He cared little about her, not her listened to or what he heard, forgotten because it was all too much: he was in his own confusion not get along, could only say yes if they are not deviated, or else he had a spell at hand. He talked about when he thought about it or anything to speak. " [10]
memory serves, consequently, Georg, Order of him demanding simultaneous perceptions, speaking and writing about the new role of self-disclosure and -certainty in the veil of another any topic that is discussed in the medium of the word from the perspective of a seemingly detached individual, and constructed by selectively assembled, adjusted by subjective is irrelevant, but says little about a possible objective world, as about their perception by an individual and their attempt at the same construction or fiction.
George's self-doubt lead to an anger at Kathy to him his past and his status as an outsider [11] especially in the village of his parents, his beaten him as a child-to-do father wielded so that it only dispute appeared "that he could empathize, knowing what he hit the most. There was the father, her parents' [12] until he finally "knew the taboo, "and" the language that more and more seemed to be missing, as a sign of another defect - or as a reason for "exposing the end of the relationship," there was little to say and what little could only scream, she had shocked and speechless again. " [13] His speechlessness towards women activated the violent legacy of his father. George helpless, speechless hitting the reader is inevitably linked to the nightmares of the beating and only at eye level and the father being the fifth chapter opened telephonic conviction of Kathleen's death by their father in front of Freud's interpretation horizon received. But satisfied the same psychological explanation is not George, if he wants to Kathleen's back and forth between rebellious individualist and guide back to the intellectual circle drawn-out professor's daughter on the transfer figure of the father. "It seemed too easy, what was not to resolve to push in the past, to a father, the only hit the debt, until further thought, he saw himself as a son, and on and on, that in the end everything at a very early fell, or was lost in time. " [14] Gstrein his character George in passing known (psychological) interpretation pattern is as useless as unsatisfactory substitute constructions To expose those showing neither solution strategies may be more future-oriented.
Kathy mutated in the eyes of George to one of "titles and Klimbim" [15] impress: "There in her room, she was receiving, left all alone - had them together: there were meetings over coffee and cake, wreath, to which George did not attend, since he suspected that more and more disintegrated by it, of themselves and between them long ago. It was the imagination, an idea of purity - the very word - the idea that she hardly knew: the happy life, that of the thinker, that she did freely: it was their right, it must be entirely based on the guarantees, in books, on the death of dead poets who thought they were sexless, or there was something, a thought. Or if he slept with her. That they did not took him seriously, and his manhood its opposite proved to Sankt Nikolaus, Mariahilf, " [16]
Even a moped ride for two" After Mühlau [...]: ans grave of the poet, "the desire to dance, and the recourse to her in the middle of the night after dreaming he anticipated her death and to reassure him, only her vivacity, could not stop the failure. [17] George breach of trust, reading in Kathleen's diary appears in the discovery of an affair to justify that is by Gstrein but only as an association of George suggested and also the characterization of Kathleen's remains in this context means the subjunctive pure speculation, "In the diary was described as though Kathy laughed when they feel like had it, or they did not, much remained unclear, many little things - and in sizes: Large, there was little "Not least, this sounds Poetic concept out of the author, he bombed its recipients but with many little things. and much can be unclear. This explains all of Kathleen's death differently or not at all like George, for some it is not suicide, because " outside the home "and is" in a truck "moves [18] , but even this death scene is available only as hearsay in the text. George finds out on a postcard, he holds against Ewald's theory of suicide, the inability Kathrins to drive a car, and ignored stories of the friend Kathy, the separation was wounded very badly. The George is the only mutual friends designated pair of a housewife and her doctorate husband who reveals a point of comparison for Kathy and it serves, George of the pride of the woman on the track of her husband, another human constituent, which is contrary to the perception of reality, "perhaps It was enough to believe in something and you needed any more. " [19]
His separation from her is taking place slowly, consciously and unconsciously, intentionally and hated, not least because its real speechlessness his writing skills and vice versa: "If he wrote - sometimes hope for a reason, he had to laugh whenever he to an almost blank sheet paused. It did not help to look into the past: a beginning, chains of cause and effect, because nothing was modified, everything was slanted, when he made a decision when he said yes and no, the next moment. In general everything seemed unclear, why lonely when he finally alone was, or his desire to tell - which he saw what he had heard how sometimes after a cinema, a day in the city. Then, little more, and he had run to her.
If he did not think about it: once he had one weeks elapse between a visit and the next, and as often as Kathy came, he felt disturbed. He could not compete against the compulsion to work, they stood in the way - as apparently the last obstacle before the new. It was the decisive sentence, " [20] With these words refers to his Gstrein Poetic method of storytelling to the stringent, a totality or reality-constructing narrative, its production of contradictions and uncertainty in the recipient, the negation of the first said by another and the high-frequency use of the phrase, it seemed ', which should already become clear by the recent citations. Says Georg protests at the end of the story: "if he proposed - usually once," but "the" couple of times, if he had not stopped after the first time, he delivers to the next sentence. [21] not just the hearsay of others George perception is contrary to his own assessment suggests immediately into its opposite or diverges with earlier he mentioned positions. By Gstrein the reader examples of George's perception and memory of its excess and confusion of time levels and subject areas leaves, he shows the overlay layers and competing versions of interpretation and the helplessness of an individual in the acquisition and orientation in the world. New is primarily the ability to reflect his protagonists, who not only Kathleen's attempt at a desired individuality to their general popularity, and therefore recognized affiliation sake of looks, but also its own weakness and helplessness in dealing with him demanding him Spurious wife: "It George was comfort, that he pushed everything on it, its weakness is admit never know how much he noticed every detail -. if something went wrong " [22] something unsatisfactory, he divorces his recipient, if George's solution to its problems in the well-known fresh start somewhere else is, with as little dietary fiber which to memory associations would lead to new.
Poetry in the approach of the narrative of a failing story, which is motivated by its theme, language, new to their world-ordering function questions, the subject dissolves into various personalities but it can make a fresh start and the casually scattered poetological reflections of its recipients challenging Author if he can reveal his protagonist at the end: "Only in the memories had only the words meaning: when he was alone and did not know what came from others, and what he himself, when he wondered if he negligently had. " [23] The urge to write, the separation of the author from the rest of the world as a prerequisite for writing, for stringent focus on an activity reconciles the author Gstrein again with popular notions of the literary world as well as the unanswered question of guilt from him of his protagonists.
Gstrein [1] Norbert: next day. Narrative. Frankfurt aM: Suhrkamp 1989, S. 12.
[2] Ebd., S. 9.
[3] Ebd., 13f.
[4] Ebd., S. 17.
[5] Ebd., S. 17f.
[6] Ebd., S. 12.
[7] Ebd., S. 25.
[8] Ebd., S. 38.
[9] Ebd., S. 47.
[10] Ebd. S. 37.
[11] »Dabeizusein was repugnant to him, he turned against it, even though he knew how hard: a tailor, when all was nothing, and every nothing - there was no room, or you saw where one was ., "p. 33
[12] Ibid., P. 37
[13] Ibid., P. 72
[14] Ibid., P. 71
[15] Ibid., P. 38
[16] Ibid., P. 72
[17] Ibid., P. 67
[18] Ibid., P. 31
[19] Ibid., P. 79
[20] Ibid., P. 91
[21] Ibid., P. 99
[22] Ibid., P. 45
[23] Ibid., P. 112
contemporary literature and historical baggage
Grit Loitzsch
As Jorge Semprun the Literature Prize of the Konrad-Adenauer-Foundation in 2001 gave to Norbert Gstrein, he characterized the drive for writing as follows: talk "What you can not write [...] it must be. may be silent no one. " [1] But is Gstrein works silent whenever would be actually communicating, and when it is announced, the result can often be described as a new phrase of silence and talking at. Seems central to the author, who earned his doctorate on the logic of the questions, hence the question of the relationship between language and reality, or whether language can succeed representation of reality. Was it already in next day and the one question that language fails as a means of communication and medium of insurance over the world, then this speech, without saying anything and without reaching the opposite, driven into the narrative self-portrait with a dead woman on the top. The key points of the story are reminiscent of an experimental arrangement: Five-telling days correspond to the five working days and five chapters in which it rains incessantly and a doctor whom she seems to be delivered long tedious border writers be life companions and his wavering between self-doubt and overbearing arrogance monologues. Gstrein uses the figure of the female analyst, the self-exposure of the author the recipient indirectly, broken by the rating and description to convey the life-partner. Reality or what we believe it is only in the medium of language and perception as a single employable, and therefore more selective reconstruction and subjective interpretation. While the author in the text dissolves in self-pity, of inability to be because he is surrounded in all respects (writing skills, appearance, loyalty) defeated colleagues and still incapable of critics in a backwater, it is possible his partner not to interrupt his monologue to finally they existentially depressing experience of the suicide of a female patient speaking process. The background of this event remain consistent in the dark and the banality of mainly on the award of the Central European Literature Award in Vienna must appear to the only writer among the nominees Panel Exciting in the face of death out of real desperation more trivial. The story also discussed again the central theme of individuality and authenticity counterproductive conformism, conformity and Piggy-backed unit. Gstrein also indicates the reciprocity of individuality and belonging, if the writer anhimmelnde over the Wernicke and the thumbs its nose at ingratiating behavior of his fellow journalists to meet Friday to an old acquaintance, and convert an editor over his hatred of the Wernicke benevolent criticism, in order to keep talking. Parallels narrated by the author Gstrein writers are especially clear when the critics recommend that "in your village history to stay" and the topic of the exile Harrasser as "a size too big for you are." [2] This will not last intertextual played by Gstrein on previous novel The English Years, in which the female protagonist instead of their friend Max the identity of the exiles Harass Sers in England traces, but leaves unfulfilled the intended book project, while Max of this idea is not to dissuade and had played without the necessary research his "Homage to Hirschfelder," 5 years ago. Gstrein processed in self-portrait with a dead therefore their own experience with the literary and the preparation of a conflict the Jews and the Third Reich thematizing novel. Managed and self-reflective are especially the passages about the critics and the organization purchased the arms reading of a consul. The attribution of the Wernicke as "naive," "teachers delusional" and "shamelessness" marked "Diva" by the scrolls in their literature not even on the toilet-to-do writer partner, the quality of all the more convinced than "Vorpubertätspoesie" and "self-exposure" denigrated [3] , is by the critics in blank, uncharacteristic comparisons à la "prose such as velvet and silk," or "flower in the desert" wrong and context of high-profile meeting with the friendly editor Marianne also the writer assumed that now no longer speaks disparagingly of "the Wernicke," but the "wonderful" letter "of the worthy winner," "Weltumarmerin" and "romanticist" Annette points out. [4] without fail, self-reflective, and above all entertaining Gstrein charged with the literary and the narcissistic Inszenierungswut of authorship on this story. Again locates Gstrein his story in the context of a failing couple relationship that is portrayed in contrast to another tag from the female perspective, but again typical language of distance and to be shaped gesture of closeness seems as if committed to the narrator, that even on the Friday where her partner without them prepare his old acquaintance of "a [r] blonde, as she was not a picture book, a [em] Mordsweib placed" against named Marianne, against his winning smile not important [5] or if they aufschrak because of the quietness and its proximity has turned into an animal, in "an unbridgeable distance," [6] so they finally more of a relationship with his things when he feels too. In addition, stands between two of the unkommunizierbare death of patient who wanted to talk to her doctor and was stopped by her boyfriend on the phone screaming it. [7] Consequently also addressed this story Gstreinsche the individual guilt of the protagonists. One of guilt, shame and inhibition fatal charged, and thus ensure the at the mutually influencing relationship between language and reality Author Gstrein interested charming discourse is the subject of the previous novel The English Years. This critically emphatically praised novel is increasing with the memory of the narrator one to designate the motivation for their research at the supposed Jewish Gabriel Hirschfeld, who turns out to be Austrian Harrasser, and seamlessly continued although written later, but on the narrative level of events preceding self-portrait with a dead on:
"If I remember right, was Max just returned from Vienna where he crashed his Homage had carried him to his "Homage to Hirschfelder," for which he has only rejected doilies. The occasion does not matter, but maybe it was trying to be on track, I talk him out in vain, because I had displeased the Perfumed it has from the beginning, and I remember how much he met the allegations that he had only to a fashion attached, there would be no other reason for him to deal with displaced less so than it was a Jew, he knew nothing to the exile and would stay in his village stories, rather than stiffen on an adventure that for it can only go wrong. It had then no day given, on which he had not started to justify himself for it, and subsequently with his monologues began what had happened to him, but also by his admiration spoke for him and me the pictures of the various rattle boxes showed that as his typewriter had to serve, assigned by the galoshes that were not his shoes, but of course his shoes, and his dentures in a teacup, if that was not only a feint, and it irritated me still, with what sarcasm himself as a hillbilly had called, just as he hesitated whether he should accept his critics but not that it all meant nothing. " [8]
to the charge, a Jewish emigre fate on credibility and narratability to question, found himself the author Gstrein suspended and weaves skillfully the emergence conditions of a text with the outcome of this process, the text itself that these issues and have employed to deal with it the author Norbert Gstrein on the writing process also proves that for the usually more conservative and its literature without comment let Author if unusual self-disclosure in the form of a in the Neue Zürcher Zeitung on 15.01.2000 published, including in Vienna speech to the distinctive title "Facts, fictions and kitsch at the Write about a historical subject. " In this, he distances himself first from the instructive and all problems are asked and without being asked to speak notifying Author type à la Grass and admits being motivated "at least in my own writing that I am here just do not must speak out." [ 9]
Gstrein's interest in the topic of exile is explained by him as interest on own horror in the face of the mere word, walked him to the power of words, about the danger to lose the letter needed rationality and distance, and the compulsion to question their own actions constantly have to double or insight, "insecure Floor-enter "to have and" not take a step "to" without "at the same time reflect on the difficulties of this step. [10] requested by the author as well as to distance itself both from the political position of the fascists, but to also avoid the apparently unassailable terminus of the do-gooders and anti-fascists, also once again evidence of the skepticism about language and language awareness Gstrein . Without dealing with supporters of the here and now to make public and to speak to a general history of the word chagrin, Gstrein committed in terms of "stories against the background of the Third Reich": "there are already too many" . [11] Thus, the author Norbert Gstrein first condition by repetition, the loss of authenticity by economically motivated passage bed driver without reference to the fictional, the transformation of memory of history in the consumer good stories and spectacle, the most banal in form as "tautology that the good guys are good and the evil evil," occur [12] . Gstrein's claim to be born later is, therefore, consider the reception of this narrative development, and improve the level of reflection. The already-too-familiar facts that interest him so much, as "the cracks between Fiction and reality ", which have been clogged up by generations of authors before him, and have caused in consequence of the event Wilkomirski. Binjamin Wilkomirski in 1996 with the National Jewish Book Award in the genre of autobiography and memory fragments of his work. From a childhood 1939-1948 award that is about the fate of Jewish children in concentration camps and was praised in the German speaking area of literary criticism emphatically. Searching a journalist, however, revealed that it does not represent an autobiography, but free fiction is the Wilkomirski met the prevailing taste, and finally an issue in a manned discourse that seemed immune from being challenged. The greater das Entsetzen über den Frevler Wilkomirski nach dessen Enttarnung, obwohl zeitgleich Stimmen ihn verteidigten, die seine Leistung in der emphatischen Fiktion und Perspektive des Kindes hervorhoben und betonten, ein Autor müsse nicht alles erlebt haben, worüber er schreibe. Nichtsdestotrotz wurde das Buch als Erinnerungen vermarktet und zeigt sehr deutlich den aufgeladenen, von Marktinteressen und falschen moralischen Verpflichtungen geschwängerten Diskurs. [13] Gstrein geißelt denn auch die Geschäftemacherei, die Konsumgier nach derartiger unreflektierter Lektüre und die Motive der moralischen Überlegenheit oder einer falsch verstandenen Wiedergutmachung auf Seiten der Autorenschaft. Finally, he defended even Walsh and his acceptance speech for the Peace Prize of the German book trade, if he certifies that to have occurred against the false feelings in this discourse, and agrees with him that the deterrent effect due to "Pictures [n] of horror" all too frequent presentation and automatic, reflexive reception in the context of declarations for the right side and the "fear of doing something wrong," is dulled and eroded. As a negative, because too serve constructed literary example must include Bernhard Schlink's The Reader. Gstrein criticized the endless repetition of the facts in the easily consumable stories, which the school curriculum and Pedagogization invite without requiring serious discussion or move away from the usual cliches on the subject to his body. Unfortunately, the usual whining of his colleagues in anything below, use the sloppy Gstrein agency report on the release of his novel as evidence of the superficial and wrong approach to the issue. He rightly feels completely misunderstood, when report the agency issue in the English years to "a Jewish man who is on the run from the Nazis to the outsider." [14] course it is ridiculous to have recourse in the face of physical destruction to the outsider and the highlight of Gstrein Novel is, above all, dealing with a hatched in the role of a Jewish Austrian refugees have, who flees to England to avoid being associated with the murder of a Jewish girl's name and then the Jewish fate of a fellow internees on the Isle One advantage of and committed a taboo, in winning its identity as a card game used. Thus, the author feels helpless by the kitsch occupied language of discourse delivered to an "immediately brings back into the enclosure appears to be generally accepted truisms." Expected low conspiratorial Gstrein thought about it consciously misguided communication "in these matters" with "certain [] People for their own benefit to, "though his example the occupation of older and semantically comprehensive terms by the usage of the Third Reich and the will to be screened in the presence of extensive discourse on the basis of euthanasia and an older lady exalted accurate. The question is only whether Gstrein, who demanded early education in the sense of conscious reflective processes and memory, his claim is just, if, on the apparent naively need the lady with confrontation and ignorance reacts and thinks: "if someone wants to have a misunderstanding, he should have it, even if I do not know who can be served thereby. " [15] Gstrein fit with their own bias and biographical imprint on Jews not return and spread into his speech several anecdotes from his own life and his contact with the Jewish, which provides for an identification rates for the recipients and, second, the problem of the author illustrates whose motivation for the novel was so well is to question the mechanisms of language, history and culture. Cheesy and not free from the initially criticized Deklarationswut to be on the right side does it, if conjuring up the author's own childhood, wants to be able to say for sure, not a swastika smeared on the school benches to have. Mounted is the reference to it their own by prejudice, which caused no contact with Jews in particular by the social environment of the Austrian province of socialization and a Christian. The fate of Jewish suffering as a passport and whose romantic transfiguration Gstrein can even repeatedly asked about possible Jewish identity, about newer stereotypes and expectations reflected in the context of Jewish emigrants fates. The disappointed faces of the recipients Gstrein leads to an "absurd romantic notion back," after suffering a writer or artist 'needs to the seriousness of his work "to certify that it in the proximity of the Jews bring. are similar strategies or performance patterns, "by which one can say is often not even know you have them," which thus unconsciously and unthinkingly powerful in Gstrein observed to himself, as he is a list of Jewish actors in disbelief compares with his own images of people or reflects that the only role would be for a Western stereotype of the Jews to the quack. This unconsciously acting stereotypes called Gstrein as "thought patterns that make you perceive frightening," that you apparently like it or not, is formatted to be certain schemes, if not mother's milk, yet with the Language and with the images, which are being served up, has taken up, and apparently retained by even the remains of it in them, if you think they already have been broken. "
radical appears also Gstrein even his knowledge," virtually "know nothing of having to write about the Jewish, a novel about the English exile. He deliberately wants to write against the merely iconic, and be read "folklore" of the existing literature on the subject. Gstrein also uses the fact that the category of Jew in the Third Reich not to the Jewish culture and was identified less with religion, but only after relatives and missing Detection was Aryan. Therefore focused Gstrein the consequences of categorization, not its accuracy or logic. For Gstrein was laid around the previously written word to stand out and to show that constructing and retrospectively interpretive method of an autobiography than idle, to write about a person, "who no longer related to their Judaism had," and have "no authorial narrator to. Gstrein therefore chooses a woman as a narrative perspective and identifies as a friction axle and engine of the novel, the "difference [...] between what she finds out, and the ideas she has." [16]
The charge of popular fiction and the thriller element to captivate the reader through the nearly four hundred pages pass, holds Gstrein the historical background and contrary to the authenticity of the opportunity, without being completely sure can refute. Of course it is a show and it fits in Gstrein narrative arrangement of an internment camp on the Isle of assumed Man, in the German-speaking immigrants, whether Jew, "normal" German or a Nazi spy, were locked up and chaired by the Austrian Harrasser the Jews Gabriel Hirschberg comes to him the certain fate to go down with the refugee ship Arandora Star 2, with his identity to the losing at cards and to continue to exchange Jews after the war his life for fame. For the facts as Gstrein Collar the Lot on the book by Peter and Leni Gillman, which explores the torpedoing of the luxury ship, with the internment of historical-critical deals. This could Gstrein from exile as the disappearance of telling twice that of a Jew who drowned in the Atlantic Ocean instead of another, and that of the other, the more lives than the Jew and his own identity includes in itself. In this respect, it is about metaphorical murder of himself and the taken into account and opportunistic instrumented at the other. To hide this secret identity as long as possible "Can, without any spectacular breakthroughs" to begin to tell, can Gstrein Research passages the narrator for the wives of the impostor and Southend-on-Sea alternate with passages in which their expectations are presented contrary to it. While extending to recognize the contradictions typical Gstrein, shall not, however still with the naive or reflections of the reduced memory performance or the sake of the widows. The "constant unease that something is wrong" is not among the connoisseurs Gstrein-recipient encounters unfamiliar and therefore not disruptive, still pushing through to the reception. Occasionally, too tough and woodcut appear widows. The fact that they disagree in their predictions of the deceased, can be text-level with the different stages of life, in which each relationship was out (just before death, shortly after the detention, before or during the internment, and even in Vienna) and explain the different types of women and at the content level with the various protagonists Hirschberger, Harrasser and the moving transformation of Harrasser Hirschberger. Refined and Contrast for research and remembrance of the presence Gstrein mounted diaries of Jews Gabriel Hirschberg in the summer of 1940 in the novel, which ensure an interior view, the new change of the narrator and also authenticity . Fictionalize Last but not least, the text for the characteristic confusion Gstrein contains the text itself on a kind of meta-level. For the narrator insists at the end, their material to be entrusted for 5 years for the first time again made partner Max, and have published an autobiography, just as she tosses over again to remember this search until much later, thus once again a distance between research and writing down and communicate their results must be accepted as if it has "[e] s exact course of the conversation" with Madeleine "no longer" in memory. [17] The recipient is thus with retrospectively the already assembled fragments of memories and their widows, filtered and divided again by the memory and interpretation of a narrator, their task finally declared to have failed or nichtkommunizierbar faced. On behalf of the recipients, the narrator says, "I know it sounds strained, but those are all fantasies. [...] Everyone has the composed rhymes about him, what he likes best in my stuff. " [18]
to himself strictly prescribed absolute distance of the author of eyewitness accounts of these camps it is to be congratulated, he describes it credible that this would surely affect its formal freedom in that it would have felt obliged to meet them. Certainly, one might assume he also coquetry in the abandonment of authenticity through reality, but he just wanted to prove that authenticity can not be merely based on truly experienced and not just given thereby. Gstrein ensures authenticity through research, probability, though a sober-looking, but all the more participation-inducing design here and those born later granted by the narrative perspective of the seemingly disinterested seekers an identification offering that gradually crumbles Sun and compels the viewer to their own design and reflection processes. will be emphasized that Gstrein to the area know the research for his novel as the author> old school 'understood or even at play between fact and fiction in a historical setting to properly research and Facts Security is demanded, which is surprising in view of his claim, the trace relationship between language and reality, and he liked asks where are the borders of facts and interpretation, past and history. Undoubtedly have recognized historically verifiable constants lend stability and the narrative as a basis for discussion there should be, not the novel silt in narcissistic gimmick and arbitrariness, but one wonders in view of this truism, why she wants to know so Gstrein emphasized. Little wonder the literary role models who Gstrein names in his speech, the literary scholar, author and deconstructivist WG Sebald - think of Austerlitz, his controversy with Adorno, or even work cited by Gstrein The Emigrants - the least taken aback. Thematically, too close to Snow Falling on Cedars David Guterson surprised by the internment of Japanese after Pearl Harbour, not much, while Nabokov's story, The Real Life of Sebastian Knight in this otherwise seemingly Anglophile tradition, first striking, thematically but the confrontation with the past, exile and after Paris émigré writer is processed and Gstrein especially the title and "the possibilities attracted biographical writing." [19] is commendable, renunciation Gstrein, to have his speech terminating lines of the non-Paris to America emigrated author of Jewish descent Felix Pollak prefixed as a motto for his novel, this would still the suspicion come of kitsch close and the reception of the novel to draw in more solid tracks. This recognizes Gstrein even when he confesses that remind them of a grave stone saying. For humans Gstrein they seem to understand the importance of the exile to lyrical and most of all the eternal loss of the home to express.
While also Gstrein's novel The English Years not free will of constructed motives, he may be an attested sure within a deeply problematic in moral motives overloaded, emotionally charged discourse on the cracks of fact and fiction in a group led by market laws Society pointed and problematized its consequences for individuals and society without a moral leg to swing, to stylize as a problem solver, or completely dissociates the discourse and its mechanisms have to be presented. In addition, the author of innovative and long overdue issues such as free-riding, Blame the children, comparability and Gegeneinanderabwiegen individual destinies and the handling of history in one of the most neuralgic issues of the 21st Century from a German perspective edited.
[1] Jorge Semprun: wonders and mysteries of everyday life. Speech in honor of Norbert Gstrein occasion of the literary prize of the Konrad-Adenauer-Stiftung 2,001th Internet resource: http://www.kas.de/publikationen/2003/1349_dokument.html [05/01/2008]
Gstrein [2] Norbert: Self-portrait with a dead woman, Frankfurt a . M.: Suhrkamp 2000, p. 75
[3] Ibid., P. 10f.
[4] Ibid. P. 95f.
[5] Ibid., P. 93f.
[6] Ibid., P. 88
[7] Ibid., P. 40
Gstrein [8] Norbert: The English Years. Frankfurt a. M.: 1999, p. 10f.
Gstrein [9] Norbert: facts, fictions and kitsch about writing a historical theme, in: Neue Zürcher Zeitung, 15.1.2000, accessed on 22.04.2008 and quoted from: http://home.schule.at/teacher/davogg/dossiers% 20 050%% 20garsten/dossier 20gstrein.htm
[10] Ibid.
[11] Ibid.
[12] Ibid.
[13] Jörg Lau: An almost perfect pain. In: Time Online 39 (1998), http://www.zeit.de/1998/39/199839.wilkomirski_.xml
[14] Gstrein, fact, fiction and kitsch, as in note 9.
[15] Ibid.
[16] Ibid.
Gstrein [17] , The English Years S., 342
[18] Ibid., P. 377
[19] Gstrein, facts, p. 3
During the boat ride from Puntarenas to Montezuma, the National Beer "Imperial" we like to ... 
The waterfall in Montezuma, beautiful but dangerous 
On the beach of Montezuma 
La Isla de Tortuga, the snorkeling, we discovered two moraines, but they were friendly to us! 
On the way to the island we could see dolphins 
My little piggy does not even know his name. 
To first time oyster taste sipped, not bad. 
A Lizard, the short time later attacked our backpack to grab a little food. After my foot kick, he has appeared not again .... was 
Even monkeys to see it in heaps, they were interested mainly in food, the feeding is prohibited under penalty of fine. 
Good things are often so close: The Swiss Army knife can be opened even coconuts lying around here just like on the beach. It tasted great. 
A gift of Juan, the tractor driver, a happy Tico. 
The harvesters are in groups according to their performance remunerated 
The loading area of the trailer, the fruits are packed on the same day 
Only yet the Kuehllager, the truckers and the fruit shelf somewhere in a shop 
On the long bus rides every now and then a snapshot ... 
The volcano Arenal, usually hidden in the clouds 
a drink at the pool bar, after the "once again bathe in hot springs" 
The dam of Lake Arenal 
The two Appenzeller inside the canopy tour 
The two Appenzeller inside the canopy tour 
Professional equipment, security was exceptionally times before. 
the rope about 150m high valleys ... 
..... then gently to get to the next platform. 
The caterpillar of the Morpho butterfly. 
We could hardly believe it: Nature can produce golden cocoons, from which then later develop butterflies. 
Just marvel, butterflies in all sizes and colors. 
A Basilisk, nimble animal crawling to see rare. 
The famous blue-jeans frog, as his arms and legs are blue 
Two Kollibris at the food 
The bill they drink floating the sweet nectar 
As promised: more sunsets here on the beautiful beach in Manuel Antonio .... 
The dream! No spare parts, no fuel, aircraft destroyed. 
we eat a lot in different variations: avocados 
In the jungle you entdecht always intressant leaf shapes 
