tag:blogger.com,1999:blog-360709002024-03-13T20:02:07.053-07:00HANDKE-DISCUSSIONTHIS BLOG AND THE
HTTP://WWW.HANDKE.SCRIPTMANIA.COM PROJECT ARE DEVOTED TO THE GREAT WORK AND PERSON OF THE AUSTRO-GERMANIC-SLOVENIAN AUTHOR PETER HANDKE
DISCUSSION SPILLS OVER TO
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[the Milosevic controversy summarized]
link to slideshowhttp://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.comBlogger50125tag:blogger.com,1999:blog-36070900.post-40004094031245356782018-03-16T08:26:00.001-07:002018-04-16T14:55:45.420-07:00rOLOFF'S REVIEW OF ALEXIA THE FRUIT THIEF/ OBSTDIEBIN<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><i><span style="background: lime;">“You may fancy an artist’s work as much as Foie
Gras despite the chance that if you meet
that artist in person it will be the goose.” Freely, after Arthur Koestler</span></i></b><b><span style="background: yellow;">.</span></b><span lang="PL" style="color: #cccccc; letter-spacing: 0.75pt; text-transform: uppercase;">800-364-3039</span><span style="color: #cccccc; letter-spacing: 0.75pt; text-transform: uppercase;"><o:p></o:p></span></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">ALEXIA, THE FRUIT THIEF by Peter Handke <o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: yellow;">http://www.suhrkamp.de/buecher/die_obstdiebin_-_oder_-_einfache_fahrt_ins_landesinnere-peter_handke_42757.html</span></b><b><span style="background: yellow;"><o:p></o:p></span></b></span></div>
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<b><u><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">T.O.C.<o:p></o:p></span></span></u></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">I – OPENING, GENERAL DESCRIPTION<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">II- BACKGROUND, EPICS ETC. – 10<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">III-AND WHO IS “ALEXIA” & CAVELING<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">IV- DESCRIPTION CTD. - 36<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">V-SPECFICS & SOME CAVILING a-z<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">VI-NOTES <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">=I=<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">HANDKE’S DIE OBSTDIEBIN / ALEXIA, THE FRUIT
THIEF – a verbally and narratively marvelous portmanteau of a wandering Handke book
– <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">translation of whose deceptive German sub-title
<o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: lime;">einfache_fahrt_ins_landesinnere</span></b><b><span style="background: lime;"><o:p></o:p></span></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: yellow;">http://www.suhrkamp.de/buecher/die_obstdiebin_-_oder_-_einfache_fahrt_ins_landesinnere-peter_handke_42757.html</span></b><b><span style="background: yellow;"><o:p></o:p></span></b></span></div>
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<b><u><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">“An Ordinary Trip to the…Heartland”<o:p></o:p></span></span></u></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">would do the title trick, too, <o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><i><u><span style="background: yellow;"> in ONE respect</span></u></i></b><b><u><span style="background: yellow;">____<o:p></o:p></span></u></b></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">could not be a simpler book:<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">A NO-MAN’S BAY author sets out in high summer
August days<o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: aqua; color: #222222;">"T</span></b><b><span lang="EN" style="background: aqua; color: #222222;">his story began on one
of those midsummer days on which if you walk barefoot in the grass you will get
the first bee sting of the year. At least that is what kept happening to me,
though meanwhile I know that the days of the first and often unique annual bee
sting usually coincide with the white clover starting to bloom, at ground
level, where the bees, half-hidden,
scurry about.”</span></b><b><span style="background: aqua;"><o:p></o:p></span></b></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">on an expedition into the Picardie, a
picturesque region north of Paris where the likes of Van Gogh, too, have found
visual inspiration, and first acquaints us with the goings on in his immediate
surround – fans of the great NO-MAN’S BAY<o:p></o:p></span></span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><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></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">may be interested how those environs have fared
- and in Chaville; then takes a trip to Paris and further, highly observant, to
the initial stop destination, Clergy-Pointoise – that is the first fourth of
the book at which point he substitutes Alexia, the incidental Fruit Filcher, a
rural religiously inflected flaneur vagabond in her mid-twenties, most
adventurously explores in three days the 60 kilometer stretch from
Clergy-Pointoise via Chars to Chaumont sur Oesne along the river Voisne and on the
Vexin Plateau.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Here, the links to visuals of these locales/<o:p></o:p></span></span></b></div>
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<b><span style="background: lime;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://fr.wikipedia.org/wiki/Vexin_fran%C3%A7ais">https://fr.wikipedia.org/wiki/Vexin_français</a>/images/<o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background: aqua;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://tinyurl.com/yaycs4n9">https://tinyurl.com/yaycs4n9</a>/<o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><a href="https://en.wikipedia.org/wiki/Cergy-Pontoise"><span lang="PL">https://en.wikipedia.org/wiki/Cergy-Pontoise</span></a></b><b><span lang="PL"><o:p></o:p></span></b></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Images of the river Oise:<o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background: aqua;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://tinyurl.com/yaoqkszp">https://tinyurl.com/yaoqkszp</a><o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">To
Chaumont & the river Troesne<o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background: white;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://fr.wikipedia.org/wiki/Chaumont-en-Vexin">https://fr.wikipedia.org/wiki/Chaumont-en-Vexin</a><o:p></o:p></span></span></b></div>
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<b><span lang="PL" style="background: white;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://fr.wikipedia.org/wiki/Troesne">https://fr.wikipedia.org/wiki/Troesne</a><o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Of HANDKE in his NO-MAN’S BAY ABODE, and of,
CHAVILLE<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">which – as he - the Austro-German-Slovenian author
– states - in FRUIT THIEF as well as in NO-MAN’S-BAY - has been an immigrant
haven for a long time. <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Those who have read the book and then check out
the links will be smitten by the potency of Handke’s powers of description. <o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: aqua;">https://tinyurl.com/ycl7bdrs</span></b><b><span style="background: aqua;"><o:p></o:p></span></b></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">ALEXIA, FRUIT THIEF, thus, could function as
the most delightful guide book to this stretch of the Picardie, or as an
idiosyncratic compliment or conjunction to the more official boring kind to an
area, meanwhile rife with touristy inns!<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">As we find out from Handke’s longtime - occasionally
Handke-fired but reinstated - Suhrkamp editor Raimund Fellinger<o:p></o:p></span></span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://handke-scholar.blogspot.com/2018/04/handke-fellingers-account-of-writing-of.html">http://handke-scholar.blogspot.com/2018/04/handke-fellingers-account-of-writing-of.html</a><o:p></o:p></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">ALEXIA, THE FRUIT THIEF – a book of 150 k + was
written - by hand in pencil - between the months of September and December 2016,
and thence, in galleys, underwent Handke’s now customary emendations.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"> It might
go without saying though the saying in this instance becomes quite interesting:
the reason why ALEXIA necessarily underwent considerable preparation [though
probably not in further exploration of NO-MAN’S-BAY environs that Handke must know
as he does the back of his hand], but of the Picardie, for that stretch of land
to be portrayed in such ravishing detail – for an author to know each minor hamlet in the
area even a genius fast perceiver like Handke requires time and footwork - explanations
for which close acquaintance is I would think that Handke and his second wife
Sophie Semin have bought themselves a rural abode in the region, the second out
of Paris home for Sophie who - see MORAWIAN NIGHT – escaped the “cold
salamander” NO-MAN’S-BAY abode that is reserved for “cold salamander”
preparations of veritable manu-scripts, where Sophie – note the abundance of
books - failed to transform herself into a book. [1] <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">ALEXIA, FRUUIT THIEF might, thus, also be
fruitfully read in conjunction with the NO-MAN’S BAY author’s other recent
expedition, the one to Paris - THE GREAT FALL - which ALEXIA references so
acutely toward the end during a stretch when she suffers what might be called
“a soul’s dark day in bright sunlight” – i.e. the parallel state of mind
between the two books in that respect – and yet the soul, though it seems to
want to, does not quite inhabit St. Teresa of Avila or vice vera.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">THE GREAT FALL is finally
being published, this 2018 Spring, by Seagull via U. of Chicago Press, and
provides the other side of this NO-MAN’S-BAY dweller’s existence. [I regard
FALL a kind of successor to THE AFTERNOON OF A WRITER, and equally troubling
except of course for the writing.]<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Here the link to THE GREAT FALL <o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: lime;">http://press.uchicago.edu/ucp/books/book/distributed/G/bo28483408.html</span></b><b><span style="background: yellow;"><o:p></o:p></span></b></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">and to Scott Abbott’s and my discussion of it
& to the customary collection of reviews.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace; 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></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">=II=<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">In light of the foregoing suggestion that FRUIT
THIEF can also be read as a guide to a particular stretch in the Picardie I
image that Handke could have easily have
just done a variant of one of his travel accounts, condensations <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">from his notebooks, such as AM FELSFENSTER
MORGENS or GESTERN UNTERWEGS YESTERDAY/ON THE ROAD<o:p></o:p></span></span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://www.suhrkamp.de/autoren/peter_handke_1738.html?d_view=veroeffentlichungen">http://www.suhrkamp.de/autoren/peter_handke_1738.html?d_view=veroeffentlichungen</a><o:p></o:p></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">and not bothered with the exertion of inventing
his surrogate, Alexia, and on the train already is on the lookout for her who
then turns the exploration of the Picardie into an adventure story that I read
with the same excitement that I as a kid used to read Karl May - not an
experience I ever thought I would have with a Handke book.</span></b><span lang="PL" style="background: yellow; mso-highlight: yellow;"> <o:p></o:p></span></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"> Via Handke’s
doppelganger Alexia, the fruit thief’s wanderings become the subject of the
narration which becomes ever more playful and adventurous, with a host of side
essays, anv vignettes, quite a bit more alacritous {my favorite word these days
that I am no longer so meself1] as Handke, now in his 70s, might be himself –
getting all wrapped up in a blackberry thicket? - at least physically. It is in
this fashion that FRUIT THIEF becomes an agglomeration with all kinds of asides
– a real Handke book – impure – agglomeration being a term that the book itself
uses when describing [in such great detail!] the Picardie town of Clergy-Pointoise
which French rationalization has assembled and made weird after WW II - and
Handke uses agglomeration as the French have and with I would think entirely
unintentional irony, unaware I expect that the term might also be used to
describe the FRUIT THIEF portmanteau whose “modern” features may or may not be
intended by an author proudly conservative in many ways.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Not only does Handke seem to have a lot of fun
with the monologues and other digressions - the dramalets - integration of his
abilities as a dramatist [more on that aspect anon - and on <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">some individual brief essay-like passages - that
break but, surprisingly I must say, never slow the underlying narrative drive once
the adventure into the Picardie is underway after Alexia’s one night at
Clergy-Pontoise, and it is a strong narrative drive I never expected from
Handke who usually manages to slow things down - but I guess it just goes to
show that a claim he wrote me at the time he completed A MOMENT OF TRUE FEELING
that he had reached a stage where he was “capable of doing everything in his
writing”, that he had the kind of command if you are in charge of all the instruments
in a symphony orchestra. <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Subsequent to translating
WALK ABOUT THE VILLAGES and ever after, especially with HOUR WE KNEW NOTHING OF
EACH OTHER, I have had no reason to doubt his claim.- And it is the sort of
thing that ought to make you shiver it is so spooky!<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Handke is an exhibitionist
with something to exhibit. Each of his exhibitions is a “look Ma’, no hands,”, a
<i>Seiltanz, </i>and though a few of his
works and acts were scandals - his initial public appearance in Princeton in
1966, the premiere of PUBLIKUMSBESCHIMPFUNR/ OFFENDING THE AUDIENCE, and JOURNEY
TO THE RIVERS <o:p></o:p></span></span></b></div>
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<b><span style="color: red;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><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></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">his appearance at the funeral of Slawomir Milosevic’s
is the only instance in which he made the world at large – and the world is no <i>Backfisch </i>– blush.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">However, the adventure as
a whole, Alexia’s, is not any old adventure – it has stages, it has an ordeal,
Alexia acquires a male follower, a Pizza delivery boy who attaches himself to
her, but whom she does not tell to go away as she delightfully addresses a dog
that won’t stop following her. For a stretch she turns into Hamletina, there is
an amazing act of salvation – of a moribund cat! And perhaps in that sense
Alexia’s journey is analogous to a kind of passion. However,<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Handke has said a number of times, as well as
in ALEXIA, FRUIT THIEF itself [towards the end] that his idea of epic narration
is modeled or inspired by Wolfram von Eschenbach, the 13<sup>th</sup> century
author of <i>Parzifal a</i>nd of Wolfram’s <i>Willehalm. </i>And he also states that no
story of his can tell itself – it requires the intrusion of the narrator and he
does here any number of times saying “that’s how the story want<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">‘s it”. <o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">FRUIT THIEF mentions the
name of Wolfram a few times and refers directly to <i>Willehalm </i>at the end and FRUIT THIEF also sprinkles in some French,
but in fact that’s </span></b> <b><span style="background: yellow;">pretty much the only matters that these two so
entirely different epics have in common</span></b><b>. <o:p></o:p></b></span></div>
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<br /></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://en.wikipedia.org/wiki/Willehalm">https://en.wikipedia.org/wiki/Willehalm</a><o:p></o:p></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>“</b><span lang="PL" style="background: rgb(238, 237, 237); color: #555555;">Its [Willehalm’s] account of conflict between
Christian and Muslim cultures, centering on the warrior-saint Willehalm and his
wife Gyburc, a convert from Islam, challenges the ideology of the Crusades. It
celebrates the heroism, faith, and family solidarity of the Christians, but
also displays the suffering of both sides in the war and questions the
justification of all killing. Gyburc, whose abandonment of her Muslim family
and conversion to Christianity are the immediate cause of the war, bears a
double burden of sorrow, and it is from her that springs a vision of humanity
transcending religious differences that is truly remarkable for its time. In
Gyburc's heathen brother Rennewart and his love for the French king's daughter,
Wolfram also develops a richly comic strand in the narrative, with the outcome
left tantalizingly open by the work's probably unfinished conclusion. ..</span><span lang="PL" style="background: rgb(238, 237, 237); color: #555555;"> Wolfram's supreme qualities as a story-teller.” </span><b><o:p></o:p></b></span></div>
</div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"> <o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Handke, who - early on - noticed how his equal as artificer
James Joyce had managed to assure himself of continued scholarly attention and,
thus, of one feasible continued life for his work, pulls the wool over the eyes
of current scholars, leads them down the garden path, <i>sie gehen ihm auf den Leim,</i> they invariably seem to fall into the
trap and buy his red herrings, most grievously here the professor reviewer for
LITERATUR KRITIK who falls for Handke’s suggestion hook line and sinker!<o:p></o:p></span></span></b></div>
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<br /></div>
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<b><span lang="PL" style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://literaturkritik.de/handke-obstdiebin-geschmack-laengst-vergangener-zeiten-peter-handkes-obstdiebin-stehen-kleinen-begebenheiten-fokus,24080.html/">http://literaturkritik.de/handke-obstdiebin-geschmack-laengst-vergangener-zeiten-peter-handkes-obstdiebin-stehen-kleinen-begebenheiten-fokus,24080.html/</a><o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"> Pal and admired scholar Scott Abbott fell for
the suggesting that MORAWIAN is a book about narration – as though Handke
required a tome of 500 + pages for that purpose!? - these dear people miss that
Handke wrote an earlier version of <u>Moravian </u>called SAMARA <o:p></o:p></span></span></b></div>
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<br /></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://handkeonline.onb.ac.at/node/2158/">https://handkeonline.onb.ac.at/node/2158/</a><o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">that was already typeset at which point the
author discovered opportunities to elaborate; and since he is the publisher’s
star author he is indulged and the first setting is junked but ends up with the
Austrian handke.online research site.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">MORAWIAN has the kind of
open-ended set-up that would allow Handke to add any number of further chapters
once he’d got a drift of how or whether to present them with equal metaphoric
dramatic aplomb and painterly force; that is the <i>Morawa</i>, the boat on which these “A Thousand Night” tales are told,
could be set adrift down the Morawa River into the Danube and end up in the
Black Sea.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">MORAWIAN NIGHT features
not only quite a bit of walking and all over the map, especially but not
exclusively in the Balkans, and has its share of Handke’s wonderfully described
bus rides, too, and is rich in the kind of Handke raisins that will keep the
scholars busy busy busy.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Oh yes, Wolfram provides the
appropriate – to high summer weather that pervades the entire book - opening
epigraph:<o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b> </b><b><i><span lang="DE" style="background: lime;">Man gesach den lichten summer<o:p></o:p></span></i></b></span></div>
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<b><i><span lang="DE" style="background: lime;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">in so maniger varve nie<o:p></o:p></span></span></i></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">[Never have you seen high
summer in such many-splendored colors!]<o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><i><span style="background: yellow;">Filip Kobal’s </span></i></b><b><span style="background: yellow;">focused
wanderings in THE REPETITION had a Parsifal-like quality. Yet Handke’s five
epic novels – <i>THE REPETITION, MY YEAR IN
THE NO-MAN’S BAY, BILDVERLUST, ACROSS THE SIERRA DEL GREDOS, MORAVIAN NIGHT,
and the current FRUIT THIEF </i>are all very different kinds of epics <o:p></o:p></span></b></span></div>
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<br /></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">FRUIT THIEF [2017] is Handke’s fifth epic of a
kind of “monstrum” he once promised he would never commit [thinking they would
remain incomplete, e.g. like Musil’s, who died prematurely in exile in
Switzerland of a heart attack in 1942]. <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Each of Handke’s major
oeuvre of the epic kind – not including the one would-be monstrum that Handke
left the way he had feared he might – are major exertions and have specific
wandering locales and no matter how different from each other narratively – it
is typical for Handke not to repeat himself or as little as possible - and what
a nuisance for reviewers and the like – these epics are wandering walking
novels – written by an author who noted in WALK ABOUT THE VILLAGES that<o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="color: red;"><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></span></b><b><span style="background: yellow;"><o:p></o:p></span></b></span></div>
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<br /></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">“It has become hard to
walk on the earth,” as indeed it has with the impediments to human and to
animal locomotion that the Autobahn builders have put in their way, as they
have in the Picardie as well.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"> Many shorter
works, too, e.g. the novel ONE DARK NIGHT and the assayings ON THE JUKE BOX
& ON FATIGUE contain amazing descriptions of walking’s pleasures and difficulties. <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">1] <u>Langsame Heimkehr</u> / A SLOW HOMECOMING
[the novel part of that American edition which includes CHILD STORY & ST.
VICTOIRE]<o:p></o:p></span></span></b></div>
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<br /></div>
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<br /></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/slow-home-coming-german-and-english.html">http://handke--revista-of-reviews.blogspot.com/2010/05/slow-home-coming-german-and-english.html</a><o:p></o:p></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"> is the
one incomplete Handke work, which I believe was meant to have epic proportion -
Handke referred to his plans as a “Staatsroman” – a kind of official
undertaking!? the size of a state? – at any event, something grand that perhaps
was meant to demonstrate explore a continuity of large geologic forms?; its
protagonist Sorger, a geological surveyor, the novel’s inception in a fairly
pristine Alaska – it is dedicated “to the snow” [!]- hints at epic ambitions of
that kind… <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">It was I who pointed
Handke to Alaska around 1970 when he wrote asking what American winters were
like, though he seemed to have forgotten all about the suggestion by the time
he returned from Alaska in 1978 - as he did other matters - to NY to write the
book. <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"> SLOW HOMECOMING’S opening Alaska chapter had a
profound effect on me for my having spent nine months in that vastness -
fighting forest fires and as a surveyor - see <o:p></o:p></span></span></b></div>
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<br /></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><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></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">from the last chapter of my <i>Screen Memories] </i>- traipsing and boating
the length and breadth of that huge area as far north as the Brooks Range,
inducing an experience of wholeness and immensity of a kind that is more than
oceanic or otherly oceanic and that remained unresolved until I read Handke’s
chapter… May you, too, have experiences of that kind to resolve!... Great San
Francisco chapter, but then the text sort of “peters” out – perhaps the locale
and time where and when Handke wrote these parts and then, exceptionally, ran
out of words – he had been rehearsing its first sentence… “<i>Sorger had outlived many of those who had become close to him; he had
ceased to long for anything but often felt a selfless love of existence and at
times a need for salvation so palpable it weighed </i></span></b><b><i><span style="background: yellow;">on his eyelids,”… </span></i></b><b><span style="background: yellow;">for
years on end! [FN<o:p></o:p></span></b></span></div>
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<b><span lang="PL" style="background: white;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://tinyurl.com/y7z32vmg">https://tinyurl.com/y7z32vmg</a><o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">- in the Hotel Adams on East 86<sup>th</sup>
Street in Manhattan in a room with a view of Central Park in a quiet very upper-class
area. -<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Perhaps adverse 1978/9 NY conditions are to
blame, or over-eagerness to make the transition from less ambitious stuff - I
know of no other uncompleted Handke prose work; a few plays expired in draft
stage, and but for certain matters which I will address in a footnote I would have asked Handke to go with me when I
stopped working around 10-11p.m at my Tribeca office and hit my downtown bars
and music clubs CBGBS and MUDD and SCREECH where the pretty ones when they
wanted you told you up front, love making became like breathing, and it
happened to be the rare time that I had not a main squeeze, and Handke, if he
had wanted, would at least have a bit of a good time to look back upon. That NY
period then disabused him of his once explored idea - for him and his daughter Amina
- to live in Manhattan or its suburbs.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Up until SLOW HOMECOMING
Handke had written a handful of often ambitious and complex but also typically
laconic condensed short books, [FN] and survived a major crisis upon the
suicide of his mother, and the first wife going disparu to his director Klaus
Peymann for about as good and valid cause as wife can have to leave a
neglectful layabroad who only writes or wants to talk about writing – epic
intention can be said to be perhaps hinted at in the immediately preceding LEFT-HANDED
WOMAN – 1976 - or can be found retrospectively latent. <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">For WALK ABOUT THE
VILLAGE, part IV of his ‘home coming’ cycle, however, Handke was prepared,
prepared himself as you can read in the untranslated - into English - [its
predecessor <u>Weight of the World</u> had done well] <u>Geschichte des
Bleistifts</u> / History of the Pencil [FN]. <o:p></o:p></span></span></b></div>
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<br /></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://www.suhrkamp.de/autoren/peter_handke_1738.html?d_view=veroeffentlichungen">http://www.suhrkamp.de/autoren/peter_handke_1738.html?d_view=veroeffentlichungen</a><o:p></o:p></span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">At any event, it was nearly
ten years before Handke then completed the first epic walking novel and what a
book it is!<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">THE REPETIION rewalks a post-graduation trip
and refigures SORROW BEYOND DREAMS and is certainly one of the most important
Handke books for me who happened to read it while under the influence of the
slow pounding surf of the Pacific, waves that roll in all the way from storms
in the South Pacific and so was in a state of mind that I could respond to the
book‘s pace and rhythm. And not only for me:<o:p></o:p></span></span></b></div>
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<br /></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://thegoaliesanxiety.wordpress.com/repetitions-and-vampires-a-reasonable-dictionary/">https://thegoaliesanxiety.wordpress.com/repetitions-and-vampires-a-reasonable-dictionary/</a>
<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Of the invariable ludicrous reviews that the NY
Times Book Review has bestowed <o:p></o:p></span></span></b></div>
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<br /></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://artscritic.blogspot.com/2015/04/peter-handke-new-york-times-50-year.html">http://artscritic.blogspot.com/2015/04/peter-handke-new-york-times-50-year.html</a><o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">on Handke’s major efforts the most idiotic and
impertinent was of THE REPETIION where David Price Jones inveighs against the
protagonist – an 18-year old - for not lambasting Tito whose image appears
during his perambulation through Slovenia and its Carso following the footsteps
of a horticulturalist uncle to Ljubljana. The fellow who wrote this and the
editor who published this review ought at the very least to have been flogged,
if not shot; capital punishment in egregious cases of this kind might just do
the trick of preventing the like of this kind of review. Jones is one of the
four NY TIMES reviewers of the four NY Times reviewers of these major titles –
others are Siegel, on NO-MAN’S BAY, a Neil Gordon of SIERA DEL GREDOS, and one
Joshua Cohen/ MORAWIAN NIGHT [lets not forget the NYRB and the hacks that a tired
Bob Silvers used, Adam Kirsch and the Marcus]<o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal">
<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html/">http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html/</a><o:p></o:p></span></b></div>
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<div class="MsoNormal">
<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"> who can
regard themselves as fortunate not to have run into me while I was in the
Chihuahua and carrying side arms as I rode out and made sure that the overhead
vultures accompanying me were well-fed! <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Take a look at the Guardian
review for compare:<o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><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></span></b></div>
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<br /></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">2] <u>One Year in the No-Man’s Bay</u> 1994 <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><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></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">walks not something approximate a straight line
but CIRCLES - about half a dozen times - while exploring the half dozen sides
of an artist, a circling that is prefigured in the preparatory assaying THE
ESSAY ON THE DAY THAT WENT WELL which circles Paris ever more rapidly, among
other matters it accomplishes. Handke,
now well prepared for the marathon, wrote the 250 k opus in one year and by
pencil – first and final draft but for some work in galleys - his congratulatory
publisher, the <i>Gauner</i> Siegfried
Unseld, finding an m.s. of this kind
unacceptable a typist was found; and Handke has been rewriting and adding in
galleys ever since. - Note my report about how good reading this book five
times in one year made me feel – testimony to Peter Strasser’s <i>Handke,
ein Freudenstoff </i>/ Handke’s joy-producing
Stuff <o:p></o:p></span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow; color: red;"> </span></b><b><span style="color: red;"><a href="https://de.wikipedia.org/wiki/Peter_Strasser_(Philosoph)/">https://de.wikipedia.org/wiki/Peter_Strasser_(Philosoph)/</a><o:p></o:p></span></b></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">not that anyone but the fewest of the few in
this godforsaken nerve-dead country seems to have been so affected. I account
for this effect on me – who might have reasons not to be so affected by matters
Handke – by Handke even intra-uterine having been a mother’s ultra love-child,
surrogate for the love of beautiful Maria Sivec’s life, and then just look at
the photos of her and baby Peter, how their eyes are in love with each other<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">PHOTO<o:p></o:p></span></span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://www.handkepsychobio.scriptmania.com/photo.html/">http://www.handkepsychobio.scriptmania.com/photo.html/</a><o:p></o:p></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"> As mama’s boy Handke who with all that
autobiographical writing might be a bit more aware than he seems at times yet eventually
realizes he received a bit too much of a good thing, and that surfeit has
entered what he loves most and then spills over to a good reader like meself –
now you go falsify that claim of mine!<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Siegel’s review in the New
York Times needs to be compared with William Gass’s to show why fraud Siegel
ought to have been strung up ages ago. <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><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></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">3] <u>Across the Sierra del Gredos</u>
[Bildverlust] 2004<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><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></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">memorializes Handke’s travels and walking tours
in a particular region – the la Mancha - Spain and uses an impersonation of a
BANKIERESS for the same reason that he uses Alexia in FRUIT THIEF: to free
himself from his notebook and to be imaginative and playful and suggest
alternatives, though the Banker side of Handke is less appealing than that of
the almsgiving Stair-dweller Saint! But since those trips to Spain were in the
company of ultra-wealthy magazine publisher Burda the ultra-competitive pasha -
that too is Handke - may have invented the Bankieress for that purpose; or she
incorporates some Burda sides, who knows? – However, Neil Gordon the NY Times
reviewer has not been much heard of since I took exception to his travesty -
turns out once oldest and dearest friend Frank Conroy, then at the Iowa Writing
Workshop, told the ass to head East. Frank unfortunately wasn’t around anymore
for me to complain!<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">4] <u>Moravian Night 2011</u> \<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="https://moravian-nights-discussion.blogspot.com/">https://moravian-nights-discussion.blogspot.com/</a><o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">fellow Handke translator and aficionado if not
venerator Scott Abbott and I discussed at length and came to loggerheads on an
egg or chicken question. Scott felt that book’s subject was “narration”, as the
book at one instance claims, I maintain that Handke devised his own “Thousand
and One Night Scheherazade” to accommodate a host of auto-biographical matters
and does so in a few instances in the most supreme poetic way, and could have
gone on forever with the kind of Handke tales that amuse me and Mari Colbin who
and I nearly got married because we would never get bored telling each other
Handke stories – see her review of Malte Herwig’s Handke biography<o:p></o:p></span></span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://handke-discussion.blogspot.com/2010/12/marie-colbin-review-of-herwigs-meister.html/">http://handke-discussion.blogspot.com/2010/12/marie-colbin-review-of-herwigs-meister.html/</a><o:p></o:p></span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><a href="http://handke-discussion.blogspot.com/2010/12/full-length-review-of-herwigs-handke.html/">http://handke-discussion.blogspot.com/2010/12/full-length-review-of-herwigs-handke.html/</a><o:p></o:p></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">which that sad case Herwig managed to get an
Austrian news service to withdraw with a threat of suing for a huge sum which
of course it would have taken a huge sum to defend. <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">No suit against me or
darling Mari! the sixth Handke wench I have come to know; and - as Freud
mentioned a few times - there is no better way of getting to know a person than
to know their sexuality in the bedroom.<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"> To
summarize: Handke has been writing, compulsively as of necessity, more or less
formally imaginatively inflected auto-biography since the beginning. [FN]<o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Handke will be known as one of the great
Catholic novelists – say, Bernanos and
Walker Percy – a writer and dramatist
who - though touchingly anti-modern in some respects - <i>malgre luis</i> his allegiance to the logos has had little choice but
to be a forever innovator; so that the greater his fathoming of the past the
more playful and profound his innovations. <o:p></o:p></span></span></b></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">III</span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><u><span style="background: yellow;">=IV= ALEXIA</span></u></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: yellow;"><a href="http://www.suhrkamp.de/buecher/die_obstdiebin_-_oder_-_einfache_fahrt_ins_landesinnere-peter_handke_42757.html" target="_blank"><span style="color: #1155cc;">http://www.suhrkamp.de/buecher/die_obstdiebin_-_oder_-_einfache_fahrt_ins_landesinnere-peter_handke_42757.html</span></a></span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">At what point while
thinking of memorializing his perambulations in the Picardie did the idea of
using Alexia as a medium occur to Handke? For, initially, during the first
quarter of the book - set in the NO-MAN’S BAY environs - there is no
mention of her. </span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">The
author sets out on a fine bee-sting high summer day but there is no mention
that he will be looking for Alexia the Fruit Thief. Only on the train to
Clergy-Pointoise </span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><a href="https://en.wikipedia.org/wiki/Cergy-Pontoise/" target="_blank">https://en.wikipedia.org/wiki/Cergy-Pontoise/</a></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">– nearly a quarter way
into the book - he mistakes a young woman all bundled-up for Alexia, and that
is how we find out that he is looking for her, and he finds her and with her,
sometimes through her eyes and ears, we first of all explore and dissertate on
the agglomeration Clergy-Pointoise… and - but for interesting authorial
descriptions, much later in the book, of what he the NO-MAN’S BAY writer is up
to, narrating in the first person singular or, later, for a while the plural
- Alexia remains his medium for the expedition from Clergy via Chars
always along the river Voisne to Claumond sur Oesne – a 60 kilometer hike that
feels like a it took a month – it is so rich in observed detail and thought.
</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;"> .
Clergy-Pointoise itself is explored for not quite one day - one afternoon and
night and early morning - and I felt I really really knew the place and how to
get around it – testimony to Handke’s power as a writer to inscribe details
into my mind – but I can see no particular reason why Handke needed surrogate
Alexia to narrate his acquaintance with Clergy-Pointoise or to spend an amazing
night in a house in mourning or to describe the few old village parts that
rationalist modernization have spared, not consumed in this agglomeration:
great stuff! And narrated at diary easy-going pace. - Or Alexia being quite
unable to get back out of town as the hedged-in sub-urban circular developments
keep interposing themselves – you and I know them well from the US of A.</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;"> Anyhoo,
who is this Alexia that Handke needs her, to tell his Picardie story in the
form of an adventure? - First of all to make his acquaintance with
the region, acquired over a number of years, interesting and the pace certainly
picks up once Alexia hits… not the road but the river Viosne valley!</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">Generally speaking,
Alexia, methinks, is yet another of Handke’s surrogates, Josef Bloch,
Keuschnig, Sorger, Loser, Filip Kobal, etc., etc. </span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">She is Handke’s
dissociated medium which points to his ability – manifested most manifestly in
GOALIE, where Bloch is presented as a paranoid schizophrenic, and via
grammatical sleight of hand puts the reader in that state of mind – which means
that Handke as a person is the very opposite of anything of the kind since he
seems, at least when writing, to be able to dissociate a medium surrogate and,
thus, has that rare ability also at other times – spooky, to understand a
schizophrenic state of mind – and I think at least the equal if not of a higher
order than Stephen Daedalus using the image of paring of fingernails on a
Rembrandt painting to describe the objectifying writing process [FN]</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: lime;"><a href="https://tinyurl.com/yb2zg9sf" target="_blank">https://tinyurl.com/yb2zg9sf</a></span></b><b><o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: yellow;">In that respect each of these mediums surrogates are cut from the cloth of
their author, amusingly as in the case of „Keuschnig” of A MOMENT OF TRUE
FEELNG & NO-MAN’S BAY – someone who dwells in an Austrian peasant’s hut and
is „keusch” – chaste, which Handke - though he used to need to make
serious attempts in that direction certainly was anything but for decades, and
which is the sort of thing that can get a layabroad into all kinds of trouble
and have consequences – the fear of that girl in the reeds in MORAVIAN
NIGHT that is ready to assassinate, and similar paranoia in NO-MAN’S BAY are
entirely justified, Erinyes all. </span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: yellow;"> Sorger and Loser, too, indicate qualities of their creator,
the Bankieress presents me with identificatory problems but perhaps she is
Handke’s capitalist side to which he admitted to Mueller in one of his
interviews; that Taxham fellow who is used to write in dream grammar in ONE
DARK NIGHT is most interesting, and Alexia, St. Alexius twin, is being used
here most imaginatively and perhaps wishfully as the kind of youthful
adventurer the author is not quite anymore now in his 70s.</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span lang="PL" style="background: yellow;">More </span></b><b><span style="background: yellow;">specifically, Alexia is said to be the daughter
of the Bankieress from <u>Crossing the Sierra del Gredos</u>, irrelevantly
since this is just a novelistic touch which adds nothing and which Handke could
have spared himself. Chiefly, Alexia strikes me as the younger sister of the <u>Lefthanded
Woman</u>. [FN] She is chaste – not withdrawn from a husband yet she has the
chastest of dreams, a sixteen year old’s dream it reminded me of – and this is
the sole section that gives the reader an idea of who she is, as does her
behavior of not hooking up with her compan<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">ion - </span></span></b><span style="background: yellow;"><o:p></o:p></span></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">The dream allows the possibility of a future husband, and
though not entirely non-carnal, I find it hard to tell whether Alexia – who
earlier on suffers an amusing episode as Hamletina – might not be on the
opposite way to the kind of nunnery that Hamlet tells Ophelia to get to – or
even to assume the soul of St. Teresa of Avila who is mentioned in the
context. Alexia, the twin sister of St. Alexius under the Stairs </span></b><span style="background: yellow;"><o:p></o:p></span></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;"><a href="https://en.wikipedia.org/wiki/Alexius_of_Rome/" target="_blank">https://en.wikipedia.org/wiki/Alexius_of_Rome/</a></span></b><span style="background: yellow;"><o:p></o:p></span></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">does not have her name because Handke is courting the
Amazon.com M Windows’ helpmate ‘Alexa!’ </span></b><span style="background: yellow;"><o:p></o:p></span></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;"><a href="https://www.theverge.com/2018/1/8/16861502/amazon-alexa-windows-10-app" target="_blank">https://www.theverge.com/2018/1/8/16861502/amazon-alexa-windows-10-app</a></span></b><span style="background: yellow;"><o:p></o:p></span></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">Come
the day that Handke makes his peace with the Internet even though the Austrian
state’s literature department has created a site for the material that he sold
them for a hefty sum.</span></b><span style="background: yellow;"><o:p></o:p></span></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;"><a href="https://handkeonline.onb.ac.at/" target="_blank">https://handkeonline.onb.ac.at</a></span></b><span style="background: yellow;"><o:p></o:p></span></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">How
truly <i>wissenschaftlich / scholarly and scientific </i>we are
going to be remains to be seen.</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">Alexia is presented as
a vagabond who has been all over the world – to lots of the same places that
Peter Handke has been: Alaska, Detroit, Spain’s Sierra del Gredos and is said
to have just returned from… has Handke been? … Siberia! However, associations
with these places are not even a bare minimum and don’t add anything much. Are
part of what strikes me as a rater desultory attempt to satisfy certain not
altogether pleasurable novelistic requirements. Sketchy and contradictory--
About as much as the disconcerting refrain that Alexia, a haute bourgeois
French dropout, is a fan of Eminem, no mention of French contemporary
chansonniers.</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">Alexia
also does quite a few things that Handke does in other “walking” books – such
as walk backwards prior to getting underway in a forward direction! She and
thresholds share the thresholders apprehensions in that respect. </span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">She
seems to be in her mid-twenties - but as you get to know her she is a
twenty-something who does not hook up with young Valter - the pizza
delivery boy who - as compared the dog that is so amusingly told to split in
one of the book's wonderful theatrical passages - follows her like a human dog
- and they spend a night in separate rooms in the Auberge Dieppe and she has
that fascinating chaste dream - our Fruit Thief is said to have tramped all
over the world and gone half a year to the university in Pointoise but is
entirely atypical of such world travelers and of contemporary young women and
does not seem to be Laocadie, Handke’s 2nd daughter, though Handke might have
consulted Laocadie in some matters relating to young French women if he had had
real interest in rendering such. </span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">I
have this hunch that Alexia only occurred to him about a quarter of the ways
into a book that might also have remained just a detailed account of one of his
expeditions with the Picardie, which would have been a well-developed but far
less interesting travel diary that would have been devoid these numerous
essayistic passages that indicate an author of some experience with existence
and are not penned by Alexia and have little if any bearing on her..</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;"> Alexia or
an adventurer like her might have been there at the bee-sting start, as
traveling companion who, e.g. regards the NO-MAN’S BAY with fresh eyes? - Why
this cumbersome way of suddenly looking for her and finding her? Not elegant at
all. Within the context of a lot of verbal razzmatazz Handke performs a few
mis-steps and does so in the way he describes the [his] analog - that he cites
on page x the star midfielder of PSG [Paris-St. Germain] who makes the
world’s most astonishing shots - a supreme genius - but is then awkward beyond
belief! -“tollpatchig” a deceased German critic who gave Handke the hardest of
time, called it, a supreme genius who can be bit of an idiot – idiots with whom
Handke feels such affinity as you read his texts! A bit like the KASPAR of a
play of his. </span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">Alexia is said to be
the daughter of the Bankieress from <i>Sierra del Gredos –</i> a matter that
adds nothing, one aspect of ‘novelizing’ that Handke in rather ordinary and
desultory badly edited fashion exercises here; as little as finding out in
MORAWIAN NIGHT that Filip Kobal the protagonist of THE REPETION now writes film
scripts – the only time that <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">this
“in-ness” of being in a Handke-world worked for me was when Josef Bloch,
the paranoid-schizophrenic murderer of GOALIE’S ANXIETY AT THE PENALTY KICK who
is arrested at the moment that the soccer ball, to his immense surprise, hits
his midriff, resurfaces in WALK ABOUT THE VILLAGES as one of the worker-clowns
and mucks around the woods frightening the natives.-</span></span></b><b><span style="background: yellow;"> Handke, once upon the time of <u>A Slow Homecoming,</u>
said he would never be novelistic in this fashion, and this way of being “in”
was something that used to annoy him in Thomas Mann. Alexia the vagabond can
wander anywhere she likes and does not need the obvious motivation of a not
overly exciting family get together as an excuse, we hear nothing about it
until the end as it is about to transpire. “That is how the tale wants it, the
way the tale tells it.” is a frequent imprecation by an author who admits at
the end that he, a 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, allows my imagination and
playfulness to roam as I can’t just do in a notebook or a travel account.” And
no one would mind – certainly not this late in the game.</span></b><span style="background: yellow;"><o:p></o:p></span></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">Alexia’s expedition becomes s so rich
in</span></b><b><span style="background: yellow;"> adventurous richly detailed events that I felt
I had been underway for weeks – not just the three days for the 60 kilometers
from Clergy to Chaumond - a distortion of my sense of time which might be yet
one more of Handke’s customary head games – defamiliarization - that he has
been playing, differently each time, since OFFENDING, especially in <i>The Ride
Across Lake Constance [fn] </i>and THE REPETITION – </span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">As
her creator’s magnificently observant eyes and ears during his exploration of a
stretch of the French country side, Alexia only rarely engages in incidental
filching of fruit her three day trek - once she takes over for Handke the
NO-MAN’S-BAY narrator - familiarizes the reader so intimately with the Picardie
– the three towns Clergy-Pointoise, Char and Chaumond and the river Voisne and
the Vexin plateau that I suspect future admirers will want to retrace these
footsteps - just as current admirers have followed Filip Kobal’s itinerary as
he traverses the Karst/Caro in Austro-Slovenian <i>The Repetition./</i></span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">Alexia at one point is
said to be on her expedition looking for her mother – why the Bankieress of all
people might be lost like that lost cat in these wilds is an issue that is
never explained, it makes no sense. Alexia smells her perfume in the tiny
chambre that she spends a saintly night in at the Auberge Dieppe, but then it
turns out that the object of her expedition was a family get together at the
end of her trip in Chaumont sur Oesne – no mention of anything of the kind
throughout and why that arduous adventure preceding a family get together?</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">It
seems to me that all this contradictory family material seems to have been made
up along the way as Handke was writing and felt that Alexia needed some kind of
novelistic architecture which I regard as entirely superfluous but for one
instance where Alexia receives the kind of a paternal advice that Handke might have
addressed to his own daughter and of which he is making fine fun here as a
persiflage. A few times, then, Alexia references something her father said. But
that is that.</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">Alexia
is given a brother ten years her junior, she calls him a few time, it turns out
he works at her final destination Chaumond sure Oesne as a carpenter’s
apprentice, and his profession affords Handke the opportunity to
once again sing that craft’s praises, which I - once upon graduation, and at
Breadloaf Writers on the weekends and nights, worked as a union tile
[Pollacks!] and {Wops] marble worker’s apprentice - entirely share. But there
was absolutely no need in this wonderful epic jaunt through the Picardie to
equip Handke’s surrogate eyes and ears with a family of any kind. Or to leave
this material in badly and contradictory fashion lying around like woodcuttings
at workbench that was not cleaned up. Was the book in that respect meant to be
left a bit “dirty?” - For all I know that may be intentional – the book is an
assemblage – not just an adventure story with some brilliantly recounted
adventures, but all kinds of small essays .</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">Are
his editors and first readers frightened of the fellow who I was appalled to
read recently gave his old-time Austrian editor Jung a tongue lashing? [fn] -
But I think I am wrong and Handke knows that the reviewers need a simple hook
for their work, a simple motivation, most of them mention that the object is a
family get-together or the search for the Bankieress mother - and not the “dark
day of the soul” that Alexia suffers and its reference to Handke’s THE GREAT
FALL, not that amazing near unending reprieve of the end of WALK ABOUT THE
VILLAGES with its even grimmer sayings such as “be enamored of your despair.”
[When will someone write a great dissertation on the influence of that great
play on Handke’s work for nigh forty years, how it keeps efflorescing?]</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;"> End
of some very minor caviling on a book that I am reading like a Peter Handke
book - but where I praise as highly as I do here, and I know the fellow knows
how to dissemble and play games and is self-indulgent as hell and I love nearly
every minute of it.</span></b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background: yellow;">The way the narrative
is set up – “that’s the way the tale wants “-and with the author’s admission at
the end that he cannot imagine a story where the story teller does not admit of
his telling, that no story “tells itself” [but he would agree that dreams do I
imagine?]- he could have just said, say, after leaving Clergy-Pointoise
“I am now going to use my medium Alexia, for 1 she is nimbler for such a long
trek, and, secondly, that way I can write all kinds of little essays about what
transpires.” But I find it odd indeed that the two nights of her
expedition are spent, interestingly in both cases, in different inns, and I
wonder whether Handke ever sleeps - during his many country walks - say, under
the Hawthorne 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, but wonder how hardy a vagabond he is while conceding that the
likes of Handke and the Norman Mailer of <i>Why Are We in Vietnam,</i> can
absorb, say, the wildflowers in the Brooks Range, in a day that take me a week
to incorporate. </span></b><o:p></o:p></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">Alexia’s expedition
becomes also a pilgrimage with ordeals and not so much resembles anything that <i>Willehalm
</i>might have experienced but someone seeking sainthood. - Alexia, the
twin sister of our old familiar St. Alexius Under the Stairs </span></span></b><span style="font-family: "Courier New"; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="background: yellow;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">IV=</span></span></b></div>
<br />SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-47915715520171503322013-04-21T06:58:00.001-07:002013-04-21T07:51:55.833-07:00HANDKE'S REALITY SURFEIT VERSUS DAVID SHIELD'S REALITY HUNGER<a href="http://davidshields.com/"> http://davidshields.com/</a><br />
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<b><u><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">A SURFEIT OF HANDKE FOR DAVID SHIELD’S REALITY HUNGER<o:p></o:p></span></u></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">=I= <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">of V =<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">Dear David Shields,<o:p></o:p></span></b></div>
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<b><span style="font-size: 18.0pt;"> </span></b><b><span style="font-size: 13.5pt;"><a href="http://davidshields.com/">http://davidshields.com/</a></span></b><o:p></o:p></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;"> a while back I had planned to do a critique of
your REALITY HUNGER... an intention re-elicited by your recent claims as to
have sacrificed your life for art! Whatever validity of that claim aside its
noticeability, I instead take a positive illustrative approach “on what in
READING is REAL and how a writer might make writing realer for the reader.” – The
world of reading, after all, anyhow of novels, is a world unto itself, and if
it affects the world outside the world of reading, as it can, does so
indirectly in unpredictable ways.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">For direct affect other ways of writing
would seem more effective, vide THE COM-MUNIST MANIFESTO.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">You may recall that we fell into a
conversation these years ago on your saying what a great metaphor Handke’s
GOALIE’S ANXIETY AT THE PENALTY KICK is. At the time I failed to point out that
at the end of the book - Bloch back in goal - all anxiety has ceased! That
objective to overcome, to still anxiety
was, became I suppose a discovery of Handke’s during his adolescent piano-like
practicing of writing – “I am so excited yet everything I write then is so
calm.” - and, once achieved, became addictive, and became one of the driving
sources of the well-honed genius’s art, a genius whose every sense is at least
ten times more sensitive than that of the ordinary hunting dog. And one, one of
his many sources of confidence. - In his 1971 – 1976 diary WEIGHT OF THE WORLD
Handke notes his 4 year old daughter saying “daddy, you’re writing again.”<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">
I will not go into the reason why
Handke as of a very young age was so anxious as to feel he could proclaim, at
the time of his first major public appearance, at the <u>Gruppe 47</u> meeting
in Princeton, in May 1966, that he was “the new Kafka” – on top of the Empire
State Building, to German T.V., and to my friend Ted Theodore J. Ziolkowski, a Hesse specialist
teaching at the university; but it certainly was the case, and for the best of
traumatic reasons. Meanwhile – 20 plays half a dozen screenplays and several
dozen prose volumes later we think of our self as Goethe redivivus, and much as
I hate to admit it, there is something to that too. It’s not a case of mad
vanity! And there is more, see anon.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;"> <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">To write <u>Goalie</u> Handke first
studied the linguistic components of what is called paranoid schizophrenia –
and if you really read the first page or so of that book, its grammatical
sleight of hand will put you into the state of mind in which Bloch becomes so
thoroughly discombobulated, and then a murderer at another moment of confusions
– bubbles of water on the hotplates like scurrying ants is the image. [1] It is
a form of disassociation – however, things can happen in
such states, unlettered impulses break through. The book then proceeds, also using
phenomenological narrative procedures. <o:p></o:p></span></b></div>
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<b><u><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">Goalie</span></u></b><b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;"> was preceded by an even more ambitious attempt for consciousness to
deal with a far more generalized form of anxiety, <u>DER HAUSIER</u> / <u>The
Panhandler </u>(which exists in the Romance languages in the event that you
don’t have German, and which gets pretty close to the original bloody and
brutal source of terror); lots of Handke of that period - <u>Radio Play I</u>
and many of the poems in <u>Innerworld</u> - perform the same stilling of
anxiety, of creating a still point. (Did Handke want to be “the surrogate” in
the sense that Freud felt some artists did? Well, he certainly was in the first
series of plays he wrote.) - I analyzed one of the poems that achieved a
stilling of anxiety, at considerable length. <o:p></o:p></span></b></div>
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<b><span style="background: fuchsia; font-family: "Courier New"; font-size: 16.0pt; mso-highlight: fuchsia;"><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: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">Handke finds a phenomenological
equivalent of an interior state and then linguistically alters it and, and, as
a consequence, the reader’s consciousness is altered” – is the kind of
Aristotelian plainness with which one could describe Handke’s endeavors - from
comparatively simple beginnings to powerfully sustained – the 100 pages of the
end of his CROSSING THE SIERRA DEL GREDOS, a climb and descent the likes of
which has never before made for what many regards as the greatest ending of any
novel ever. <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">But as you then told me, repeatedly,
you are not interested in Handke any more. Yet you write a big grab bag <u>Reality
Hunger!<i><o:p></o:p></i></u></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">Subsequent to <u>Goalie</u> Handke went
on to provide a wealth of technical innovations that modernize the great – in
the widest sense of the terms - realistic tradition, some of which I will
address here – <u>but as you wrote me several times, you “are not interested in
Handke” ….<o:p></o:p></u></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">Yet you profess “Reality Hunger”! Are
you aware that you have actually disqualified yourself?<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">I agree with your lack of interest in the
instance of some of other writers whose name cropped up, although I always
allow that I may not have read enough of their work, and other reasons. <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">=II=<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">I wrote the pre-amble to indicate the
linguistic and grammatical level which Handke was able to access and use as a
writer as of an early age, the play <u>Kaspar</u> is yet another example of his
understanding of language, equal to Noam Chomsky’s at that time. I also wrote
the preceding to indicate my then surprise at your expressed lack of interest
in the rake’s progress. With the 10 k text of <u>The Hour We Knew of Each Other</u>
– one of the great texts of German 20<sup>th</sup> century literature,
comparable to Heiner Mueller’s <u>Quartett</u> – Handke then comprises all his
plays from the 1965 <u>Prophecy</u> to the 1971 <u>The Ride Across Lake
Constance</u>, say as Bach’s <u>The Art of the Fugue</u> comprises, and on a
higher level. When you read the text it is as though your syntax had been taken
by its braid (am Schopf!) and is not let go until you have been scalped!; its
performance has a cathartic, a cleansing effect on the audience. It is such a
piece of virtuosity that everybody else can basically
go home. But you are not interested and editors in the U.S. now assign swine
such as J. L.Marcus, Michael McDonald, Neil Gordon, David Siegal as reviewers
of his work – initially there were some interesting intelligent noises made by
the liked of Richard Gilman, Michael Wood.
These have become rare, . Things HAVE gotten worse.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">See<o:p></o:p></span></b></div>
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<b><span style="background: fuchsia; font-family: "Courier New"; font-size: 16.0pt; mso-highlight: fuchsia;"><a href="http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html">http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html</a><o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">I myself don’t much care for Handke
personally, he can be humorless as only a German can be humorless, and at least
at one time gratuitously injured those
closest to him, a pasha! I appreciate the “wound he writes out of”, the joy he
takes in writing so well conveys itself, at least to me. The only way I can
maintain credibility is to be critical also of the work when it is
problematic. For example, much that I find extraordinary in the forthcoming
Spring 1914 <u>Moravian Night</u>, that fellow Handke translator Scott Abbott
and I will discuss on line yet my first take on it was quite critical of
several aspects. [See links in the <u>Notes] </u>In other instances – too numerous to mention! I am left beyond
quibbling… which is saying something for one the caption on whose yearbook
photo read “born to be critical!”<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;"> Mine of course must seem like one of the more
unusual forms of obsession. It is not really. I have always taken an exhaustive
approach to individual authors, going back to the days of Karl May. Handke just
happens to be the most interesting all around, and I have had the time in the
past nearly 30 years to focus on his many aspects. <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">Here, however, I merely – merely! -
want to point out some of the linguistic
achievements of his, of a technical nature in the field of prose that enhance
readers’ sense of reality of what is evoked in their minds - I am not the only
one to experience his texts – Handke creates experiences par excellence,
Happenings, and not only in the theater, not only there do some of his work
have a cathartic, that is cleansing effect – but, using <u>GOALIE</u> for an
example I wanted to point out how <u>deeply</u> in language and in its
grammatical functioning Handke is engaged at that point and possibly just
mentioning as much indicates that good old American naturalism will not do the
trick, and perhaps a lot of people ought not to even claim that they are
writing novels, and what I will try to show is how that being so deeply inside
the world of language afforded Handke
certain unusual opportunities in narrative prose. <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">=III=<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">I ventured a while back to do a psychoanalysis
of reading, in two parts <o:p></o:p></span></b></div>
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<pre><b><span style="background: fuchsia; font-size: 16.0pt; mso-highlight: fuchsia;"><a href="http://analytic-comments.blogspot.com/2012/03/notes-toward-psychoanalys-of-reading.html">http://analytic-comments.blogspot.com/2012/03/notes-toward-psychoanalys-of-reading.html</a><o:p></o:p></span></b></pre>
<pre><b><span style="background: fuchsia; font-size: 16.0pt; mso-highlight: fuchsia;"><o:p> </o:p></span></b></pre>
<pre><b><span style="background: fuchsia; font-size: 16.0pt; mso-highlight: fuchsia;"><a href="http://analytic-comments.blogspot.com/2012/03/partii-notestowards-psychoanalysis-of.html">http://analytic-comments.blogspot.com/2012/03/partii-notestowards-psychoanalysis-of.html</a></span></b><b><span style="font-size: 16.0pt;"><o:p></o:p></span></b></pre>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">and this attempt here represent a more
practical, less theoretical approach to the same subject and of course I use
the work of my subject of interest to illustrate my case. - But let me step
back even further. <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">I myself started to read on the same
magic pad that Freud refers to in his famous piece on the extraordinary event
he had on the Acropolis (part I of the above provides that account) and have made
it part of my self-analytic memoir novel SCREEN MEMORIES, IDYLLIC -?- YEARS. The chief continuing feature of the current
material manifestation on which what I am writing is being composed is the
on-going sheer “magic” of, initially, letters, and then words for objects
arising as it were “ex nihilo”, a matter that has made me comfortable, nay has
proved attractive now that we have computer screens where words appear… perhaps
not quite that ex nihilo. But leave it for the magic to disappear with over-usage.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">At any event, the first thing that can
be said to be <u>real</u> is the paper or the screen on which symbols can appear;
the ink, pencil marks or their electronic equivalent, too, are indisputably so.
As are the eyes – unless gone dead - needed to take in the symbols however they
manifest themselves, in the form of ideograms, in cunei-form or in various
kinds of lettering – sound eyes, not too many cataracts, squints etc. And of
course there needs to be something that we call a mind and the mind needs to be
taught to be able to decipher, which as we eventually realize means that our
interpretations may just be ours and no one else’s; that is, that to a lesser
or greater degree what we read, what is evoked in us, is a projection. Communal
responses thus are reassuring, we may be mad in what we read but at least we
are not alone.<o:p></o:p></span></b></div>
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<b><u><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">A few examples</span></u></b><b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">There is MICHI in Kroetz’s <u>Michi’s
Blood</u> spelling out what she reads, one slow word after the other “X w r o t e
m e t h i s l e t t
e r.” – The momentousness of someone contacting the retarded girl in the
solitude of her being! <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">There is the fairly rapid inuration to
the kind of language you find in the great majority of newspapers – receptacles
for dead and deadening prose - which then allows for, nearly demands speed
reading, skimming. - You cannot speed read Handke since every sentence of his
is an event, every sentence starts to breathe, say, as of <u>The Repetition
(1986)</u>, a book I regard on the level of Stendahl’s two great novels. Real
writers have a breath – now and then it goes dead, sometimes just for a few
pages, but a real reader notices. <o:p></o:p></span></b></div>
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<b><u><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">The Repetition</span></u></b><b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;"> is a transformative book, it makes the reader into the kind of “King
of Slowness” that Handke became during its writing. It is infused with his
self, there is a self to infuse. Handke is 44 years old, our genius has an
impressive past, and an even more impressive future.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">– Just the other day I happened on a
review by one of the few regular reviewers whose work I respect, James Wood
writing about Rachel Kushner in the New Yorker, a pretty writer, Americans like
writers who write prettily unthreateningly</span></b><b><span style="background: fuchsia; font-family: "Courier New"; font-size: 16.0pt; mso-highlight: fuchsia;"><o:p></o:p></span></b></div>
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<b><span style="background: fuchsia; font-family: "Courier New"; font-size: 16.0pt; mso-highlight: fuchsia;"><a href="http://www.newyorker.com/arts/critics/books/2013/04/08/130408crbo_books_wood">http://www.newyorker.com/arts/critics/books/2013/04/08/130408crbo_books_wood</a><o:p></o:p></span></b></div>
<pre><b><span style="background: yellow; font-size: 20.0pt; mso-highlight: yellow;">and it struck me that he was, for a change, flailing away in trying to show that he liked her work – he too used the word “real” and “reality” frequently, as in mixing the “real” with the “invented” – which implies that he knows the difference – but how? Only via newspapers. Once the newspaper memories die there remains the fabulous, and several great instances among novels of the past 50 + years are Günter Grass’s <u>The Tin Drum</u> – the first half – and Gabriel Marquez <u>One Hundred Years of Solitude</u> – and the manner in which they are fabulous does not depend on referentiality to that kind of newspaper real, but, especially Grass’s <u>Tin Drum</u> and his novella <u>Cat & Mouse </u>on the kind of transformation that transpires in the story teller as Walter Benjamin describes in his essay on the Russian fairy tale writer Leskov – “</span></b><b><span style="background: yellow; font-size: 20.0pt; mso-highlight: yellow;">Whiling away time is the dreambird that hatches the egg of experience." Handke achieves the fabulous in a different manner… The concept for an experience appears to come alive in him, it is gradually birthed, left behind of the experience is what Benjamin calls “the death mask.” Another way of putting it is to say that something – an imaginary, a project appears as an “As If” … and is then realized. Thus, Handke’s calling some of his long narrative fables, and forward-date, by a few decades, creating a rather simple-minded plus-cum-perfect, seems to me to indicate that his trust in his one beautiful sentence after a breathing sentence – his aesthetic manner of proceeding - is shaky! Yet, since some of Handke’s prose works, especially the longer ones – which have not gone through the transformative imagination - so autobiographically based - overlaps with historical reportage it is not possible to make sharp demarcations between genres – you notice the point I am granting you!<o:p></o:p></span></b></pre>
<pre><b><span style="background: yellow; font-size: 20.0pt; mso-highlight: yellow;">Of course there exists the possibility that Handke is unaware of the deeply mind-altering effect, or of some, of his work the reasons for which, many of them technical, I will elaborate below</span></b><o:p></o:p></pre>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">There is the kind of reading that you
do as a literary scholar, many times the same text, there is the kind of
reading I started to do during the non-literary the psychoanalytic approach to
Handke, a detective’s twelve beagles on the watch for his thirteen telltale
foxes – not such a hard job in the case of an exhibitionist, and so much
information that you might think you might not be missing anything. There is
the kind of Talmudic reading you might do if you have had thorough exposure to
Gadamer’s <u>Truth and Method</u> – interpret interpret interpret. There is the
kind of reading you do as a translator that gives you the idea that maybe you
ought not to make any kind of judgment about texts or writers until you had translated a good hunk
of their work. But first off comes reading as experience if the work provides
an experience.<i><o:p></o:p></i></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">However, what you, David Shields appear
to have in mind is how REAL, the REALITY that the symbols create once they have
entered our minds impresses itself; fatigue with certain kinds of procedures. I
don’t know, maybe you ought to move to Austria for a while, Handke is not their
only star, or read some of the other wonders that Ariadne Press has made
available in translation, for your screed strikes me as horrendously, typically
Norte Americano insular.<o:p></o:p></span></b></div>
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<b><u><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">And it is there, on that level, the <i>how</i> of the way you read that the changes
that Handke has introduced into the classical style effect/ affect the degree
of the real.</span></u></b><b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;"> And not, say, in the amusing manner in
which Tom Wolfe managed to mimic the experience of an acid trip, all those
wonderful American superficial comic book tricks!<o:p></o:p></span></b></div>
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<span class="StyleBerlingAntiqua"><b><span style="background: yellow; font-size: 20.0pt; mso-highlight: yellow;">Let
me address another writer and one of his books that we discussed, a writer
whose artistry is less demanding, but perhaps more pertinent to your concerns,
Frank Conroy’s <u>Stop-Time.<o:p></o:p></u></span></b></span></div>
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<span class="StyleBerlingAntiqua"><b><span style="background: yellow; font-size: 20.0pt; mso-highlight: yellow;">I
met Frank at the first day at Haverford, Freshman year 1954, and the
first thing he told me was that he was going to be a writer. During his four
years he wrote a number of stories that were published in the Haverford-Bryn
Mawr Review and during his Junior Year visiting writer Elizabeth Bowen made
sure he became the recipient of one of the then famous $ 100 Knopf advances
that tied the possible future major leaguer to that house. <o:p></o:p></span></b></span></div>
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<span class="StyleBerlingAntiqua"><b><span style="background: yellow; font-size: 20.0pt; mso-highlight: yellow;"> In 1962
or thereabouts Frank completed a novel, about a religious, of which even I,
still his closest friend, would not run a single chapter in a literary magazine
I had at the time. A few years later, around the time of the birth of his first
son, Frank started to write <u>Stop-Time</u>, and I saw chapter after chapter
as it was being written, and helped a few of them to get published. Even before
publication, advance praise was starting to go to Frank’s head, and it would be
18 years before he published <u>Midair</u>, which not only contained several
pieces quite self-critical of his life-style subsequent to the publication of <u>Stop-Time</u>,
but also a number of extremely well-crafted and forally ambitious longer
stories, the title story among them, that showed that Frank had now become a
real writer – not just what is now called “memoirist” - where, in <u>Stop-Time,</u>
since he had such talent, also as a musician, he accessed the flow of memory,
as truthfully as he could best as I was aware. Slowly, one slow sentence after
the other, by pencil. Truthful condensations of that kind demand not just a
conscience but the luck of grasp and succinctness – after all, he was not
taking the Proustian route where each and every little detail becomes enshrined;
Conroy manifests the resolve of editing. The self-critical pieces in <u>Mid-Air</u>
- as compared to the longer deliberately composed ones, such as the one about
the death of his mother - still strike me as rather rudimentary – and when I
saw Frank last, in 1986 in Washington, D.C., I found his memory of the period
1966 to 1971, when he moved to Nantucket, to be quite deficient. Whereas
recollections of growing up and childhood were not edited with self-image in
mind, that factor, however, seemed to play a role for the later period. –
Handke, who is not an especially psychological-minded writer either in his
Yoknapawtawka exhibit of his self for the sake of teaching the world the ways
of the word, in his 2007 <u>Moravian Night</u> finally allows – there are other
indirect funny descriptions of what a little monster was as a child and
adolescent - a lover to mention that he is a “mama’s boy” – both Handke and
Conroy and many good writers like them are their mother’s favored sons. Philip
Roth! Their mothers infused them with love, they infuse the act of writing, the
word with it.<i><o:p></o:p></i></span></b></span></div>
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<span class="StyleBerlingAntiqua"><b><span style="background: yellow; font-size: 20.0pt; mso-highlight: yellow;"> At about the time that Conroy became head of
the Iowa writer’s workshop, he began what was meant to be a big fat major
novel, <u>Body and Soul</u>, another musical title, which, however, the first
four fifth, although superficially autobiographical, but oh so superficial -
turned out to be a pile of dead dog bones if ever there was! As they saying
went “a dog of a book” and the piles of green books went back to the publisher.
<u>Body and Soul</u> was not written slow sentence by sentence, it is written
to be big and fat and make an impression, as wobbly as the tub of jelly as
Frank himself looked at the time, drenched, bulked up with lousy dialogue,
except for its last fifth… there he starts to boogie and it becomes one of the
more amazing piece of writing, especially so unexpectedly because of the
preceding dogginess… that final fifth
testifying to our mutual friend Wilfred Sheed’s once comment that Frank loved
himself more than anyone else. Yet it’s wonderful to see it express itself like
that, the way he was at the piano.<o:p></o:p></span></b></span></div>
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<span class="StyleBerlingAntiqua"><b><span style="background: yellow; font-size: 20.0pt; mso-highlight: yellow;"> Frank’s last book, <u>Of Time and Tide,</u>
about Nantucket, I think is his best and is so for the manner in which he
completed the island – he went there first during our sophomore year, and then
he and his wife built a house, into which he moved after his she had kicked him
out in New York when success had ruined his life for a while; he had come to
know the island as well as his self – and it is the one instance where there is
interesting overlap with the Handke who roots his <u>Assayings</u>, as I call
his <u>Versuche</u> – <i>On Tiredness, the
Jukebox, The Day that Went Well</i>, and in 2012 <u>On the Quiet Place</u>
– but also other longer books and
novellas, in a particular place that then becomes part of his self and the
telling. <u>My Year in the Noman’s Bay<i> </i></u>and
the forest of Chaville on the outskirts of Paris.<o:p></o:p></span></b></span></div>
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<span class="StyleBerlingAntiqua"><b><span style="background: yellow; font-size: 20.0pt; mso-highlight: yellow;"> In <i>nuce,</i>
talent, a self, time, the manner in which conscience handles language, these
are matters that, best as I can tell, are the most important. <o:p></o:p></span></b></span></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">Before enumerating these innovations
and what they do to a reader let me give a brief account of my Handke reading
experiences.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">1-there was the experiencing his first
nearly dozen plays and <i>Innerworld-</i></span></b><b><i><span style="background: yellow; font-family: "Courier New"; font-size: 16.0pt; mso-highlight: yellow;"><o:p></o:p></span></i></b></div>
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<b><span style="background: fuchsia; color: #333333; font-family: "Georgia","serif"; font-size: 16.0pt; mso-highlight: fuchsia; mso-shading: yellow;"><a href="http://www.handketrans.scriptmania.com/about_1.html"><span style="color: black; font-family: "Courier New";">http://www.handketrans.scriptmania.com/about_1.html</span></a></span></b><b><span style="color: #333333; font-family: "Courier New"; font-size: 16.0pt;"> </span><span style="background: yellow;"><o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">A lot of fun, and I realized quickly
that the bastard child was a true genius. <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">2-I didn’t really understand while
translating <u>Goalie</u> how the book arose out of language. Only
subsequently… I imagine it would have been a better translation if I had.<i><o:p></o:p></i></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">3-My stupendous experience with the
first chapter of <u>A Slow Homecoming</u> I expect is unique to someone who has
spent nigh a year in the interior of Alaska, who has dozens of great anecdotes
which he recounts, but who is haunted by having been unable to articulate the
inarticulatability of the experience as a whole… it was just too immense the
immensity of it. Thus the Handke seismograph’s sensitivity to the landscape
forms… <o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">4-I have cited my experience with <u>The Repetition</u> – absent that
experience I doubt I would have set out on this 25 year plus trek – I have
friends and acquaintances who have become disgusting groupies because of that
book and then written extraordinary books about their experience.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">5-Probably the most major of these experiences was translating Handke’s
richest work, the dramatic poem, <u>Walk About the Villages</u> at about the
stage of a complete regression, all defenses down, during a pycho-analysis. The
abov4e link has part of that experience as does my postscript to its Ariadne
Books edition. – The experience can probably not be duplicated – at any event,
I would not recommend it, no one in the world nothing but a text with the
shrink off on an extended X-mas vacation, and shouting out th great text over
and over. I got a hint of a few things at that time, and the text came out very
cutting for voice. That is audible, at least it was to the original author.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">Currently there is the ongoing experience of reading a 70 year old
author writing some of his best work and exuding the joy of writing at such a
level.</span></b><span class="apple-style-span"><b><span style="background: yellow; color: #333333; font-family: "Georgia","serif"; font-size: 10.0pt;"> <o:p></o:p></span></b></span></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">The various effects that Handke’s
works, both in prose and drama have is kinesthetic. <u>The Repetition</u>
alters the reader’s sense of time; <u>Absence</u> for being experienced as a
film constitutes for my money the most profound alteration that Handke has
introduced into the reading experience – this method is used more subtly in <u>Crossing
the Sierra del Gredos</u> where the heroine, a former actress and bankieress,
rich in experience, notices that as she records what she experiences as though
she were acting in a film, a species of self-consciousness that then alters the
reader’s consciousness by making them more attentive, precise in their
noticing. In <u>One Dark Night I left my Silent House</u> the protagonist for a
stretch narrates what is occurring in dream syntax, a matter that I noticed
Handke doing first in a sequence in <u>The Afternoon of a Writer</u> where the
writer transposes his woundedness after running the gauntlet of Salzburg gossip
(entirely justified if I know my rake!) by seeing himself as a hit and run
victim, a woman, tossed into the bushes in the ditch – an instance where this
procedure meshes with metaphoric expressiveness; <u>Storm Still</u> (2010) and
for once quickly available in translation (Swallow Press, U. of Chicago
distributor), is a drama that can be read as a novel or vice versa – the title
derives from a line in <u>The Tempest</u> as is appropriate for a writer,
especially as a playwright, who is at least a quarter cut of the trunk of
William Shakespeare – and whose origins in a village cottage – <i>Keuschnig </i>means Cottage - might change
Freud’s opinion that Shakespeare had to derive from the educated classes. Lots
of factors had to come into play to produce a productive genius like the Count
von und zu Griffen! And not all of them can be regarded as admirable. As a
writer he is of a different order and kind and one of these days a larger
group, at least of writers, in this country or at least a few more of them than
now will catch on and learn from him. In two of his other novels, both of which
are being translated, <u>Moravian Night</u> (2007) and <u>The Great Fall</u> (2011)
the variety of techniques and language knowledge that I tried to outline come
together to… to manifest one of the… great Romanciers! And all it takes to
disprove everything you say in <u>Reality Hunger</u> is a single one of those
horn-billed woodpeckers!<o:p></o:p></span></b></div>
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<b><u><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">NOTES<o:p></o:p></span></u></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">For the overarching website with its
Discussion, Watch, Trivia, Revista-of-Reviews, Yugoslavia, Scholar and Drama
blogs<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">See<o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 20.0pt;">http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html<span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">Handke’s drama see<o:p></o:p></span></b></div>
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<b><u><span style="background: #FF6666; color: #c3390b; font-family: "Courier New"; font-size: 18.0pt;"><a href="http://handke-drama.blogspot.com/2010/05/index-page-for-this-and-all-other.html" target="_blank"><span style="color: #c3390b; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-size: 18.0pt;">http://handke-drama.blogspot.com/2010/05/index-page-for-</span></a><a href="http://handke-drama.blogspot.com/2010/05/index-page-for-this-and-all-other.html" target="_blank"><span style="color: #c3390b; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-size: 18.0pt;">this-and-all-other.html</span></a></span></u></b><span style="font-family: "Courier New"; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">And</span></b><b><span style="font-family: "Courier New"; font-size: 20.0pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 20.0pt;"><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></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">It ought to go without saying that
books of prose of the length of <u>My Year in the No-Man’s Bay</u> and <u>Crossing
the Sierra del Gredos</u> or <u>Moravian Night</u> – will afford opportunity
for criticism – but it never it has never come to that kind of considered criticism
in this country.<o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">The forth-coming Spring 2014 Moravian
Night online discussion</span></b><b><span style="font-family: "Courier New"; font-size: 20.0pt;"><o:p></o:p></span></b></div>
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<span style="font-size: 16.0pt;"><a href="http://moravian-nights-discussion.blogspot.com/2012/06/moravian-nights-discussion-blog-will-do.html">http://moravian-nights-discussion.blogspot.com/2012/06/moravian-nights-discussion-blog-will-do.html</a></span><b><span style="font-family: "Courier New"; font-size: 16.0pt;"><o:p></o:p></span></b></div>
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<span style="font-size: 16.0pt;"><a href="http://moravian-nights-discussion.blogspot.com/2012/11/roloffs-initial-2007-take-on-moravian.html">http://moravian-nights-discussion.blogspot.com/2012/11/roloffs-initial-2007-take-on-moravian.html</a></span><b><span style="background: yellow; font-family: "Courier New"; font-size: 16.0pt; mso-highlight: yellow;"><o:p></o:p></span></b></div>
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<!--[if !supportLists]--><b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-fareast-font-family: "Courier New"; mso-highlight: yellow;">1)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-weight: normal;"> </span></span></b><!--[endif]--><b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">About 20 year ago I tried to see if I could duplicate Handke’s
grammatical sleight of hand, it took about a week. I thought of a time that I
had been especially dissociated – jetlag, disorientation, the counting
mechanism off, alienated and anxious. Torrejon Air Force Base April 1968, my
mother was dying of cancer, the nurses’ husbands were practicing bombing runs
over the mesas, the assassination of Martin Luther King, I noticed the
headlines on the <u>Stars & Stripes</u> as this early bird stood behind a
black seargent in the chow line. “Everything will burn” flashed through my
mind. The endless death of liver cancer. - I managed the attempt, but have not
completed the novella yet.<o:p></o:p></span></b></div>
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<!--[if !supportLists]--><b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-fareast-font-family: "Courier New"; mso-highlight: yellow;">2)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-weight: normal;"> </span></span></b><!--[endif]--><b><span style="background: yellow; font-family: "Courier New"; font-size: 20.0pt; mso-highlight: yellow;">It occurred to me that David Shields may have other peculiar senses of unreality in mind. I
recall that in 1955 the fine Kantian Professor Foss who taught the philosophy
class – father of Lukas and Olivier -came to the philosopher Vaihinger and the
“Philosophy of the As If” – and how shocked he was when the class, to a man,
seemed to have found a philosophy that described their state of mind! The
falseness of the 50s was beginning to break apart at as idyllic a spot as
Haverford College. Now we have the falseness of near absolute continuity
between the regime of GB Bush and Obama’s 9 out of ten broken promises, a
continuing economic debacle, a new one just about every week, the Potemkin
Village that is the US of A.<o:p></o:p></span></b></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-92173033759521995402012-12-30T17:15:00.001-08:002012-12-30T17:15:34.420-08:00COMMENTS ON THE NYU DEUTSCHES HAUS HANDKE EVENING ON YOUTUBE<div bgcolor="#FFCCCC" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; font-family: arial; font-size: small; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
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<span style="background-color: #ffcc00; color: #000099; font-family: courier new, monospace;"><big><b><big>Dear All,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">todos</span><span class="Apple-converted-space"> </span>Santos!<br />I wanted to take the opportunity to comment on your December 2012 conclave<br />at the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Deutsches</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Haus</span><span class="Apple-converted-space"> </span>and provide a bit of background that may help<span class="Apple-converted-space"> </span><br /> in your further<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>work. </big></b></big></span></div>
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<span style="background-color: #ffcc00; color: #000099; font-family: courier new, monospace;"><a href="http://deutscheshaus.as.nyu.edu/object/dh.event.PeterHandkeinAmerica12072012" style="background-color: #ffcc00;" target="_blank"><b>http://<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">deutscheshaus</span>.as.<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">nyu</span>.<wbr></wbr><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">edu</span>/object/<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">dh</span>.event.<wbr></wbr>PeterHandkeinAmerica12072012</b></a></span></div>
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<span style="background-color: #ffcc00;"><span style="color: #000099; font-family: courier new, monospace;"><b><a href="http://www.youtube.com/watch?v=_0tOT0NN418&list=PLi-_vAPFsCy7KXX7VAnwP4E5onDPm7OrP" target="_blank">http://www.<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">youtube</span>.com/watch?<wbr></wbr>v=_0tOT0NN418&list=<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">PLi</span>-_<wbr></wbr>vAPFsCy7KXX7VAnwP4E5onDPm7OrP</a><br /><a href="http://www.youtube.com/watch?v=hGxDlg206gQ&list=PLi-_vAPFsCy7KXX7VAnwP4E5onDPm7OrP&index=2" target="_blank">http://www.<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">youtube</span>.com/watch?<wbr></wbr>v=hGxDlg206gQ&list=<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">PLi</span>-_<wbr></wbr>vAPFsCy7KXX7VAnwP4E5onDPm7OrP&<wbr></wbr>index=2</a></b></span></span></div>
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<span style="background-color: #ffcc00;"><span style="color: #000099; font-family: courier new, monospace;"><br />Friday, December 7th, 6:30 p.m.</span></span></div>
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<span style="color: #000099; font-family: courier new, monospace;"><b><i style="background-color: #ff9966;">Please join us for a discussion with Fatima<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Naqvi</span><span class="Apple-converted-space"> </span>(Rutgers University), Christoph<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Bartmann</span><span class="Apple-converted-space"> </span>(Goethe<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Institut</span><span class="Apple-converted-space"> </span>NYC), Klaus<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Kastberger</span><span class="Apple-converted-space"> </span>(University of Vienna),<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Heike</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Polster</span><span class="Apple-converted-space"> </span>(University of Memphis), Krishna Winston (Wesleyan University), and Thorsten<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Carstensen</span><span class="Apple-converted-space"> </span>(The Indiana University School of Liberal Arts).<br /><br />Peter<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>in America is an important theme for understanding the writer’s work. Because of his life-long fascination with America,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>was among the first German-speaking writers of his generation to present a positive image of the United States against the anti-imperialist aversions of the European 1968-movement. Particularly in his early work, scholars have traced his fascination with writers such as John Ford, Walker Percy (whom he also translated), as well as the blues, New York City, the image of the “Native American” and with the beauty of the American landscape. His 1971 novel Short Letter, Long Farewell makes his fascination with the United States the central motif.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>also lived in New York (after lengthy travels through Alaska), where in 1979 he wrote his important novel The Long Way Round. In his film Three American<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">LPs</span>, he co-produced with<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Wim</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Wenders</span>, many of these themes can also be clearly identified.</i></b></span></div>
<span style="background-color: #ffcc00;"><span style="color: #000099;"><span style="font-family: courier new, monospace;"> <big><b><big><br />First, a comment on the above notice for your conversation.<br /><br />I think it serves no good purpose to put 1968 European Anti-Imperialist sentiments into a contra-distinction to interest in other aspects of American culture - and to do so is what is called creating "false opposites" - of kind and order; that is, the creation of a thoroughly meretricious<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Piñata</span>, and I was glad to note that not too much was made of it.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">QUODLIBET</span><span class="Apple-converted-space"> </span>incidentally references the My Lay atrocity in its <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>Joycean series of nasty puns of that kind. What might be more interesting is a compare of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>large body of work growing out of his self with Faulkner's <a href="http://en.wikipedia.org/wiki/Yoknapatawpha_County" target="_blank">http://en.<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">wikipedia</span>.org/wiki/<wbr></wbr>Yoknapatawpha_County</a><span class="Apple-converted-space"> </span>.<br /><br />For Faulkner needs to be added to the list of writers who were important to the so exceedingly well read<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>from very early on. After Princeton in 1966<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>went to Oxford to get a feel of the place, pay homage I suppose at Faulkner's house. Ford the film maker interested<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span>, and the very title SHORT LETTER LONG FAREWELL references the author of FAREWELL MY LOVELY and<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>and his<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Graz</span><span class="Apple-converted-space"> </span>contemporaries interest in the Black Mask writers, in<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>case as both a breeding ground and then as container for the examination and control of fear. DER<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">HAUSIERER</span>, GOALIE, Radio Play One, etc. After all,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>first self-representation was of "I am the new Kafka", in Princeton 1966. We all recall Kafka saying after his first book, "One day I will be known as the Old Kafka" - young<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>was full of jumping beans. I happened to be at Princeton in 1966 and witnessed what turns out to have been a rehearsed attack, I recall feeling that<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span>, who was entirely unknown to me even though I had been the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Suhrkamp</span><span class="Apple-converted-space"> </span>scout in the US who had just got his first job for German literature in at<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Farrar</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Straus</span>... that<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>sounded like a broken record - now we find out that<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">FC</span><span class="Apple-converted-space"> </span>Delius witnessed his <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>rehearsing his little generalized attack, appropriate to a lot of writers who were<span class="Apple-converted-space"> </span><u>not</u><span class="Apple-converted-space"> </span>at Princeton. He himself read from DER<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">HAUSIERER</span>, not a good text for reading out loud. Ted<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Ziolkowsky</span><span class="Apple-converted-space"> </span>a Princeton professor who became a friend over the Hesse I brought to F.S. + G. also heard<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>make the claim to be the "new Kafka." Subsequent to Princeton,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Pannah</span><span class="Apple-converted-space"> </span>Grady,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Jakov</span><span class="Apple-converted-space"> </span>Lind and I gave a party at<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Pannah's</span>splendid Dakota apartment for the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Gruppe</span><span class="Apple-converted-space"> </span>47 and I had an interesting encounter with<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>as he was being propositioned by Alan Ginsberg, and I noticed that I was dealing with a village sadist and, as the genius would write, "the smell sticks." I believe I wrote this scene up at some length in my DEM<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">HANDKE</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">AUF</span><span class="Apple-converted-space"> </span>DIE<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">SCHLICHE</span>.<span class="Apple-converted-space"> </span></big></b></big><br /><big><b><big><b><a href="http://handke-discussion.blogspot.com/" style="letter-spacing: -1px;" target="_blank">http://www.van.at/see/mike/</a></b><br />For the US discussion of MORAVIAN NIGHT that fellow<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>translator Scott Abbott and I will be conducting, only in 2014 now it turns out, I just wrote up a short piece that accounts for my relationship to<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>texts.<span class="Apple-converted-space"> </span></big></b></big><br /><big><b><big><br /><a href="http://moravian-nights-discussion.blogspot.com/p/french-reviews.html" target="_blank">http://<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">moravian</span>-nights-<wbr></wbr>discussion.<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">blogspot</span>.com/p/<wbr></wbr>french-reviews.html</a><br /></big></b></big><big><b><big><span style="font-weight: normal; text-align: center;"><b><big><big><big><big><big><a href="http://moravian-nights-discussion.blogspot.com/2012/06/moravian-nights-discussion-blog-will-do.html" target="_blank"><span style="font-size: xx-small;"><big><big>http://<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">moravian</span>-nights-<wbr></wbr>discussion.<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">blogspot</span>.com/2012/<wbr></wbr>06/<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">moravian</span>-nights-discussion-<wbr></wbr>blog-will-do.html</big></big></span></a></big></big></big></big></big></b></span><u style="font-weight: normal; text-align: center;"><b><br /></b></u>By the time<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>would undertake the trip that would lead to SHORT LETTER I had let Siegfried<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Unseld</span><span class="Apple-converted-space"> </span>prevail on me to become the US<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Suhrkamp</span><span class="Apple-converted-space"> </span>agent; and this job entailed hosting the threesome of SHORT LETTER who were on an Austrian sponsored 21 dates in 28 days tour of US campuses - the book, too, retains the speediness and travelogue quality. By that time I had already translated all the early plays from <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">PUBLIKUMSBESCHIMPFUNG</span><span class="Apple-converted-space"> </span>to RIDE ACROSS LAKE CONSTANCE and GOALIE'S ANXIETY AT THE PENALTY KICK, and finally managed to get an official premiere of some of these plays, at<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">BAM</span>, which co-<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">incided</span><span class="Apple-converted-space"> </span>with<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>visit. I was glad to only continue to translate the plays and poetry, my strength, quite aside the question of time.<br /><br />As to<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>liking for the<span class="Apple-converted-space"> </span><i>llano non-<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">estacado</span> <span class="Apple-converted-space"> </span></i>of John Ford, those famous wide open spaces, I would attribute <span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>need not to be fenced in to a psychosomatic heart condition, and a general<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">neo</span>-liberal<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">yuppiedom</span><span class="Apple-converted-space"> </span>and grandiosity e/g HERR-MAN<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">QUITT</span>, thus the once<span class="Apple-converted-space"> </span><i><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">buergerschreck</span></i><span class="Apple-converted-space"> </span>who needs absolute quiet - for reasons of having ten times the nerves of every kind than the so-called normal person - to<span class="Apple-converted-space"> </span><i><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Ehrenbuerger</span>,<span class="Apple-converted-space"> </span></i>king of the hill, childhood tyrant, "Mutter<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Soehnchen</span>" to tyrant of syntax is not all that surprising as a curve of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">ascendency</span>. This however makes for a fun<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc">collage</span></big></b></big><br /><big><b><big><small><small><small><big><b><big><a href="http://handke-magazin.blogspot.com/2012/12/the-metamorphoses-of-peter-kaspar-handke.html" target="_blank">http://<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">handke</span>-<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">magazin</span>.<wbr></wbr><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">blogspot</span>.com/2012/12/the-<wbr></wbr>metamorphoses-of-peter-<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">kaspar</span>-<wbr></wbr><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">handke</span>.html</a></big></b></big><span class="Apple-converted-space"> </span></small></small></small><br />What<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">ctd</span>. utterly astonishing is the development of someone who was so deeply embedded in the world of words to the extraordinary sleight of hand artistry of introducing the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">dreamscreen</span>, dream writing, dream syntax writing into prose - the sort of thing none of you brought up but that interests me for<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>use for future novelists on that high order.<br /><br />- I recall giving<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>as he was going back to Austria, and he had lost his coat, something<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">greatcoatish</span><span class="Apple-converted-space"> </span>with a Napoleonic cut I had picked up in Paris , and helping him into the contraption, and everyone -<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Kolleritsch</span>,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Libgart</span><span class="Apple-converted-space"> </span>and<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>himself, much amused at this. So I must have sensed his ultimate ambition early on. A bit like my grandfather making fun of Hitler! And we are all fortunate that<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>is only the Napoleon of Syntax! And had a lovely horticulturalist uncle studying in<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Llubliana</span>! In the mid-seventies he asked me to show him around the Long Island suburbs, just as I entered a ten year stint of living a very bohemian life in<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Tribeca</span>, but<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>need for quiet, with its inception in<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Kronberg</span>, certainly was not meant as a special yen for the unpleasant aspects of suburbia, those are mere incidental. The<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Meudon</span>-<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Clamart</span><span class="Apple-converted-space"> </span>of LEFT HANDED WOMAN <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>was scarcely a suburb, but a way station.<span class="Apple-converted-space"> </span><br /><br /><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>behavior during his trip, however, would not have let you assume that he was a genius unless you, as his translator, or close reader, might have reached that conclusion in that fashion.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>toured the country telling everyone what idiots they were. Donald<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Daviau</span><span class="Apple-converted-space"> </span>who hosted the annual Austrian shindig at U.C. Riverside took offense. - That<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>neglected and insulted wife would leave him at the first opportunity was apparent. KASPAR as great as an objective play as it is, is also in some ways a self-projection, except that you sure as hell don't anticipate that, or for KASPAR to be so utterly arrogant! I also noticed a then puzzling event of the kind he describes in DER<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">VERSUCH</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">UEBER</span><span class="Apple-converted-space"> </span>DEN<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">STILLEN</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">ORT</span><span class="Apple-converted-space"> </span>as<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>peeled away from a conversation with me and two American critics who were early fans of his whom I had invited to a small party for him and squatted down by, I nearly said my<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Juke</span><span class="Apple-converted-space"> </span>Box, record player and put on I think a Beatles record. As soon as the guests left he was his obnoxious self again.<br /><br />Thus SHORT LETTER - FAREWELL LOVER instead of FAREWELL MY<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">LOVERLY</span><span class="Apple-converted-space"> </span>- aside being a kind of Godard film, also is propelled by the same kind of fear of women that also marks MORAVIAN NIGHTS, although not as extensively. MORAVIAN references SHORT LETTER. <span class="Apple-converted-space"> </span><br /><a href="http://moravian-nights-discussion.blogspot.com/p/1-ex-author-his-erinyes-and-his.html" target="_blank">http://<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">moravian</span>-nights-<wbr></wbr>discussion.<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">blogspot</span>.com/p/1-<wbr></wbr>ex-author-his-<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">erinyes</span>-and-his.<wbr></wbr>html</a><span class="Apple-converted-space"> </span><br /><br />That the media generated images with which<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>arrived did not fit his experience is not an especially interesting theme to me. Fleeing the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Moerderland</span><span class="Apple-converted-space"> </span>as the age of 12, child of two 20th of July participants who survived their Gestapo <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>imprisonment during the Siege of Berlin entirely fortuitously, I realized within a fairly short time that the Declaration of Independence had not been written exclusively for me, that American Indians were hard to find in American forests, and that every sexy American car did not come with an sexy American girl.<span class="Apple-converted-space"> </span><br />The Gatsby theme evidently did persist, in no time<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>was staying in the Algonquin and in the best hotels ever after. I always loved the fact that frugal<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Uwe</span><span class="Apple-converted-space"> </span>Johnson stayed in the next-door Iroquois.<span class="Apple-converted-space"> </span><br /><br /> Not that it takes me to point out the existence of Alaska or how different winters are there, but that is what I did when<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>asked me about American winters. And I was in a good position to do so, having worked 9 months out of Fairbanks, first as a fire fighter for two months and then as an assistant geological surveyor, and also with Natives, who were great in the field, not so great when they got drunk in their villages and beat up their wives before their <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>wives beat them up. And had I not seen village life first hand I probably would have accepted the rare December job offer - from the Daily News-Miner - to spend a week at a time, a bush pilot taking me from one such village to another, to report on its events. Thus the chain-wielding Indian in<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">LANGSAME</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">HEIMKEHR</span>, like to much else in that book, is over-determined, and perhaps<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>even made the mistake of making a pass at a squaw and lived to write about it. And <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>Mannheim's translation of that first sentence that drove<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>crazy because he'd been rehearsing it for years and could not get beyond it in the Hotel Adams - is a true abortion that lacks the rhythm and the pathos and everything. And<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>liking Mannheim so much as a translator then makes me fear that his own estimate of my work on WALK ABOUT THE VILLAGES might be equally off the wall, although he was one of two people who realized that it became a translation "for voice" - "cutting -in the good sense." Scott a good ear too, is the other.<br /><br />Ample images from<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>ALASKA experience also entered WALK ABOUT THE VILLAGES especially the sing-songs of the four workers.</big></b></big><small><small><br /></small></small><big><b><big><b><big><small>1)<span class="Apple-converted-space"> </span></small><u><small><span class="J-JK9eJ-PJVNOc">Serbia</span></small></u></big></b><big><b><big><u><br /></u></big></b></big>Now a bit more detail. It appears that you all decided not to talk about<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>and Yugoslavia, but you, Ms.<span class="Apple-converted-space"> </span></big></b></big><big><b><big><u><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Naqvi</span></u>, then call<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>take "naif". Well no, just very different but standard for him, all I can do here is point you to<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Fabjan</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Haffner's</span><span class="Apple-converted-space"> </span>book and some of my own attempts to puzzle the matter out for myself. The US brain-washed and TV-image filled Human Rights Vultures take on the matter will not do. I recall, Ms. Winston some years back not wanting to discuss her own typical take - as always, they then don't want to talk after they read Roger Cohen's photo essay among <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Benneton</span><span class="Apple-converted-space"> </span>ads where the big bad wolf from<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Progarevic</span><span class="Apple-converted-space"> </span>personally sets fire to every<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Bosniak</span><span class="Apple-converted-space"> </span>house.</big></b></big><big><b><big><small><b><big><b><div class="gmail_quote">
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</b></big></b></small></big></b></big><br /><big><b><big>However,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>take and the way he dealt with the disintegration of his beloved<br />Slavic federation accounts for a good deal of the "catastrophic<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>reception" as of the early 90s also in the US. Again, I don't want to repeat what appears in the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>magazine on that matter, in the form of a long open letter to Robert Silvers, and of a letter to the American scholar, etc. Susan Sontag - who had helped me put<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>over at<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Farrar</span>,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Straus</span><span class="Apple-converted-space"> </span>- then saying "<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>is finished" after the publication of his JUSTICE FOR SERBIA set the tone for the intellectual pack. I imagine if<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>had gone about it the way<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Juergen</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Habermas</span><span class="Apple-converted-space"> </span>- in philosophical political legal economic sociological terms - and not been so passionately engaged... however, that is the way the Mississippi of language discourses, from<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Habermas</span><span class="Apple-converted-space"> </span>to the insidious David Brooks.<br /><br />Another reasons for the drop-off in interest in<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>is his publisher<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Farrar</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Straus</span><span class="Apple-converted-space"> </span>interrupting what had been the initial as instantaneous publication of his work in translation subsequent to LEFT HANDED WOMAN, by seven years, and then the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">mis</span>-publication of A SLOW HOME COMING jointly with the memoir A CHILD'S STORY and the travelogue change in artistic programme THE LESSON OF ST.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">VICTOIRE</span>.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">LHW</span><span class="Apple-converted-space"> </span>had still been published in entirety in the New Yorker, as might the first two chapters of the fragmentary A SLOW HOME COMING. By <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>1986 the world had changed, as had editors at the New Yorker, even though<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">FSG</span><span class="Apple-converted-space"> </span>had done very well with my two volume of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>plays, they passed on WALK ABOUT THE VILLAGES and subsequent plays and that interrupted the succession in that field. The New Yorker still did a condensation of a section from THE REPETITION a few year's later, but that was it. Subsequent to its own<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">mis</span>-publication of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span>, who realized the lack of interest in his work, Roger<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Straus</span><span class="Apple-converted-space"> </span>then wrote his famous letter to Siegfried<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Unseld</span><span class="Apple-converted-space"> </span>saying that he had a<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>problem, as compared to<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Unseld</span><span class="Apple-converted-space"> </span>who realized he had a genius if an occasionally difficult one, Roger<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Straus</span><span class="Apple-converted-space"> </span>turned out to be someone who would have been better off selling galoshes. A true culture vulture cherry picker says a once picked and screwed cherry. You wouldn't think as much with a firm sporting the likes of Wilson, Lowell, Malamud - but Robert<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Giroux</span><span class="Apple-converted-space"> </span>was their editor. No end of Nobel Prizes would ennoble Roger<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Straus</span>, and Robert<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Giroux</span><span class="Apple-converted-space"> </span>could never write a <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>history of the firm because it reminded him of Roger. What a close vested banker the editor of T.S. Eliot turned out to be.<span class="Apple-converted-space"> </span><br /> Also,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>must have had nearly a dozen different editors there after I left in 1970 - perfectly fine ones but for the unfortunate period of the mid-80s when Michael<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">DiCapua</span><span class="Apple-converted-space"> </span>was editor in chief, who ruined any number of projects of mine.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>wrote me several times that he felt<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">FSG</span><span class="Apple-converted-space"> </span>was not really interested in his work at that time. I don't know what I could have done about it, but I did suggest to Knopf <span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>at one point that maybe they wanted to do<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span>. And had plenty of trouble of my own kind as co-publisher of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Urizen</span><span class="Apple-converted-space"> </span>Books.<br /></big></b></big></span><big><b><big><span style="font-family: courier new, monospace;">2)<span class="Apple-converted-space"> </span><big><u><small>Krishna Winston</small></u></big><span class="Apple-converted-space"> </span>knows better than to<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc">say</span></span><span class="Apple-converted-space"> </span></big></b></big><b style="font-family: 'courier new', monospace;"><big>that Ralph Mannheim translated nearly<span class="Apple-converted-space"> </span><big>everything of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>prior to her doing the prose, which proves to me once again that she is both petty and not on top of the subject, as she actually nicely admits in the company of folk whom she calls<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>experts but evidently not to others. There are not only my dozen play translations including what<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>called the best translation he ever saw, of WALK ABOUT THE VILLAGES, and two volumes of poetry and GOALIE, but there are also Scott Abbott's translations of JUSTICE FOR SERBIA and VOYAGE BY DUGOUT, as well as Mike Mitchell's of TILL THE DAY,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Gitta</span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Honegger's</span><span class="Apple-converted-space"> </span>of HOUR and THE ART OF ASKING, and I forgot whose of ONCE MORE FOR THUCYDIDES, for New Directions. Perhaps Ms. Winston had just a bad day, I hope the kind of errors she committed will not start to infest her wonderful<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>translations that indeed find the rhythm and sound of the original in a new medium.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc">But</span></big><span class="Apple-converted-space"> </span></big></b><big><big><span style="font-family: courier new,monospace;"><b>a 1993 novel such as<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">MEIN</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">JAHR</span><span class="Apple-converted-space"> </span>IN DER<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">NIEMANDSBUCHT</span></b></span></big></big><big><big><big><big><span style="font-family: courier new,monospace;"><b><span class="Apple-converted-space"> </span><small><small>was scarcely intended as a "<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">millenial</span>" , for the year 2000, although<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>himself may have been </small></small></b></span><small><small><b style="font-family: 'courier new', monospace;">amused at writing a book that was stretched to the kind of 1000 page<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">monstrum</span> </b><b style="font-family: 'courier new', monospace;">he himself once claimed he would never write since they tended to become cadaverous albatrosses such as<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Musil's</span><span class="Apple-converted-space"> </span>MAN WITHOUT QUALITIES... and for which he wanted his publisher to charge the public 120<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">DM</span><span class="Apple-converted-space"> </span>I think it still was at the time. Siegfried<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Unseld</span><span class="Apple-converted-space"> </span>suggested<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">DM</span><span class="Apple-converted-space"> </span>58. They compromised at 78 I think, and<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span>, who turns out to be a really good capitalist bargainer got an advance of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">DM</span><span class="Apple-converted-space"> </span>300,000 - not bad for one year's work.</b></small></small></big></big></big></big></span></span><div style="font-family: arial, sans-serif;">
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<span style="background-color: #ffcc00; color: #000099;"><big style="font-size: small;"><big><b><big><big> Also, Ms Winston translated IN ONE DARK NIGHT I WALKED OUT OF MY QUIET HOUSE subsequent to<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">NOMANSBAY</span>!!!! since it is the book announced in<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">NOMANSBAY</span><span class="Apple-converted-space"> </span>and thus cannot have been written prior. Ms.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Winson</span> also seems entirely ignorant of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>impact on the American theater which was extraordinary at the time, although it has abated, for reasons of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>theater coinciding with and being formalized happenings that complete some of Brecht's endeavors. See my lectures on the subject.<br />As to<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>writing a book a year or "so much" -<span class="Apple-converted-space"> </span></big></big></b><span style="font-family: Courier New;"><b><big><big><b><big><big><big><small><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">NOMANSBAY</span><span class="Apple-converted-space"> </span>has it that it's author<br />writing in nature, in a tree hollow too, whether that is part of the explanation for<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">ctd</span>. productivity?<br /><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Possibelamente</span>. I can think of half a dozen further reasons.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>has heart problems of a psychosomatic<br />kind, walking helps to keep the vistas wide and the brain cleaner. However, to be able to write up to a thousand words a day of marvelous prose is really<br />not that unusual, although few can do it. If you enjoy doing it as much as<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>and have some positive response to conveying that joy - perhaps willy<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">nilly</span><span class="Apple-converted-space"> </span>and via the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">commodius</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">vicus</span><span class="Apple-converted-space"> </span>of<span class="J-JK9eJ-PJVNOc">recirculation</span></small><span class="Apple-converted-space"> </span></big></big></big></b></big></big></b></span></big></big><b style="font-family: 'courier new', monospace; font-size: small;"><big><big><b style="font-family: arial, sans-serif;"><big><big><span style="font-family: Courier New;"><big>we have re-entered Maria<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Sivec's</span><span class="Apple-converted-space"> </span>realm of<span class="Apple-converted-space"> </span><i>Kraft<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">durch</span> <span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Freude</span></i>. Ms. Winston seems not to reflect on what she translates so well. But my chief quarrel derives from her advising<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">FSG</span><span class="Apple-converted-space"> </span>not to publish KALI - because this was not new<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span>. It appears Ms. Winston does not appreciate<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>pride in not repeating himself, but, as a formalist, to explore a formal problem to the limits - and then write a kind of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">summa</span>, say THE HOUR WE KNEW NOTHING OF EACH OTHER being that of all the early musically formed<span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>plays. Or TRACES OF THE LOST as a variant of HOUR. Thus, translate Baby, otherwise keep you hands off, advice that fits quite a few<span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>translators.<br /><br />3) Klaus<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Kastberger</span><span class="Apple-converted-space"> </span>is quite right. Suddenly<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>can't buy himself an unfavorable review, the opposite of just a few years back.<span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>Even Hubert<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Spiegel</span><span class="Apple-converted-space"> </span>has come around. On the udder hand,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Weinzierl</span><span class="Apple-converted-space"> </span>who runs the Welt<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Feuilliton</span><span class="Apple-converted-space"> </span>is a heavily indebted<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>friend,<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Breitenstein's</span><span class="Apple-converted-space"> </span>invariable positive reviews in the<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">NZZ</span><span class="Apple-converted-space"> </span>read canned. Things have got so bad that someone named<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Lothar</span><span class="Apple-converted-space"> </span>Struck has assumed the online identity of one of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>major literary personae, Gregor<span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Keuschnig</span><span class="Apple-converted-space"> </span>and no matter that<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>has said that "I am not the one" - as he is not except as a literary artist when he writes -<br />pays<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">obeyance</span><span class="Apple-converted-space"> </span>to<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>naked feet as he is gardening in<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Chaville</span>, to see if they smell of<span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>mushroom picking expeditions.<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Chaville</span><span class="Apple-converted-space"> </span>itself is being turned into <span class="Apple-converted-space"> </span><i><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Nachlass</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">zur</span><span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Lebenszeit</span></i><span class="Apple-converted-space"> </span>Museum and friends bring visitors to traipse in an out. The preparations for immortality are well along the way, and I will sorrow deeply if I don't get my annual<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>fix. What would the past 25 years have been like without it. However, the traumas of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>childhood cannot be accounted for to his exposure to the<span class="Apple-converted-space"> </span><i><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Brummers</span><span class="Apple-converted-space"> </span></i>in the sky over Berlin in the mid-40s, but rather of the intrusion of the violent drunken Bruno<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke</span><span class="Apple-converted-space"> </span>into his night life and the inevitable identification with this horror as<span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span> <span class="Apple-converted-space"> </span>his father. See my attempt at an explanation of<span class="Apple-converted-space"> </span><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">Handke's</span><span class="Apple-converted-space"> </span>dark side.<br /> <a href="http://analytic-comments.blogspot.com/2009/09/peter-hhandke-wounded-love-child.html" target="_blank">http://analytic-comments.<wbr></wbr><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">blogspot</span>.com/2009/09/peter-<wbr></wbr><span class="J-JK9eJ-PJVNOc" style="background-color: yellow; background-position: initial initial; background-repeat: initial initial;">hhandke</span>-wounded-love-child.<wbr></wbr>html</a><br /><br /><br />I apologize, this was meant as just a brief note.</big></span></big></big></b></big></big></b><b style="font-family: 'courier new', monospace; font-size: small;"><big><big><b style="font-family: arial, sans-serif;"><big><big><span style="font-family: Courier New;"><big><b style="font-family: 'courier new', monospace;"><div class="gmail_quote">
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-70826857926032786292010-12-24T06:03:00.000-08:002010-12-24T06:03:55.419-08:00MARIE COLBIN REVIEW OF HERWIG'S MEISTER DER DAEMMERUNG<h2><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 10pt;"> THE REVIEW THAT MALTE HERWIG THREATENED THE AUSTRIAN NEWS SERVICE WITH A 60 K EURO SUIT IF THEY DID NOT REMOVE IT!</span></h2><h2><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 10pt;"> </span></h2><h2><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 10pt;">Marie Colbin: Gedanken zu Peter Handke</span><span lang="DE" style="font-family: "Courier New";"></span></h2><div align="center" class="MsoNormal" style="text-align: center;"><b><span style="background: none repeat scroll 0% 0% lime;"><a href="http://www.nachrichten.at/nachrichten/kultur/art16,509962,B" target="_blank"><span style="text-decoration: none;"><img alt="Gedanken zu Peter Handke" border="0" height="200" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image004.jpg" width="267" /><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image002.gif" width="1" /></span></a></span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% lime;"></span></b></div><div style="margin-left: -54pt;"><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-size: 14pt;">Peter Handke und Marie Colbin im Jahre 1986 Bild: DVA</span><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 14pt;"></span></b></div><div class="MsoNormal"><b><span style="background: none repeat scroll 0% 0% lime;"><a href="http://austria1.adverserve.net/RealMedia/ads/click_lx.ads/nachrichten.at/kultur/artikel/1025839159/Middle1/sn_ooen/default/empty.gif/5149614761307a72304e304143583068?width=1280" target="_blank"><span style="text-decoration: none;"><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image003.gif" width="1" /></span></a></span></b><b><span style="background: none repeat scroll 0% 0% lime; font-size: 16pt;"></span></b></div><div class="MsoNormal"><b><span style="background: none repeat scroll 0% 0% lime; font-size: 16pt;"><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image003.gif" width="1" /></span></b></div><div style="margin-left: -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Am 8.8.2008 fällt mir Peter Handke nach 20 Jahren Abwesenheit wieder auf einem Gehweg zu, beinah wie damals Ende Juli 1983 am heißesten Tag des Jahrhunderts. Wir sitzen im Garten des Hotels Sheraton, und ich sehe seine kleinen Füße und sehe noch viel mehr und es ist mir vertraut, als hätten wir uns gestern erst getrennt.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ein Jahr später, am 8.8.2009 um 16 Uhr, sitze ich wieder in den Korbmöbeln mit den winterweißen Pölstern, mir gegenüber Malte Herwig, ein junger, höflicher, sehr hochdeutsch sprechender Mann, der ein Buch über Peter Handke plante.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Im Vorfeld dachte ich, es wäre besser, ich rede mit dem Biographen, er könne sich dann vielleicht ein schärferes Bild machen, als er orientiere sich nur am Tratsch der anderen. Malte H. stellte ein Gerät in Tierform auf den Gartentisch. Ein rot leuchtender Innenkörper mit vier dunkelgrauen Beinen in Draht gewickelt starrte auf mich. Das Mikro wirkte wie ein Roboterhund, der jederzeit auf meinen Schoß hüpfen könnte. Irgendwie irreal, dieses Ding. Noch nie zuvor gesehen.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt; text-indent: 54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">So öffnete ich mich also und versuchte auf die Fragen des Biographen zu antworten. Plötzlich legte mir Malte H. Briefe vor, nicht nur das, er las sie sogar laut. Als wäre ich vor Gericht, so wurde ich jetzt geprüft. Diese Briefe waren meine! Ich schrieb sie als sehr junge Frau an Peter Handke, im Vertrauen und nicht ahnend, dass diese zu Lebzeiten in fremde Hände geraten könnten. Es gäbe da ein Archiv, einen Vorlass, und ich war entsetzt und verletzt, fühlte mich verraten und verkauft. In dieser Hochspannung versuchte ich Haltung zu bewahren und den Fragen zu folgen. Viele Stunden saßen wir da, redeten, und die Vergangenheit riss mir das Herz wund. Ich versuchte zu vertrauen, jedoch gelang es mir nicht ganz.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Am 9. November 2010 wird das Buch erscheinen – das wusste ich, und ich schlief ab Anfang November schlecht. Der Postbote übergab mir das Paket, und ich öffnete es langsam. Ein starkes Coverbild lag da vor mir, auf schwarzmattem Papier. Die Struktur der winterweißen, harten Bucheinbindung erinnerte mich an die Korbmöbel im Garten des Hotels, auf denen wir saßen, der Dichter und auch der Biograph. Ich sehe auch noch den gepflegten Anzug des Biographen, auf den relativ kurz nach Beginn unserer Begegnung ein Vogel kackte. Ich sagte: „Vielleicht bringt das Glück!“ Als ich dann den Buchdeckel aufschlug, fand ich mich gleich im handschriftlichen Tagebuchauszug vom 3. Juni 1984. Sie sagte, ihr rechtes Bein sei zwei Mal in Gips gewesen: „Aber damals war ich noch Jungfrau.“ (Satz auf der Brücke) Ein olivfarbenes Blatt liegt auf dem Text, und dieser Farbton erinnert mich an ein von mir gefärbtes Hemd, das ich dem Dichter schenkte und mit dem ich somit zur Tintoretta wurde.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Nach dem Flashback wurde ich nervös, denn ich wollte mich im Innenteil des Buches suchen, diese Passagen also, von denen mir der Biograph im Vorfeld bereits berichtete. Wie soll ich ein Buch mit beinah 400 Seiten in einer Nacht lesen, das geht einfach nicht. Ich muss also erst einmal drüberfliegen. Die Sache mit Mann und Frau auf Seite 235, ich finde und fliege. Erst mal bin ich erleichtert. Puh, durchatmen, es hätte schlimmer kommen können. Jedoch auch stärker und tiefer, so hätte ich es mir gewünscht.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Da waren Wörter verdreht, vieles fehlte und manches hätte ich so gar nicht gebraucht. Erwarte ich zu viel? Ist es denn möglich, wenn Dritte über Dritte schreiben, dass es der Wahrheit entspricht?</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Eigentlich wollte ich das Buch gleich weglegen, da es belastet und alte Wunden aufreißt. Ich versuchte die Emotion abzustreifen und etwas gelassener zu werden, war neugierig und wollte diese Biographie lesen. Zeile für Zeile. Somit begann ich damit. Als würden die Buchstaben aus den Seiten fallen. Der Druck ist nicht zentriert, das mag ich nicht. Mir ist, als würde ich die Buchstaben verlieren beim Lesen.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Dennoch lese ich den Anfang gern, über diese wilde Mutter und den etwas eitlen und doch lieben Vater, dessen Hund auf dem Bild mich an den meines Großvaters erinnert. Es ist kein Collie, wie dort beschrieben, sondern eine Setterart, diese Hunde liebe ich besonders. Ich fliege weiter und lache und bin berührt und bewegt.</span></b></div><div style="margin: 5pt -54pt; text-indent: 54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Der Biograph war fleißig. Der erste große Teil ist sehr gelungen, finde ich. Die Nacht ist lang und ich lese und lese. Es bannt mich, es ist auch spannend, bis ich dann in diese Frauenspur gerate, und ab da kippt das Buch. Irgendwie stimmt es nicht mehr. Wenngleich im ersten Großteil vieles auch etwas langatmig ist und diese Rückblenden, die Wiederholung der Wiederholung, mich manchmal nerven, so wirkt das Geschriebene dennoch wahrhaftig auf mich. Ab der Frauenspur dann nicht mehr.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ich erinnere mich wieder an den ersten Eindruck des Biographen. Ich dachte: „Der ist zu jung!“ Zehn Jahre später, das wäre besser. Wie soll ein Mitte-Dreißig-Jähriger eine Biographie über einen beinah 70-Jährigen schreiben können? Vor allem dieses Frau-Mann-Thema, dafür ist er zu jung. Noch voll mit Illusion und Paartraum.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ja, und dann lande ich wieder inmitten meiner Sätze, verdreht zitiert, und werde wütend. Nicht nur meine Worte sind verdreht, sondern auch die anderer. „Lieber, lieber Handke, vergessen Sie keinen Augenblick, dass Sie mit meiner Frau sprechen!“ Ihr Heller. So wäre das Original gewesen. „Lieber Peter, bitte bedenken Sie, dass Sie mit meiner Frau unterwegs sind.“ Ihr A.H. – so steht es im Buch.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Die Färbung der Zwischentöne, mir wäre die wichtig, denn Heller würde nicht so mit Handke reden. Und wenn es schon ein Tonband gibt, auf dem ich Klartext spreche, verstehe ich die Verdrehung nicht. Auch, dass Heller unterstellt wird, er hätte mich zu dem Polittext 1999 animiert, ist Irrwitz! Denn in jener Zeit hatte ich bereits 15 Jahre lang keine Verbindung zu diesem Mann.</span></b></div><div style="margin: 5pt -54pt; text-indent: 54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Der Text 99 brach aus mir selbst, aus Wut zwar, jedoch auch aus Überzeugung. Ich hatte eine andere politische Haltung, da mir alles Nationale zuwider ist. Ich wünschte mir damals Handke als Mittler und nicht als derart Wütenden. Ich baute einen Text als Metapher zu diesem Krieg, und ich fand schrecklich, wie mein Text von der Presse reduziert und billigst vermarktet wurde. Dass der Biograph jetzt wieder in diese drei Endsätze taucht und nicht meine politische Haltung weitergibt, verletzt mich. Wozu sprach ich Stunden mit diesem Mann?</span></b></div><div style="margin: 5pt -45pt 5pt -54pt; text-indent: 54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Wenn ein Vulkan ausbricht, Lava über dich fließt und du überlebst, dies dann als Tritt in den Po beschrieben wird, dann sage ich, es sollte lieber geschwiegen werden. Ich würde niemals einen Schreiber bei seiner Arbeit aufhalten. NIE! Denn ich achte sein Tun und habe davor Respekt.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ich möchte nicht, dass so über mich geschrieben wird, denn das ist Lüge. Ich denke, der Biograph wusste nicht so recht, wie er zum politischen Teil des Buches gelangen soll. Er benutzte mich als Art Brücke. Als wir uns begegneten, wollte er den politischen Teil draußen lassen. Ich sagte: „Das geht aber nicht. Das ist nun mal ein zentrales Thema.“</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ich fühle jetzt beim Lesen des 6. Kapitels, dass da etwas nicht stimmt. Dass da zurechtmodelliert wurde. So sehr ich den Anfang des Buches mochte, so sehr mag ich den Schluss nicht.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Plötzlich sind wir im Märchen, und alle sollen den Helden lieben. Ja, ich verstehe, dass der Autor seinen Protagonisten gut aus dem Buch entlassen will, aber heiligsprechen sollte er ihn nicht.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ich erhob meine Stimme, weil ich dazu gebeten wurde. Jetzt schließe ich das dicke Buch, verlasse das Vergangene, versuche mit den Projektionen und Wahrnehmungen der anderen klarzukommen, um zu überleben, lande wieder auf der Erde und LIEBE MEINE FREIHEIT!</span></b></div><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Zur Person Marie Colbin</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;"></span></b><br />
<b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">* 18. November 1957 in Gmunden, absolvierte die Schauspielschule des Mozarteums in Salzburg, nahm dann Gesangs- und Tanzunterricht.</span></b><br />
<b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">1977 Debüt in Peter Turrinis „Rozznjogd“. In den 1980ern war sie in zahlreichen Film- und Fernsehproduktionen zu sehen.</span></b><br />
<b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">1984 Deutscher Filmpreis als beste Hauptdarstellerin in „Der Fall Bachmeier – Keine Zeit für Tränen“. Colbin lebt als Fotografin und Autorin in Berlin und Salzburg.</span></b><br />
<b><span lang="DE" style="background: none repeat scroll 0% 0% lime;">Marie Colbin in Film und Fernsehen: 1980 „Auf halbem Weg“, „Reinheit des Herzens“. 1981: „Malou“; 1982: „Bekenntnisse des Hochstaplers Felix Krull“; „Sei zärtlich, Pinguin“, „Miras Haus“. 1983: „Karambolage“, „Das Gold der Liebe“, „Frühlingssinfonie“; 1986: „Die Walsche“; 2004: „Augenleuchten“; 2006: „Die Zeit, die man Leben nennt“.</span></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16pt;"></span></b><br />
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</div>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-5478696444632442632010-12-01T08:42:00.000-08:002010-12-08T13:12:14.412-08:00FULL LENGTH REVIEW OF HERWIG'S HANDKE BIOGRAPHY "MEISTER DER DÄMMERUNG"<div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt; text-align: center;"><b><span style="font-size: 22pt;">[A]</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua;">As opposed to the succinct, <u>Variety</u> review of</span></b></span><b><span style="background: none repeat scroll 0% 0% aqua;"> MALTE HERWIG’S <u>MEISTER DER DAEMMERUNG</u> </span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% aqua;">[Master of the Twilight] </span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% aqua;">posted at</span></b> </div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% fuchsia;"><a href="http://artscritic.blogspot.com/">http://artscritic.blogspot.com/</a></span></b><b></b></div><div align="center" class="MsoNormal" style="margin-right: -45pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% aqua;">This Old-time Editor and Translator and Acquaintance of Handke’s here does a</span></b></div><div align="center" class="MsoNormal" style="margin-right: -45pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 22pt;">=LEISURELY </span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 20pt;">MEANDER</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 22pt;">=</span></b><b><span style="font-size: 22pt;"> </span></b><b></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% aqua;">through this anything but masterly book.</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="background: none repeat scroll 0% 0% aqua;">NOTES TOWARD A COMPLEAT BIOGRAPHY</span></u></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="background: none repeat scroll 0% 0% aqua;">OF PETER HANDKE</span></u></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% aqua;">Posted at:</span></b><span style="font-size: 14pt;"><br />
<b><span style="background: none repeat scroll 0% 0% fuchsia;"><a href="http://handke-discussion.blogspot.com/2010/11/roloff-review-of-malte-herwigs-meister.html">http://handke-discussion.blogspot.com/2010/11/roloff-review-of-malte-herwigs-meister.html</a></span></b></span></div><div align="center" class="MsoNormal" style="margin-right: -45pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 22pt;">=with <u>emendations</u> and <u>notes</u> toward the kind of biography that is needed of the Count von und zu Griffen…</span></b></div><div align="center" class="MsoNormal" style="margin-right: -45pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 22pt;">And that Malte, what with a good first quarter of a book, might just achieve with another half dozen years in the trenches, also of Germanistik, not to mention psychology, right now you ought to pay 1/4<sup>th</sup> of 22,99</span></b><b><span style="background: none repeat scroll 0% 0% yellow;">.</span></b></div><div align="center" class="MsoNormal" style="margin-right: -45pt; text-align: center;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow;">A collection of reviews, all in German so far, can be found </span></b><span style="background: none repeat scroll 0% 0% yellow;">@<b>:</b></span><span style="font-size: 14pt;"><br />
<b><span style="background: none repeat scroll 0% 0% fuchsia;"><a href="http://handke-discussion.blogspot.com/2010/11/malte-herwigs-handke-biography-meister.html">http://handke-discussion.blogspot.com/2010/11/malte-herwigs-handke-biography-meister.html</a></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">The most interesting, by Marie Colbin, has been incorporated in the section devoted to her and Handke.</span></b><br />
<b><br />
<u>Persons mentioned in this review</u>:<br />
<span style="color: #000099;">Ulrich “The Superficial” Greiner, Iris Radischen, Hubert Spiegelfloh, Franz Weinzettl, Ernst Jandl, Marcel Reichs-Kanickel, Peter Stephan Jungk [a.k.a. “the moron”], E.G. Marshall [deceased], Herbert Berghof [deceased], Robert Phelps [deceased], Michael Lebeck [deceased], Danny Gordon [deceased], Helene Birnbaum, Lothar Struck [“a.k.a. “Lotharina,” Handke’s kitchen maid cleaning woman], Steve Kroll [?], Mel Gussow [deceased], Jeanne Moureau, Marie Colbin, Judith Thurman, Karadzic, Milosevic [deceased], Andreas Nowa, Jim Stratton, Serbiana, Amina Handke, Katia Flint, Libgart Schwartz, The Scottish Abbott of the Utes, Hans Widrich, Sophie Semin, Karl Wagner, Peter Strasser, Raimund Fellinger, Fredi Kolleritsch, Georg Pichler, Hans Hoeller, Fabjan Haffner, Richard Gilman [deceased], William Faulkner [deceased], Bill Styron [deceased], Elaine Kaufman [of <i>Elaine's</i> and amazingly alive <br />
at the weight of a full-grown hippo!], Michael Brodsky, Patricia Highsmith [deceased], Wieland Schulz [so the passport, a.k.a. Schulz-Keil], Olaf Hansen, Carl Weber [barely alive yet more grandiose than ever], Alan Ginsberg [deceased], Pamela "Jezebel" Bellwood, Robert Kalfin [?], Donald Daviau, Hans Magnus Enzensberger, Siegfried Unseld [deceased], Peter Weiss [deceased], Uwe Johnson [deceased], Jakov Lind [deceased], Pannah Grady [?], Ted Zsiolkovsky, Hans Werner Richter [deceased], Erich Kuby [deceased], Günter Grass, Roger Straus Sr. [deceased], Michael DeCapua, Nancy Meiselas, Wim Wenders, Leo Feldsberg [deceased], Klaus Peymann [very much alive], Thomas Deichmann, Nicolas Born [deceased], Karl Heinz Braun, Cultural attaché Walter Greinert [¿], Helene Ritzerfeld once upon in charge of Rights and Permission at Suhrkam Verlag [deceased... to the immense relief of no end of American Germanisten and other permission seekers]...</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">It must be a major scandal that the man who wrote the famous, misnamed, A SORROW BEYOND DREAMS about his delightful beautiful mother Maria Sivec’s life made so unhappy by Handke’s stepfather Bruno Handke’s beating and rapes that she committed suicide chiefly because of his impending renewed presence, that Peter Handke, biological son of a Herr Sch</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow;">ö<span style="color: black;">nemann, himself became so possessed by his stepfather’s character that his features have kept irrupting out of him, over and over, that he is violence prone and thus desperately and often seeks peace, and in the wrong places, sing sorrow! for Peter Handke’s dark side, as becomes clearer from the valuable part of Malte Herwig’s book, the description of Handke’s childhood, its documentation, his beating of his sibling when they would not abide the little utterly indulged tyrant’s wishes, his gratuitous injuring of those closest to him, and his forever longing for the good uncle Gregor, a member of the Slovenian minority in Carinthia who died as a member of the German Army on the Crimean Peninsula in 1943. </span></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">What a different life Handke would have led, what a different person he would have become, had Herr Sch</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow;">önemann lived with Maria and raised their first-born together. Schönemann, a German soldier stationed in Griffen, Carinthia, in 1942, as was Bruno Handke, both survived the war: No infinitely depressed mother, no excessive love devoted to their first born, Peter, no anaclytic depression on Peter’s part, the same genius, the same hyper-sensitivity I expect, but not as raw and ready to run amok four times a day [?], not as demonic [?], not as nauseous, chiefly at the sight and sound and feel of so much that is as ugly [?], as confident I expect, but not a “mama’s boy” as which he has the supposed love in <i><u>his</u></i> life, Sophie Semin, describe him in the 2007 <i>Moravian Nights</i>, nor as cold as a salamander when he wants his space all to himself [?], not as defensively arrogant I would guess, and devoid of those gruesome feelings of being abject, not as much of a Gregor Samsa cockroach, possibly still anxiety- ridden…… “if only.”</span></b></span></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow;">A<span class="apple-style-span"><span style="color: black;">llow me to put my findings about Herwig’s valuable – chiefly for its first quarter childhood description and the wealth of uncrossreferenced or digested documents from the archives and recherched [quite a few reviewers who know zilch about Handke and his work praise Herwig for his abilities as a researcher, not this boy! But he does good leg work!] - in </span></span></span></b><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 22pt;">summary fashion, </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">and let me start with</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 22pt;"> my initial involvement</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;"> with this great writer, “The first time I saw your face, so much like a fifth Beatle, wearing those gangsta shades” I suppose it would be in an Amurrican musical – at Princeton 1966, a section bereft of Herwig’s alleged abilities as a researcher, Herwig cites Handke’s dislike of the <i>Gruppe</i>, and that he supposedly went right afterwards on a pilgrimage to Oxford, Mississippi to William Faulkner’s place, </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 22pt;">no</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">… and how easy it would have been for our great “researcher” to get this right, quite a few folks with memories still alive, moreover Herwig contacted me about 18 months ago, but our e-mail conversation confined itself to my stating that I thought <i>Sorrow Beyond Dreams </i>was a fundamental text, turns out that that is not quite so.</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">After Handke’s famous first major – quite a few prior minor ones in Austria - public performance at Princeton, and after the party that I and Jakov Lind and Pannah Grady gave for the <i>Gruppe</i> at Pannah’s splendid apartment in the Dakota</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 14pt;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;">http://en.wikipedia.org/wiki/The_Dakota</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">a complex most famous as the scene of the murder of John Lennon in fall 1980, I knew the following matters about Peter Handke:</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">1] That he was </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 22pt;">an exhibitionist</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;"> – a matter that Herwig, whom Handke uses for this very purpose, nowhere addresses - I knew not only from his first performance where he so famously attacked what had been read at the <i>Gruppe </i>meeting for being descriptively impotent – which his first novel, the 1964 DIE HORNISSEN certainly is not – and Herwig quotes quite wonderfully from it, without going into its “as if” problematics as a literary work of art - but because Handke announced to West German media from the Empire State building that he was “the new Kafka.” We recall the first announcing that he was “the first.” And later Handke would confide the extent of his exhibitionism to me. Handke has made a spectacle of himself – since age 2 says someone who had a number of affairs with single mothers whose children were none too happy to see Mommy in bed fucking someone else! Once analytically trained I became more discreet and aware, at least in that respect.</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">2] That he was a </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 22pt;">potential revolutionary</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;"> who lacked deference for his elders, that he would break rules.</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">3] That </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 20pt;">here was a killer</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;"> I noticed at the look that came over Handke’s face at the sight of a Max Frisch book lying on a display table as the assembled filed out of the hall. The look of murderous envy and ambition that passed over his face! Looks like that are not easily forgotten, but they can go underground. – Herwig’s book contains Handke’s own admissions along those lines, unless you fail to glean so from his texts. Potentially a compleat psychopath if literature were not his salvation. He wanted to murder Marie Colbin we find out in <i>Moravian Nights. </i>Herwig’s book is complicitous with Handke in the way it elides Colbin’s famous set of charges, nor does Herwig call Handke when he lies to his face that he “maybe gave her a kick in the ass, I don’t know I may have slapped her too.” Handke is the man who once said that if he is caught out he will lie at once, and I don’t think he was lying when he said that. [see anon]. Sing sorrow! </span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">4] That as someone dressed like the fifth Beatle Handke might have an </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 20pt;">identity problems</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">, “I want to be someone like someone else was once” – say Franz Kafka - that he was possibly modish, a photo model.</span></b></span><b><span style="color: black;"> </span></b><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;"><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE" target="_blank">http://picasaweb.google.com/mikerol/HANDKE3ONLINE#</a></span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black;"></span></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">5] That he had </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 20pt;">eye problems</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">, as he mentioned to me the first time I, one of his hosts, talked to him, his glasses affording, seemingly, a better opening line than what was really on my mind – a set of specifics as to his charge at Princeton, and whose work did he really like, for example was William Faulkner a hero of his as he was of mine, I wanted to talk literature, after all this was a literature party and I did not know his work, but did of quite a few young Austrians at that point… What made him wear dark glasses even in well modulated lighting conditions of Pannah Grady’s multi-millionaire apartment where Pannah’s Beat writer friends would then smash some Persian vases. “Nausea of the eye balls.” Eye problems. In <i>The Lesson of St. Victoire </i>Handke mentions occasional moments of total color blindness and is speculating whether anyone else in the family suffers the same, perhaps the trove of letters from Peter Handke to his biological father Sch</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow;">ö<span style="color: black;">nemann that Herwig unearthed mention that. Herwig mentions Handke’s actual partial colorblindness – green and red are cited - but not this occasional complete cessation of color, a kind of imprecision typical of Herwig’s work, I myself once spent a week checking on this of the plethora of psycho-somatic symptoms from which Handke suffers or used to, did not reach a definite conclusion; hysteria is a frequent cause, but my guess is that the proverb “he saw black” might be most fitting in the case of someone who has half those moments per day that he wants to run amok – what if we all did? - or a combination of hysteria and amok.</span></span></b></span><b><i><span style="background: none repeat scroll 0% 0% yellow; color: black;"> </span></i></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">Aside Handke's autistic episodes, hysteria and rage are the prime candidates for an explanation. It is one of a plethora of Handke's psychosomatic symptoms that fit the profile of someone who was exposed to traumatizing violent drunken primal scenes from age 2 until 12. Herwig fails to avail himself of Handke’s <i>Essay on Tiredness</i> which lists everything that used to make Handke tired and angry, or rather tired so angry.<i> </i>If Handke were entirely color blind he could of course not respond to Cezanne as he does, etc.</span></b> <br />
<br />
<span class="apple-style-span"><b><span style="color: black;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">6] That he was a </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 20pt;">village sadist</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;"> as my peripheral vision caught sight of the grin on his face as Alan Ginsberg asked me to translate that he wanted to fuck Handke. Ginsberg insisting to repeat this demand then elicited my rare steel blue Prussian dagger looks and Ginsberg backed off. I saw this dreadful self-advertizer only once more, at the end of my stint at the PEN central committee. Ginsberg wore tie and suit, another clown. Handke it turned out really did not have enough English at the time and thought it was <u>I</u> being propositioned, to put it mildly; a misunderstanding not cleared up until I paid Handke a visit on the Moenchsberg in 1980</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"><a href="http://www.van.at/lesen/set01/roloff01.htm" target="_blank">http://www.van.at/lesen/set01/roloff01.htm</a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow;">The<span class="apple-style-span"><span style="color: black;"> excess of sadism and the impulses to run amok, entitlement and feeling superior, I imagine play into these gratuitous injurious acts towards those closest to Handke. Masochism, an even more disgusting feature, although you may wish for it in this instance, I do not detect in our adventurer.</span></span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">On the basis of Princeton and Pannah’s Party Handke I can’t say that he was someone I was interested getting to know. Turns out he was an utterly confident fellow who on the basis of having written DIE HORNISSEN and PUBLIC INSULT had dropped out of law school and was announcing, as he would throughout his career, here I am, it’s me, I, Peter Handke-Sivec-Sch</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow;">ö<span style="color: black;">nemann-Filip Kobal-Loser-Percival-Goethe-II! Of course there existed the possibility that he was more than just a show-off, that he really had something to show.</span></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">7] Reading Handke’s texts within the year, that is by 1968 I had read everything then published – a profusion of other plays and essays and the second novel, DER HAUSIERER, followed in short order - it dawned on me that there was more to this man than what I had seen and experienced at Princeton and in New York – and that he would then prove to be a true darling, not just the budding monster, came I imagine as far more of a surprise and of course so did his texts. Playing around with translating the first play texts to see who might be the right translator for him they proved so delightful, both serious and playful, that I decided to do them myself – and the world has not been the same since, my world.</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;">http://www.handketrans.scriptmania.com/</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">8] That Handke could also be the most insulting person I have ever not kicked out of my house and life is due entirely to my always knowing that he was a genius. I am awed, up to a point. [see anon]</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">9] That he could also be, especially at a remove, the most marvelous person I have ever met – was no doubt the biggest surprise of all, and which accounts, I expect, why his few loyal friends, all gratuitously injured over the years, bear with him and have not told him to go jump in a lake.</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">10] That he would take my girlfriend and take her hard at the time and within a few weeks claim that he had not had any woman adventures – either points to his splitness, his ability to lie as Marie Colbin points out in her famous charge, </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;"><a href="http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html">http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html</a></span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">or to dissociation, but it sure spooked me</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;"> – on the other hand, the girlfriend the relationship with whom his act ruined, turned out to be a habitual liar, too.</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">11] That he threatened to abort a non-existent friendship when I fought, in a manner not to his liking, for what he said, at the time, was the best translation he had ever seen, of his greatest text, and the best collaboration I had had it was too, with him the “elbow holder,” WALK ABOUT THE VILLAGES, finally struck the kind of chord within me that said: “You know kid, aren’t we lucky, if Libgart and I had eloped as I would have with your so insulted and neglected and needy dazzling, <i>rasante</i> wife in 1971, and if you and Judith had not, aren’t we lucky – your work would not have found an equally fine translator responder.” Life with Peter Handke, two adventurers, meet and part. He has the talent, I have the sense of humor and am better at cards.</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 20pt;">[B]</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">==============================================</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Interviewer and subject exist in a mutually exploitive relationship. So does the <i>living</i> subject of a biography and his biographer… In each instance the parameters might be examined. Interviewer of a famous subject wants subject to say something to make the interview newsworthy [in this instance Handke supplies, provides access to no end of fascinating documents, which the interviewer, however, has failed to explore or cross reference or digest, and the subject if he knew what they might do to his image might want to keep under lock and key!], infamous subject who consents to be exploited has an agenda [in this instance it is the same old same old, of wanting to keep his name and image in the news, so that his truly great work will not be ignored: should the biography become controversial, so much the better. In the instance of Handke consenting to not only talk to Malte Herwig, who then only talks to Handke’s closest friends and those ex-lovers who are willing to talk – an interviewer must pay deference just to be admitted into this royal court - the ultra-sensitive, nausea-prone at other bodies in his realm, his space, claustrophobic as soon as a possible displacer is in the vicinity, Handke suffering Herwig’s presence… cooking for him… not immediately taking him for one of his vaunted mushroomings in the <i>For<span class="apple-style-span"><span style="color: black;">ê</span></span>t de Chaville</i>… the very fact that Handke treats Herwig as he does other, even detested reviewer idiots, say Ulrich Greiner of <i>Die Zeit</i>, whom he however treats not only to a meal but to the insults they deserve [not in this weeks interview in <i>Die Zeit</i>, however, Dec.1/2010], or toys with them as only a coquettish and sadistic superior Handke can, or Croatian T.V. interviewers and cameramen, to whom - in exchange for being filmed, appearing to the world and addressing it - Handke revealed that he couldn’t believe that anyone might shell as beautiful a town as Dubrovnik: looking at the various YouTube films, here is one, looking at which</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"><a href="http://www.youtube.com/watch?v=ipoocgWNy74">http://www.youtube.com/watch?v=ipoocgWNy74</a></span></b><b><span style="background: none repeat scroll 0% 0% aqua;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">you might think that this must be kids’ play, as which the anything but innocent shelling of the medieval walls looks. – Herwig, it appears, was so well fed, so many times, he was treated to so much of the forever bubbling mushroom soup, he lost the critical part of his mind if it was even ever meant to be put into play, or if he even has such abilities. That he is sympathetic toward his subject goes nearly without saying. As a Germanist as which Herwig is advertized, he does not exist, nor as a responder to the texts, but he has other strengths, he is a former Spiegel reporter and a good traveler, he knows how to interview. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">The book is advertized as “warts and all,” but if you confine your research, as Herwig has, to friends, don’t even contact Handke’s chief editors Raimund Fellinger or first reader Peter Hamm, the result is predictable: the warts turn into beauty marks, the great peace-loving poet who beats women and even his own child is turned into Mahatma Ghandi II; not that Handke does not seek peace, even in the landscape formations in Alaska, where I as a firefighter yearned for a place to take a bath, and during six months an assistant geological surveyor happened across a lot of valuable mineral deposits but kept my eyes peeled for the hot spring where a friend, an aging Viennese faunist suspected a family of <u>Urbeavers</u> might have survived! Handke seeks peace</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> in the most blood drenched landscape in Europe, Yugoslavia – because he knows of his own anything but peaceful nature. – Search on Percival is all I can say! It’s a little late in the game for the kind of patient gradual exorcism of the devil in you that long-term psychoanalysis might provide, or at least ameliorate. Priestly exorcism? give it a try. - Herwig’s MASTER OF THE TWILIGHT, incomplete as it is, devoid of the five years hard work that would be required to round it out, comes closer to a sympathetic white wash of that great Austrian cultural asset, Peter Handke. However, it provides not a single insight into any of the works, nor does it trace the development of Handke’s art – or arts as prose writer and dramatist, which, after all, is what is most interesting in the case of an artist on Handke’s order.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> Yet for the first fourth of the book, it presents Handke’s childhood in great detail and the reader with a wealth of documents, which Herwig it then turns out did not evaluate or cross reference for numerous contradictions, I thought Herwig fine in being so appreciative of Handke’s ultra-high sensitivity and of Handke’s predicament of needing solitude yet desiring to be a social being and with the fantasy of having a wife in his life and a home, and for the first fourth of the book thought Herwig might produce a splendid book. It was by the time I came on how Herwig <u>elides </u>the specifics of Marie Colbin’s famous charge of how Handke had beaten her up – see anon <span style="color: black;">- that</span> I realized, now with certainty of conviction, that Herwig was yet one more victim of Handke’s <i>raffinesse… </i>or maybe that that had been the arrangement all along, that Herwig quotes a Salzburg friend as demonstrating in Handke’s handling of financial affairs. My sleight of hand man magician has been equally <i>raffiniert</i> [ultra-clever is one possible translation] in administering his appearance and how the publicity machine works in his behalf since his first appearance on the world stage, at Princeton, in 1966, which I witnessed, as well as its immediate aftermath, which Herwig, allegedly a great researcher, was too lazy or whatever to detail – and interesting details these dirty tails are indeed: they will wag life-long! You will write a first rate novel or play, you will call attention to yourself with an outrageous act and those who are hungry to put ink on hungry paper or fill the air waves with voices and images for hungry lonely ears and eyes will be at your beck and call. </span></b><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;"><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE" target="_blank">http://picasaweb.google.com/mikerol/HANDKE3ONLINE#</a></span></b><b><span style="color: black; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin-left: -45pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Quite a few matters transpired prior to Handke’s going off to pay his respects to Faulkner, our mutually whelming hero – I myself devoted every course but one my Freshman year to Faulkner: Psych 101 had not a mouse called Faulkner. Shame on you, Dr. Campbell! [1]</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Handke mentions during their conversations that if he were to write an autobiography he would call it something like <i>Meine Ewigen Irrungen und</i> Wirrungen – which I think would again be grossly unfair, this time to himself. Handke actually has written his autobiography - not just as you can follow the rake’s progress through his various novels and the personae and consciousnesses he adopts or the various autobiographical accounts - but also as a summary projection of every quality and then some of his Yoknapatawpha sized self, <u>Walk about the Villages.</u> It contains all the shades of darkness too, and all the light and dearness in Handke, and then some. Their whence is a question I have devoted some time to. I happened to have the great fortune of translating <u>Villages</u>, and not just as another Handke play, or something along a list of works to perform. I translated it during a psychoanalysis, with a great analyst, the kind of analyst with whom you can communicate through dreams, and in ways that make you see why Freud life-long had the hunch that there were other forms of communication than normal understanding normally assumes to exist. However, the great analyst had come a cropper, through the usual human hubris, arrogance, of thinking he could not possibly be caught in saying he did not know German, leaving me with just Handke’s text to hold on to for a final shout out for dear life sentence by sentence, and this experience of translating each small Handke projection drew everything out of me, left me a husk, but every thing it drew out of, all <i>my</i> darkest most psychotic sides, showed me to myself as I would not have known otherwise. Udderwise the experience also gave me a hint how the monks possessed by biblical religiosity might come up with some of the great bible translation.</span></b><b> </b></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">I came into contact with Malte about two years ago when Lothar Struck’s <i>Begleitschreiben </i>blog, where Struck assumes the novelistic Handkean name, “Gregor Keuschnig”</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"><a href="http://begleitschreiben.twoday.net/">http://begleitschreiben.twoday.net/</a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">called my attention to Malte going after the German writer and editor Dieter Wellershof for obscuring his membership in the Hitler youth. I came to know Wellershof a little in 1964 when I spent a year in Germany, both East and West, as an Indian scout, first for Atlantic Monthly Press, then for Alfred Knopf, and Wellershof was an editor at Kiepenheuer + Witsch in Cologne, and I thought that when Handke spoke up famously at Princeton in 1966 about the descriptive impotence of contemporary writing [it turned out that Handke only had in mind what was read during those three days at Princeton – all of which we American guests, permitted to attend the last and final day of the<i> Gruppe 47</i> meeting, had not heard] maybe had Wellershof’s prose in mind. Malte seemed to be on a witch hunt – he certainly is not on any kind of witch hunt in his <i>MASTER OF THE TWILIGHT</i>, a <i>dewitching </i>would be more like it. A George Smiley Herwig is not, and he never came in from the cold since he never ventured there in this book, and I would not hire him as an analyst at the home office either. Eventually Malte becomes more than just a dewitcher, he becomes a soap box in defense of and for Handke, a gradual process that is completed by the time we reach the end but for a fine penultimate chapter which details how Handke, at one time or the other, “destroyed” “finished off” even the closest friends. “Aren’t you done yet, Malte,” in his advertisements for himself, Malte quotes Handke as saying to him: we are in a complicitous relationship, author and subject, perhaps as of the git-go, which is dated here at 2008 or 2007 when Herwig was one of the first to have a look at the archives. A good and honest biographer would also list what he has looked at, and what he has not. Also that Raimund Fellinger, Handke’s Suhrkamp editor, refused to give him permission to quote from his letters that are in these archives, and that that is the name of Handke’s “Suhrkamp accompanist” when he visits Karadzic. Malte is a bit cute, also in the matter of who he has talked to and not – a conscientious biographer this is not, perhaps Handke’s sometime cuteness has rubbed off, or he worked for <i>Der Spiegel </i>too long. </span></b><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">What does Handke accomplish with making his <i>Vorlass </i>[fore-leavings] so available in the archives? Financial independence and five star hotels and restaurants to his taste is of course wonderful – but, more importantly, knowing how scholars will keep your work alive [say, the Joyce and Kafka industries], it guarantees continued attention to your work in the immediacy and for decades to come. Smart move, if scholars stay as fine as Fabjan Haffner, Hans Hoeller, Karl Wagner, Georg Pichler to mention those who immediately come to mind among others I could cite, his work is in pretty good hands. As to self-image management “old Turkey neck” will have to suffer being taken for a vulture on occasion.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> There is no evidence that Herwig understands what Handke gets out of this. That I will be even more solidly confirmed in my estimate of Handke as a monster...? So what: I also know what a darling he can be. So do his friends who put up with him. I don’t any more, so what.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">The other sensation – besides the Karadic one that has been tucked into footnote # 1 - the one recounting, in sparse detail - Handke’s affair, in the early 70s, after his mother’s suicide, with the 14 year his senior, that great French whore, La France herself, Jeanne Moureau, whom Handke stole from a French couturier prince, and then lived a typical five star hotel existence with in Venice and Munich, appeared in <u>Die Welt</u>, that he and Moureau battled mano a mano [the correspondence with Nicolas Born, has Malte found time to read it? or availed himself of the correspondence with Fredi Kolleritsch that contains so much valuable material?] – this aging roué ventures the wild guess that Moureau, who was acting in that most marvelous anti-boulevard play, “The Ride Across Lake Constance,” regarded Handke as the “love of her life,” because - after all - he remained inaccessible, could not be entrapped by this great amoreuses’s charms – I have encountered this crazed outcry a few times in my man-eater friends. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">I have a hunch that Moureau may have been the one woman in Handke’s life, all of whom the author of <u>A Sorrow Beyond Dreams</u>, not just Marie Colbin, has beaten up, actually might have it in her to beat him up. She looks a tough enough broad to me, any woman who can hold her own among those French sadists must be. My guess is that he became the love of Moureau’s life, because he continued to be inaccessible, because writing would always be more important than any woman: writing his salvation in every which way – only in writing is <span style="display: none;">Handke within being, is he not split, Herwig has that right, and with my critique: that is a great deal: Herwig is on the right track, he just needs another five years in the trenches of real research and thinking to follow the tracks to their ends.</span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">At any event, Moureau reappears in Handke’s film <u>Absence</u> together with Handke’s wife to be, Sophie Semin – ah for once not an actress Handke said on first falling for the haute bourgeois Ms. Semin – who left her job at a courtierer’s within three months… to become an actress! Leave it to Malte Herwig to fail to wonder “why always actresses?”</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig has no more to say about the <span style="display: none;">Handke, Kolleritch, Libgart Schwarz Austrian Cultural Asset visit to the United States in 1971 than that the novel that came out of it, SHORT LETTER LONG FAREWELL is an account of the dissolution of Handke and Libgart Schwartz’s marriage. That marriage was on the rocks already in Berlin in 1969 where Handke was sleeping around.</span> Kolleritch mentions to Herwig that Libgart was a “third wheel” – on that bicycle built for two called Handke/Kolleritch I would say from what I observed and as can be gathered also from the novel, a kind of nouveau roman film as which it is cut, with these personal matters as its ribs. Libgart’s longing for the “sweet man” she had fallen in love with is there represented as a deathly pursuit! </span></b></div> <span style="font-family: Courier New;"><span style="color: maroon; font-family: "Courier New"; font-size: 16pt;"> </span><span style="background-color: yellow; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";">Excursus NY Spring 1971</span></b></span></span> <br />
<div align="center" class="MsoNormal" style="background-color: yellow; text-align: center;"><span style="font-family: Courier New; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";">An Austrian Cultural Package Arrives for a 21 events in 28 days USA marathon...</span></b></span></div><div class="MsoNormal" style="background-color: yellow; text-indent: 54pt;"><span style="font-size: small;"><br />
</span></div><div class="MsoNormal" style="background-color: yellow;"><span style="font-family: Courier New; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";">By the time the Austrian threesome - Handke, Kolleritsch, Libgart Schwarz - arrived in New York in the Spring of 1971 I had been beseeched by Siegfried Unseld, as he does the <u>Left-Handed Woman</u> to become the Suhrkamp agent to replace the fine ex-Berliner Joan Daves, who had her nose full of that representation. See </span></b><b><span style="background: none repeat scroll 0% 0% fuchsia; font-family: "Courier New";"><a href="http://handke--revista-of-reviews.blogspot.com/" moz-do-not-send="true" target="_blank"><u><span style="color: black;"><br />
</span></u></a><a href="http://handke--revista-of-reviews.blogspot.com/" moz-do-not-send="true" target="_blank"><span style="color: black;">http://www.roloff.freehosting.net/index.htm</span></a></span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow;"><span style="font-family: Courier New; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";">for a detailed account of what transpired during the two years I endured working for the Obergauner and his Foreign Rights Hyena, Helene Ritzerfeld, also for the relationship with Farrar, Straus + Giroux.</span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow; text-indent: 54pt;"><span style="font-family: Courier New; font-size: small;"><b>I had managed to put Handke’s work over at Farrar, Straus with support from Susan Sontag – barely: had it not been for</b><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"> Robert Giroux realizing Handke’s talent that ass-licking stiletto man Michael DeCapua - as I will memorialize him justly in the annals of literature - would have had his way again and as he would have once more in the future and shot down another of my projects. KASPAR AND OTHER PLAYS had been published, to some fine reviews, of as yet officially unperformed plays. I had given up my own royalties as translator to get two plays finally done, officially, at B.A.M. A clown named Schulz, a clown in every which way in American parlance and a clown suit made for him by his American hippie girl friend Barbara Becker [a.k.a. "Slave girl"] had appeared in my office who wanted to do them, since I had not gotten anywhere in a couple of years I had no reason to say no.<br />
<a class="moz-txt-link-freetext" href="http://www.schulz-keil.faithweb.com/photo.html" moz-do-not-send="true">http://www.schulz-keil.faithweb.com/photo.html</a></span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow; text-indent: 54pt;"><span style="font-family: Courier New; font-size: small;"><b>Since Princeton 1966 [see Footnote for Princeton] I had seen Handke once more, in 1969, in Berlin, to discuss my translation of KASPAR ["more abstract, as abstract as possible" had been the author’s wish] and my heart had sunk at the prospect of finding the German originals for the quotes from American black mask type novels that DER HAUSIERER contains, I might have asked Handke whether he could help me find them. As it was, GOALIE was substituted for HAUSIERER in the contract I had drawn prior to becoming Suhrkamp agent</b><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"> and thus also Handke’s U.S. agent. I had translated GOALIE, too, by then.</span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow; text-indent: 54pt;"><span style="font-family: Courier New; font-size: small;"><b> I had already run around town with a wild ex-pat troupe that had re-appeared from San Miguel de Allende with my friend the actor and writer Michael Locascio and a certain JB in whose scrawny arms “the Hammer” – Neil Cassidy - had expired one cold Mexican Tequila night</b><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"> on some railroad tracks - to give a hint of how relatively hardcore down-low hippie precincts we are now in - and will not except for mere mention indicate what the weed they brought with them elicited in me… - and arranged for one shot performances of PUBLIC INSULT and SELF-ACCUSATION at any venue that would have us, me and my trusty Sony tape recorder, weight about 20 pounds those days. I had worked with Herbert Berghof and E.G. Marshall at his HB studio on two two week performances of these plays and of KASPAR. E.G. Marshall! A memorably intelligent actor. NY was a fairly wide open town those days, it would become far more open in the next ten years. [FN-2]</span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow; text-indent: 54pt;"><span style="font-family: Courier New; font-size: small;"><b>In Berlin Handke had shown me Baby Amina as we left his dank prince’s apartment in the Uhlandstrasse, Adorno had told me of the</b><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"> ownership of this anything but princely rat hole, and I had thought it perfectly normal - look at Handke’s A CHILD’S STORY, a pretty good account [but for its leaving out the lay-a-broad’s womanizing or any real mention of the girl’s mother!] of those years that also touch on Berlin, and am I ever glad that I like little more than <i>liebäugeln</i> with babies - as compared to the revolutionaries who lacked time and interest for the like in their self-important endeavors. Handke’s “showing” and invariably wanting to go quickly outdoors [we worked at a table at an outdoor at my old familiar Ku-Damm] would eventually become to seem other than “normal.” I had also translated all of the early plays but for <u>Quodlibet,</u> which I would do a few years later during a half year’s trip half way round the world and back on the <u>Hellenic Splendor</u>.</span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow;"><span style="font-family: Courier New; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"> The Austrian Threesome appeared to think that the Suhrkamp Rep’s small apartment was their home away from home. Handke at once moved them out of the Austrian assigned hotel on Lexington Avenue into his there-after forever preferred New York abode, F. Scott Fitzgerald’s Algonquin. Uwe Johnson would stay in the next door, far cheaper, Iroquois. I was beginning to learn the odd ways of the once fabulous seeming writers’ – who it turned out “all scratched themselves at the same spots” as did ordinary mortals - invariable eccentricities. We trouped to the premiere of what struck me as a barely good enough performance, the reviewers, Steve Kroll in Newsweek still comes to mind, seemed to like it fine, so did Mel Gussow at the NY Times. Not so Herr Handke who felt it was just as well it had been done in Brooklyn, of course how would he know that B.A.M. and being outside Manhattan was becoming an “in” thing. He went backstage and must have had unhappy words with the director, Wieland Schulz [passport name, a.k.a. Schulz-Keil.</span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow;"><span style="font-family: Courier New; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"><a href="http://www.schulz-keil.faithweb.com/photo.html" moz-do-not-send="true" target="_blank">http://www.schulz-keil.faithweb.com/photo.html</a></span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow;"><span style="font-family: Courier New; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";">for during our ride back to Manhattan, to Elaine’s, <i>my </i>home away from home since 1965 when it had just been a hole in the wall on Second Avenue, Handke said that he thought Schulz was very dark. When I, who had no particular reason to be apprehensive, questioned that assessment, Handke qualified himself by saying “at least very German.” I of course was keenly aware that Handke was a genius, but learned to appreciate his x-ray vision for character only with time; that he, too, would prove “very dark” and “very German”, differently of course and with that admixture of salvaging Slovenian Maria Sivec, and incomparable to the ultimate masochist Schulz whom John Houston sent to Mexico City to bring some real whores on to the set in Cuernavaca of <u>Under the Volcano</u>, proud of being a pimp, I could not imagine such perverse character structures at the time – live and learn, never live long enough - came as a surprise only because Handke’s genius had made me forget all about my initial 1966 impressions. Translating these works – challenging, but to understand them would take half a life time, to understand what genius can accomplish.</span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow;"><span style="font-family: Courier New; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"> I had not had time to attend rehearsals, the Jezebel, the only one who could have accomplished this, for whom I had broken out of a six year marriage, had had the part of the woman in <u>Self-Accusation;</u> however, Pamela Bellwood [King] who had been married to Peter Bellwood of <i>The Fringe</i> had got a good part, in the touring company of <i>Butterflies Are Free</i> I think it was, and had fluttered the coop [sorry I couldn’t resist], and had mentioned that the director shouted. What German director did not shout? – well, I never saw Herbert Berghof shout. It was a first alert, like others tucked away in the underground storage bin. Handke I imagine was unaware of most of the preceding, and he never asked, as a matter of fact during the 20 years that the relationship translator author lasted he never asked the simplest of questions, such as where were you born, when did you get to the U.S., where did you go to school, whose parents child are you – and so I have to agree with Marie Colbin’s assessment that Handke is a one-eyed mono-maniac, entirely self-involved to which numerous documents testify that Malte Herwig provides in his MEISTER DER DAEMMERUNG, especially the letter to Siegfried Unseld seceding from Suhrkamp Verlag because Siegfried is also publishing the Reichs-Kanickel, and the lengthy diary complaint about Sophie Semin’s son from an earlier affair behaving as unselfconscious possessor of Handke’s space in his house in Chaville. I was never at ease with Handke even prior to what he did with my girlfriend Judith Thurman, and I don’t think just because I was awed by his genius, the early impressions that that then proved so premonitiously accurate [Footnote 1] I expect played into that, if there had been a chessboard out during my visits to Rue Montmorency in the 70s we might have gotten something on, those days when some of us at Elaine’s and the crossstreet bar Eric’s followed every move of Bobby Fischer’s championship games was the last hey-day of my chess. </span></b></span><span style="font-family: Courier New; font-size: small;"><b>According to a letter Handke wrote to Kolleritsch [see their published correspondence] I was "pleasantly boring" - I imagine he could not imagine how boorish I found someone who didn't have a glass of water for a city walker who had walked some miles to his place and unless we went out really didn't seem to want his guest around for at most ten minutes. One must read WEIGHT OF THE WORLD and MOMENT OF TRUE FEELING</b></span><span style="font-family: Courier New; font-size: small;"><b> to appreciate Handke's state of mind during those days after his mother had committed suicide and his insulted and neglected wife had split. - I was at ease and talkative as could be with no end of people but my then uncomprehended gut feelings made me freeze in the presence of murderers and major criminals. Schulz with his act of being one of the guys and saying “shit” at the right moment - it took me a long time to admit that Handke had been right about him and in five minutes.</b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal" style="background-color: yellow;"><span style="font-family: Courier New; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";">At Elaine’s it seemed perfectly normal, as though we had been flirting for a long time, for Libgart and me to play footsie and hold hands under Table 3 while the Bicyle-built-for-Two Kolleritsch-Handke was entwined intellectually. As we left Elaine’s Handke wanted to take a photo of the three of us, Libgart in the center. I realized by the way she moved my hand away from her tush and placed it around her right hip that she was a woman with finesse. I wanted to “walk back” – to the Algonquin, a mere two miles, but Handke was tired. I seemed to have lacked the finesse to instruct Libgart to spend an afternoon at “a hairdressers.” Either by that evening or subsequently, at the Austrian Institute, on its long winding staircase, I saw Libgart “perform” an entrance from that marvel THE RIDE ACROSS LAKE CONSTANCE – I noticed how proud Handke was of her as a bewitching and light as air performer. That damned peripheral vision again! Within a day or so I gave a party at my three room apartment at 55<sup>th</sup> and 6<sup>th</sup> Avenue and invited two of Handke’s earliest American backers, the critics Richard Gilman and Stanley Kaufman, maybe a dozen people, no one from Farrar, Straus best as I recall, and it was when the two critics and Handke and I were a foursome, and Gilman who had noticed Handke’s use of Wittgensteinian [Philosophical Investigations] forms of querying language in RIDE [Gilman had not experienced a performance and so we, good friends to be, would forever argue about the irrelevance of Wittgenstein to what an audience undergoes as the ordinary logic of their word world is destroyed and they are set free], it may have been Gilman asking some lit-crit question along those lines that Handke dropped out down to the left and squatted down by my record player on the lowest shelf of a book case and put on a Beatles Record [?] that I subsequently realized something had been … too much… perhaps one of those episodes that he terms “autistic” to Herbert Gamper. The “dark fellow” with the Alan Ginsberg Karl Marx visage all the time stood by the window to the apartment building shaft into which I had once tossed my wedding ring. After everyone had left, it occurred to Handke, it was the first thing he said, to say that I had was gay. This might have made for more than an awkward moment, but Libgart who might have of course pointed to herself, quickly mentioned the also departed flaxen-haired beauty, Renate Karlin, who had had to leave to look after her two splendid kids. In retrospect what strikes me as odd about myself that here I am having this passionate affair with Renate, which founders on insane jealousy on my part, and I’d have been willing, money allowing, to run off with Libgart, to wherever. Handke would have had his breakdown a year or so earlier. Renate was a recently divorced professor of art at Sarah Lawrence, who could what my even harder working beautiful painter-illustrator teacher wife had been too stubborn and socially incompetent to do, .e.g. hold her own, and not be fazed by the tough talk at the so male oriented Table 4, the “big table”, at Elaine’s – it took very little really to be admitted to the circle if you were a woman, but only two other women come to mind who could handle it, Anthea Sylbert who was married to my close friend and author Paul Sylbert, and the woman who did the acrostics for the New York Magazine, Mary Ann Madden, and tended to hang with friend Tom Buckley, a New York Times reporter who had been in 'Nam, she had a touch of that forties hard drinking reporter gal about her that seemed to admit you to the male club. Renate was entirely feminine but smart, and charming, and had fine hind legs of her own. And yet… so much for my sainthood. Perhaps Handke still had Ginsberg’s pass at him via me of 5 years earlier in mind, or noticed that I held my cigarette the way my mother had. I might have pointed out to him that he had squatted down by my record player like a woman!</span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";"></span></span></div><div class="MsoNormal"><div style="background-color: yellow;"><span style="font-family: Courier New; font-size: small;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New";">At the Threesome’s return from 21 cities in 28 days jaunt through the US, that is memorialized in SHORT LETTER, they seemed to have headed straight for my apartment, Fredi Kolleritch collapsed on what had been my marriage bed, tachycardia, Libgart, too, was exhausted and got to rest on the daybed in my work space, all I did was some <i>liebaeugeln</i> as Handke seemingly energized by the trip experience asked whether there were any international news stands about: indeed, he had come to the right area, both Rizzoli’s and a fancy hotel, the Carlton [?] had them and were within about a block. Had there been images of him in those pages? I failed to ask at his return. Oh yes, Handke asked me whether I could guess whose signature they had wheeled during a flight to Atlanta. I threw up my arms. Muhamed Ali’s on their way to Atlanta. What kids we all were, straight out of the <u>Ride Across Lake Constance,</u> not to forget its sinister bass line. Libgart and I continued where we had left off with our secret little touches and feelies - all this ever evoked from the twosome, it was Kolleritch who spoke up: "Libgart du bist so anders." Was she ever! Anyhow, I made her feel desired who had not been made love to since the birth of her daughter several years before. And so her finally leaving the monster came as no surprise to me.</span></b></span></div><br />
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<div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 18pt;">Such behavior on my part would have been most unusual if Handke had been a friend. To put it succinctly, if a close friend and I were interested in the same girl, I would inevitably defer: the friendship was more valuable, also if I engaged in Oedipal rivalry – there was that inevitable potential for violence, and as I would find out about myself about ten years hence, what I was chiefly afraid of was my own potential for violence. I could provide some very graphic descriptions of how I deferred at moments of extraordinary temptation when a hussy who was having an affair with my closest friend, who was married but an infidel even prior to his wedding made a pass, and on a ferry boat, one of the loveliest places to make love for its motion… its space ship quality… but leave it to the reader’s imagination. Obviously Peter Handke knew no such deferentiality of reluctances, and thus Don Juan would be in hot water most of his life. Nor would he have stood my Jezebel Pamela’s manipulations as I did until I walked out; and in retrospect I imagine that she wanted to be taken hard. However – puzzling over my both insane jealousy in the instances of Pamela as well as the flaxen haired beauty, and yet willing to run off with Libgart if finances had allowed, I wonder about my “object steadiness” – the jealousy referred really more to my unsteadiness than <i>their</i> potential for it, my possessiveness of myself, quite unsteady at that time, a time that stretched into a fifteen year period of major love affairs and marriages and marriage like arrangements, a state of being in constant love with if not with one then in a short time with another. The charm was on, and then the charm fell off in a dream after I also knew that “charm” was the name of one of the Quarks [nonsense] as my last wife mentioned that I seemed to love our two dogs, ridgeback hound hybrids, more than her. Mangy dog me! Back then, after I broke out of my first, only sensible, marriage, Susan Sontag mentioned that I seemed to look so much younger. I, too, was starting to live the life “against interpretation,” pure acting out. The interpretation evidently is coming now, later. </span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 18pt;">Handke, the way he behaved, and so shabbily to his wife, seemed, it appears, someone I did not take seriously as a man. That he would turn out to be a Don Juan and Alpha Male and Pasha came as a surprise. His only liking for his wife that I noticed was as she descended the banister at the Austrian Forum – as someone light I suppose and someone whose beauty if shown would reflect on him, as a mere possession. <span> </span></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
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We also had lunch one time at the Russian Tea Room on West 57th, they had gone to see a musical play I think with Lauren Bacall in it, Handke was disappointed in her of whom he of course had those marvelous memories as a film actress. At one point we also met with the translator Joachim Neugroeschel, another mama's boy whose mother via the Austrian Institute had arranged for the meeting. Handke nearly threw up at the physical ugliness of Neugroeschel, whose character would turn out to match his physique. The people I was willing to put up with! Joachim was a pretty good translator, I used him a lot later at Urizen, and when I read my translations of INNERWORLD at the Goethe House asked him to join me with his Celan. There would be a second time that Handke nearly puked, at Barbara Rose as the then wife of the friend Jerry Leiber when I was working on putting some songs into THEY ARE DYING OUT, this was in Paris, at the Rue Montmorency. Her character, too, would match her physique, like her daughter, Rachel Stella by whom I would allow myself to be seduced in 1979 and have a great two old shoes year with until I had to make myself impossible at a time I could not have a lead shoe dragging on me, Barbara had been cute when young, but aged badly. Thus Handke's sense of the aesthetic and the moral seem to match. No wonder he sometimes is overcome with self-disgust.</span></b></span><br />
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<div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 18pt;">Once when I arrived at Montmorency there was an Austrian <i>Backfisch </i>groupie already there. We sat around awkwardly for a bit, and I think I left of my own accord soon after, Handke saying his usual call and come again. When I did call Handke mentioned that he had exposed himself and that the girl had blushed! [I didn’t say “oh what a surprise that must have been!”] and that he did this when he was “being a bit diabolical.” I noted the forever diminuendo of saying of that kind throughout. Of course if this had been in the late 70s Tribeca Orgon Box as it had become I myself might have asked, surveying that young flesh that no doubt smelled better, “how do you feel about fucking two men at the same time”, and the chances would have been 50/50 that she would have said: “Oh, I love it.” The Orgon started to become that at about the time that girls started wearing their underwear as outerwear. Imagine what that did to someone with a veritably Japanese underwear fetish like myself!</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 18pt;">Another time, this must have been the year of the publication of <u>Als das Wuenschen noch geholfen hat</u>, Handke gave that volume to me and asked if I wanted to translated the three long poems that then appeared under the title <u>Nonsense and Happiness.</u> I started scratching away at a translation at an outdoor restaurant at the Luxembourg airport – I flew Air Icelandic with its Continental in Luxembourg, it was the cheapest, it had the loveliest hostesses and I liked Rekjavik and its duty-free store, and I liked the way New Foundland and Nova Scotia looked from the air what with its numerous rusty ponds, the iron ore deposits – and will, obviously, remember to the end of my days a member of the landed gentry in his riding gear and his young affair rendezvousing there – I recall my envy. <span> </span><span> </span></span></b></span></div><br />
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</div><div class="MsoNormal"><span style="font-family: Courier New;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;">Later, back on the West Coast in the 80s, I heard of Handke’s behavior at UC Riverside’s Austrian shin-dig, he had cursed everyone as idiots and gone off with a woman not his wife. Donald Daviau who ran that operation before he took Summers off to drive the USA in his Goldwing, of French Canadian working class origins, in many ways a splendid man, did not take kindly to Handke’s Tourettism, and it cost Handke a special issue of the magazine he edited.</span></b></span></div><table border="0" cellpadding="0" class="MsoNormalTable" style="width: 100%;"><tbody>
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</div><div class="MsoNormal" style="margin-bottom: 12pt;"><span style="color: black; font-family: Arial; font-size: 12pt;"> </span></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% fuchsia;">=D=</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% fuchsia;">Herwig Devasted</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">After observing how Handke behaved toward his wife in New York in 1971 it was no wonder that the two of them, Handke and Schwartz, became engaged in an Ingmar Bergman film, as I guessed from translating fight scenes of that kind in Handke’s <u>They Are Dying Out.</u> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig’s Karadzic and Moureau excerpts would lead you to assume that his bio is not a serious undertaking: it is, it is fine in getting down Handke’s main predicament, how to live as murderously ambitious ultra-sensitive multiply nauseated plethora of tics Pasha from earliest days on super-entitled writer, who will stop at nothing, must write to be well, <span style="color: black;">condamn<span class="apple-style-span">é</span></span> to write and be famous and yet wishes to be seen by the world each and every day, an immensely entitled being as of his conception, a future Percival, coddled - the entire family, mother, grandfather, uncle, even the to be hated rapist and beater of Handke’s mother, Maria Sivec, Bruno Handke, the stepfather, tithe themselves to further the little childhood dictator’s career – to not live in the complete isolation which both his nervous system and his work demand but to be socially part of the world, to have a kid or two, to have a wife with whom, preferably, one does not end up in an Ingmar Bergman film. Handke ends up in one Bergman film after the other, Herwig recounts four of them, at length, two too many for my taste and interest, since in fact one will do, it’s the same same same old every time. Handke becomes a Salamander who has to live alone.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig fails to mention that they, Handke and Moureau, fought mano a mano, that is he has not read all the published Handke correspondence and in general the book, compared to the sources readily available to Herwig, looks like a rush job. Perhaps ex-Spiegel reporters still abide by deadlines, whereas a writer does not. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig also presents himself as a Germanist, as such he does not pass muster. Let me just mention two extraordinary failures along that line among a host of minor ones.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">1] Herwig baldly claims that at some point Handke abandons his formalist style – without ever specifying what that might have been and what it has become now. Nonsense, Handke is a born formalist, you cannot be unborn, however not born as such you might become one with some effort. Handke becomes a better formalist, a greater artist as he goes along, a lighter artist, more graceful is his line, more and more virtuoso, although not yet as ethereal as some women appear to him. Wolfgang Bauer told me at the Austrian forum at UC Riverside: “In Graz we were all formalists.”</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">2] Thus it is perhaps not all that surprising that Herwig does not even mention the two or three major changes in Handke’s writing – [b] the one during the critical Paris period [1972-78] from being [a], let’s say, “purely phenomenological” to an “emotionally laden” writer. Or the one where images start to anchor the prose more firmly, say in <u>Across</u> [Chinese des Schmerzens] or – [c]- how the narrative procedures begin to change, as announced in <i>Fantasien der Wiederholung. </i>Herwig lists Gamper’s extraordinary book length conversation with Handke – <i>Aber ich lebe doch nur von den Zwischenraeumen – </i>but follows up none of its leads. His apparat is padded.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig claims, baldy, that Handke’s NOMANSBAY is one of the great novels of the past century – I would agree but you cannot do so as baldly when there must be at least three books worth reading during the past 100 years of that so immensely literate century. [2]</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Although Herwig takes Handke’s word for what John Ford’s work means for him, he has no sense for the mytho-poeic as it started to shape Handke’s work with SHORT LETTER.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig does not understand the prior work that gives such evidence of being a control of anxiety, HAUSIERER, Radio Play I. GOALIE, lots of the poems in INNERWORLD. And so at a certain point I began to wonder why MASTER OF TWILIGHT exists: but perhaps for a limited response to Handke’s richest projection of every facet of Handke’s Yoknapatawka-sized self, the very great WALK ABOUT THE VILLAGES, none of the texts elicit any response from Herwig, occasionally are used for rather shallow biographical readings, say of <i>A Short Letter Long Farewell</i> as being an account of the disintegration of Handke’s marriage; at the end of MEISTER Herwig quotes at appreciative length from Handke’s two last plays, <i>Bis der Tag & Immer noch Sturm, </i>but fails to flesh out those sections where he skimps – the critical first Paris Period 1972-79 with what Handke’s own texts from or about that period afford him: WEIGHT, A CHILD’S STORY, MOMENT. Herwig agrees with Lenz’s sense that everything that Handke writes comes out of Handke’s flesh… but doesn’t know how to do the kind of meat cutting that would layer the book with excerpts to lend it the kind of credibility that a Handke biography, inasmuch it is not even needed but for the childhood, demands. I can conceive of a 1000 page oeuvre consisting of nothing but quotes from Handke’s books and diaries – especially now that the archive is available – interleaved with letters and a bridge here and there, entitled “Handke’s Atlas.”</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> <span class="apple-style-span"><span style="color: black;">It is difficult to say why Herwig wrote this book, certainly </span></span></span></b><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua; color: black; font-size: 20pt;">he does not <i>respond</i></span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua; color: black;"> to any one text or is the work especially meaningful to him, that the subject of an enterprise such as this might prove sensational goes nearly without saying: E.g. when discussing the three long poems from<u> <i>Als das W</i></u></span></b></span><span class="apple-style-span"><b><u><span style="background: none repeat scroll 0% 0% aqua;">ü<i><span style="color: black;">nschen noch geholfen hat, </span></i></span></u></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua; color: black;">published in the U.S. under the title of <u>Nonsense and Happiness</u>, Life without Poetry, Blue Poem, etc. – Herwig fails to note how emotional Handke has become, as compared to the texts of <u>Innerworld</u> and all the foregoing – a thorough reading of <u>Weight of the World</u> might of course tell him why: Handke agreed with an analyst he saw that he was disconnected from his feeling – not it appears just from his foot as he wrote his father as a teenager, which meanwhile was floating around Mars! </span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Although the search for father figures appeared to reach a kind of wishful closure – so convincingly rendered that our mutual friend the Scottish Abbott’s of the Utes and a first rate Handke translator too, then follows the follows the footsteps of the dream [!] - with the incorporation of the grandfather in <u>The Repetition</u> [1968] the search for <i>literary</i> fathers, that the Germanist Herwig might have devoted a few pages to, their accumulation has certainly proved fruitful, ultimately finding grandfather ancestral figures in that realm as well – Goethe, Stifter, Flaubert, Cervantes, Dostoevsky, Grillparzer, Eichendorf, Hermann Lenz – but the envy-driven hatred of most contemporary near greats or near contemporary greats such as Grass, Bert Brecht, Thomas Mann, Enzensberger persists. Handke had an opportunity during his somewhat breakdown in Paris , in the early 70s, when he saw a therapeutician [see W.O.W.]: We are not responsible for having been traumatized but perhaps for not perpetuating them by subjecting those closest to us to the same traumas. Psychoanalytic trauma theory and PTS treatment are in excellent shape. But you need to do half the work on your own. Ah, the stories, the dramas I could I tell thee about myself! The children of WW II… each family with its own disintegration [s]. Handke’s and mine could not be more different, mine are far more debilitating, about the only thing we share in that respect are the Oedipal constellation, with our mother’s being our consciences and model, and the relationship to father’s and stepfathers. Freud & Co. Ltd. would seem to provide richer surrogates than those he found in literature, which are also mine. I share Handke’s aesthetic. Fortunately, together with a kind of ineradicable nonchalance, I also inherited my grandfather’s sense of humor who was laughing again two weeks after he had been liberated from his fourth concentration camp. Old man Sivec unfortunately did not bequeath anything like that to his grandchild Peter Handke, but a stellar ability to cuss, which Handke then calls “sacred rage” [!] or to re-inforce the autist’s Tourettish proclivities, or Handke and I could have laughed our heads off about the time that I, on reading <u>Across</u>, in the mid-80s, set out on this odd venture.</span> [2]<span class="apple-style-span"><span style="background: none repeat scroll 0% 0% aqua;"></span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Apparently Handke had no approval of the manuscript, nor looked at it prior to publication; however, the attention that is bestowed on the book inevitably will be bestowed on the author and his work. If Handke had read the m.s. prior to publication he would have realized in a short time what a lousy book most of it is after its first quarter, and I suspect no more mushroom soup for dear Malte, and</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">might have realized that a lot of its documents will not paint a favorable image of the so image conscious - as far as I am concerned he is more of an unchanged little monster than ever, although the use of some of the documents – say Marie Colbin’s love letters, written at a time when things were good – are meant to perform the opposite service [?]. </span><span style="background: none repeat scroll 0% 0% aqua;">Although rightly and sufficiently aware of the Handke’s seismographic ultra-sensitivities, when Herwig finds a letter in which Handke describes to his biological father Sch</span></b><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua;">ö</span></b></span><b><span style="background: none repeat scroll 0% 0% aqua;">nemann his dissociated states, where he sees his own bodily parts as separate entities from his consciousness, Herwig quotes these passages, unselfconsciously written by the 18 year old Handke, without at least wondering how this strange state of affairs might come about. Let this lack of puzzlement on matters psychological stand for Herwig’s lack of interest in fathoming the nature of projecting involved in Handke’s “inner world outerworld innerworld” procedures, and all matters psychological which appears as great as his subject’s, who, aside “nothing but a writer”, appears forever puzzled by who he is no matter that he is able to describe the phenomena. Most contemporary biographers, coming on an author’s account of states of depersonalization and dissociation [also in the poems in NONSENSE AND UNHAPPINESS], would delve into the sources for these near pathological but creatively most useful states of mind, - not Malte Herwig; who abides by the hoary Goethe quote “Zwei Eulen heulen in meinem Brustkorb” - not that some material to help him along that lines is not readily available.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua; color: black;">Herwig, who emphasizes the effect of Handke’s mother’s suicide on the author, appears unaware that Handke in the early 70s in Paris was telling one and all that his [neglected and utterly insulted] wife leaving him was the worst thing that had ever happened to him - no, I would hold that the “metempsychosis”, his being possessed by the evil spirit of the hated and self-hated Bruno Handke stepfather is the worst thing that ever started to happen to Handke, already in Berlin as of age 2, and that there is no priest, be it Catholic or Orthodox or long term analyst who can exorcise it at this point. Handke it appears to have confessed to Herwig that he is still the same troubled being he has been nearly his entire life.</span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua; color: black;"> To the poems in <u>Nonsense and Happiness</u> Herwig has no reaction, about them mentions some stupid reviews, and then Karl Krolow’s, who hasn’t the faintest either in following these three progressively stormier, depersonalizing and repersonalizing <i>fugueing</i> poems. Herwig mentions Handke’s admittance into a hospital for panic induced tachycardia, but has the date wrong by two years, it is 1974, by 1976 our man was writing <i>Left-Handed Woman, </i>[<i><u>Weight</u></i> which recounts that experience was published in German by Residenz Verlag in 1976], had moved out of the Rue Montmorency basement apartment to Clamart/ Meudon whence he described the gently rolling hills of Paris. </span></b></span><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig does not appear to know that it was Valerium that then calmed Handke’s heart, and it may be Valium more than anything which we have to thank for Handke’s first big change at that time. And what about that enlarged heart valve, is it for real or have we one of those conventions to save pride of face as in “Libgart Schwartz has decided to resume her acting career” to explain her disappearance, an acting career that had never ceased, but I imagine shortly before and after she gave birth to her daughter Amina.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt; text-indent: 54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig unloads a veritable trove of documents that he himself has not yet explored to the extent that I will in some instances in this review, these are not just documents from the two big German and Austrian archives to which Handke sold his diaries and manuscript for a total of 800,000 Euro so as to be able to stay in Five Star hotels whenever he travels and not require Sigrid L<span class="apple-style-span">ö</span>ffler to arrange Heine prizes for him so that he can invite all his translators to go clambering with the mountains goats in the Sierra del Gredos, but also diary excerpts such as the marvelous one where Handke is hugely upset at the behavior and the space Sophie Semin’s son from a previous relationship bring into our lord’s house: you already have a description of the Austrian threesome’s leader at my apartment during their visit in 1971 to New York and I was the Suhrkamp agent and of my visits to the Rue Montmorency. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> Herwig thus quotes from the often wonderful correspondence between Handke and his quite literate mother, grandfather, stepfather, and there is a marvelous letter to Siegfried Unseld announcing Handke’s withdrawal from the firm, on which Handke then relented – and the wife of one of Handke’s half-siblings from his biological father, a Herr Sch<span class="apple-style-span">önemann, who helped conceive the then not so little bastard to be in Griffen in Spring of 1942 when he and his German army unit were stationed in Carinthia, </span>unearths the correspondence between Handke and this man whom Handke initially welcomed once his mother fessed up to his existence. Handke himself approached her at one point as an adolescent, referring to the Bruno monster: “I cannot be that man’s child.” </span></b></div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt; text-indent: 54pt;"><span class="StyleBerlingAntiqua"><b><span style="background: none repeat scroll 0% 0% aqua;">The marvelous, impassioned letter by Handke to Siegfried Unseld withdrawing from the firm because Unseld now also publishes Handke’s nemesis Marcel Reich-Kanickel as I think of him [<u>No-Man’s-Bay<i> </i></u>also contains brief mention of Handke’s unhappiness in this matter, as it relates to Keuschnig’s publisher visiting him in his <i>refugio.</i>] I wish might have found its way into that marvelous tableaux, I must say, as a biographer, I would have introduced the background to why the <i>Kanickel</i> became Handke’s nemesis.</span></b></span></div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span class="StyleBerlingAntiqua"><b><span style="background: none repeat scroll 0% 0% aqua;"> In the 60s Handke wrote a funny playful essay describing how the <i>Kanickel, </i>as a reviewer, invariably used the same tricks. It’s a playful, not a vicious piece, and if I had been a <i>Kanickel </i> who had to write two or three book reviews a week, I might have sent Handke a postcard, saying, “hey, kid, if you can tell me how to find a different tack three times a week, I’ll share my income with you.”</span></b></span></div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span class="StyleBerlingAntiqua"><b><span style="background: none repeat scroll 0% 0% aqua;"> Unfortunately the <i>Kanickel,</i> who once expressed himself favorably about Handke’s PUBLIC INSULT, does not take as kindly to derision as I might have in this instance. He proceeds to devastate two of Handke’s most marvelous books, LEFT HANDED WOMAN & A SLOW HOMECOMING, and does so in the kind of low-down fashion as you might get from vilenesses like Neil Gordon, in the NY Times Sunday Book Review</span></b></span><span class="StyleBerlingAntiqua"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span class="StyleBerlingAntiqua"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;">http://www.nytimes.com/2007/08/19/books/review/Gordon-t.html</span></b></span></div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span class="StyleBerlingAntiqua"><b><span style="background: none repeat scroll 0% 0% aqua;">or Michael McDonald did to Handke’s CROSSING DEL GREDOS in this country a few years back. McDonald is a sad case who works for a right-wing tank, <i>The Amurrican Interest, </i>Gordon, who heads the writing program at the New School and is an abominable novelist, is the sort of chap I would put out of his misery if I should encounter him in Billie the Kid country where everyone wears a side arm. I mean it. Perhaps <i>Kanickel </i>is also still aggrieved because of Handke’s performance at Princeton. Handke proceeds to describe the <i>Kanickel </i>as a mad bulldog shitting all over an airport runway in <i>Lesson of St. Victoire</i>, we are definitely in a Carinthian village now where the monkeys throw buckets full of shit at each other. The <i>Kanickel </i>claims he has never been so hurt in his life, by this comparison. He will say this a number of other times when other writers decide it’s “pay back-time.” However, at the behest of Siegfried Unseld, who prefers peace amongst his authors and who is entitled to publish whom he pleases [and it is a smart move to publish the <i>Kanickel’s </i>anthologies, moreover it neutralizes him somewhat, who praises Unseld as the greatest German post WW II publisher] the <i>Kanickel </i>writes Handke a series of letters to Salzburg, to find a modus vivindi, as rapprochement. These are returned “unopened“ … what our village idiot savant fails to keep in mind is that the <i>Kanickel, </i>a survivor of the Warsaw Ghetto, who had studied German literature in Berlin prior to being expelled during the Hitler years, became a police spy in post-war Poland, who can spot a once opened letter at a glance! Now this is the kind of material, in greater more delicious detail, that you would want in a real biography. It would provide context – <u>Herwig’s bio lacks, is devoid of context!</u> But for the Forum Stadtpark period in Graz. He fails to note the degree to which Handke, in his way, addressed the concerns of the 60s generation in his early plays, there exist interviews to that effect.</span></b></span></div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Yet spending so much time with Handke Herwig has picked up quite a few nice details, e.g. Handke, who has been writing with a pencil since 1978 [<u>Geschichte des Bleistifts/ L’histoire de crayon</u> is the title of volume 2 of his published diary excerpts] has developed arthritis or carpel tunnel syndrome of his right wrist… which he treats by brushing the wrist against <i>Brenn Nesseln</i>, i.e burn nettles… dis, replacing the ague as it were. So one must read the entire tome, including its longeurs.</span></b></div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; display: none;">Fortunately Handke is a great writer, otherwise he would just be a monster, yet still a fascinating “case”, a man who would be under no end of restraining order in this country. If you look at the rake’s progress from his first novel, the 1964<u> </u><i>Die Hornissen </i>to the 2007 <i>Moravian Nights<u> </u></i><u>you could use that cumulation to teach how prose writing can be done. Is being a great writer synonymous with being a great monster – not necessarily I don’t think, you need not be a great writer to commit as much gratuitous injury to those closest to you as Handke has.</u></span></b><b><span style="background: none repeat scroll 0% 0% aqua;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Giving Herwig access to material that is not even in the two chief Austrian and German archives of Handke’s work sounds dangerous in the extreme… nay, suicidal… especially if my memorablia contained as much explosive material as Handke’s does… it is fairly devastating I think to realize the degree to which Handke has even falsified supposedly truthful accounts such as A SORROW BEYOND DREAMS or that we now find out that he did not even live with the Marie Colbin but miles apart when she supposedly did not leave him any breathing! room to write so that he had the wish to kill her [whom has Handke not had a wish to kill at one time or another?] – the lame excuse for beating the shit out of her that Handke proffers in <i>Moravian Nights </i>is the most hideous thing he has ever written – the formalist virtuoso account of her not leaving him alone as the excuse for wanting to kill her and beating her - in <i>Moravian Nights. </i>Herwig fails to follow up the contradiction between the lies that Handke offers him over mushroom soup - “oh I might have kicked her in the ass, perhaps I even gave her a slap in the face – and I didn’t feel very good about myself.” Typical Handke lying and belittling is all I can say, see the enumeration of Colbin’s charges, that Herwig, the prettier-upper, elides.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Handke introduced his admission to having beaten a woman, tactical concession defense, as a belated response to former lover and <i>Lebensgefährte,</i> collaborator on a film now Erinye Marie Colbin’s going public, during the Handke/ Yugoslavia publicity wars in the 90s, it has been hanging there in the air ever since, waiting for a response first in <i>Der Falter, </i>which was picked up</span></b><span style="font-size: 14pt;"></span></div><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"><a href="http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html" target="_blank"><b><span lang="EN-US">http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html</span></b></a></span><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"> </span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"> </span></b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"></span></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">with a description of how Handke had nearly killed her. </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua;">["</span></b><b><i><span lang="DE" style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;">Ich höre noch meinen Kopf auf den Steinboden knallen. Ich spüre noch den Bergschuh im Unterleib und auch die Faust im Gesicht... Solange es Männer gibt auf dieser Welt - Männer wie Dich - einäugig, unnachgiebig, machthungrig und Ego-breit - wird es auch Waffen geben und somit Kriege... Wer bist Du denn, daß Du Dich so wichtig nimmst? Bist weder groß, noch edel oder gar bescheiden und aufrichtig. Ein eitler Schreiber bist Du, der sich sonnt in der Rolle des 'einsamen Rufers.'... Irgendwie wirst Du diesem Krieg dankbar sein, denn er befriedigt auf perverse Weise Dein unstillbares Verlangen nach öffentlicher Anerkennung</span></i></b><b><span lang="DE" style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;">."</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"> </span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;">A translation of her statement reads: „<i>I can still feel my head bang on the stone floor. I can still feel the mountain hiker boots hit my stomach and your fist in my face… As long as there are men in the world – men like you – one-eyed, unyielding, power-hungry and egomaniacal – there will be weapons and therefore war… Who are you, to think of yourself as so important. You are neither great, nor noble nor modest nor honest. A vain writer is what you are, who suns himself in the role of the solitary prophet… In some way you will be thankful for this war [The Yugoslav wars of 1994-99] because it will satisfy your insatiable longing for public acclaim</i>.” </span></b><b><span style="background: none repeat scroll 0% 0% yellow;">–</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><br />
</div><div style="margin: 0cm 0cm 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">I gives me little satisfaction but some to agree with most of Ms. Colbin’s assessment, who however herself would I think now disavow her statement that Handke is <i>merely</i> a vain writer – since she herself doesn’t seem to be able <i>not</i> to perform his work, that is to let go. I have already mentioned that I cannot recall a single instance where Handke in what had been a 20 some year association expressed the slightest interest in who I might be, whence I came, my past, etc. Monomaniacal was fine with me once I got an inkling of what a genius he was. Handke’s sexual habits are those of a true pasha, two whores at one time he told me once, a man who really takes his women! The kind of pasha who would have felt equally home as a Sumerian king where the concubines were tossed out on the street and the Sumerian texts cite the biting bitches in the streets. In recent text we seem to have made a rapprochement with the “ewig Weibliche” however, and we – this the royal “we” – lets itself be berated, but we are still locked in a Dostoyevskyian darkness and lacking all understanding. - Occasionally Handke seemed to get lonely during his first Paris period [“only the Portuguese cleaning woman in the past ten days”] days – who wouldn’t be if you behaved as he did! Yet what surprised me was that someone so quickly successful might yet be so lonely that he needed to ask me in the 70s to write to him – once I got a drift on how very different his autism made this idiot savant, I allowed that it was simply so, not that I necessarily understood all those equations even now. Colbin is of course more than right in finding that the Yugoslav wars afforded Handke a golden opportunity for self-display – yet some fine works – especially VOYAGE BY DUGOUT & THE CUCKOOS OF VELICA HOCA - have resulted from it too, and I am overall glad at his intercession,</span></b><b><span style="background: none repeat scroll 0% 0% aqua;"> </span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">see:</span></b><b><span style="font-family: "Courier New"; font-size: 14pt;"></span></b></div><div style="margin: 0cm 0cm 0.0001pt -54pt;"><b><u><span style="font-family: "Courier New"; font-size: 14pt;"><a href="http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102);">http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html</span></a></span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">for a host of material on this aspect of Handke’s life, and where I have no quarrel with Herwig’s chapter that tries to show that it was entirely in character for Handke to take this position. </span></b><b><span style="background: none repeat scroll 0% 0% aqua;">– Yugoslavia being the biggest opportunity for self-display, and the one with the worst consequences, of which, it turns out, his close friends in Paris, Luc Bondy, his then wife Sophie Semin and Peter Stephan Jungk, to whom he read <i>Justice for Serbia, </i>had warned him. Had I been there I would have said: go for it, you are right! At least in the matter of the diabolization of the Serbs you are. Even the publicity stunt was as much cause for action as Handke’s sense of righteousness, they have gone glove in hand from the beginning. If you look back to the beginning, you note that this twin-ship invariably appears together. I have no quarrel with Herwig on that score but he fails to follow up on why Handke with all the publicity aspect of the case, going to see Milosevic in jail, showing up at his funeral and expressing his fine condolences and solidarity he then refused the call to be an expert witness on the disintegration of Yugoslavia at the Milosevic trial, and Herwig has read and quotes from <i>Die Tablas des Damiel</i>, and why Handke wouldn’t even write a letter, and an expert he certainly was and is, and after putting in altogether a year of my life over a ten year period on most aspects of that misery I too have one or the other expertise now. The contemplation of the disintegration of Yugoslavia and its treatment in the media and how the horde of prêt a porter “innelectuals” all hopped up and down gave me a glimpse in what Handke calls “the machinery of evil” in VILLAGES – one can see them gnashing in all their gears, and I wouldn’t have a quarrel with priests calling the world evil, I can see how such a mental short-cut might come about.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% fuchsia;">=E=</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% fuchsia;">Colbin Excursus</span></b></div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">More Colbin now, the forever Erinye who after she had been beaten would show up at all of Handke’s usual haunts so that he had to head out of town, as in THE AFTERNOON OF A WRITER to find a safe spot to drink with his male pals; and may have been the reason that he fled Salzburg for Paris in 1978 leaving so much material behind with Hans Widrich.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><h2 style="margin-left: -54pt;"><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 18pt;">August 9, 2010</span><span style="font-family: "Courier New"; font-size: 18pt;"></span></h2><h3 style="margin-left: -54pt;"><span style="font-family: "Courier New"; font-size: 18pt;"></span><span lang="DE" style="background: none repeat scroll 0% 0% black; color: red; font-family: "Courier New"; font-size: 18pt;"><br />
"eine verschmitzte, herrlich sinnlose Lebenslust"- GENAU!</span><span lang="DE" style="font-family: "Courier New"; font-size: 18pt;"><br />
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</span></h3><h2 style="background: none repeat scroll 0% 0% yellow; margin-left: -54pt;"><span lang="DE" style="font-family: "Courier New"; font-size: 18pt;">Festwochen Gmunden: Gedemütigte Frau und Richterin</span></h2><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE"> </span><a href="http://www.nachrichten.at/nachrichten/kultur/art16,439989,B" target="_blank"><span style="text-decoration: none;"><img alt="Marie Colbin" border="0" height="200" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image001.jpg" width="200" /><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image002.gif" width="1" /></span></a><b><u><span lang="DE" style="background: none repeat scroll 0% 0% yellow;">Marie Colbin las Peter Handke im Gmundner MYTHOS.</span></u></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow;"> </span></b><span lang="DE"> </span></div><div class="MsoNormal"><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image003.gif" width="1" /></div><h3 style="background: none repeat scroll 0% 0% yellow; margin-left: -54pt;"><span lang="DE" style="font-family: "Courier New"; font-size: 14pt;">In Peter Handkes Salzburger Jahren Anfang der 80er war der Schriftsteller der Lebenspartner der Schauspielerin Marie Colbin. Bei den Festwochen Gmunden las Colbin am Samstag im MYTHOS Handkes Text „Bis dass der Tag euch scheidet oder eine Frage des Lichts“.</span></h3><div class="MsoNormal" style="background: none repeat scroll 0% 0% yellow; margin: 0cm 0cm 12pt -54pt;"><b><span lang="DE" style="font-size: 14pt;">Das MYTHOS in der Badgasse ist ein Ort, an dem nicht über Qualität diskutiert werden muss. In dem kleinen Geschäft mit großem Anspruch stehen Film-Raritäten herum, erlesene Literatur und fantastische Vinyl-Platten. Wer hier Kunde ist, der lässt sich nicht vom Zeitgeist schrecken, der steht auf Dinge für die Ewigkeit. Mit diesem Anspruch reiste die in Salzburg lebende Marie Colbin nicht in ihre Heimatstadt. Für die Ewigkeit – was ist das schon, geht das denn? Sie wollte Peter Handkes im Oktober 2008 entstandenen Monolog bloß mehr Leben injizieren, als es die blutleere Uraufführung bei den Salzburger Festspielen im vergangenen Jahr zu Stande gebracht hat. Das gelingt ihr, mitunter sogar ein bisschen zu lebendig. Sie gibt sich hin, als sei ihr die Anklage der namenlosen Frau selbst aus der Feder geflossen. Handke reagiert mit seinem Text auf Samuel Becketts „Das letzte Band“ und dessen Figur Krapp. Handke bewertete Becketts Werk als die Endstation des Theaters, weil noch mehr Reduktion nicht zu schaffen sei.</span></b><span lang="DE" style="font-size: 14pt;"><br />
<b>Schweigen ohne Widerrede</b><br />
<b>„Mit deiner Art Schweigen wolltest du bestimmen über mich, wolltest du mir dein Gesetz aufzwingen, ein despotisches Gesetz, gegen das es keine Widerrede gab“, liest und lebt Colbin. Im Raum entsteht eine Ahnung davon, wie es sich zwischen ihr und Handke abgespielt haben könnte. Colbin ist kleines Mädchen, gedemütigte Frau und Richterin. Sie stampft, sie marschiert barfuß auf dem eigens ausgelegten roten Teppich, der sich wie eine Blutspur durch den Laden zieht. „Neiiiiiiiiin“, schreit sie gellend und wehrt sich gegen die Bilder, die in ihr aufsteigen, gegen seinen „formvollendeten Gram“ und gegen seine „Leichenbittermiene“, in der sie „eine verschmitzte, herrlich sinnlose Lebenslust“ zu erkennen glaubt. Colbin mutet sich ungebremst zu, und als Adressat ist Handke an diesem Abend nicht mehr aus dem Kopf zu bringen.</b><br />
<b>Marie Colbin steht kurz davor, ins Filmgeschäft zurückzukehren, im Herbst wird über die Finanzierung von zwei Projekten entschieden. Bis dahin hat sie noch einen kleinen Teil ihrer Welt zu retten: das Postamt in ihrem Salzburger Stadtteil Morzg, das zugesperrt werden soll. Ein Salzburger Freibad hat sie schon vor dem Abriss bewahrt und damit verhindert, dass anstelle der urbanen Idylle ein Hotel gebaut wurde. Colbin: „Mit dieser Post ist es genauso, sie ist ein kleines Kommunikationszentrum, vom Uhu bis zur DVD kriegt man alles, und es wäre eine Schande, wenn sie es schließen.“ 1400 Unterschriften hat sie schon gesammelt, die Protestliste wird sie den Zuständigen in Wien zustellen – freilich per Post.</b></span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% yellow; margin-bottom: 12pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"># 3 Colbin, her review, the only interesting one of Malte Herwig’s book, an attempted white-wash by Handke via his biographer, that the Erinye thwarts“:]</span></b><b> </b></div><div class="MsoNormal"><br />
</div><h2><span style="font-family: "Courier New"; font-size: 10pt;"><a href="http://www.nachrichten.at/nachrichten/kultur/art16,509962" target="_blank"><span lang="DE">http://www.nachrichten.at/nachrichten/kultur/art16,509962</span></a></span><span lang="DE" style="font-family: "Courier New";"></span></h2><h2><span lang="DE" style="font-family: "Courier New";"> </span></h2><h2><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 10pt;">Marie Colbin: Gedanken zu Peter Handke</span><span lang="DE" style="font-family: "Courier New";"></span></h2><div align="center" class="MsoNormal" style="text-align: center;"><b><span style="background: none repeat scroll 0% 0% lime;"><a href="http://www.nachrichten.at/nachrichten/kultur/art16,509962,B" target="_blank"><span style="text-decoration: none;"><img alt="Gedanken zu Peter Handke" border="0" height="200" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image004.jpg" width="267" /><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image002.gif" width="1" /></span></a></span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% lime;"></span></b></div><div style="margin-left: -54pt;"><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-size: 14pt;">Peter Handke und Marie Colbin im Jahre 1986 Bild: DVA</span><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 14pt;"></span></b></div><div class="MsoNormal"><b><span style="background: none repeat scroll 0% 0% lime;"><a href="http://austria1.adverserve.net/RealMedia/ads/click_lx.ads/nachrichten.at/kultur/artikel/1025839159/Middle1/sn_ooen/default/empty.gif/5149614761307a72304e304143583068?width=1280" target="_blank"><span style="text-decoration: none;"><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image003.gif" width="1" /></span></a></span></b><b><span style="background: none repeat scroll 0% 0% lime; font-size: 16pt;"></span></b></div><div class="MsoNormal"><b><span style="background: none repeat scroll 0% 0% lime; font-size: 16pt;"><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image003.gif" width="1" /></span></b></div><div style="margin-left: -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Am 8.8.2008 fällt mir Peter Handke nach 20 Jahren Abwesenheit wieder auf einem Gehweg zu, beinah wie damals Ende Juli 1983 am heißesten Tag des Jahrhunderts. Wir sitzen im Garten des Hotels Sheraton, und ich sehe seine kleinen Füße und sehe noch viel mehr und es ist mir vertraut, als hätten wir uns gestern erst getrennt.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ein Jahr später, am 8.8.2009 um 16 Uhr, sitze ich wieder in den Korbmöbeln mit den winterweißen Pölstern, mir gegenüber Malte Herwig, ein junger, höflicher, sehr hochdeutsch sprechender Mann, der ein Buch über Peter Handke plante.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Im Vorfeld dachte ich, es wäre besser, ich rede mit dem Biographen, er könne sich dann vielleicht ein schärferes Bild machen, als er orientiere sich nur am Tratsch der anderen. Malte H. stellte ein Gerät in Tierform auf den Gartentisch. Ein rot leuchtender Innenkörper mit vier dunkelgrauen Beinen in Draht gewickelt starrte auf mich. Das Mikro wirkte wie ein Roboterhund, der jederzeit auf meinen Schoß hüpfen könnte. Irgendwie irreal, dieses Ding. Noch nie zuvor gesehen.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt; text-indent: 54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">So öffnete ich mich also und versuchte auf die Fragen des Biographen zu antworten. Plötzlich legte mir Malte H. Briefe vor, nicht nur das, er las sie sogar laut. Als wäre ich vor Gericht, so wurde ich jetzt geprüft. Diese Briefe waren meine! Ich schrieb sie als sehr junge Frau an Peter Handke, im Vertrauen und nicht ahnend, dass diese zu Lebzeiten in fremde Hände geraten könnten. Es gäbe da ein Archiv, einen Vorlass, und ich war entsetzt und verletzt, fühlte mich verraten und verkauft. In dieser Hochspannung versuchte ich Haltung zu bewahren und den Fragen zu folgen. Viele Stunden saßen wir da, redeten, und die Vergangenheit riss mir das Herz wund. Ich versuchte zu vertrauen, jedoch gelang es mir nicht ganz.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Am 9. November 2010 wird das Buch erscheinen – das wusste ich, und ich schlief ab Anfang November schlecht. Der Postbote übergab mir das Paket, und ich öffnete es langsam. Ein starkes Coverbild lag da vor mir, auf schwarzmattem Papier. Die Struktur der winterweißen, harten Bucheinbindung erinnerte mich an die Korbmöbel im Garten des Hotels, auf denen wir saßen, der Dichter und auch der Biograph. Ich sehe auch noch den gepflegten Anzug des Biographen, auf den relativ kurz nach Beginn unserer Begegnung ein Vogel kackte. Ich sagte: „Vielleicht bringt das Glück!“ Als ich dann den Buchdeckel aufschlug, fand ich mich gleich im handschriftlichen Tagebuchauszug vom 3. Juni 1984. Sie sagte, ihr rechtes Bein sei zwei Mal in Gips gewesen: „Aber damals war ich noch Jungfrau.“ (Satz auf der Brücke) Ein olivfarbenes Blatt liegt auf dem Text, und dieser Farbton erinnert mich an ein von mir gefärbtes Hemd, das ich dem Dichter schenkte und mit dem ich somit zur Tintoretta wurde.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Nach dem Flashback wurde ich nervös, denn ich wollte mich im Innenteil des Buches suchen, diese Passagen also, von denen mir der Biograph im Vorfeld bereits berichtete. Wie soll ich ein Buch mit beinah 400 Seiten in einer Nacht lesen, das geht einfach nicht. Ich muss also erst einmal drüberfliegen. Die Sache mit Mann und Frau auf Seite 235, ich finde und fliege. Erst mal bin ich erleichtert. Puh, durchatmen, es hätte schlimmer kommen können. Jedoch auch stärker und tiefer, so hätte ich es mir gewünscht.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Da waren Wörter verdreht, vieles fehlte und manches hätte ich so gar nicht gebraucht. Erwarte ich zu viel? Ist es denn möglich, wenn Dritte über Dritte schreiben, dass es der Wahrheit entspricht?</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Eigentlich wollte ich das Buch gleich weglegen, da es belastet und alte Wunden aufreißt. Ich versuchte die Emotion abzustreifen und etwas gelassener zu werden, war neugierig und wollte diese Biographie lesen. Zeile für Zeile. Somit begann ich damit. Als würden die Buchstaben aus den Seiten fallen. Der Druck ist nicht zentriert, das mag ich nicht. Mir ist, als würde ich die Buchstaben verlieren beim Lesen.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Dennoch lese ich den Anfang gern, über diese wilde Mutter und den etwas eitlen und doch lieben Vater, dessen Hund auf dem Bild mich an den meines Großvaters erinnert. Es ist kein Collie, wie dort beschrieben, sondern eine Setterart, diese Hunde liebe ich besonders. Ich fliege weiter und lache und bin berührt und bewegt.</span></b></div><div style="margin: 5pt -54pt; text-indent: 54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Der Biograph war fleißig. Der erste große Teil ist sehr gelungen, finde ich. Die Nacht ist lang und ich lese und lese. Es bannt mich, es ist auch spannend, bis ich dann in diese Frauenspur gerate, und ab da kippt das Buch. Irgendwie stimmt es nicht mehr. Wenngleich im ersten Großteil vieles auch etwas langatmig ist und diese Rückblenden, die Wiederholung der Wiederholung, mich manchmal nerven, so wirkt das Geschriebene dennoch wahrhaftig auf mich. Ab der Frauenspur dann nicht mehr.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ich erinnere mich wieder an den ersten Eindruck des Biographen. Ich dachte: „Der ist zu jung!“ Zehn Jahre später, das wäre besser. Wie soll ein Mitte-Dreißig-Jähriger eine Biographie über einen beinah 70-Jährigen schreiben können? Vor allem dieses Frau-Mann-Thema, dafür ist er zu jung. Noch voll mit Illusion und Paartraum.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ja, und dann lande ich wieder inmitten meiner Sätze, verdreht zitiert, und werde wütend. Nicht nur meine Worte sind verdreht, sondern auch die anderer. „Lieber, lieber Handke, vergessen Sie keinen Augenblick, dass Sie mit meiner Frau sprechen!“ Ihr Heller. So wäre das Original gewesen. „Lieber Peter, bitte bedenken Sie, dass Sie mit meiner Frau unterwegs sind.“ Ihr A.H. – so steht es im Buch.</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Die Färbung der Zwischentöne, mir wäre die wichtig, denn Heller würde nicht so mit Handke reden. Und wenn es schon ein Tonband gibt, auf dem ich Klartext spreche, verstehe ich die Verdrehung nicht. Auch, dass Heller unterstellt wird, er hätte mich zu dem Polittext 1999 animiert, ist Irrwitz! Denn in jener Zeit hatte ich bereits 15 Jahre lang keine Verbindung zu diesem Mann.</span></b></div><div style="margin: 5pt -54pt; text-indent: 54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Der Text 99 brach aus mir selbst, aus Wut zwar, jedoch auch aus Überzeugung. Ich hatte eine andere politische Haltung, da mir alles Nationale zuwider ist. Ich wünschte mir damals Handke als Mittler und nicht als derart Wütenden. Ich baute einen Text als Metapher zu diesem Krieg, und ich fand schrecklich, wie mein Text von der Presse reduziert und billigst vermarktet wurde. Dass der Biograph jetzt wieder in diese drei Endsätze taucht und nicht meine politische Haltung weitergibt, verletzt mich. Wozu sprach ich Stunden mit diesem Mann?</span></b></div><div style="margin: 5pt -45pt 5pt -54pt; text-indent: 54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Wenn ein Vulkan ausbricht, Lava über dich fließt und du überlebst, dies dann als Tritt in den Po beschrieben wird, dann sage ich, es sollte lieber geschwiegen werden. Ich würde niemals einen Schreiber bei seiner Arbeit aufhalten. NIE! Denn ich achte sein Tun und habe davor Respekt.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ich möchte nicht, dass so über mich geschrieben wird, denn das ist Lüge. Ich denke, der Biograph wusste nicht so recht, wie er zum politischen Teil des Buches gelangen soll. Er benutzte mich als Art Brücke. Als wir uns begegneten, wollte er den politischen Teil draußen lassen. Ich sagte: „Das geht aber nicht. Das ist nun mal ein zentrales Thema.“</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ich fühle jetzt beim Lesen des 6. Kapitels, dass da etwas nicht stimmt. Dass da zurechtmodelliert wurde. So sehr ich den Anfang des Buches mochte, so sehr mag ich den Schluss nicht.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Plötzlich sind wir im Märchen, und alle sollen den Helden lieben. Ja, ich verstehe, dass der Autor seinen Protagonisten gut aus dem Buch entlassen will, aber heiligsprechen sollte er ihn nicht.</span></b></div><div style="margin: 5pt -54pt;"><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Ich erhob meine Stimme, weil ich dazu gebeten wurde. Jetzt schließe ich das dicke Buch, verlasse das Vergangene, versuche mit den Projektionen und Wahrnehmungen der anderen klarzukommen, um zu überleben, lande wieder auf der Erde und LIEBE MEINE FREIHEIT!</span></b></div><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">Zur Person Marie Colbin</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;"></span></b><br />
<b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">* 18. November 1957 in Gmunden, absolvierte die Schauspielschule des Mozarteums in Salzburg, nahm dann Gesangs- und Tanzunterricht.</span></b><br />
<b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">1977 Debüt in Peter Turrinis „Rozznjogd“. In den 1980ern war sie in zahlreichen Film- und Fernsehproduktionen zu sehen.</span></b><br />
<b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 16pt;">1984 Deutscher Filmpreis als beste Hauptdarstellerin in „Der Fall Bachmeier – Keine Zeit für Tränen“. Colbin lebt als Fotografin und Autorin in Berlin und Salzburg.</span></b><br />
<b><span lang="DE" style="background: none repeat scroll 0% 0% lime;">Marie Colbin in Film und Fernsehen: 1980 „Auf halbem Weg“, „Reinheit des Herzens“. 1981: „Malou“; 1982: „Bekenntnisse des Hochstaplers Felix Krull“; „Sei zärtlich, Pinguin“, „Miras Haus“. 1983: „Karambolage“, „Das Gold der Liebe“, „Frühlingssinfonie“; 1986: „Die Walsche“; 2004: „Augenleuchten“; 2006: „Die Zeit, die man Leben nennt“.</span></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16pt;"></span></b><br />
<div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span lang="DE" style="background: none repeat scroll 0% 0% fuchsia;">=F=</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Having read <i>Moravian</i> and noting that the now Erinye Marie Colbin pursues Handke in that book [much as the wife does in <i>Short Letter</i>] Herwig also does not ask Handke whether he really left his first girl friend at the Island of Cordula/ Krk where he wrote his first novel, <i>Die Hornissen, </i>with an illegitimate child.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> Handke has said that as soon as he is apprehended, say with his hands in the cookie jar, he lies; and I have given some thought to why the protagonist of THE AFTERNOON AS A WRITER, who once called himself “the new Kafka” before he called himself “the new Goethe” has that proclivity to instantaneous untruthfulness. [An amazing moment is when Herwig quotes the perhaps now demented Kolleritsch saying how truthful Handke is! Fredi Kolleritch whom I met during the threesome’s visit to New York and who lay down with a tachycardia on my once marriage bed on their return from their 21 venues in 28 days trip which appeared to have invigorated Handke. Fredi must be senile by now. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"><a href="http://diepresse.com/home/kultur/literatur/612739/Kolleritsch_Vorwurf-der-Pornografie-war-hilfreich?_vl_backlink=%2Fhome%2Fkultur%2Fliteratur%2Findex.do">http://diepresse.com/home/kultur/literatur/612739/Kolleritsch_Vorwurf-der-Pornografie-war-hilfreich?_vl_backlink=%2Fhome%2Fkultur%2Fliteratur%2Findex.do</a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Fredi mentions that after the magazine Manuskripte</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"><a href="http://www.manuskripte.at/">http://www.manuskripte.at/</a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">ran a piece by Elfriede Jellinek that was critical of something of Handke’s Handke threatened never to give Manuskripte anything of his again if they ever did something like that again. <u>Handke the threatener</u>! Apparently bicycle twin Fredi did not have it in him to tell Handke where to get off! Nor did Unseld, I can’t be the only one? I have that wild guess that the real reason Handke beat up Colbin was because she gave him lip! She comes across as a thoughtful intelligent person in her, the only smart and deep, review of Malte’s book, and doesn’t seem lacking for words or to speak up, and continues to love Handke’s work, if not the person. Our little Pasha Prince has conniptions when he can’t get his way! I am not telling him anything he doesn’t know himself.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">I think the answer to the question why Handke lies, if correctly posed, might be found in the equivocal nature of the ending of AFTERNOON: the arrogant injured writer hears himself speaking to the world from the top of the mountain… he hears his own voice on the radio… yet he feels like nothing. Whenever you come on this “I feel like nothing” you can be fairly certain that that is a grand pasha speaking. Lying as yet another form of entitlement, cowardice. However, once you start to lie you are caught forever in its labyrinth. Perhaps I am wrong in not detecting a masochist in Handke, who are the most grandiose of all. I think Handke’s arrogance, utterly justified in the self-confidence he has had in his talent since early on? – but might the self not be calm in that case? Not so hysterical, not in need of so much self-display and media mirroring? - yet does not suffice to overcome the sense of being abject – which connection to Kafka I think is more profound than to Kafka’s hysterical angst-ridden side. Handke is in need of some serious metamorphoses, as is of course the roach motel as a whole.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig has Handke calling the Verlag der Autoren, the socialist collective that split off from the Suhrkamp in the late 60s and whom I represented in this country for some years, “eine Bande”; to me when I asked him why he had left, he called them “Fascists”. Apparently he showed up one day and asked his earliest dramaturg, Karl Heinz Braun for the rights back to those plays that were administered under the VDA aegis. The way Handke said “fascists” at the time, well it was such a gross misuse of the word that I suspected that there were other reasons, above and beyond even that being “primus inter pares” would not suffice. I have a hunch that Unseld had something to do with it, and Suhkamp’s DM 100,000 investment in the film Handke made of <i>Left Handed Woman. </i>Be that as it may, what is astonishing is that the great legman Malte Herwig fails to interview Karl Heinz Braun who knows where some skeletons are buried. Oh yes, I was amazed to come on Siegfried Unseld’s diary notation that Handke “and with his income had never paid any income tax, but one DM 500.”</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Giving Herwig such access might be lethal if Handke were not, had not been since early on, a compulsive exhibitionist par excellence – Herwig gives a fine account of Handke as pop star in the late 60s, a matter of which I as his translator and editor and then, faux mieux, director in New York was quite oblivious, taking him as an all around serious and genius endowed writer from the git-go of my starting to translate him. However, Herwig in this instance as in nearly every other, fails to be puzzled why Handke, a serious writer, might perform in public like a rock star, become a photo model, who frequently also photographs himself - there is no such thing as bad publicity all publicity is good publicity as long as it keeps your name alive and your picture in the public eye. Besides, there is always some occasion to show your face, to speak up righteously. Genius as Handke most certainly is and a truly great writer, he lacks the peripheral vision for social consequences - “<i>tollpatchig</i>” Handke’s nemesis, the Reichs-Kanickel, called him - being so brilliantly observant, and with such a deep gaze, his own brilliance blinds him, and others like him, to the possibility that they too might be observed and contemplated. From early on I noticed that obliviousness, aside matters for which no one can be indicted such as extreme states of depersonalization, autistic episodes, or the compulsion then to insult one and all and everyone, so that you might think Handke suffers from Tourette syndrome… Herwig quotes from a letter that Handke then started to write once he was, happily it seems, put into touch with his biological father, at around age 18. The entire clan in Griffen, mother, grandfather, even the detested stepfather who had been experienced as his real father – although Handke began to sense that he couldn’t possibly that man’s son – chipped in to make a career possible for Handke, a super star since birth it appears, his specialness: they were all willing to sacrifice for it. The Seminary for Priests was not free of charge, families had to pay, I think, 3500 shillings a month! It’s not cheap to escape the impoverished class! You pay through the nose for your future spiritual benumbers. [In Baja California the Jesuits got the goatherds to collect gold dust for them in bird’s eggs strung around their neck, in exchange for tools, so that the Jesuits had the money to build further missions.] After Handke left the Seminary at age 16, voluntarily it appears, he went to Gymnasium in Klagenfurt, then enrolled in law school in Graz, envisioning a career as one of those delights of Austrian culture, an Austrian Cultural attaché with enough time on his hands, a matter Herwig then fails to remember when he discusses Handke’s friendship with the Austrian Cultural attaché Greinert in Paris during the 70s, who had a daughter Amina’s age, I once went along with both attachés on a totally unmemorable Sunday in the Bois de Boulogne, I heard that Greinert, who sometimes functioned as the badly needed baby sitter during Handke’s trips away from Paris, died young, but I always wondered how he felt about the use Handke made of him as yet another Keuschnig. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> Handke’s sense of entitlement was nourished from early on, from early on he not only looked out for his siblings, but also beat them. Being physically violent is part of his nature, from early on, already at Tanzenberg, he is gratuitously cruel to the person closest to him, the German teacher who recognizes and furthers his talent, Herr Musak. He will continue to do so throughout his life, as Wim Winder explained to me here in Seattle in the late 90s, wondering whether Handke and I were still friends, no Handke had obviated any such possibility already as of the mid 1970s [one wonders what was done to Wender’s godfather to Handke’s second daughter], which did not keep me from championing his work, or translating the greatest and most detailed and complex self-portrait Handke has projected and objectified ambiguously of himself, WALK ABOUT THE VILLAGES; but since Handke continued to think of me as a friend until the mid-80s with his threat to break off a non-existent friendship when I went to bat for his work in a manner not to his liking earned him the kind of wake-up call that must have come as anything but a salutary shock was another reason to think that my man is quite oblivious of the consequences of his actions; that he is as split as he describes his bodily parts as being from his consciousness, his foot floating off towards the moon. Handke is the sort of fellow who would rape a girlfriend and say to me the following week that he had not had any “women aventuras” for a long time, perhaps it wasn’t even an adventure, but a routine; nonetheless, it sort of took my breath away; and the girlfriend who had been something rarer than a great passion, but a “great fondness”, that turned out to be yet another moment in <u>my</u> “Midsummer Night’s Dreams”; as did Mr. Handke’s thinking I was yet his friend; a lot of women love to be taken hard, a matter about which I feel more equivocal than Mr. Handke… Darwin, another who explains everything, would agree. However, Handke had successfully goaded me, and I would keep my distance except from the work. Handke spooked me, and I tried as quickly as possible not to be alone with him. The writer Michael Brodsky who had come to Urizen Books via Patricia Highsmith and Handke served that foil at those times.</span></b><b><span style="background: none repeat scroll 0% 0% yellow;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">No boundaries were set for Handke when this love child of love children was on his way to become the Mogul of Self, Hermann Quitt, of <u>They are Dying Out</u> – a hybrid of Handke’s own unbounded sense of self with Siegfried Unseld’s wish to monopolize belles letters in Germany I would say. Then suicidally disposed Handke has Quitt – one character does tell him to know his limits! – then cracks his skull on the rock of ages, snakes crawling all over it.</span></b><b><span style="background: none repeat scroll 0% 0% yellow;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig talks to Handke’s sibling Hans who avows that his real father, Peter’ step, Bruno seems to have been as much of a drunkard as any other worker in Griffen, but fails to keep Handke’s ultra-sensitivity in mind, where what might be a cricket chirp to Hans will be amplified into chalk screeching on a slate board for Handke who even in his <i>Essay on Tiredness,</i> of which Herwig fails to avail himself, indicated how furious and tired it made him to have to listen to the <i>Cat on a Hot Tin Roof </i>noises entering his student’s room in Graz. Whatever happened to Robert Handke, the third and belated child that Maria Sivec had with Bruno?</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> Bruno Handke’s real children are not as unfavorably disposed toward their father, if only because the mother Maria Sivec’s love is so evidently exclusively devoted to her first born, not to children the multiple self-abortioner probably would just as soon not have had. The dynamics of that family are fair dynamite: Grandfather Sivec is experienced as a surrogate father, there is longing for dead uncles, the orchard book of the dead uncle Georg who had studied horticulture in Maribor prior to WW II is in a nook in Handke’s work room in Chaville… the war time letters of the fallen sons become heir looms: Handke has written a huge heirloom of his existence, his consciousness, for us, one other impetus from early on. <i>Ahnenkult</i>. All right with me: one tear drop can contain the world.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig is excellently appreciative of Handke’s ultra-sensitivity, he is fairly precise but not quite precise enough. That can make all the difference. I thought Herwig might unearth Handke’s positive evaluation to join the Austrian army, the only matter that his step dad Bruno was allegedly was proud of. Herwig’s searches do not go that far. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig is first rate in quoting from <i>Die Hornissen</i>; however, as a supposed Germanist, fails to understand it as a successful literary work of art that translated, plays an “as if” state into that realm. He is appreciative in his reading of <i>Elfenbeinturm</i>, also he understands the rather deeper sense of politics that is Handke’s, akin to the existential Marx of the <u>Fruehschriften</u>, in plays such as <i>Cries for Help.</i> </span></b><b><span style="background: none repeat scroll 0% 0% yellow;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">One instance of Handke appearing and I availing myself of Michael Brodsky as a foil is the worm hole to matters becoming novelistic and truly worm eaten. The year must be 1977. Handke did not have Amina along as he once did as well, and I decided to go to my, one of the two watering holes in our downtown then urban pioneering idyll, Barnabus Rex, which was on the north side of that very short block of Captain Duane Street between Hudson Street and West Broadway, two blocks north of Chamber, half a dozen of the then still erect WTC, the other was Puffy’s at Jay and Hudson, with author Jim Stratton as part owner. At Barnabus that night the head bartender of that shoebox of a bar that had a bar pool-table and a famous juke box and a postage stamp to dance on, was “Ace”, Andreas Nowa, and I will always recall the way Ace’s face opened gradually into the most welcoming broad happy smile – Ace had studied directing but found that directing the extraordinary goings on at B-Rex, then Mickey’s and ultimately “The Raccoon Lodge,” slaked his directorial thirst – when I introduced Handke to him, whose work he knew of his own accord. Handke and Brodsky talked, I played pool and danced a bit, I noticed that the two of them made attempts in that direction, awkward shuffles. The evening was notable for two matters: one, that Laurie Spiegel, with whom I had taken a loft and lived in Duane Park for two years appeared at the threshold and promptly fainted at the sight of me happily with friends instead of being two-by-four tossed by her after I had moved out from her harridan’s fifth floor , the strapping Aussie sheep farmer’s son the Maoist anarchist Tim Burns carried her home; and Handke whispering to me out of the nowhere that if I needed $ 10,000 for Urizen Books I should call on him. An observation of Handke’s from that evening has made it into <u>Die Geschichte des Bleistift’s</u> to the effect that he had seen someone who was both playful and serious. Certainly those were the qualities that had also attracted me to his work, who would eventually call himself, accurately, “the melancholy player.” If Handke had one actress after another because he said actresses were “lighter” [I would say the company of a pretty actress make Handke look better is the reason, and if he feels better he feels less depressed], my marriages and marriage-like living arrangements – there was that one actress which made me resolve never another - were with artists, two painters, two writers, one dancer, one daughter of a painter on the way to becoming a painter herself, and Laurie, the composer, music touched me most deeply of all, and love of Spiegel Musik, their work exceeded love of their fleshly presence. From such delusions many a “La Bohéme” is born. Even now I can fall in love with a poetess just reading a fine translation of a poem, thank you for laughing Basheva. The fatalities of sons of beautiful mothers.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">=G=</span></u></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">W.A.T.V Excursus</span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">At the completion of the intense onslaughts with which I translated <u>Walk About the Villages</u> around 1983 Handke felt that it was better than any translation he could ever have conceived. He also noted the “cutting” tone it had acquired, and, most astonishingly, seemed to forget, at least for a while, that without his original text nothing of the sort could have been translated. I might have my dreams, but nothing both that grand and intimate and rich could ever even have been conceived by them. Thus the original author remained the only one, by and large, the great exception is Scott Abbot, who has a notion of how good that work is and whence smithy it was fashioned. Yes, Kurt Beattie, who played Kaspar here in Seattle, sensed its richness, and I imagine that first rate director M. Burke Walker did too, in one of whose classes I once discussed it; oh yes, let me not forget Zeljko Djukic of the Tutatoo Theater in Chicago, but that would seem to be it. The J. of Handke’s and my mutual acquaintance merely admired the line “hefty taxes”, so much for heart on that score. It appears also to have been too rich for the vast majority of the German reading public. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> If you regard the second volume of Handke’s published diary excerpts, <u>Geschichte des Bleistifts,</u> you will note how carefully Handke prepared himself for that work. Indeed, I was very much in a cutting mood, if you haven’t, read Kohut’s great essay on <u>Narcissistic Rage.</u> As fate would have it, my nemesis at Farrar, Straus, a spanieling stiletto faggot, Michael diCapua, had become editor in chief for his lying master, he had already tried but failed to sabotage the Handke project of mine back in the late 60s as he did so many others – a man not noted for a single author of import save Woiwode if you accord Woiwode that status. I might have told Handke that my persistence was laying the grounds for a law suit since Roger Straus had made certain promises but also managed to screw me out of half my royalties on the Hesse millions I had brought him. See my homepage for my unhappy adventures in that skin trade: </span></b><b><span style="font-size: 14pt;"><a href="http://handke--revista-of-reviews.blogspot.com/" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://www.roloff.freehosting.net/index.html</span></a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="font-size: 14pt;">#</span></b><span style="font-size: 13.5pt;"><a href="http://handke--revista-of-reviews.blogspot.com/" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black; font-family: "ɼourier New'";"><br />
</span></a></span><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">In winter 1985, with the promise from another publisher, P.A.J. Press, I left New York for the city that has the bridge with that “touch of evil” to Ciudad Juarez, but all I lost was some street urchins stealing my hat, and another wife and we first spent three months in those two cities, then a year way up in Lincoln National Forest, a fix me up hunting lodge, I reverted to hunting and riding ways and M. and I also did a lot of traveling in the <i>llano estacado</i> all the way to Big Bend National Forest, all along the Rio Grande and across the <i>frontera</i> into the Carmen range, the right kind of wife for that, and, knowing that “nature was his measure,” kept writing Handke little postcards with nature scenes from every hamlet along the way. On returning to New York about a year and a half later the NY publisher who had committed themselves to <u>Villages</u> reneged on their promise, and I - no longer in a rage but back in hunting mode after that year in the wild, wrote them a fine drop dead letter, with copies to the PEN club and to Handke. That finally elicited a response from Handke, I hadn’t heard from him in about 18 months, to the effect that “It was nice to hear from me again” and that such a letter as I had written to P.A.J. was something “one could not do to him.” First thing that puzzled me was this “nice to hear from you again” – might he not have received any of the postcards and letters in the interim? Then I tried to imagine what it might be that was being done to him? What I was doing was for our mutual work. I imagine now that he must have been referring to his precious self-image – of course he took care of that himself a few years later during his intercession in behalf of the Serbians.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Handke’s letter ended with the threat to abrogate our friendship. If you wanted to get my back up, all you needed was to threaten me, especially during that period, and so I made sure my retour postcards [it was a few] to a man who was not my friend, possible friendship had been averted already in the mid-70s, but of whose work I was more than a friend, were legibly typed on my brand new electronic Brother typewriter, the first with a bit of computer memory and plastic spool ribbon, and sent back something to the effect of: “Aren’t we lucky that L. and I in Spring of 1971, she sure would have suited me fine, and you and J. hasn’t interfered with this friendship.” And that was that, Handke might have laughed and we’d really be friends then, I myself had forgotten all about the injury during the translation of <u>Walk About the Villages</u>, had even been grateful for having ruined the relationship with the “great fondness” who had revealed herself to be a schmooze and a <i>macher</i>, no need for me to be a Leonard to her Virginia, as I forget his wretched, I call it his “Bruno Handke side” when reading or being under the influence of the best of him, his work. But no, unfortunately Handke remained true to form and as “humorless as death,” and my W.A.T.V. being the best translation he had ever seen did not keep him from going to Ralph Mannheim and having a second one made. Alas poor Handke is all I can say. However, the appearance of the Mannheim translation, prior to mine, for once totally infuriated me. You find a distorted [the usual distorted I would say of matters of this kind] aspect of part of these events in <u>The Afternoon as a Writer</u> about the alleged former friend who is traveling from one sierra to the other as he goes mad. Humorless as death, Handke appears not to have known, hated being caught, lied, and thus ever so regretfully I must concur with Marie Colbin’s every single point on the estimate of Handke’s character [2], except that he was “just a narcissistic writer” as she evidently herself does no longer as she keeps performing his work, now no longer fails to appreciate what it takes to become that great a couturier of the language he is to whom self-image yet seems to matter more than anything, how he appears on stage, and whose self-image is so wounded and tetchy; and except, hearing and seeing her perform Handke texts, she certainly is still pretty, but how Handke could have stood her presence for even one night without putting duct tape over her mouth is beyond my ears, who knows perhaps he did but she won’t tell us about having been a victim in a sick relationship for some years:</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">http://handke-drama.blogspot.com/2010/09/links-to-videos-of-handke-plays-that.html</span></b></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I imagine the part of my derisive reply to Handke’s threat that got to him was the bit of L. and I having run off together, a reminder of the “worst thing that ever happened” to him. I had yet to appreciate the devastation that that act wrought by looking closely at the works of the period 1971 to 1976, <u>Sorrow Beyond Dreams, Nonsense & Happiness, A Moment of True Feeling, Weight of the World</u> and how Handke imaginatively writes his way out of his injury by several acts of withdrawal, <u>Left-Handed Woman</u> and <u>A Slow Homecoming.</u> And if I had appreciated the devastation then, I might have left out that part of my reply, I would certainly have been a bit more thoughtful than on automatic fury. Handke commented on my poems in my <u>Headshots</u> that I still seemed to be in a fighting mood, I imagine he didn’t think I might fight him, too. At any event, I was now free of the relationship to the person, of course not to the texts, to marry those is fine. Lucky me in that respect, in many ways. I was in a position to remain a <i>getreuer Korreptitor</i> to his texts, sell our correspondence when I needed to, which would fetch far more now I imagine, be a tough on idiot critics as I liked, etc.</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><b><u><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Villages</span></u></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> was eventually published by Ariadne Press, but is now out of print. That stellar firm managed to sell 500 copies in about 15 years, little Urizen and Continuum Books sold about 5,000 copies of <u>Innerworld</u> and <u>Nonsence & Happiness</u> in a few years, of course we submitted galleys to Publisher’s Weekly and Library Journal so the world might know of the existence of these books instead of the cellars in which Ariadne Press’s books molder. There was only one more brief letter from Handke indicating that he had nothing against the publication of the translation being published, to the word and the text we are true, to not much else. When it devolved that no one seemed to be or want to translate the great 1999 VOYAGE BY DUGOUT: THE PLAY ABOUT THE FILM ABOUT THE WAR I contacted Dr. Hardt at Suhrkamp, who is in charge of foreign rights, and indicated that I would be willing to translate the text at no charge, and prepare a translation and a playing version, since I felt that the text a whole would overwhelm the attention span of my local gnats. Via Hardt Handke communicated that “I should accept” – little did he seem to know that the last thing I needed was yet another albatross to shlepp. If we had not been on the outs this <i>getreue Korreptitor</i> would have gone on translating all the plays:</span></b></div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="background: none repeat scroll 0% 0% yellow;"> </span><span style="font-family: Arial;"><br />
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</a></span></b></span><span style="font-size: 14pt;"></span></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">got a few of them published and only a single one of the late great plays performed in English, <u>The Hour we knew nothing about each other,</u> which works so well because it is, on one level, as unchallenging as dance theater, and no one really understands it and its movement, or grace – can’t say that I’ve run into a single review that comments on that line of beauty that most Handke texts have.</span></b></div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">However, unbeknownst at least to Dr. Hardt, the Scottish Abbott of the Utes and his snowshoe hares, the translator of JOURNEYS TO THE RIVERS [JUSTICE FOR SERBIA] not yet the friend he is now, was already translating VOYAGE, <i>Conjunctions </i>was even going to run an excerpt until the J.L. Marcus crime appeared in the NYRB, a task he completed a few years ago, first rate work, and neither his or my after all fairly connected attempts to get it staged show any results so far in this garbage heap culture. Here in Seattle I had initially found interest in Richard White at Cornish, who then never got back to me for a second date – he was too busy giving away money from the local arts fund, to matters that never never never will get beyond the borders of these philistine surrounds. Ditto for all the ones who once claimed “Oh Handke I love his work.” Bullshit artists, lazy bones, it’s not the system, a better system with these people would re-create the same culture. I.e. matters are entirely hope-less. The few are far too few.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">=H=</span></u></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">Sentimentalizations</span></u></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig’s sentimentalizing account of the life of Handke with his daughter Amina fails to emphasize the weight, the imprisonment that that responsibility implied [Baby Sitters!], Handke himself is far better in giving an account in <u>Child Story</u> and in the long poems and <i>Weight of the World. </i>And if you saw as I did what a quiet intimidated child Amina was by age 6 when Handke brought her with him to NY and California you would agree with the women whom Handke mentions in <u>Child Story</u> as berating him for his educational methods. Perhaps like so many parents who have a second set of children he then did better by the daughter he had [despite wishing for a son] with Sophie Semin, Laocadie who however was not as neglected by her mother as was Amina at certain times, whose current profession as a DJ combines both parents as performer while being unusually deferential to the work she shows. Like Handke himself she was then treated to primal scenes at Rue Montmorency and was the usual envious child. What don’t I know? Well, if quite a few women who have been with women don’t show up at my doorstep then, or I run into them by chance.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig has a very nice section on Handke finding refuge with Hermann Lenz after his unhappy experience with the ultimately fragment LANGSAME HEIMKEHR, the title novel of the triptych published as A SLOW HOMECOMING in the US. However, Herwig fails to describe the unhappy experience from which Handke needs to recover, although Handke has been anything but reluctant to describe it in many an interview. In <u>Nomans-Bay</u> Handke makes rather cheap fun of that experience. Stuck with a first sentence that he had been rehearsing for at least a year, Handke resorted to medication.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig seems to have it from Unseld’s now published diary volume that he visited Handke in the Hotel Adams where Handke then was reduced to talking to the <i>Portier </i>and blessing the folks below from his high-on perch, but that is about it for a very important and critical few months, during which Handke gave up the idea of wanting to move to the U.S. and have Amina attend a French Lyc<span class="apple-style-span"><span style="color: black;">é</span></span> in New York. Herwig knows nothing of this aborted plan, I checked out quite a few lyc<span class="apple-style-span"><span style="color: black;">é</span></span><span style="color: black;">s</span> of that kind for Handke, but it is not a widely known matter. It must have been in 1975 that Handke had Amina along and he asked me to drive around some Long Island suburbs – he liked them fine, their to me, boring, quiet as I was about to finally dive into my decade in downtown urban pioneer bohemia, that is about the time he moved out from Montmorency to Meudon/Clamart, where he found the rabbit path that led to the Forest of Chaville, whence he would move around 1990. After Handke returned from Alaska he left his green leather traveling bag in my office and went off to San Francisco, whence we get chapter II of A SLOW HOMECOMING, still in that wonderful ‘no name’ mode, the way you hear Bob Dylan sing by <i>not</i> naming him – and, as I heard from friend John McVey, cursed a crowd somewhere, I think it was at Berkeley where he and Wenders were at some function. Still in the same mode of making a memorable spectacle of himself. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Handke returned to NY rather down it seemed to me by compare with the mood I had picked up on his return from Alaska, he had returned via Colorado, the death of his Austrian ski instructor friend of Chapter 3. I might have inquired if I liked the fellow better and had had not been spooked for years. One night he wanted to get together and as usual I suggested Michael Brodsky who lived in Brooklyn, the Heights or Park Slope, and we walked across the Brooklyn Bridge on about as idyllic a night as you can have in New York, a light dry snow falling. On hearing that Handke meant to write a book about Alaska I went into mother hen mode, at the thought of doing this after a few brief visits – now on contemplating the absorption rate of genius I would trust him to get the sense of such a landscape in no time at all - after all, even Norman Mailer had written well about Alaska flora and fauna in <u>Why Are we in Vietnam</u> – it turned out Handke had at least read McPhee’s wonderful tome on that territory, but Handke did not want to hear any of my Alaska stories, he was full up, and I understood that, however I was surprised that he had forgotten that it was I whom he had asked in the early 70s what American winters were like and I had pointed to Alaskan winters being different from anything he might find in Europe he did not recall, and that surprised me.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">During those months Handke spent in NY I saw him only a few times more and had not the faintest that he was struggling with the book. Had I not been spooked by Handke I might have asked him to go out with me late at night, my downtown bars and music clubs. I used to work late, and did not have a major squeeze at the time, and one or two nites spent it with an old flame whose company was trying to avert being taken over by two major behemoths of US criminal capitalism, and going over those detail I then got a better idea than I ever wanted to the inter-connect between corruption and politics in New York City. Editing <u>The Handicapper</u> provided an even more gruesome insight, and with that and what went down with Urizen, you then found out that the only good lawyers were with the Mafia. I found out, seemed to find out matters, skeletons, that I had not even looked for, and that you wouldn’t if you looked for them in those terms.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> But I wasn’t the best of company either since the firm was always on my mind, its survival, something Handke noticed, so that when he sent me VILLAGES in 1981 it came with the note “Nothing for Business.” Truer words were rarely penned. If you need the money it is of course always nice to get paid at least the minimum wage.</span></b><b><span style="background: none repeat scroll 0% 0% aqua;">Handke told Nancy Meiselas, his then fine editor at Farrar, Straus + Giroux that he had “fucked up” the book – perhaps so, considering he had something along the lines of a “staatsroman” [whatever that is?] in mind: at any event, something very grand I suppose – if Alaska is meant to be a response to nameless forms... then....and California section one of ultra delicate responses... perhaps the archives will tell us one. But it would be only in the early 90s that Handke set out on a major canvas – the kind of brick and tome he himself never wanted read. The usual contradiction. It appears that it was in the Hotel Adams Handke started to write by pencil – because his type writer broke and he couldn’t find one with a German or European keyboard, something I find odd, since he lived within a few blocks of what had been “Germantown”, Yorkville, and there still were a number of German shops of all kinds and restaurants about. Also he was in touch with my successor as Suhrkamp Agent, the wonderful Kurt Bernheim, and I imagine the Austrian Institute and Consulate. He might have asked me – but perhaps writing by pencil then quickly proved as fine as it has proved all these year, except, he says, he continues to type his plays, feeling that “dialogue” requires the distancing or clatter of a typewriter, although they are noiseless now!</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Another time, I also drove with him and a few other folks, the photographer of the cover which featured the WTC as seen across the dunes of the then landfill in the Hudson, for NONSENSE AND HAPPINESS, Martin Kesselman, was along, but not Amina, I guess I still had the small MG-B, to the Rijs Park area of the Rockaways near where I had lived from 1973 to 75 to breathe clean ocean air. At the sight of the sun setting to the left of Staten Island in the fiery manner of a molten battle ship [say, the <i>Graf Spee</i>, childhood lore] Handke pulled out his pen and made a note. This did not faze me in the least, as opposed to the seriously offended Kolleritsch [see their correspondence], I think I had gotten the point that Handke was cooking nearly all the time – a matter Herwig fails to address.</span></b></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">I might mention my visit to the Moenchsberg in 1980 the last time I saw Handke, a description </span></b> <b><span style="background: none repeat scroll 0% 0% aqua;"> is online at:</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"><a href="http://www.van.at/lesen/set01/roloff01.htm" target="_blank">http://www.van.at/lesen/set01/roloff01.htm</a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">The gist of it in English is the following. Returning victoriously from four week stint in Bulgaria where I thought I had arranged for the basic instrumentalities of a cultural peace and fruitful interchange, in retrospect I suspect I also came to show Handke something, I had an agenda. He was pissed that I arrived a train late, he who makes it a point to arrive late. We cleared up the misunderstanding of what Ginsberg had been up to in NY in 1966, and the look on Handke’s face back then, in retrospect, looked even more unpleasant. Metaphorically we acknowledged to each other what wounded beings we were. At the table to play Tarot Handke mentioned that he had looked, but in vain, for my translation of KASPAR AND OTHER PLAYS, seemingly forgetting that there was a second collection of plays, two volumes of poetry and a novel. In retrospect, seeing how Handke also belittles his own efforts… but the belittling unawareness I imagine acted as an extra fillip to motivate me, with my Dermatologist partner, to beat the shit out of Handke and his partner at Tarot [“Ja, so geht es auch” was my partner’s comment to my introduction of the dimensions of skat and bridge and poker into the proceedings – I had never even heard of Tarot until then! Picked up how it works within a minute it seems.]. Perhaps Widrich was there too, his face looks familiar. I think it was the apartment of the man who was in charge of the festival, splendid, ancient, inlaid wood. But I think one of the players was a Germanist, that would eliminate Widrich. Handke, as we find out at the very latest from WALK ABOUT THE VILLAGES, was not a good loser even as child – even? - and then was so pissed that… he wouldn’t show me Libgart who I had no idea had been the woman answering his phone as he showed me the way back down the mountain, I had assumed the great man living among the “big animals” on top of the hill had got himself a secretary. And perhaps it is just as well that he did not show me Libgart, pathetic as it is to be so childish as to punish people by showing or not showing. And it turns out, Libgart had a room in the 7 room apartment Handke rented from Hans Widrich in the <i>Schloesserl</i>, so as to look after Amina I imagine. So what was he going to pretend to me? That they were actually back together? Anyhow, on my way back down the hill I was shown where Salzburg poets tossed themselves off the mountain, perhaps the same spot where Loser kills his Swastika spraying Nazi in <u>Across</u> and Handke asked me whether I planned on being a child all my life, and after I shouted my assent to that question everything was all right again because he said that that was all right, but later, dwelling on the fact that this was the one day a week of Handke’s socializing and that he was probably already working on WALK ABOUT THE VILLAGES I did not feel so good about the performance I had put on, this way of showing him that he was conquerable, <i>mulmig. Veni vidi vici </i>– so I had that in me too, but it was not as I preferred to be. And all those women who want you to put your foot down!</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Herwig, that great researcher, had a year and half year’s time to talk to me – I have talked and written as honestly as I could to quite a few people about my life in publishing, to Günter Vahlbusch about the Hesse reception, to Raimund Fellinger about my relationship to Suhrkamp, to Boris Kaschka of New York Magazine for his book on Farrar, Straus and Roger Straus about that relationship – Herwig confines himself to the archives and a limited set of friends – and of course we do not know what he fails to fish from them, except that it now turns out Raimund Fellinger refused to let him use his correspondence with Handke, a fact and problem I would have noted in a biography: Herwig does not but makes a fuss when reviewers mention that omission. To put it into as few words as possible: Herwig has a number of years work left to bring his book up to the snuff of his description of Handke’s childhood. Missing succinct treatment are: the Berlin and Kronenberg Period, especially the critical first Paris Period 1973-78, Salzburg is covered half way well because Herwig has talked to Hans Widrich Handke’s landlord and school mate from Tanzenberg, however <i>Across & Afternoon </i>in tandem with <i>Am Felsfenster Morgens</i> are far more successful in conveying Handke’s state of mind, which is what counts, than anything Herwig comes up with; the three year trip around the world is noted by citing the cities Handke visited!!! - did Herwig read the diary volume that covers those years <i>Gestern Unter Wegs. </i>Did he have, and what kind of editor at DVA? What kind of time or other pressures were on him for this book to turn into a rush job?</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Toward the end Herwig, in a few Spiegel strokes - when Herwig “dramatizes” also in the beginning, imagining Maria Sivec as a dancing girl at the Hotel in Klagenfurtz where she and Herr Sch<span class="apple-style-span">ö</span>nemann conceive the little bastard Herwig is at his pathetic worst – now imagines</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> Sophie Semin and Handke fighting and it being all over and they both have their affairs, Handke with Katja Flint and Sophie with an actor at Peymann’s premier of VOYAGE BY DUGOUT in Vienna in 1999 Herwig’s imagination turns <i>Spiegel-Bild </i>wet!</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> Herwig our great researcher, our journalist so proud of checking his facts, is unaware [1] that Semin only entered Handke’s life that deeply because she was pregnant, or of her <i>haute</i> background; [2] that already prior to Handke and Semin and his two Serbian friends going on the trip that would result in JOURNEY TO THE RIVERS: JUSTICE FOR SERBIA [1994] Handke was emotionally withdrawing from Semin, according to my fairly trustworthy Don Juan Skwara he was; so that by the time that Semin left Handke for an actor [1999] in VOYAGE in Vienna a lot of time and who knows what else had transpired between the two – Semin is quoted in JUSTICE as asking Handke whether he also wanted to deny Srebrenice massacre, pointing to Handke’s awareness at that point to his whelming tendency to denial, a first step to facing as I recall only too distinctly, some very painful matters. Handke said in an interview that it did not make him at all happy, Semin <i>disparu </i> in 1999 – but no stormy set of poems and panic attacks it appears as when Libgart Schwarz left him [?] – whether his already having a Serbian squeeze in 1999 eased the insult to our Pasha’s Narciss we can only presume. Katja Flint, who did not have to suffer our lover turning Salamander in Chaville, appeared quite some years later, Handke encountered her at a Burda party, has expressed herself fondly in public about our man. I am going into this in a bit of detail only in order to show how utterly deficient Herwig can be, which then lends an air of lack of credibility to everything he does: how can we trust the gist of those many interviews? His notional quotes from them?? Handke now appears to feel that Sophie Semin is the woman of his life, and she is adjudged “ebenb<span class="apple-style-span">ü</span>rtig” – a lovely word, better than “my equal”. In yesterday’s December 1 interview with Ulrich Greiner in <i>Die Zeit</i> Handke is noted as going to meet Sophie and his now 19 year old daughter Laocadie for dinner in Paris. <i>Morawische, </i>which Herwig has allegedly read, in its <i>Galicia </i>section, and towards the end with the woman and the alleged ex-writer in the house-boat hotel <i>Moravian Night </i>[Luna] with “the woman” one acquires a sense of the incommensurability of the telling of the sacredness of the intimacy required for “ebenb<span class="apple-style-span">ü</span>rtig” to weave its wand to put the mutual demons to rest: Herwig is not up to a task of representing anything of the kind. In the December 1 [print date] interview with Greiner Handke comes across as all sweetness and light [doesn’t cuss him as he did the last time around], but yet proffers yet another set of versions of his relationships to his stepfather, who was experienced as a father until his late teens, and his real father. Thus I don’t trust the sweetness and light either, it might just be another firmly held pose, Goethean as it were.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% aqua;">=H=</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% aqua;">A Good Spanking!</span></b></div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">As Herwig notes in his penultimate chapter all those closest to Handke whom Herwig talked to were injured at one time or the other, however gravely and unjustly, or “finished off” [fertig gemacht] as only Handke’s knows how - let me pay back for one and all and join Marie Colbin in her plaints, but let me do so after first saying that despite the many matters that piss me off in Handke, I have never had the urge to kill him, I don’t think. Moreover his texts – say the ending of DEL GREDOS - elicit so much love in me as nothing but my beautiful mother did, if anyone has ever loved writing as much I can’t think of it. With those provisos in mind I send my servant Hans to administer a thorough whipping, “my hands are too delicate and fine to touch someone” who can also be as low as Handke can be:</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Handke visits Milosevic in jail, has been a friend of the family for years, has had his plays done in Belgrade, including <u>Voyage</u>, as he has been keeping the company of the powerful since his earliest days, from actual princes to Caesars of Industry like Hubert Burda, Handke becomes even more infamous by attending and displaying himself at the funeral and playing mourner to the hilt as only someone who is now an actor who mouths the requisite obscenities in the <u>Quodlibet</u> of the World Stage can, and as someone who purports to be an expert on the disintegration of Yugoslavia [and <u>Voyage</u> convinces the reader that he is quite expert indeed] then refuses to testify as an expert witness for the defense, nay, even to write a simple letter! For reasons of personal experience, I was not all that surprised at my ultimate exhibitionist prima donna’s copping out on that score, ugh, a witness at such a trial is pretty well boxed in, he cannot come and go as he pleases; he is in the cross fire; that would be a bit too much of the sought after lime light, it would singe his wings. All I can be is wrong. As Erich Wolfgang Skwara [the “Don Juan” who appears “with the same woman” in <u>No-Man’s-Bay</u>], a wonderful tattle-tale, once said to me, in the early 90s, as he was also reporting on Handke’s already then becoming a Salamander to Sophie Semin, while we both expressed our confidence that the genius would bring off that great weaving performance: “Let’s see what he’s up to now.” – It was walking arm in arm with Umberto Ecco at the Frankfurt Bookfair on publication of that wonderful book. – In the early 90s I also hear from Erich Skwara that Handke is berating himself for the treatment of his first daughter… writing after all was supposedly easy, meanwhile he had had a second daughter, instead of the wished for son, but for once psychological-minded, foretells in <u>No-Man’s-Bay</u> how grievously Oedipal that relation would have been, which the experience of life with Sophie’s son from a previous relationship I expect rubbed in. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">The timing is about right: in about 20 years certain matters dawn on Peter Handke who is not known as a <i>Trottel. </i>In the early 80s I receive a letter saying “thank you thank you thank you” … for the work I did in the 60s introducing his work into the US against opposition within the firm that took him on, on the part of one little stiletto man by the name of Michael DiCapua, meanwhile [then] I’ve pretty well forgotten all about these labors and also about Handke’s boorish behavior when he and his buddy Kolleritsch and wife to be about <i>disparu</i> Libgart Schwartz appeared in New York in 1971 as a piece of Austrian cultured representatives - that Handke had thought he might be fit to be a cultural attaché has always been one of his more amusing fantasies. In a way it is nicer to be thanked that late after the effect, so this becomes the one time I recall being thanked, it strikes me as so odd and touching and amusing. Actually, it also the only time, by any of these authors, German or American! The fine once St. Martin’s Press and University of Chicago Press editor Michael Denhenny had it right when he wrote me a few year’s back: “What we do is written on water.” However, the late awakening of this “thank you” then alerts us to other delayed time bombs in Handke’s conscience, e.g. it took him many more decades to wake up to the fact of what a horror he had been to women. No doubt Marie Colbin’s going public hat a lot to do with that – what if she had not? Would we have those extensive lies in <i>Morawische? </i>However, despite the Dostoyevskyian self-flaggelation as we can find it in <i>Bis der Tag </i>and also in <i>Morawische</i>, judging by the lies that Handke appears to have successfully introduced into the world via our ex-Spiegel ace, the regrets are not all that heartfelt: they are not heartfelt because anything approximating the why and wherefore of his own violent nature is absent. In Handke’s 2005 novel <i><u>Kali</u></i>, the Singer / Actress is meant to “face” her vis-à-vis, the lord of the Saltmine [“Sie soll sich ihm stellen” I think it how it goes] but this never happens, and it can’t happen because the terms of that facing are never elucidated – thus Malte’s title, MEISTER DER DAEMMERUNG [Master of the Twilight] which derives from the 1984 novel <u>Across</u> [Chinese des Schmerzens] is rather unfortunately truer and more fitting of our man than I suspect Malte was aware of, or intended. There is ample mystery to go around not to require Handke as mystifier.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt; text-indent: 45pt;"><br />
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</div><div style="margin: 5pt -54pt; text-indent: -18pt;"><span style="background: none repeat scroll 0% 0% aqua; color: black; font-family: "Courier New"; font-size: 18pt;">-<span style="font: 7pt "Times New Roman";"> </span></span><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">Whose face to you see first at a showing of a film of Anselm Kiefer – if it isn’t Herr Handke walking ostentatiously in front of the blank screen. Something you can count on is Handke popping off to the media, whose darling for copy he has been since his earliest days, when a possible competitor for the limelight is in the news. I love his honesty in this week’s Greiner interview in admitting that envy is part and parcel of his motivation, although, once again, he anesthetizes. </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">“</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-family: "Courier New"; font-size: 18pt;">Außerdem bin ich nicht gegen Neid, Neid ist unvermeidlich. Ich bin gegen Geiz. Aber Neid? Wenn Leute sagen, sie empfinden keinen Neid, glaube ich ihnen das nicht. Mit dem Neid muss man spielen, darin besteht die Souveränität des gelernten Neiders. Goethe sagt, gegen die Vorzüge eines andern hilft nur, dass man sie liebt. Lieben ist vielleicht ein bisschen viel verlangt, aber man sollte sie anerkennen und sich darüber freuen.“ [</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 18pt;">Besides, I am not against envy. </span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 18pt;">I am opposed to greed. But envy? If people say they lack envy, I don’t believe them. You have to play with envy, that is how your learn sovereignty over envy. Goethe says that the only thing that helps with the advantages another has over you is to love them. Love is perhaps making too much of a demand, but one ought to acknowledge them and be happy about them.”]</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;"></span></b></div><div style="margin: 5pt -54pt; text-indent: -18pt;"><span style="background: none repeat scroll 0% 0% aqua; color: black; font-family: "Courier New"; font-size: 18pt;">-<span style="font: 7pt "Times New Roman";"> </span></span><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;"> The latest of this, as of this writing, November 2010, our careerist calls fellow Austrian novelist Grstein… “a careerist.” I actually am no longer all that annoyed, but like a patient dog owner who laughs or shrugs at a spouse’s tick. Moreover, these proclamation are made, as of old, under a righteous aegis, no matter that Handke in <u>Die Tablas des Daimiel</u> – a quote the Herwig missed even though he quotes from this the most dubious of Handke’s texts - even makes fun of how in the court of night conscience he manages no matter to come out ahead, and uses Ivo Andric’s: </span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 18pt;">“</span><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 14pt;">Mistakes by others that highlight equivalent errors of our own precipitate a moral disappointment that permits us to assume the strict and noble stance of both judge and victim and gives rise to an inner state of moral euphoria. This euphoria distances us swiftly and surely from the process of personal moral perfection and makes of us terrible and merciless and even bloodthirsty judges</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">.</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;"> “ <i>Signs by the Wayside</i></span></b><i><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;"> </span></i><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">as an epitaph to <u>Voyage by Dugout,</u> but subsequent to writing <u>Daimiel</u> quickly berated Günter Grass for allowing himself to be inducted into the <i>Waffen SS </i>at age 17 [a well known matter already in the 60s, may the day come that your volunteering for the Marines or the Special Forces of all kind acquire that kind of iconic obloquy] because “everyone knew what the Waffen SS” was, to which I once said and will say again: “and at age 30 one knows not to smack one’s two year old crying daughter’s head if one is in irritated rage because there is a flood in the basement and she is bawling, rape one’s supposed friend’s girl friends and keep beating up women. </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">Or takes pride in lying.”</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;"></span></b></div><div style="margin: 5pt -54pt; text-indent: -18pt;"><span style="background: none repeat scroll 0% 0% aqua; color: black; font-family: "Courier New"; font-size: 18pt;">-<span style="font: 7pt "Times New Roman";"> </span></span><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;"> When Handke, asked about Enzensberger’s position on the Kosovo war, replies: </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; color: black; font-family: "Courier New"; font-size: 16pt;">“</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 16pt;">Hans Magnus Enzensberger redet wie ein Politiker und moechte die UÇK bewaffnen. Der weiss immer, wo’s lang geht, ein grinsender hoehnischer Zuschauer, der menschgewordene Hohn. Der islamische Sufi Djalâl-ud-Dîn Rûmî sagt: „Sie tragen bedruckte Seiden nicht als Ornament, sondern um ihre Sch</span></b><span class="apple-style-span"><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;">ö</span></b></span><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 16pt;">nheit zu bewahren. Enzensbergers Sachen sind das Gegenteil, Ornament zur Verhoehnung der Sch</span></b><span class="apple-style-span"><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua;">ö</span></b></span><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 16pt;">nheit. </span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 16pt;">[</span></b><b><span style="background: none repeat scroll 0% 0% lime; color: black; font-family: "Courier New"; font-size: 16pt;">Hans Magnus Enzensberger talks like a politician and would like to arm the UÇK. He is someone who always knows what side to take, a grinning, derisive observer, derision in human form. The Islamic Sufu Djalâl-ud-Dîn Rûmî says: “They wear printed silk not as an ornament but to retain their beauty.” Enzensberger’s stuff are the opposite, ornamentation to deride beauty.”</span></b><span style="color: black; font-family: "Courier New"; font-size: 18pt;"> <b><span style="background: none repeat scroll 0% 0% aqua;">then Handke, in this instance, not only manifests his extraordinary envy of a Suhrkamp compadre who displaces a bit of the limelight and is indeed an enviable essayist, but also ever so unfortunately it seems to me, Handke manifests a certain extreme hatred of his own compulsion to dress up like a beauteous <i>Modepuppe</i> since his appearance on the world stage, and who certainly has adjusted himself with the changing times; who sings a different tune every time; that is, such </span></b></span><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;"> extrojective projections smack of self-hatred, a narcissistic conflict on the deepest level [it is always good to re-read the end of <u>The Afternoon of a Writer</u> [1987], if you seek first hand evidence of the split, that of many conflicts that is so productive, it manifest itself in these projections which are entirely lacking in truth-content of any other but of a self-revelatory kind – that is, at those moments Handke is bereft of his greatest strength, his powers as an x-ray machine phenomenologist, which he might turn on himself. Perhaps there is even malice aforethought as in the well-prepared knife for H. M. E. that probably had been ready at least since 1980. Handke’s utterances along that line are</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;"> as predictable as the midnight hooting of my pair of great horned owls, not as pleasant.<span style="color: black;"> That description of Enzensberger, however, must have been lying rehearsed on the tip of the tongue for years, it indicates a conflict within Handke about his own narcissism, and points to the grievous narcissistic wound [s] he suffered as a child. See:</span></span></b></div><div style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; color: black; font-family: "Courier New"; font-size: 18pt;"><a href="http://handke-trivia.blogspot.com/2009/05/enzensberger-footnote.html"><span style="color: black; font-size: 12pt;">http://handke-trivia.blogspot.com/2009/05/enzensberger-footnote.html</span></a></span></b></div><div style="margin: 5pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">for the full of this. Such projections only tell you something about the projector! Alas! <span style="color: black;"></span></span></b></div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% silver;">=J= </span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% silver;">Summation</span></b><b><span style="background: none repeat scroll 0% 0% aqua;"></span></b></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
</div><div style="margin-left: -54pt; text-indent: -18pt;"><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 18pt;">-<span style="font: 7pt "Times New Roman";"> </span></span><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">Had Herwig’s entire book been up to his evocation of Handke’s childhood, not that much more can be said on that score, he would have had a major biography to crow about. On that basis I would judge Herwig to be capable of doing a complete rendition in another about five diligent years. What troubles me most about the current and any possible future version, however, is Herwig’s lack of response to or interest in the texts.</span></b><b><span style="font-family: "Courier New"; font-size: 18pt;"><br />
</span></b> <b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 18pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="background: none repeat scroll 0% 0% aqua;">The Reception, so far:</span></u></b><b><u><span style="background: none repeat scroll 0% 0% aqua; font-size: 12pt;"></span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 12pt;">http://handke-discussion.blogspot.com/2010/11/malte-herwigs-handke-biography-meister.html</span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">One or two of the short reviews Herwig’s book has received I find quite accurate in their assessment, the one in the Deutschland Funk, and Feliciatas – ah to have a girlfriend named Felicitas! – von Lovenborg in the Frankfurter Allgemeine fall into that boat. By far the most interesting response, it is Marie Colbin’s, I have made part of my text here.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> Then there is a slew of idiots who don’t know Handke’s work and haven’t the faintest who praise Herwig as a great researcher as which I don’t. Most surprising is Lothar Struck’s favorable assessment, published under his pseudonym “Gregor Keuschnig” in Glanz & Elend. Struck/ Keuschnig might know better since he did yeoman’s work some years ago now as my editor on my <u>Dem Handke auf die Schliche</u></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"><a href="http://www.van.at/lesen/set01/roloff01.htm" target="_blank">http://www.van.at/lesen/set01/roloff01.htm</a></span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">I imagine the so solicitous Lothar is either becoming prematurely senile or can’t face that Handke the person has some pretty hideous features, and that there are instances where his personality intrudes disadvantageously into the work. A</span></b><b><span style="background: none repeat scroll 0% 0% aqua;"> devotee such as Lothar Struck is what Handke ought to have as a mother French saint of a wife Portuguese cleaning woman for whom her son can do no wrong, devoted and soft in the noodle he starts to sorrow that there will be no more books at a <i>ficciones</i> such as <u>Morawian Nights</u>, thinks that Handke has never written in as childlike a fashion before [no child writes such formalist tour de forces as <u>Moravian</u> has them] is willing to overlook that her son beats the shit out of women, is astounded by Handke calling Madelaine Allbright “Ganzhell” and that Handke has some of his own characters make brief appearances in the book! Alas, what befuddlement will do in our respective <u>Midsummer Nights Dreams!</u><span class="apple-style-span"><span style="color: black;"> Since there are so many that do wrong by</span></span><span style="color: black;"> <span class="apple-style-span">Handke, why not someone who is besotted, like Lothar Struck</span> <span class="apple-style-span">the wife Handke never had! Yet his many reviews of Handke's</span> <span class="apple-style-span">work at his Begleitschreiben blog</span></span></span></b><span class="apple-style-span"><b><span style="color: black;"><br />
<span style="background: none repeat scroll 0% 0% aqua;">http://begleitschreiben.twoday.net/</span></span></b></span><span class="apple-style-span"><b><u><span style="background: none repeat scroll 0% 0% aqua;"></span></u></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua; color: black;">and at the first rate German on-line Literary Mag</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua; color: black;">GLANZ UND ELEND contains many fine and valuable insights</span></b></span><span class="apple-style-span"><b><span style="color: black; font-size: 14pt;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;">http://www.glanzundelend.de/startseite.htm</span></b><b><span style="color: black;"><br />
<span class="apple-style-span"><span style="background: none repeat scroll 0% 0% aqua;">Struck thus can be forgiven for losing his mind over MORAWIAN</span></span><span style="background: none repeat scroll 0% 0% aqua;"> <span class="apple-style-span">NIGHTS, sorrowing that this might be the master's last work – in 2007! And a slew since then -</span> <span class="apple-style-span">on the one hand reading autobiographically but then refusing to</span> <span class="apple-style-span">do so overall. Lothar is forgiven for this mental lapse,</span> <span class="apple-style-span">after all if I dwell on the mistakes in love I made for all</span> <span class="apple-style-span">the pretty girls, never never never in literature,</span> <span class="apple-style-span">if only the wenches had been books I would not have lost my mind and read some of them better and loved them better...</span></span></span></b><b><span style="background: none repeat scroll 0% 0% aqua;"> Struck helps obviate some of junk perpetrated by German reviewers. It really is not those poor sods who ought to be blamed but the editors of these organs, one notable exception is the NZZ [Neue Zuricher Zeitung].</span></b><b><span style="background: none repeat scroll 0% 0% yellow;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> Struck and Malte can have “kitchen duty” in Chaville and take correspondence courses in Oedipus 101-102, which Handke actually knows, and similar introductions to Paranoid/ Schizophrenia which Handke used to know when he wrote GOALIE, and in the effect of primal scene exposure and in Psychosomatics, and in “what splits in splitting.”<span class="apple-style-span"><span style="color: black;"> </span></span></span></b><span style="background: none repeat scroll 0% 0% yellow;"></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">To each his idol, no matter that Handke makes clear in <u>No-Man’s-Bay</u> that he is not worship worthy. All reviews worth reading are assembled sequentially with their links at:</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"><a href="http://handke-discussion.blogspot.com/2010/11/roloff-review-of-malte-herwigs-meister.html">http://handke-discussion.blogspot.com/2010/11/roloff-review-of-malte-herwigs-meister.html</a></span></b><b></b></div><div class="MsoNormal" style="margin-left: -54pt; margin-right: -54pt;"><br />
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</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% fuchsia;">Michael Roloff, December, 2010, Seattle, WA.</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% fuchsia;">The United States of Idiots.</span></b><b></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia;">FOOT NOTES</span></b><b></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow;">1]</span></b><b> </b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Since even close old friends of Handke’s like Peter Stephan Jungk have caught on to what one must do to be fed instead of taken for a walk, they too will promise to interview and write and publish something, in <i>Die Welt.</i> Jungk is part of a small Handke Mafia, Ernst Jandl too, that has developed around the fine writer and reviewer Franz Weinzettel at <i>Die Welt</i> - to whom Handke gave maybe the whole of his B<span class="apple-style-span">ü</span>chner Preis money in 1968 - to counter some of the gross stupidities committed against Handke’s work by the likes of Ulrich “Superficial Reader” Greiner and Iris “Das G<span class="apple-style-span">ö</span>r” Radischen of <i>Die Zeit</i>, Hubert Spiegelfloh of the F.A.Z., and that most adversarial of Handke foes Marcel Reichs-Kanickel, where Handke, however, flung the first glove – a playfully decimating one - nearly half a century ago; yet the Reichs-Kanickel and his wagging rabbit’s foot is not to be taken all that lightly, is as vengeful as Handke, and so does a lot of damage to Handke over the years. </span></b></div><div style="border-color: -moz-use-text-color -moz-use-text-color windowtext; border-style: none none double; border-width: medium medium 2.25pt; margin-left: -54pt; margin-right: -45pt; padding: 0cm 0cm 1pt;"><div class="MsoNormal" style="border: medium none; padding: 0cm; text-indent: 9pt;"><b><span style="background: none repeat scroll 0% 0% aqua;"> The F.A.Z. [Frankfurter Allgemeine Zeitung] would seem to be out to finish Handke off, for his stand and actions in matters of the disintegration of the 2nd Federation of Yugoslavia, thus excerpted one of the two sensationalistic sections from Herwig’s biography, the one dealing with Handke and his Suhrkamp editor Raimund Fellinger’s visit to Karadzic in Pele, Srpska in 1996. [Note Handke’s recent interview with Peter Steinfeld where we find out about others that he visited, a Muslim commander, which Herwig might have mentioned, so that there would not have been any need for the interview to set metters straighter: </span></b></div><div class="MsoNormal" style="border: medium none; padding: 0cm;"><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"><a href="http://handke-yugo.blogspot.com/2010/11/handke-steinfeld-jugoslavien-interview.html">http://handke-yugo.blogspot.com/2010/11/handke-steinfeld-jugoslavien-interview.html</a></span></b></div><div class="MsoNormal" style="border: medium none; padding: 0cm;"><br />
</div></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">According to Herwig, Peter Stephan Jungk is so eager to retain Handke’s friendship that Jungk will not broach the tender subject of Handke’s intervention in the media wars that paralleled the actual disintegration of the 2<sup>nd</sup> Yugoslav Federation, which leads me to suspect once again that Jungk might just be moron enough to have bought into the media account of the disintegration hook line and sinker, he will not broach the subject with Handke for friendship’s sake. Fortunately Handke poses no danger to Jungk as some of Jungk’s other indulgent friendships do,</span></b><b> </b><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;">http://www.schulz-keil.faithweb.com/photo.html</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">this a man whose darkness Handke noticed within five minutes in New York in 1971, perhaps you must be dark to see and project such darkness and Germanness and not be an idiot like me to admit it to yourself only after five years of close acquaintance; but perhaps also because Jungk doesn’t have a pretty girlfriend on whom Handke might poach, his unpretty wife Helene Birnbaum however is a frequent portraitist of Handke as photo model.</span></b></div><div style="border-color: -moz-use-text-color -moz-use-text-color windowtext; border-style: none none double; border-width: medium medium 2.25pt; margin-left: -54pt; margin-right: -45pt; padding: 0cm 0cm 1pt;"><div class="MsoNormal" style="border: medium none; padding: 0cm; text-indent: 9pt;"><br />
</div><div class="MsoNormal" style="border: medium none; padding: 0cm;"><b><span style="background: none repeat scroll 0% 0% aqua;">I think the F.A.Z., at its vendetta’s end, will hang the slaughter at Srebrenice as Albatross around Handke’s neck: if they don’t publish a so-called Germanist Brockhoff’s piece on Handke and Yugoslavia on this year’s Srebrenice anniversary, where this so-called Germanist warns, tries to protect the reader from the insidious <i>parti pris</i> that occasionally slips into Handke’s texts on that subject: no, Handke poses no danger in that respect, possibly as an aging mountain goat to the occasional beauty that strays his way - we had a great story in the great Northwest the other day where an old goat stomped and spiked a hiker to death: </span></b></div><div class="MsoNormal" style="border: medium none; padding: 0cm;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% fuchsia; color: black; font-size: 14pt;">http://crosscut.com/blog/crosscut/19863/Is-this-the-killer-goat-/</span></b></span></div></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">The F.A.Z. then censors my and Lothar Struck’s comments both on the Brockhoff article and their presentation of the Herwig excerpt. I imagine Malte had no control over where his publisher DVA [Deutsche Verlagsanstalt, a part of Random House, thus a part of the German Bertelsmann media empire, who also own Handke’s U.S publisher Farrar, Straus] placed the first serial rights, but it might teach him a lesson, if he care enough. </span></b><b><span style="background: none repeat scroll 0% 0% aqua;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">2]</span></b><b><span style="color: black;"> </span></b><b><span style="background: none repeat scroll 0% 0% aqua;">Yet what would I have done without Handke’s work, Handke my “tit-bird,” my passerine, the past 25 some years especially so it occurred to me as I tried to summarize the involvement in such a huge body of work? In a long piece entitled “Easing Out”.</span></b><b><span style="font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"><a href="http://handke-discussion.blogspot.com/">http://handke-discussion.blogspot.com</a></span></b><b> <span style="background: none repeat scroll 0% 0% yellow;"> </span> <span style="color: red;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; color: black;">I imagine if Handke, say, had got back on the Lockerbie Flight in London in the late 80s I would have written my psychoanalytic monograph, </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;"><a href="http://analytic-comments.blogspot.com/" target="_blank"><b><span style="color: black;">http://analytic-comments.blogspot.com/</span></b></a></span><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; color: black;">Reading the 1984 ACROSS [Der Chinese des Schmerzens] in 1986 had finally alerted to me what an in this instance “self-confessed” “case”</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; color: black;">Handke was… and I would be further along with the <u>Darlings and Monsters Quartet</u> where someone like Handke appears in both those roles</span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">.</span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua;">Little could I have imagined, even if I’d thought in those terms, that in May 1966, in Princeton, I would behold a kid looking like a fifth Beatle destined to become an Austrian postage stamp in his life time, a writer of Shakespearean breadth and depth – contemplate <u>Don Juan’s</u> sidekick, the groveling sadist who loves women the uglier the better as he gleefully… or Faulknerian for that matter, with a Yoknapatahwka-sized self, the amazing creatures populating his plays, or the restaurateur in NO-MANS-BAY who serves the best food in the world but will only serve guests that are to his liking, and thus keeps going broke and moves further and deeper into the forest… No Shakespeare no Freud, no Shakespeare no Handke I would guess.</span></b></div><div style="border-color: -moz-use-text-color -moz-use-text-color windowtext; border-style: none none double; border-width: medium medium 2.25pt; margin-left: -54pt; margin-right: -45pt; padding: 0cm 0cm 1pt;"><div class="MsoNormal" style="border: medium none; padding: 0cm;"><br />
</div><div class="MsoNormal" style="border: medium none; padding: 0cm;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black;">3]</span><span style="color: black;"> </span></b><b><span style="background: none repeat scroll 0% 0% aqua;">I am just now re-reading <u>Across</u>, going back to the beginning of the project and I notice not only the resemblances to the distraught period of the early 70s, ten years prior, and it occurs to me if the work is “meant to be the death mask of the experience” [Walter Benjamin] why we need a second death mask, albeit one written in a less suicidal state of mind, and more carefully in the way it builds from its violent beginnings… A murderous state of mind instead of a suicidal one, quelle difference? And the “moment of true feeling” is a murderous one! However, it occurred to me on first reading already that one purpose of the book was to memorialize, patiently, the surround of Salzburg, and that certainly is well done, as Stifter would have, and it occurred to me to think when I was alerted to Handke’s taking the Stifterian turn – probably way back in 1973 when he completed <u>They Are Dying Out</u> and monopolist Quitt has his factotum Hans – perhaps also meant as a wonderful riff on <u>Puntilla and his Servant Matti</u> - read a section from Stifter’s <u>Bergkristalle</u> and then emotes how it would be to live in that world. </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua;">Thus back to “restoration Hardware” Austrian style. And eventually the beater of women is to write:</span></b><b><span lang="DE"> “<br />
„<span style="background: none repeat scroll 0% 0% aqua;">An den morgen<br />
aufgewacht von dem morgenhellen Himmel<br />
über den noch dunklen Dächern<br />
treib aus den den Kaminen schon langsamer Rauch<br />
Die Vögel: <i>sine fine dicentes</i><br />
Und all Liebe leben.“</span><span style="color: black;"> </span></span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua;"></span></b></div></div><div style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 18pt;">4]</span></b><b><span style="color: black; font-family: "Courier New"; font-size: 18pt;"> <span style="background: none repeat scroll 0% 0% aqua;">A long piece of mine on No-Man’s-Bay can be found at the pages devoted to the book at handke-revista-of-reviews blog</span>:</span></b></div><div style="margin-left: -54pt;"><b><u><span style="font-family: "Courier New"; font-size: 14pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102);">http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html</span></a></span></u></b></div><div style="margin-left: -54pt;"><br />
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</div><div style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 18pt;">I re</span></b><b><span style="font-family: "Courier New"; font-size: 18pt;">ad the book at least three times here, in Seattle, in German, then in Krishna’s translation, aside the first two chapter’s of A SLOW HOMECOMING, THE REPETITION and especially the last 100 pages or so of DEL GREDOS, and JUKE BOX, this is my most significant Handke reading experience. Handke alters states of mind, Peter Strasser once wrote a little book entitled “Freudenstoff” about his experience of these texts. Peter and I are d’accord in that respect.</span></b></div><div class="MsoNormal"><b>Not only did I read NOMANS five times, I did it in about as ‘no-man’s’ an environment as you could: Lola’s [a Hmong with scrappy English] 24/7 neon-lighted donut shop between Rooseveldt and 12th Avenues on NE 45 Street crosstown bouldevard, that was peopled<br />
by the down and out nursing their coffee, Smerdyakov, Ben the Persian ex-architect who had had a mental break and tended his gold fish, the Toothless cabbie, various near homeless characters. Lola's<br />
was about half a mile away from where I lived and so made for a nice short walks to and fro during which to digest and come down or get ready for the reading experience. Of course NO MANS at this length has a few beauty spots, the derisive treatment of Handke's Hotel Adam's experience, the business of the two Germanies at war...Handke of course envies Grass first 300 pages of TIN DRUM... and as fairy tales his novels are artificial.<br />
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</div>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com20tag:blogger.com,1999:blog-36070900.post-57698399328135888512010-10-03T22:00:00.000-07:002010-10-07T10:18:32.310-07:00Easing out t of, Winding down the 25 year plus year young Handke Project ...<div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="background: none repeat scroll 0% 0% aqua;">Easing ou</span></u></b><b><u><span style="background: none repeat scroll 0% 0% aqua;">t of, </span></u></b> </div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="background: none repeat scroll 0% 0% aqua;">Winding down </span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="background: none repeat scroll 0% 0% aqua;">the 25 year plus year young Handke Project…a saga nearing its end…a round-up of sorts… musings… ruminations… a final ramble!</span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">For Karl Heinz Braun, Marie Colbin, myself, and I imagine for Klaus Peyman, too, now… and <i>les autres</i>……</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="font-size: 14pt;">Names cited in this communication:</span></u> </b><b><span style="color: red; font-size: 13.5pt;">Marie Colbin</span></b><b><span style="font-size: 13.5pt;">, <span style="background: none repeat scroll 0% 0% red;">in extenso</span><span style="color: #33cc00;">, Erich Wolfgang Skwara </span>=<span style="background: none repeat scroll 0% 0% red;">in extenso</span> <span style="color: red;">,</span> Hans Hoeller, Karl Wagner</span>, </b><b><span style="font-size: 13.5pt;">Raimund Fellinger, Peter Hamm, <span style="color: red;">Michael DiCapua</span>=<span style="background: none repeat scroll 0% 0% red;">in extenso</span>, Roger Straus, Steve Wasserman, Edmund Caldwell, <span style="color: red;">H.M. Enzensberger</span>= <span style="background: none repeat scroll 0% 0% red;">in extenso</span>, Günter Grass, Uwe Johnson, Peter Weiss, Hans Werner Richter, Jürgen Becker, <span style="color: red;">Lothar Struck= </span>=<span style="background: none repeat scroll 0% 0% red;">in extenso<span style="color: red;"> </span>,</span> Sophie Semin, Libgart Schwartz, J., Fredi Kolleritch, Fabjan Haffner, Elisabeth Schwaegerle, Klaus Kastberger, <u> </u>Tom Barry, Scott Abbot, J. Brokhoff , Heinrich Detering, David Coury, Frank Pillip, Donald Daviau, </span></b><b><span style="color: red;">Neil Gordon= in extenso</span></b><b><span style="font-size: 13.5pt;">, William Gass, Robert Silvers, Oh Tannenbaum, Jim Krusoe, <span style="color: red;">Dennis "The Mutton" Dutton,</span> Robert Wilson [editor of American Scholar], Michael McDonald,[of The Amurrican Interest], Krishna Winston, Siegrid Loeffler, J.l. Marcus, Hubert Burda, Siegfried Unseld, Mr. and Mrs. Milosevic, etc. </span></b><b><u><span style="background: none repeat scroll 0% 0% aqua; font-size: 20pt;"></span></u></b></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">“The world is discoverer.” WALK ABOUT THE VILLAGES, Peter Handke</span></b><b><span style="font-size: 16pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">What would I have done without Handke’s work, Handke my “tit-bird,” my passerine, the past 20 some years it occurs to me as I try to summarize the involvement in such a huge body of work? To some extent with the author himself. Traveling the Handke high and byways… from trembling heights to the most horrific, gold leaf… and dung beetles reviewers… </span></b><b><span lang="FR" style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">[</span></b><b><span lang="FR" style="color: red; font-size: 16pt;"> ";mais une marée de merde en bat les murs, à la faire crouler</span></b><span lang="FR" style="color: red; font-size: 16pt;">."] </span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Little could I have imagined, even if I’d thought in those terms, that in May 1966, in Princeton, I would behold a kid looking like a fifth Beatle destined to become an Austrian postage stamp in his life time:</span></b></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: "Times New Roman"; font-size: 12pt;"><img height="350" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image001.jpg" width="300" /></span></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">The now count von und zu Griffen whom I encountered while trying, successfully I might say, to get out of those reaches, except of course linguistically where the more the better, both high and low.</span></b><b><span style="font-size: 16pt;"></span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="color: black; font-size: 14pt;"><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://picasaweb.google.com/mikerol/HANDKE3ONLINE#</span></a></span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">And now easing out of a twenty some year involvement in writing about it, championing it, criticizing it too, decimating swinish reviewers, linking up with some wonderful scholars, with at least one more play to read and the recent <u>Nachtbuch</u> [jottings of the first thoughts as you wake up at night, one finger still in the forever dream dialogue world:</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span lang="DE"><br />
</span></b><b><span lang="DE" style="font-size: 14pt;">[<span style="background: none repeat scroll 0% 0% lime;">„Am Ende werde ich etwas sagen, ein bißchen“</span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">[At the end I’ll say something, a bit.]</span></b><span style="font-size: 14pt;"> <b><br />
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„<span style="background: none repeat scroll 0% 0% lime;">Manchmal, wenn man redet, redet man immer weiter“</span> [<span style="background: none repeat scroll 0% 0% aqua;">Sometimes when one talks one goes on talking.]</span><br />
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<span style="background: none repeat scroll 0% 0% lime;">„Die Woche über spielen sie Ping-Pong, am Samstag spielen sie Pong-Ping.“ – „Ja, die Wespen leben in Ketten“</span></b> <b><span style="background: none repeat scroll 0% 0% aqua;">[During the week they play ping-pong, on Saturda the play ping pong. </span></b></span><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">‘Yes, the wasps live as a series of chains.]</span></b><b><span lang="DE" style="font-size: 14pt;"><br />
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<span style="background: none repeat scroll 0% 0% lime;">„Sind Sie der, der hinter der grauen Holzhütte mir ein Gedicht vorgetragen hat?“</span></span></b><span lang="DE" style="font-size: 14pt;"> </span><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">[Are you the person who recited a poem to me behind the grey wooden hut.]</span></b><b><span style="font-size: 14pt;"><br />
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</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; font-size: 14pt;">„Der Papst weiß sicher, daß er verdammt ist“</span></b><span lang="DE" style="font-size: 14pt;"> <b><span style="background: none repeat scroll 0% 0% aqua;">[The Pope must know that he is damned.“</span><br />
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<span style="background: none repeat scroll 0% 0% lime;">„Die Kinder haben sich über ihn lustig gemacht, aber nicht zu sehr“</span> <span style="background: none repeat scroll 0% 0% aqua;">[The children made fun of him, but not too much.]</span><br />
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<span style="background: none repeat scroll 0% 0% lime;">„P. H. im Neunten Land?“ – „Neunmal kennt er das Land nicht“</span> [<span style="background: none repeat scroll 0% 0% aqua;">P.H. in the Ninth Land?“ </span></b></span><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">„He does’t know the land mine times.] <i>The reference is to Handke’s book “Farewell to the Dream of the Ninth Land” – the land of peace – his reaction to Slovenia’s becoming an independent country</i></span></b><b><i><span style="font-size: 14pt;">.</span></i></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">an enterprise it must take considerable grandiosity to peddle, excerpts from the dialog forever on-going interiorarity, albeit here the foam of the unconscious, and do so without elaborating the fantasy or dream underlying. I.e. from the excerpt that Jung & Jung has posted as a teaser it does not appear that our genius spouts genius brilliances as the first thing on waking. Reading 500 of them may of course reveal a pattern. 50 dreams of Handke’s would have been a lot more interesting! And analyzed by the man who can write in dream syntax and images if need be! Lothar Struck who has gone a bit soft in the noodle [see the end for an elaboration of this statement] reading so much Handke has an appreciative review of this trivia at Glanz & Elend which I have also put on the page devoted to the <u>Nachtbuch</u> at:</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-size: 14pt;"><a href="http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html</span></a></span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">And no doubt there will at least be one other narrative of whatever order of difficulty – the 25 k <u>Don Juan,</u> the Handke book most recently published in the United States, as they say, “hat es in sich,” which means it got only stupid reviews… and I have one more ramble to write, on Handke’s poetics. Handke is no esthete but he certainly has an aesthetic. In the Kastberger/ Schwägerle interview in the Kastberger edited collection of mostly first rate essays and fascinating primary material <u>Freiheit des Schreibens</u> [Zsolnay, 2110] Handke says he does not have a poetics. He articulates his poetics in their sufficiency in the 1981 <u>Walk About the Villages.</u> Perhaps Handke forgot, Handke is quite good at forgetting, just the way he is at turning guilt feelings off, or perhaps he was waiting whether the interviewers might remember <u>Villages</u> as I haven’t come on a one scholar that notes its influence on the work that follows… as far and recently as the 2003 <u>Del Gredos</u>. I am not planning to check to what degree if any Handke hoes to these poetics, but am interested in the change in narrative procedure from 1964 <u>Hornissen</u> to the present, perhaps I will come up with something. But that would seem to be it, yes there will also be an assaying on what I call “the psychoanalysis of reading,” which would be inconceivable without having looked closely at Handke’s prose, its entrancing capacities… and then to go on servicing the blogs and the scriptmania sites: </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); font-size: 14pt;"><a href="http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html">http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html</a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div style="margin: 0cm 0cm 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 14pt;"><a href="http://www.handke.scriptmania.com/favorite_links_1.html" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://www.handke.scriptmania.com/favorite_links_1.html</span></a><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102);"> </span></span></b><span style="font-family: "Courier New"; font-size: 14pt;"></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">having one page devoted to each title at the </span></b><b><span style="font-size: 16pt;"></span></b></div><div style="margin: 0cm 0cm 0.0001pt -54pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html" target="_blank"><b><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black; font-family: "ɼourier New'";">http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html</span></b></a><span style="font-family: Arial; font-size: 16pt;"></span></div><div style="margin: 0cm 0cm 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;">and to each play at the </span></b><span style="font-family: "Courier New"; font-size: 16pt;"></span></div><div style="margin: 0cm 0cm 0.0001pt -54pt;"><b><u><span style="font-family: "ɼourier New'"; font-size: 18pt;"><a href="http://handke-drama.blogspot.com/2010/05/index-page-for-this-and-all-other.html" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black; font-size: 12pt;">http://handke-drama.blogspot.com/2010/05/index-page-for-this-and-all-other.html</span></a></span></u></b><b><u><span style="font-family: "ɼourier New'"; font-size: 16pt;"></span></u></b></div><div style="margin: 0cm 0cm 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;">and the endless trivia which pours from the star’s publicity machine:</span></b><b><span style="font-family: "Courier New"; font-size: 16pt;"></span></b></div><div style="margin: 0cm 0cm 0.0001pt -54pt;"><b><u><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); font-family: "ɼourier New'";"><br />
</span></u></b><b><u><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 14pt;"><a href="http://handke-trivia.blogspot.com/2010/05/index-page-for-this-and-all-other.html" target="_blank"><span style="color: black;">http://handke-trivia.blogspot.com/2010/05/index-page-for-this-and-all-other.html</span></a></span></u></b><span style="font-family: "Courier New"; font-size: 14pt;"></span></div><div style="margin: 0cm 0cm 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I have the load of another life-time’s work left… am being granted only half of one even though I am just growing another set of teeth. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Let me say right off that I could not have imagined that Handke might write anything as magnificent as some of the prose works, both short and long, and the plays he did after his richest work, the last of which of his I had the fortune to translate [no matter that <u>Villages</u> then became a most interesting kind of Albatross and all around heart test, failures nearly all around], the 1981 WALK ABOUT THE VILLAGES… which also mattered a lot to Handke so that the correspondence over that piece, and the way Handke made suggestions to my wrestling match with the text also proves the only interesting part of our correspondence [see the postscript to the Ariadne Books edition which quotes the relevant passages]. I had thought one might stop with that… I certainly hoped that it would be my “swan song” to translating, but then some things were offered that I liked, say the work of Josef Winkler. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Among the works subsequent to <u>Villages</u>, each masterly in its own way, but none as rich sometimes so in a different way, I number <u>The Repetition</u> [1986], <u>The Afternoon of a Writer</u> [1987], the 1988 <u>Absence</u> film as novel as film rewrite of <i>Parsifal</i> that introduced the filmic element into prose writing - an underlying filmic feature which again becomes prominently experiencable by the good, that is a reader in the 2003 <u>Crossing the Sierra Del Gredos</u> [the protagonist, bankieress, like her author, constantly sees herself as actress in a film] thus enabling the kind of manifest precision between reader and text that occasionally transpires in the dream screen dyad analyst analysand, fantasies meshing, in a to and fro; and the 1984 novel that set me off on this trek, <u>Der Chinese des Schmerzens</u> which ever so unfortunately is titled <u>Across</u> in English, instead of, say, <i>The Chinese of the Water Torture.</i> That Handke would write not only in dream images [<u>Afternoon of a Writer]</u> but in dream syntax in the 1995 <u>One Dark Night I left my Silent House</u>… [Edmond Caldwell also has an interesting note on what he, in analogy, calls “the Handke effect” at:</span><span style="background: none repeat scroll 0% 0% yellow;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">http://thechagallposition.blogspot.com/</span><span style="background: none repeat scroll 0% 0% yellow;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">is perhaps not all that surprising coming on the heels of brilliant innerworld outerworld projection screen beginnings and knowledge of how deep syntax works [1]. One way or the other, Handke remains a verbally, textually activist author. It would be quite something to organize a year long course just around Handke’s work, going back to Thucydides, Euripides, Aeschylus and working your way up the present in hopscotch back and forth kind of way.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Anyhoo, these kinds of writerly communicative matters I have mulled since my early days as a kind of Joycean Jamesian who still thinks James’ prefaces to his novels are the best things that have ever been written on that subject… </span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">http://www2.newpaltz.edu/~hathaway/</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">and it is for these innovations, for the sake of the <i>logos</i> and what Handke has contributed to it that he deserves the Nobel, the availing of new utensils, the ability to communicate inner states, spell the reader into reading. Virginia Wool I imagine might not commit suicide if she had those means at her disposal. As a person, scarcely. Unfortunately. You’d have to extirpate the “Bruno Handke” part, that metempsychosis that possesses him, too.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Subsequent the just cited achievements comes a more serious change than the prior actually rather gradual one from works such as <u>Der Hausierer</u> 1967 [“The Panhandler,” as it might be called in English, it exists in some Romance languages], <u>Short Letter long Farewell </u>1971<u>, Goalie’s Anxiety</u> 1969 and <u>A Moment of True Feeling [1971] to Left-Handed Woman 1974</u> and <u>A Slow Homecoming [1978],</u> the latter two belonging very much together in their mood of withdrawal and direct turn toward the mytho-poeic. </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">As I just wrote Karl Wagner: “</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% rgb(255, 204, 204); font-size: 16pt;">aber ich lass mir doch nicht das ‚Sein’ noch ‚die Natur’ von Heidegger verderben</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">.“ </span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Ernst Bloch said something similar about the Left’s leaving nature to the Nazis.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> One of Handke’s published notebook excerpts, <u>Fantasien der Wiederholung,</u> 1988 – <i>Wiederholung</i> does not just mean to repeat but to <i>retrieve</i> – announces this more important change, departure; and with respect of these kind of <i>pronunciamentos</i> Handke can be trusted not to be too fickle. [Udderwise, the fellow who berates “facts people” on the occasion of Suhrkamp Verlag’s – his chief publisher’s - move there from Frankfurt, proclaimed, just the other month in Berlin, “facts win!” Handke wins, it’s a fact!</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">First results from this change from over-reliance on impressionist phenomenological serial notation and extremely well-crafted prose - to different narrative procedures – if <u>Across</u> [1984] and <u>The Repetition</u> [1986, the counter-part to the 1972 <u>Sorrow beyond Dreams]</u> aren’t already way signs toward that change - are the late 80s early 90s assayings of <u>Tiredness</u>, the <u>Juke Box</u> and <u>The Day that Went Well</u>: circling and interrogating his subjects, incorporating the settings where they are composed [something done incidentally by many writers is here as a compositional principle]. Getting his feet wet in a new mode, Handke quickly mastered it to his usual virtuoso capacities: <u>Day</u>. “The line of beauty” – isn’t it really the line of the breast? The new tack eventuates in that great weaving of the six sides of his artistry on the canvas-ground on which he then lived in the Chaville woods outside Paris, <u>My Year in the No-Man’s-Bay </u>[1993]. [After all, from the beginning Handke has created conscious literary works of art, the “as if” of fantasy realized as text or play, a little too real for comfort at times.] There follows the somewhat mixed bag <u>One Dark Night I Left My Silent House </u>[1994] – I say “mixed bag” because aside its many marvels I could well do without Handke’s <i>recit’s</i> on “the modern” woman or that narcissism means that at least you love yourself! Wow! Whoopeedooda! If you know your Handke texts you read of his affinity for idiots, and sometimes the autist truly is daft and not just in the Greek “everyman” sense of the word.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Unique, too, are <u>Crossing the Sierra Del Gredos</u> [2001], <u>Don Juan</u> [as told by himself] a juicy, taut rope that holds the strains of an aging conflicted sneaky Eros, both dark and light, with an easy and very playful left wishfulfilment hand [2004], and the somewhat Wagnerian – so it strikes me - <u>Kali</u> [2007] a kind of operatic film, that I need to reread once more, it is so strange, so different from anything that has gone before; the reportage <u>The Cuckoos of Velica Hoca</u> [2008] where Handke shows that he has that stuff, too, - read Hans Hoeller’s essay on <u>Velica </u>in <u>Freiheit</u> - after a lot of superfices along those lines – that is one of the great pleasures of reading Handke, he neither bores himself nor his readers by repeating himself, he explores the formal possibilities of a way of doing things, develops - altogether, the whelming distinctive works prove a consternation to no end of lazy moron reviewers who cannot even describe a book as they try to peg it for their pittances. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Some of the most extraordinary writing Handke has done is in the 2005 novel <u>Moravian Nights</u> – at a few moments, around its tunnel section, this seismograph felt the earth tremble within the act of reading classical prose, a first for me, a book that yet I find both formally and morally dubious [See “Tough Love for Peter Handke”</span></b><b><span style="font-size: 16pt;"> <span style="background: none repeat scroll 0% 0% yellow;"></span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 12pt;"><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></span></b><b><span style="font-size: 12pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">morally dreadful for its lying way to dispose of Marie Colbin’s charge that has been facing him all these years [2], formally since, overall, it does not live up to his own previously demonstrated abilities, and I am someone who is quite willing to assess Handke within his own terms, unless to be sort of Larry Rivers sketchy on such a big canvas is something he had in mind: I find no evidence of such an idea, which doesn’t mean that I am not missing something. <u>Moravian</u> is basically a big hotch-potch loosely held together; a kind of ramble such as this; if it weaves it does so by happenstance; some sections such as the defense for beating the bejesus out of Marie Colbin or one the Congress on Noise are formalized to the fare-the-well, others are paltry, one in Cordula/ Split, where Handke wrote his first novel, in 1964, <u>Die Hornissen/ Los Avispones/ The Hornets</u> t’would be in English] and where it appears he abandoned his first girl friend, and with child, creating a bastard as his own father did creating him, who however took care to stay in touch with the mother Maria Sivec, which old G.F now haunts him, an old crone, this section is stupendously well rendered, realized, visually, dramatically… past and present merging, very filmic too… El Greco, Dostoyevsky come to mind… The section of a trip to the Kosovo and the bus driver’s fury in the form of his iterating the song <u>Apache</u> and you become part of the throb of deep dark fury. – But, as I wrote one of his two editors, Raimund Fellinger, at Suhrkamp Verlag, the other is the critic Peter Hamm, it wouldn’t be such a bad thing if the model in the novel for the house-boat hotel, the hotel boat “Luna” on the Morawa River in deepest darkest south-east Serbia, on which <u>Morawian Nights</u> is allegedly told, if the “Hotel Luna/ Morawa” unloosed during a Spring flood from amongst the reeds where it is tethered and washed into the Danube and down into the Black Sea – ample time to bring a few sections and the whole up to Handke’s usual snuff – and we can have Marie Colbin running alongside on the shore and have her get stuck in a moor! - But what an overall continuous performance! Since early on! As an analyst I would posit since earliest bed time days in Berlin early winter 1944 !</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">And then there are the plays: <u>The Hour We knew Nothing of Each Other</u>, the summa of every aspect of his early dramatic work [I know I am right in thinking of Handke as a kind of Schubert who found himself in the world of words], the second time – the first is <u>Ride Across Lake Constance, </u>the ultimate inversion of a boulevard piece - that he cleans out an audience’s clock and makes them see the world anew as does his verbal magicking in the <u>Sierra del Gredos</u> novel; </span></b><b><span style="font-size: 16pt;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b> </b><b><span style="font-size: 12pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 12pt;">http://handke-drama.blogspot.com/2010/05/index-page-for-this-and-all-other.html</span></b><b><span style="font-size: 12pt;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">the great 1987 <u>Art of Asking</u> not yet done - I nearly say of course - in that desert the Unites States of self-involved Philistines and clothes horses and miserable artistic directors, that disneyfied garbage pit, what would Joyce put into Leopold Blooms stream of consciousness these days is a thought I have entertained; biggest island on the earth no matter all that globalization. The 1991 <u>Voyage by Dugout: The Play about the Film about the War,</u> which finally exists in a fine translation by Scott Abbott, too, is crying for a performance; the 2008 <u>Till the Day that Parts Us</u> is about to be published by Seagull/ University of Chicago Press. Not that some of the less successful work, say <u>The Essay on Tiredness</u> or the play <u>Preparations for Immortality</u> - it starts off like gangbusters but its formalism quickly and oddly turns hollow, like Phillip Glass - or the plays <u>Traces of the Lost</u>, which strikes me, who has only read it several times, as a redo of <u>Hour</u>, or the 2004 <u>Subday Blues</u> - I find it a monotonous read no matter how perfectly and incrementally-timed formally [and I find monotony in this instance of little use] - which appears to “play” well, I may be wrong because of having got used to Handke writing “Lese Dramen,” [dramas just to be read], these would be stellar works by others who do not set their own expectations as high as our versatile pro, Peter Handke.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I am leaving out the cumulation of diary volumes, [its inception is the 1974 <u>Weight of the World</u> - “for those to whom it matters” is its epigraph, and boy would it ever prove found meat for this analytic wolf! - and the 1983 <u>Geschichte des Bleistifts</u>, the 1988 <u>Am Felsfenster Morgens</u>, the 1988 <u>Fantasien der Wiederholung</u>, the 2001 <u>Gestern Unterwegs</u>, the 2100 <u>Nachtbuch</u> as well as the forthcoming <u>Unterwäsche</u> {Verbrecher Verlag, 2111] is a body of self-involved self-exhibitionism and self-discovery – with little consequence but for the work – that, if this trove can be judged at all, only in the forthcoming many years when they are compared with the now archived notebooks [whence they were sold for five hundred thousand Euros each to a German and an Austrian archive, whence these edited selections derive; by the time of the second German edition, <u>Gewicht/ Weight</u> had been edited down, t’was a little too much nakedness after all of the frequently hideous self, some beauty marks allowed but not the entire horror show. At any event: Scholar mice, get on your marks!</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Ullrich von Buelow has a fine introduction to this material in Kastberger’s <u>Freiheit.</u> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;">Also left out from this list is the handful of texts occasioned by Handke’s involvement in the disintegration of the 2nd Yugoslav federation. Though I obviously regard the 1999 play <u>Voyage by Dugout </u>and the 2008 reportage <u>Velica Hoca</u> among Handke’s premier works, and much like the non-travel <u>Abschied vom Neunten Land</u> [written on the occasion of Slovenia becoming independent in 1991, “Leavetaking from the 9<sup>th</sup> Land”] no matter in disagreeing with its perverse contra-factual argument, and find lots to like in the three travel books the 1993 <u>Justice for Serbia</u>, the 1994 <u>Sommerlicher Nachtrag</u> [A Summer’s Postscript] and the 1997 <u>Unter Tränen Fragend</u> [Questioning in Tears], I find wretchedly arrogant and sloppy the 2003 <u>Rund um das Tribunal</u> [Circling the Tribunal – in Scheveningen/ DeHague, the Yugoslav war crimes trials] and especially the 2004 <u>Die Tablas des Damiel</u> [The Ponds of Damiel, in southern Spain, drying out, analogously, to the now no longer federated mutually fructifying Yugoslav states] especially so coming from someone who nearly completed his Dr. Jus. in 1964 because the sought-after sinecure of Austrian cultural attaché had been obviated, Handke felt so confident as a writer after his first novel had been accepted by Suhrkamp Verlag. Not that <u>Tribunal</u> and <u>Daimiel</u> are devoid of all merit, or of interest and of all kinds of gems; the worst of course is that you realize: here is someone who made himself notorious in an odd kind of defense of the Serbians against an idiotic mass media attack – indeed the world made it so easy that he actually ought to have taken <span style="color: black;">the trouble to speak the language of political economy and the psychology of identity, say, have become a Michel Chossudovsky</span></span></b></div><div style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; color: black; font-family: "Courier New"; font-size: 14pt;"> http://www.hartford-hwp.com/archives/62/022.html ]</span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 16pt;"></span></b></div><div style="margin-left: -54pt; text-indent: -18pt;"><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 16pt;">-<span style="font: 7pt "Times New Roman";"> </span></span><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;">Handke visits Milosevic in jail, has been a friend of the family for years, has had his plays done in Belgrade, including <u>Voyage</u>, as he has been keeping the company of the powerful since his earliest days, from actual princes to the Caesars of Industry like Hubert Burda, Handke becomes even more infamous by attending and displaying himself at the funeral and playing mourner to the hilt as only someone who is now an actor who mouths the requisite obscenities in the <u>Quodlibet</u> of the World Stage can, and as someone who purports to be an expert on the disintegration of Yugoslavia [and <u>Voyage</u> convinces the reader that he is quite expert indeed] then refuses to testify as an expert witness for the defense, nay, even to write a simple letter! For reasons of personal experience to which I will come, I was not all that surprised at my ultimate exhibitionist prima donna’s copping out on that score, ugh, a witness at such a trial is pretty well boxed in, he cannot come and go as he pleases; he is in the cross fire; that would be a bit too much of the sought after lime light, it would singe the wings of the fink. As Erich Wolfgang Skwara [the “Don Juan” who appears “with the same woman” in <u>No-Man’s-Bay</u>], a wonderful tattle-tale, once said to me, in the early 90s, while we both expressed our confidence that the genius would bring off that great weaving performance: “Let’s see what he’s up to now.” – It was walking arm in arm with Umberto Ecco at the Frankfurt Bookfair on publication of that wonderful book. - Something you can count on is Handke popping off to the media, whose darling for copy he has been since his earliest days, when a possible competitor for the limelight is in the news. The latest of this, as of this writing, September 2010, our careerist calls fellow Austrian novelist Grstein… “a careerist.” I actually am no longer all that annoyed, but like a patient dog owner who laughs or shrugs at a spouse’s tick. Moreover, these proclamation are made, as of old, under a righteous aegis, no matter that Handke in <u>Die Tablas des Daimiel</u> even makes fun of how in the court of night conscience he manages no matter to come out ahead, and uses Ivo Andric’s</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 18pt;">:</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 18pt;"> </span></b><span style="background: none repeat scroll 0% 0% yellow; font-family: Arial; font-size: 14pt;">“</span><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 14pt;">Mistakes by others that highlight equivalent errors of our own precipitate a moral disappointment that permits us to assume the strict and noble stance of both judge and victim and gives rise to an inner state of moral euphoria. This euphoria distances us swiftly and surely from the process of personal moral perfection and makes of us terrible and merciless and even bloodthirsty judges.</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 14pt;"> “ <i>Signs by the Wayside</i></span></b><i><span style="font-family: Arial; font-size: 14pt;"> </span></i><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;">as an epitaph to <u>Voyage by Dugout,</u> but subsequent to writing <u>Daimiel</u> quickly berated Günter Grass for allowing himself to be inducted into the <i>Waffen SS </i>at age 17 [a well known matter already in the 60s, may the day come that your volunteering for the Marines or the Special Forces of all kind acquire that kind of iconic obloquy] because “everyone knew what the Waffen SS” was, to which I once said and will say again: “and at age 30 one knows not to smack one’s two year old crying daughter’s head if one is in irritated rage because there is a flood in the basement and she is bawling, rape one’s supposed friend’s girl friends and keep beating up women.” </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;">When Handke, asked about Enzensberger’s position on the Kosovo war, replies: </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% aqua; color: black; font-family: "Courier New"; font-size: 14pt;">“Hans Magnus Enzensberger redet wie ein Politiker und moechte die UÇK bewaffnen. Der weiss immer, wo’s lang geht, ein grinsender hoehnischer Zuschauer, der menschgewordene Hohn. Der islamische Sufi Djalâl-ud-Dîn Rûmî sagt: „Sie tragen bedruckte Seiden nicht als Ornament, sondern um ihre Schoenheit zu bewahren. Enzensbergers Sachen sind das Gegenteil, Ornament zur Verhoehnung der Schoenheit.</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% lime; color: black; font-family: "Courier New"; font-size: 14pt;"> </span></b><b><span style="background: none repeat scroll 0% 0% lime; color: black; font-family: "Courier New"; font-size: 14pt;">[Hans Magnus Enzensberger talks like a politician and would like to arm the UÇK. He is someone who always knows what side to take, a grinning, derisive observer, derision in human form. The Islamic Sufu Djalâl-ud-Dîn Rûmî says: “They wear printed silk not as an ornament but to retain their beauty.” Enzensberger’s stuff are the opposite, ornamentation to deride beauty.”</span></b><span style="color: black; font-family: "Courier New"; font-size: 14pt;"> </span><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 16pt;">then Handke, in this instance, not only manifests his extraordinary envy of a Suhrkamp compadre who displaces a bit of the limelight and is indeed an enviable essayist, but also ever so unfortunately it seems to me, a certain extreme hatred of his own compulsion to dress up like a beauteous <i>Modepuppe</i> since his appearance on the world stage, and who certainly has adjusted himself with the changing times; that is, such </span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;"> extrojective projections smack of self-hatred, a narcisstic conflict on the deepest level [it is always good to re-read the end of <u>The Afternoon of a Writer</u> [1987], if you seek first hand evidence of the split, the conflict that is so productive, it manifest itself in these projections which are entirely lacking in truth-content of any other kind; and in that sense are quite naïfly, unself-consciously uttered, is my guess. Or perhaps there is even malice aforethought as in the well-prepared knife for H. M. E. As predictable as the midnight hooting of my pair of great horned owls, not as pleasant.</span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 16pt;"> That description of Enzensberger, however, must have been lying rehearsed on the tip of the tongue for years, it indicates a conflict within Handke about his own narcissism, and points to the grievous narcissistic wound [s] he suffered as a child.</span></b><b><span style="color: black; font-family: "Courier New"; font-size: 16pt;"> <span style="background: none repeat scroll 0% 0% yellow;">See:</span></span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 16pt;"></span></b></div><div style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; color: black; font-family: "Courier New";"><a href="http://handke-trivia.blogspot.com/2009/05/enzensberger-footnote.html"><span style="color: black;">http://handke-trivia.blogspot.com/2009/05/enzensberger-footnote.html</span></a></span></b><b><span style="color: black; font-family: "Courier New";"></span></b></div><div style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-family: "Courier New"; font-size: 16pt;">for the full of this</span></b><b><span style="color: black; font-family: "Courier New"; font-size: 16pt;">. <span style="background: none repeat scroll 0% 0% yellow;">Such projections only tell you something about the projector! Alas! </span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">However, the public Handke is not only a better self advertiser than most others in that field; after all, there really is something to advertize, to show off, compared to say two American mama’s boys like Alan Ginsberg or Norman Mailer, by the compensatorily competitive exhibitionist, or to sulk and not show off if something has made him petulant. One very funny instance occurred a few years back when Handke had a Croatian magazine and T.V. crew to his place in Chaville. Normally Handke now takes even the closest friends immediately for a walk mushroom hunting or at least out in his garden. Without my dwelling on Handke’s plethora of symptoms I am still more than uncertain why he cannot bear to have, especially men, in a room with him, especially his room, for any length of time, whether this is due to the persistence of nausea at other bodies that he says he experienced first at the Tanzenberg seminary, or nausea in combination with other determinants. However, once a camera is present the nausea apparently is overcome by the love of self-display, and he cooked up a wonderful meal for the crew. This was also the instance where, rather touchingly he refused to believe that Dubrovnik/ Ragusa had been shelled during the wars, a matter that a quick look at You-tube will confirm. - The legions of others who are so euphoric, in Ivo Andric’s terms, stretches across the political spectrum and what a horror it was to behold, and still is, what the disintegration of Yugoslavia elicited along those lines. Lice and bedbugs with pony tails. The more ignorant the more media possessed the more righteous the more euphoric. Handke felt that the 68ters really always wanted to have a fight. My guess at the near unanimity of righteousness among a port a pr</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">ê</span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">ter intellectual class that might have informed itself was the relief in not having to confront its own immense criminal glass house in which they live more or less comfortably. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">Handke’s involvement in the disintegration and my trying to sort out the reasons for it, and then the reasons of why the way that Yugoslav cookie crumbled as it did, altogether took up about a year of my life, and although I would have rather devoted it to other matters, and other matters Handkean, I must say that ultimately I am glad I did. Had it not been for his involvement I might have gone along with the media generated consensus - after all what can I or could I have done about any of it, that must be one reason why the millions tune out, that sense of over-whelming impotence - and not taken the time to really sort out why the Hutsies and the Tutsies savaged each other, and I might say with Hennery the K. of Wurstburg on the Hudson “Let them kill each other.” One question that bugs me is that if the media is allowed to be as entirely sloppy and righteous in finding devils in this dark age for the pool of hatred to attach to, why must Handke be perfect in each and every instance, why is it dangerous – to whom – if he might be a bit <i>parti pris</i>? The unending low level skirmishes in that area: e.g. Professor Brokhoff and the Frankfurter Allgemeine Zeitung’s recent attempt to tie Handke to Srbrenice at the anniversary of that massacre that put that town on the map. For all this see</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 12pt;"><a href="http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html">http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html</a></span></b><b><span style="font-size: 12pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">During the course of my puzzling out Handke’s involvement and following that parallel war “Handke versus the Media” [my first attempt at on-line nearly “real time” pursuit of a story] I had my friend, the physician Franz Angst, send Handke my first ruminations on the subject that you can now find on line at the site that collects a lot of material relating to it:</span></b><b><span style="font-size: 16pt;"></span></b></div><div style="margin: 0cm 0cm 0.0001pt;"><br />
</div><div style="margin: 0cm 0cm 0.0001pt;"><b><u><span style="font-family: "Courier New"; font-size: 14pt;"><a href="http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html</span></a></span></u></b><span style="font-family: "Courier New"; font-size: 14pt;"></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I made it a point to change one citation from Handke’s texts to make it appear as though he were taking sides against one of the tribes, to test whether he had actually read the text. Surprisingly he liked it, found my misinterpretation, nonetheless if my effort didn’t elicit one of Handke’s usual insults! Yup, I’d caught the guy, and he can’ handle being caught out, the man who said that as soon as he is caught he lies, honest in that respect at least.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Nonetheless, I continue to be puzzled: in 1987 I was appreciating the immense effort Handke had made to install his Slovenian grandfather as a father figure, to acquire a Slovenian identity to displace the hated German Bruno Handke Stepfather experienced as father, the preparation of his own Slovenian-German dictionary, learning the language well enough to be able to translate from it, and I am someone who can really appreciate the great intra-psychic effort that that entails, <i>laboraverimus</i>! And what if he had done so while also being with a good enough psycho-analyst? After all, the trouble with most analyzands seems to be that they do not work. They either remain attached and passive or go from shrink to shrink, and many turn into bullshit artists of the worst kind, or believers in one or the other father or mother figures of the discipline, disciples, the earliest disciples really were useful, Freud’s, but no more are are needed.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> “Travailler come un bête!” However, within the last decade Handke has become a Serbian nationalist, with a piece of Serbian land, is awarded the Kosovo’s St. Lazarus prize! Is holding hands with the ultra-nationalist candidate for president, says that “if I who have never voted were allowed to vote in this election I would vote for Nikolaic.” With all the other prizes and the many showy trips to that region and to the Kosovo we then did not have the time to receive that particular one in person. I was really looking forward to that photo – Handke holding the Cross of St. Lazarus with a blackbird perched on top of it! Perhaps it’s just orneriness. You can take the kid of Carinthia, but you can’t get the Carinthian out of him?</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Had Handke not gotten off in London on his trip to Scotland in 1987 thus missing the continuation of the flight, been one of the dead of Lockerbie, is a reminder of what such a life cut short would have meant, let us also bethink Walter Benjamin’s 1941 suicide and the death of all those talents whose lives were snuffed by the Nazis and Stalin and their everywhere successors. In the event of Handke being mourned as one of the victims of Lockerbie I would certainly have written the several essays on what became involved in translating his early plays and how much of myself became involved in translating <u>Walk About the Villages</u> during critical, heightened circumstances in the early 80s. See</span></b><b><span style="font-size: 16pt;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 12pt;">http:www//handketrans.scriptmania.com/</span></b><b><span style="font-size: 16pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">for that and for some great essays by Fabjan Haffner and Elisabeth Schwägerle on that wonderful subject - and I would certainly have written my “case history” of Handke since, as timing would have it, I was reading the 1984 <u>Chinese des Schmerzens</u> [<u>Across,</u> 1987], the year of its American publication, and I would have been alerted to Handke’s “caseness” as he describes its protagonist ‘Loser’, “a case” – how great or interesting and complicated and unusual a “Wounded Love Child” case I could not have imagined</span></b><b><span style="font-size: 16pt;">…</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; color: black; font-size: 12pt;"><a href="http://analytic-comments.blogspot.com/">http://analytic-comments.blogspot.com/</a></span></b><b><span style="color: black; font-size: 12pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="color: black; font-size: 12pt;">&</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="color: black; font-size: 12pt;"><a href="http://www.handke-psychobio.scriptmania.com/">http://www.handke-psychobio.scriptmania.com</a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="color: black; font-size: 12pt;">&</span></b><b><u><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); font-size: 12pt;"><br />
</span></u></b><b><u><span style="font-size: 12pt;"><a href="http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html</span></a></span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">what an education tracking down his profusion of symptoms provided!, a plethora, to explore: the after -effects of the long term exposure to violent primal scenes; a few weeks on what might produce Handke’s occasional color blindness; all his nausea’s including of the eye balls; eventually an exploration of the whole spectrum of autism; all this in combination with being his depressive mother’s love child: perhaps writing all the time is the chief symptom??? That would be incredible: a symptom seeking to cure itself? Actually that makes sense! Since he is the master of his realm then, moreover writing has calmed his anxiety from early on, it worked until his panic attacks subsequent to being left by his wife; thereafter, he also needed valium, everything that is regarded as “die Wende”, the big change can be attributed perhaps valerian?</span></b><b><span style="color: black;"><br />
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<span style="background: none repeat scroll 0% 0% rgb(0, 204, 204);"><a href="http://analytic-comments.blogspot.com/" target="_blank">http://analytic-comments.blogspot.com/</a></span></span></b><b><span style="background: none repeat scroll 0% 0% rgb(0, 204, 204); color: black;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Tilman Moser in his essay on Handke’s 1973 <u>A Moment of True Feeling </u>in <u>Romane Als Krankheitsgeschichten</u> [Novels as Case Histories – 1975] certainly failed to tease out the origins of Handke’s problematics, didn’t even discover why the protagonist Keuschnig was so distraught, remains puzzled, wants to help, much less delved into Handke’s past to at least speculate on possible connections or avail himself of the “process notes” as which Handke’s spontaneous notations in the 1974 <u>Weight of the World</u> can be regarded. Doing so myself for that monograph I found sufficient reasons for my deep ambivalence about Handke as a person, it didn’t really require Wim Wenders’s telling me that Handke invariably hurts those closest to him, reading <u>Weight of the World</u> suffices:[Amina Handke appears at the father’s side and wants to go potty: Handke notes that he then merely waited for what would happen then. Which might be what? Certainly it was utterly predictable to the father that she would soil herself and feel hideous!] You must have seen how intimidated that child was by age 6 to appreciate the wages of such fatherly mothering. A three month old Amina Handke was first shown to me in Spring 1969 or 1970 in Berlin, and I thought it was perfectly normal for a father to show his translator his daughter before we headed out from his dank newspaper piles filled Prince’s apartment on the Uhland Strasse to the Ku-Dam to discuss the translation, subsequently you are then glad not to have been one of the revolutionaries who came calling on Handke who lacked the interest to look at a child [See: <u>A Child’s Story</u>]. I can look and go gaga with babies for hours on end! Women who berate Handke for his educational methods are derided! And this is the man who then in another half dozen years or so will compose the “Song of the Child” “When the child was a child” that exists in several dozen languages now; and a link to which my Google spiders bring me at least once sometimes twice a day. “Der hat gut schreiben!” </span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">It must have been in 1974 that Handke gave me <u>Als das Wuenschen noch geholfen hat,</u> the book that contains the three long fugueing poems in the American <u>Nonsense and Happiness.</u> I started to scratch away at a translation at the Luxembourg airport, I was flying Air Icelandic, and not only because it was the cheapest flight, and doing so got an inkling of a troubled being, but did not conceptualize what troubled Handke in all the books of that period until I became seriously interested in psychoanalysis. </span></b><b><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); font-size: 14pt;"><a href="http://analytic-comments.blogspot.com/" target="_blank">http://analytic-comments.blogspot.com/</a></span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Or: he is one great copy writer! Handke not only deserves the Nobel Prize but also the United Copy Writers of the World Association Prize! In the later seventies he wrote me a few things that have stuck in the mind: “I am nothing but a writer.” – And: “I am capable of achieving any effect I want as a writer.” Coming from a composer whom you know to be a genius such statements would be comparatively unexceptional, coming from such a one who is a writer they are more memorable, put the watchman on the alert.</span></b><span style="font-size: 16pt;"></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">In the early 90s I hear from Erich Skwara that Handke is berating himself for the treatment of his first daughter, writing after all was easy, meanwhile he had had a second daughter, instead of the wished for son, but for once psychological-minded, foretell in <u>No-Man’s-Bay</u> how grievously Oedipal that relation would have been. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">The timing is about right: in about 20 years certain matters dawn on Peter Handke who is not known as a <i>Trottel. </i>In the early 80s I receive a letter saying “thank you thank you thank you” … for the work I did in the 60s introducing his work into the US against opposition within the firm that took him on, on the part of one little stiletto man by the name of Michael DiCapua, meanwhile [then] I’ve pretty well forgotten all about these labors and also about Handke’s utterly boorish behavior when he and his buddy Kolleritsch and wife to be about <i>disparu</i> Libgart Schwartz appeared in New York in 1971 as a piece of Austrian cultured representatives on a 21 cities in 28 days tour [that Handke had thought he might be fit to be a cultural attaché has always been one of the more amusing fantasies], all around tachycardia but for Handke who at once went to nearby Rizzolis to check whether any photo of his had appeared in a German magazine. In a way it is nicer to be thanked that late after the effect, so this becomes the one time I recall being thanked, it strikes me as so odd and touching and amusing. Actually, it also the only time, by any of these authors, German or American! The fine once St. Martin’s Press and University of Chicago Press editor Michael Denhenny had it right when he wrote me a few year’s back: “What we do is written on water.”</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">In the 2005 directly semi-autobiographical <i>ficciones </i>– aren’t we ever coy! – we allow our runaway second married wife to call us “cold as a salamander” “mama’s boy.” Self-understanding <i>zilch</i> a New Yorker would say. Personal experience of all kinds sufficed at that point in the late 90s in Seattle for Wim not to need to make his observation. The bastard son of a bastard of a stepfather, Bruno Handke, witnessing that violence prone rapist, regarded as his father figure for many years, from the age of 2 until Handke left for boarding school at age 12. See <u>Sorrow beyond Dreams</u> and read it closely, slowly, and for its details, the dirty tails will come alive, and on a superficial reading you would never guess that Handke followed in his stepfather’s footsteps, you would assume that he’d be a chief feminist, rather than the opposite - that Handke was not an entirely damaged person, if you wanted reasons, I told myself that I found those in his having been his mother’s love child, already intra-uterine, albeit suffused by her depressive state [Thanks again, Dr. Werner Schimmelbusch for that heads-up!]. However, Handke’s tragedy is that he had Bruno Handke for stepfather, for a father model whose behavior as a man towards women imprinted itself on his step-son, and at night [also take a look a the <u>Essay on Tiredness</u> and note how irritated, infuriated and tired Handke becomes when subjected to the cat on the hot tin roof behavior adjacent his student quarters in Graz; no doubt Baby Peter was also enraged at his mother abandoning him after he had been the exclusive lover child while she carried him to term and during his first two years extra-uterine; one manifestation of possessiveness is that he cannot bear when one of our would-be pasha’s extra-marital lovers has another lover; how all the adolescent <i>fatigados</i> are traceable to over-powering anger], evidently it was Marie Sivec’s tragedy more directly, and that of Handke’s two half siblings that Bruno fathered with Maria. On the basis of <u>Sorrow,</u> unless your read closely, you would be astonished to find out that Handke, too, beats up women… and if further proof is needed that hating your German stepfather, as Handke ultimately acknowledged was also a form of self-hatred, that that kind of hating is in every respect useless</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">, will not dispossess, exorcise, this would seem to be classic proof of that proposition. Although the search for father figures appeared to reach a kind of closure with the incorporation of the grandfather in <u>The Repetition</u> [1968] the search for <i>literary</i> fathers, their accumulation has certainly proved fruitful, ultimately finding grandfather ancestral figures in that realm as well – Goethe, Stifter, Flaubert, Cervantes, Dostoevsky, Grillparzer, Eichendorf, Hermann Lenz – but the envy-driven hatred of most contemporary near greats or near contemporary greats such as Grass, Enzensberger, Bert Brecht, Thomas Mann persists. Handke had the opportunity during his somewhat breakdown in Paris to avert, in the early 70s, when he saw a therapeutician [see W.O.W.] We are not responsible for having been traumatized but perhaps for not perpetuating them by subjecting those closest to us to the same traumas. Psychoanalytic trauma theory and PTS treatment are in excellent shape. Ah, the stories, the dramas I could I tell thee about myself! The children of WW II… each family with its own disintegration [s]. Fortunately, together with a kind of ineradicable nonchalance, I also inherited my grandfather’s sense of humor who was laughing again two weeks after he had been liberated from his fourth concentration camp. Old man Sivec unfortunately did not bequeath anything like that to his grandchild Peter Handke, but a stellar ability to cuss or to re-inforce the autist’s Tourettish proclivities, or Handke and I could have laughed our heads off about the time that I, on reading <u>Across</u>, set out on this odd venture; friends as never friends have been. Thus my ambivalence about Handke as a person became more deeply anchored and articulated. However, the genius work scarcely ever falters, the 250 k words <u>No-Man’s Bay </u>has a few beauty spots, and there are some dead stretches in the even longer 350 k <u>Del Gredos</u>, but its sustained <i>Berg and Tal</i> ending is worth the occasional slog and its three <i>topes </i>[speed bumps] or it does at least for me and a few other folks I know. What a payoff! Yes, the world is the discoverer all right, not just of swine as reviewers but of real readers along the roadside. At that ending I realized how utterly Handke loved to write, I can’t say I ever came on anything proximate in the nearly 70 years I have been reading. Lucky fellow, if he’d not been able to write in that masterly a fashion – if he’d not been able to, long prison terms for sure, for the fellow is also a Josef Bloch and the Bankieress’s terrorist brother, with three nearly epileptic fits a day and near ready to run amok at any moment; and if you read, say, <u>Walk About the Villages,</u> halfway closely, and are halfway awake, or perhaps know that <span style="color: black;">Handke’s works are also projections of his <i><a href="http://www.google.com/url?sa=t&source=web&cd=1&ved=0CBYQhgIwAA&url=http%3A%2F%2Fen.wikipedia.org%2Fwiki%2FYoknapatawpha_County&rct=j&q=yoknapotawka&ei=uFSGTNaUG4rWtQPU3Pn2Bw&usg=AFQjCNG53sUBzHVSIEc9ZNzEAotts_2VgQ&sig2=zvR-BU5SeBilBPdV-qf7pA&cad=rja"><i><span style="color: black; font-family: "Courier New"; font-style: normal;">Yoknapatawpha</span></i></a></i>-</span>sized Self, there are stretches, at least during his writing, that he seems very much aware of the dark sides of the moon - representationally if not conceptually. And I have become, occasionally, “the dark sister” to his faults and follies.</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Aside the experience that the translation of <u>Walk About the Villages</u> provided, I cannot forget that with the 1978 Alaska Chapter of the title novel of the American volume entitled <u>A Slow Homecoming</u> Handke proved to be, at least for me, a totally unexpected medium of my experience of the totality of having been for nine months in the fairly pristine interior of that region, along the Yukon, working in the Brooks and Alaska ranges, the immensity of that, from which I returned with hands full of anecdotes, and a latent sense that the immensity of the whole might be articulated, but not by me, and then the Handke seismograph appeared to have done so, after just a couple visits of a few weeks each – the Handke seismograph as good as Virginia Woolf’s that knows the state of mind your are in from every letter. I could account for a lot of things and, as compared to Handke, loved to ask “when and how and why, etc.” and am fascinated by the mechanisms of the spirit, and in making such accountings, had slithered absolutely deliciously on answers for years starting in the mid-80s [“Travailler come un bête!”], but have not been able account for that whelming re-experiencing - that remained, remains mysterious, inarticulatable. - I had had that wonderful experience of a complete regression to birth in my analysis and had shed all [?] the many modes of denial, ah how wonderful: “all defenses down” [with some really interesting consequences], and knew what the appearance of a “new canvas” in a dream signified: still, Handke as seismograph via that first chapter, I, this analytically now fairly well trained critter, keeps scratching his head; that experience dates back to 1980, Vienna, I was on my way back from four weeks in Bulgaria and visited Handke on the Mönchsberg:</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">http://www.van.at/see/mike/index.htm</span></u></b><b><u><span style="font-size: 14pt;"> </span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Perhaps it was the rich air from the rich alluvial soil, the loam that the Danube had deposited in that region, near Plodviev. </span></b><b><span style="font-size: 16pt;"> </span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="font-size: 16pt;">#</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">In the St. Monica Mts. in the later 80s, I too was becoming a “king of slowness” as I walked the dusty paths in the chaparral and tread the heart of a book on Handke out of my being the way a baby cat treads on its mother teats… slowly, and grown up cats will continue to re-experience that pleasure when they think you might be their mother cat as they use your chest as a tread way, and for Handke it appears writing is the greatest pleasure, the pleasure of the paws, not only in tearing prey apart, and I fell under the influence of the rhythms, not only of the slowly pounding, long intervals – such long intervals - surf of the Pacific on the south-facing beach in Ma-li-bu [ “loud pounding surf” in Cochimi] all the way from the storms near the Antarctic, the south Pacific, and indeed felt closer to being than I had… for a long time… but of the rhythms of <u>The Repetition</u>, and part of the original heart of the undertaking was then accommodated in a long piece on <u>Himmel ueber Berlin</u> for Jim Krusoe at the St. Monica Review, whom I allowed to tamp down some of the very long periods in which I was then writing, although we then agreed, after people had such difficulty accommodating to them, that he might as well have spared himself that effort.-<i> </i>Thus I continue to be in some awe of Handke as a writer, how his being communicates itself to you, how he alters states of mind, of his well honed genius, the person he is when he writes, since I now know a considerable amount about the threshold state he is in and what he draws on, and how <i>laboraverimus</i> he is, what a virtuoso he trained himself to be as of his childhood, a terror of the whole family, L’Idiot de Griffen! Less awed by the fellow who “scratches himself at the same spots,” no not merely less so, aspects of the man as a person make me wretch. See anon unless you have already gathered enough wool.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">At that time in the late 80s when I began this work, now winding down - a few plays still to consider, at least one more prose work I expect - on reading the 1984 <u>Chinese des Schmerzens</u> [<u>Across</u>, 1987], I was surprised that though Handke appeared to have become a far better writer than in the 1973 <u>A Moment of True Feeling</u>, or at least a very different one, the sentences were more carefully anchored in images, better joined, carpented, he seemed to have pretty much the same unhappy consciousness, to put it into “phenomenological” terms… of the Keuschnig of the 1973 novel, murderously inclined, no longer suicidal. In sections of <u>Across</u> toward the end, when the protagonist-lens-personae now called Loser is in a bad way, the writing is very much in the same manner as the poems in “Nonsense & Happiness”, which I translated with great pleasure – “Life without Poetry,” after all, could be rendered most poetically! – in that section the narrative method is not all that different from <u>A Moment of true Feeling</u>, and the true feeling here would seem to be the act of murder, but where it does not differ at all is when it takes recourse to the same dissociated state of mind phenomenology as in “Life without Poetry”</span></b></div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> “</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">As a boy when a feeling of the world overcame me I only felt the desire to WRITE something</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">now a poetic desire for the world usually</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">only occurs <i>when </i>I write something)…</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">“This fall time passed nearly without me</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">and my life stood as still as then</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">when I had felt so low</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">I wanted to learn to type</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">and waited evenings in the windowless ante-room</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">for the course to begin</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">The neon-tubes <i>roared</i></span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">and at the end of the hour</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">the plastic covers were pulled back over the type-writers.</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">I came and went and</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">would have not been able to say anything about myself.</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">I took myself so seriously that I noticed it,</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">I was not in despair merely discontent.</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">From Life without Poetry </span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">[October/November 1972, Kronberg]</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">the fugeing poems of the stormy period that followed the death of his mother and being left by a highly neglected and multiply insulted wife, Libgart Schwartz, what he said was the worst thing that ever happened to him, panic attacks, hospitalization, valerian then did the trick. Alas. “Poor baby” you might say to such a one – the once lay-abroad laid low with one fell swoop and all those broads waiting to get laid again! But would miss what understanding affords. Some folks learn their lesson from such an experience, some don’t and are merely even angrier and punish the next broad; or vice versa. Handke would have wife and live-in partner troubles forever. I am so glad I spent some time with the Touhamares later. What analysis had made clear was really driven home there. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I am just now re-reading <u>Across</u>, going back to the beginning of the project and I notice not only the resemblances to the distraught period of the early 70s, ten years prior, and it occurs to me if the work is “meant to be the death mask of the experience” [Walter Benjamin] why we need a second death mask, albeit one written in a less suicidal state of mind, and more carefully in the way it builds from its violent beginnings… A murderous state of mind instead of a suicidal one, quelle difference? And the “moment of true feeling” is a murderous one! However, it occurred to me on first reading already that one purpose of the book was to memorialize, patiently, the surround of Salzburg, and that certainly is well done, as Stifter would have, and it occurred to me to think when I was alerted to Handke’s taking the Stifterian turn – probably way back in 1973 when he completed <u>They Are Dying Out</u> and monopolist Quitt has his factotum Hans – perhaps also meant as a wonderful riff on <u>Puntilla and his Servant Matti</u> - read a section from Stifter’s <u>Bergkristalle</u> and then emotes how it would be to live in that world. </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Thus back to “restoration Hardware” Austrian style. And eventually the beater of women is to write: “</span></b><b><span lang="DE" style="font-size: 16pt;"><br />
„<span style="background: none repeat scroll 0% 0% aqua;">An den morgen<br />
aufgewacht von dem morgenhellen Himmel<br />
über den noch dunklen Dächern<br />
treib aus den den Kaminen schon langsamer Rauch<br />
Die Vögel: <i>sine fine dicentes</i><br />
Und all Liebe leben.“</span></span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Dissociation! Defense! Handke is a master of it! is I posit since early childhood days! A necessity too! Artistically this differs not at all form Stephen Deadalus using Rembrandt’s painting of an old woman paring her fingernails; dissociation, too, has a deep affinity with “the scientific method.” Analysts become trained in it, at the same time as they are to focus their empathy in a laser like manner. Handke is so good at dissociation he can string the observations into musical arrangement, after all, he is a composer at heart. At empathy not. That is what his analyst told him in Paris and he happened to agree that he was dissociated from his feelings. Then he became instead of “too cold” “too hot,” at least for a while. <u>Across</u> has one of Handke’s great beginnings, which book does not, “Close your eyes and…” Scotomization here we come – eventually, say by the time of <u>Del Gredos</u> he has realized that structural re-arrangements a la Cezanne do not suffice for his kind of realism, that the world can be made magical again at least in words. Reading the prose of <u>Del Gredos</u> you realize what magical realism is - old time pot heads and mushroom eaters might think that the guy had to be high to write that: they cannot imagine what coldness and love it takes the word chemist to write in a fashion that they are made high and perhaps re-experience the world as a child does. Nor is the chemist in the lab who mixes their meds on any kind of high.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Loser is an imagined character I quite realize, and I quite realize that the problem really starts when Handke tells Herbert Gamper in their mid 80s book-length interview that these books can all be unraveled [aufgerollt] from an autobiographical perspective, that the author all along has been his own material. Perhaps the problem is just one of thinking in stupid one to one identity relations, and failing to account for the transformative, compressing act [s] of the imagination. At any event, the hankering, the naïf belief in the truth of the autobiographical speaks more to the loss of a sense of reality, which may indeed have to do with the all around dissociation engendered by the “scientific attitude” and commodification and monetarization of everything. It appears to have escaped reviewers notice what a fine Marxist the Bankieress of <u>Del Gredos </u>is, the Handke of <u>They Are Dying Out</u> who followed the sometimes very sophisticated Marxists arguments of the 60 and 70s is alive and well.</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Toward the mid-80s, having a good drift on my own problematics and some ways of dealing with their consequences, the great writer did not just become his own “case” but also my great case that I then examined as is possible with someone who has been a life long pretty much “compleat exhibitionist,” a competitive compensatory one at that, since early childhood. What a profusion of denials riddles <u>Across!</u> That’s what got me going. Mystifications! On the basis of <u>A Slow Homecoming</u> and <u>Walk about the Villages</u> I had anticipated a changed being. He only adopts different <i>personae, </i>no matter that the couture, the fabric has improved! Better coloring, more solidly grounded. Handke as a writer is also a great couturier, the person remains pretty much the same, in later writing you keep running into frequent longings for a second metamorphosis, a second moment of “true feeling” perhaps… Analysts also practice gerontology is the only suggestion along that line that I have. Judging by the evidence of <u>Moravian Night</u> calling yourself or having an ex calling you “cold as a salamander” and “mama’s boy” is not too promising of self-understanding coming from an author now well into his 60s. <span style="color: black;"></span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;"> How might matters proceed Chez Handke after we have dragged the pretty one home after we have met her on the bridge from “A Touch of Evil” or she has appeared of her own accord out of the nowhere of our daydreams, for a while we are still quite in love and even write love letters, but soon enough we are back at work, involved in our love of what we love most, another great writing project that demands utter concentration, the beloved is neglected in every which way, we emotionally withdraw, the beloved becomes confused, enraged. Moreover, on our walks and trips we encounter no end of pretty ones who can’t wait to be bedded by the famous poets, some even become serious squeezes, meanwhile the beloved is only useful representationally, a kind of accessory. Given the first good opportunity the trophy runs away or has an affair of her own… or as in the case of Marie Colbin, starts to make scenes. Handke’s friend and the recipient of Handke’s Buechner Preis money and now editor of Die Welt’s literary pages, and quite good at that and a good writer himself, Herr Heinrich Weinzierl in reviewing <u>Moravian Nights</u> in its pages, alluded briefly to the there admission of having… not just beaten the shit out of but – a la la- actually having wanted to kill the pretty beasty, an admission, long in coming, about ten years that albatross has been dangling, that is then followed by the most hideous thing Handke has ever written, a formalist fare-thee-well on the why he had wanted to kill Marie Colbin, she did not leave him alone for a single second anywhere… it appears the Widrich residence in Salzburg where Handke was staying lacked housekeys? – nay, she pursues him in that book as a previous great love pursued the “German writer” did in A SHORT LETTER LONG FAREWELL, where the <i>physical </i>representation of pursuit is of an emotional longing. And one reason Handke certainly fled Salzburg in 1987 was Ms. Colbin who, after she had been beaten up, would show up at all his venues so that, like the writer in THE AFTERNOON OF A WRITER, the writer had to head out town a ways to a comfy pub with a good juke box and some Serbian buddies. Weinzierl’s review passes over this entire section dealing with the beating and the super-formalist compleat lie with word to the effect, a former girlfriend who interfered with his narcissistic preoccupation, whereas this is one of the main entry points into that book which, after all, as do quite a few other works of the last decade hint at a rapprochement of the wounded love child with the feminine [the end of SUBDAY BLUES, even the BEAR SKIN WOMAN in VOYAGE BY DUGOUT, most certainly the 2007 UNTIL THE DAY US PART and the end of MORAWIAN NIGHT, although it isn’t clear whether that woman isn’t just the kind of good cook and obedient servant such as Lothar Struck would be; after all, if you really feel that women present such a danger to your work, as <u>Morawian</u> makes utterly clear once again especially in the section where Handke’s great predecessor dramatist Ferdinand Raimund appears and they contemplate that problem, why keep getting yourself entangled and into no end of trouble over them? The truly great short novel DON JUAN of course gives Handke’s complicated answer to the conundrum “prisoner of sex.” However, if anything has made me wretch it is when Handke is like Bruno Handke, when he beats up women and lies and is upwardly mobile. Not someone I would take into the <i>maquis</i> with me, although he might indeed write a good play on that <i>theme; we shall see what the self-celebratory <u>Still Storm</u> [Immer Noch Sturm</i>, 2010, Suhrkamp Verlag, to be premiered at the Salzburg Festival in 2011] and its discourse on Slovenian minority Carinthian <i>Partisanen</i> activities – talking about late-comers! - amounts to. A bit more on that and Handke’s abrogation of the original plans for the premier, anon.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I went back to Handke’s birth and retraced the first few times I had seen and talked to the fellow. Amazing how much material is available about a living person, thank you Herr Haslinger for writing <u>Jugend eines Schrifstellers</u>. At Princeton, in May 1966, sitting next to the journalist Erick Kuby, whom I had met in Hamburg in 1964 [3], it was Kuby who knew the name of the upstart who made as I would find out typical wholesale, rabble-journalist-rousing condemnation – in this instance of the texts that had been read at that meeting of the Gruppe 47. [“Why did you leave the Verlag der Autoren?” I once asked, referring to the authors’ collective, one useful offspring of all those leftist activities of the 60s. “They are fascists!” Alas. Handke did not want to be just a primus inter pares, but # Uno, and Siegfried Unseld could make him such a one.] At Princeton, on leaving the auditorium, I noticed the kind of look fleet over Handke’s face that tells you – without needing psychoanalytic training – here is someone who will “über Leichen gehen”, that kind of ambition, a recollection that is connected with the name of Max Frisch, either the figure of that Frog Prince or a book of his lying on a table. It was a look I’d seen maybe once before, and recently too then in literary quarters where shark’s blood flows freely, and it too would be confirmed, and later I would have one such as a partner in Calcutta on the Hudson, the city of thieves, whose beard and a certain fawning initially concealed his voraciousness. This recollection receded, as the one of Handke’s sadism of which I had got a good whiff at a party in New York receded, but once you have the smell down it sticks if only way in back of the nasal passages. Friend Ted Ziolkovsky [a Hesse expert], who had met Handke at Princeton, then mentioned that the fellow said, as he would also announce to the German media, that “he was the new Kafka” – never mind that K. never announced anything of the kind, but difficult to combine with this <i>schnippisch, </i>happy go lucky image of the Beatelish Rockstar images that the photogenically so generous exhibitionist has left behind of his 60s and 70s days:</span></b><b><span style="font-size: 16pt;"> </span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE">http://picasaweb.google.com/mikerol/HANDKE3ONLINE#</a> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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<b><span style="background: none repeat scroll 0% 0% yellow;">Let us take a look at two prize related events to check on the development of the publicity machine. About 15 years ago, after Handke had returned the Büchner to that Committee because of German support for NATO during the disintegration of Yugoslavia [as though that committee was in any way responsible] but apparently not the money [which he had given to his friend the fine Austrian writer Weinzierl], Handke said he would accept no further prizes. Meanwhile he has accepted another half dozen and turned down a half dozen. I want to focus on just two prizes, one the Thomas Mann Preis that is given by the Bavarian Academy, the other the Heine Preis of the City of Düsseldorf. A few years earlier Handke had called Thomas Mann a "really lousy writer" on the occasion of reading Mann's "A Man and his Dog" - not a book on which Mann's reputation rises or falls; along the lines of Steinbeck's "Travels with Charley." First Handke doesn't want to accept that prize, then he does and gives the money back to the academy to give to someone else. Shortly after he calls the Thomas Mann "a shit prize." The point is that each and every step of the way is widely reported, publicity that might just be worth more than the prize. Returning the money makes you look even better.<br />
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The speech and the photo-op at the Milosevic funeral turns into the most extraordinary saga of them all:</span></b></span><span style="font-size: 14pt;"></span></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="font-size: 14pt;"><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102);">http://picasaweb.google.com/mikerol/HANDKE3ONLINE#</span></a></span></b><span style="font-size: 14pt;"></span></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Doesn't Handke ever play "mourner" to the hilt!<br />
As a consequence a true <i>bozo, </i>Bozonett of the Comedie Française cancels a truly great Handke play, <u>The Art of Asking</u><i>,</i> Handke gets an apology from the French minister of culture, but 99 out of 100 Frogs support Bozonnet's decision not to have anything to do with a monster who attends the funeral of a monster. Handke wins a lawsuit against <i>Liberacion</i> or L'Observateur for defamation of character. My disgust with French intellectuals nearly tears out my intestines. Siegried Loeffler, the then still editor of <i>Literaturen, </i>and something of a literary power persuades {?}, the Düsseldorf jury to award Handke that city's "Heinrich Heine Preis" - Handke is not exactly a name that you would associate with Heine, but anyhow the name Handke is such that in the meanwhile it burnishes any prize awarded him. The prize is worth Euro 50,000 - and it turns out Handke actually needs the money, not for himself, but so that he can invite all the translators of his pretty great 350 K novel <u>Crossing the Sierra del Gredos</u> to go mountain climbing with him and the other mountain goats in self-same Spanish mountain range. There is the to be expected public outcry, the city council won't release the money, Handke very publicly withdraws his name; his partner in publicity making machine, Peymann, who runs the Berliner Ensemble, established a “Berlin Heine Prize” and it is awarded to Handke. Handke and Peymann travel to the Kosovo and award the 50 k Euros with great T.V. coverage, note the photos marked “Kosovo Enclave” at:</span></b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;"> </span><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"></span><span style="font-size: 16pt;"> </span><span style="font-size: 14pt;"></span></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="font-size: 14pt;"><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(0, 204, 204); color: black;">http://picasaweb.google.com/mikerol/HANDKE3ONLINE#</span></a></span></b><span style="font-size: 16pt;"> ]<br />
<b><span style="background: none repeat scroll 0% 0% yellow;">to a Serbian enclave there. Eventually Handke gets serious and writes the first rate <u>The Cuckoos of Velica Hoca</u><i>,</i> which may have one or the other pro-Serbian accent, but is not a piece of work that either falls or rises with that accent, but on the merits of its powers of observation, empathy and condensation and representation [look at Hans Hoeller’s suberb essay in Klaus Kastberger’s <u>Freiheit]</u> Can't think of an American writer who might be capable of anything of the kind. That is, you can have your cake and eat it too and show it off and do good work at the same time! However, Handke’s sense of extraordinary self-entitlement only seems to grow with time, most recently evidenced in the breach of his agreement with Klaus Peymann to premiere his latest play IMMER NOCH STURM {Still Storm} at the Burg Theater in Vienna and then transfer the production to the Berliner Ensemble’s home turf; he thinks it should play longer in Austria… but no, the opportunity to have the play star in the lime light at the Salzburg Festival next year obviates all such agreements or sentimentalities about long affiliation, or, what might have been the proper venue for a play that entertains some Slovenian partisan activity in the frontera of Slovenia and Carinthia, say Klagenfurt or Graz. All that counts for this star is to shine in its own reflection at the most polished mirror. - And at the same time one of my Google spiders occasionally brings me a report that "the so withdrawn hermit-like author Peter Handke has deigned, gone out of his way to visit someone or shown some village the honor to show his face!" “Play the game!” it says in <u>Walk About the Villages</u> – Handke plays it better than most and has something to show for it. However, lots of other writers get short shrift – who is the “space displacer” I feel like asking the author of the wonderful characters by that name in “The Art of Asking”. Ms. Loeffler’s interceding indicates the corruption of the German/ Austrian literary establishment. The kid keeps getting his way, no matter what.</span></b></span></div><div class="MsoNormal" style="margin-left: -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">If you looked at the early work, looked at it closely, that is if you experienced a book as you read it, and what transpired during its writing you would see not only anxiety but that the writer by writing succeeded in conquering it, toyed with it, Handke has retained a certain coquettish quality all along, a very special economics that, which might just be an additional fillip to overcoming fear: I once found a perfect example of it in the poem <u>Singular and Plural:</u></span></b><b><u><span style="font-size: 14pt;"></span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span style="font-size: 14pt;"><a href="http://handke-scholar.blogspot.com/2010/05/index-page-for-handke-scholar-and-all.html" target="_blank"><b><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://handke-scholar.blogspot.com/2010/05/index-page-for-handke-scholar-and-all.html</span></b></a></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">and tried to demonstrate fear being overcome.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Being your mother’s love child during the first two years of your life; I would venture that having such a</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin-right: -45pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;"><img border="0" height="400" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image003.jpg" width="561" /></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">beautiful mother delight in your being alive also assures a forever search of the line of beauty in the curvatures and not only of Mt. St. Victoire, and being able to conquer anxiety through writing certainly helped give you an even more swollen head! Besides, you knew your stuff, were a virtuoso in some respects.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">At the party that Jakov Lind, Pannah Grady and I gave for Gruppe 47 members and American writers to congregate at Pannah’s splendid so benignly lighted apartment in the Dakota, Handke mentioned that he had eye problems as an explanation for wearing the kind of dark glasses in the evening that you associated, then, with gangsters at that time of night; and, possessing well tuned peripheral vision, and being aware of what my periphery gleaned, noticed, at one point, that the kid had a good shot of village sadism in him. That his behavior would not just be boorish but that of an idiot savant who suffered from autistic episodes with tads of Tourettism thrown in for good measure were experiences, and a lot of others, that stood very much in the offing! I hadn’t the faintest that here was someone whose wife and I would have run away with each other during their visit to NY in 1971, Handke seemed married to Fredi Kolleritsch just as in <u>Short Letter Long Farewell</u>, our only lacking money and opportunity; or someone who would rape a girlfriend and say to me the following week that he had not had any “women aventuras” for a long time, perhaps it wasn’t even an adventure, but a routine; nonetheless, it sort of took my breath away; and the girlfriend who had been something rarer than a great passion, but a “great fondness”, that turned out to be yet another moment in <u>my</u> “Midsummer Night’s Dream”; as did Mr. Handke’s thinking I was yet his friend; a lot of women love to be taken hard, a matter about which I feel more equivocal than Mr. Handke… Darwin, another who explains everything, would agree. However, Handke had successfully goaded me, and I would keep my distance except from the work. Thereafter Handke spooked me, and I tried as quickly as possible not to be alone with him. The writer Michael Brodsky who had come to Urizen Books via Patricia Highsmith and Handke served that foil at those times.</span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><br />
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</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Excursus</span></u></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">At the completion of the intense onslaughts with which I translated <u>Walk About the Villages</u> around 1983 Handke felt that it was better than any translation he could ever have conceived. He also noted the “cutting” tone it had acquired, and, most astonishingly, seemed to forget, at least for a while, that without his original text nothing of the sort could have been translated. I might have my dreams, but nothing both that grand and intimate and rich could ever even have been conceived by them. Thus the original author remained the only one, by and large, the great exception is Scott Abbot, who has a notion of how good that work is and whence smithy it was fashioned. Yes, Kurt Beattie, who played Kaspar here in Seattle, sensed its richness, and I imagine that first rate director M. Burke Walker did too, in one of whose classes I once discussed it; oh yes, let me not forget Zeljko Djukic of the Tutatoo Theater in Chicago, but that would seem to be it. The J. of Handke’s and my mutual acquaintance merely admired the line “hefty taxes”, so much for heart on that score. It appears also to have been too rich for the vast majority of the German reading public. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> If you regard the second volume of Handke’s published diary excerpts, <u>Geschichte des Bleistifts,</u> you will note how carefully Handke prepared himself for that work. Indeed, I was very much in a cutting mood, if you haven’t, read Kohut’s great essay on <u>Narcissistic Rage.</u> As fate would have it, my nemesis at Farrar, Straus, a spanieling stiletto faggot, Michael diCapua, had become editor in chief for his lying master, he had already tried but failed to sabotage the Handke project of mine back in the late 60s as he did so many others – a man not noted for a single author of import save Woiwode if you accord Woiwode that status. I might have told Handke that my persistence was laying the grounds for a law suit since Roger Straus had made certain promises but also managed to screw me out of half my royalties on the Hesse millions I had brought him. See my homepage for my unhappy adventures in that skin trade: </span></b><b><span style="font-size: 14pt;"><a href="http://handke--revista-of-reviews.blogspot.com/" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://www.roloff.freehosting.net/index.html</span></a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="font-size: 14pt;">#</span></b><span style="font-size: 13.5pt;"><a href="http://handke--revista-of-reviews.blogspot.com/" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black; font-family: "ɼourier New'";"><br />
</span></a></span><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">In winter 1985, with the promise from another publisher, P.A.J. Press, I left New York for the city that has the bridge with that “touch of evil” to Ciudad Juarez, but all I lost was some street urchins stealing my hat, and another wife and we first spent three months in those two cities, then a year way up in Lincoln National Forest, a fix me up hunting lodge, I reverted to hunting and riding ways and M. and I also did a lot of traveling in the <i>llano estacado</i> all the way to Big Bend National Forest, all along the Rio Grande and across the <i>frontera</i> into the Carmen range, the right kind of wife for that, and, knowing that “nature was his measure,” kept writing Handke little postcards with nature scenes from every hamlet along the way. On returning to New York about a year and a half later the NY publisher who had committed themselves to <u>Villages</u> reneged on their promise, and I - no longer in a rage but back in hunting mode after that year in the wild, wrote them a fine drop dead letter, with copies to the PEN club and to Handke. That finally elicited a response from Handke, I hadn’t heard from him in about 18 months, to the effect that “It was nice to hear from me again” and that such a letter as I had written to P.A.J. was something “one could not do to him.” First thing that puzzled me was this “nice to hear from you again” – might he not have received any of the postcards and letters in the interim? Then I tried to imagine what it might be that was being done to him? What I was doing was for our mutual work. I imagine now that he must have been referring to his precious self-image – of course he took care of that himself a few years later during his intercession in behalf of the Serbians.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Handke’s letter ended with the threat to abrogate our friendship. If you wanted to get my back up, all you needed was to threaten me, especially during that period, and so I made sure my retour postcards [it was a few] to a man who was not my friend, possible friendship had been averted already in the mid-70s, but of whose work I was more than a friend, were legibly typed on my brand new electronic Brother typewriter, the first with a bit of computer memory and plastic spool ribbon, and sent back something to the effect of: “Aren’t we lucky that L. and I in Spring of 1971, she sure would have suited me fine, and you and J. hasn’t interfered with this friendship.” And that was that, Handke might have laughed and we’d really be friends then, I myself had forgotten all about the injury during the translation of <u>Walk About the Villages</u>, had even been grateful for having ruined the relationship with the “great fondness” who had revealed herself to be a schmooze and a <i>macher</i>, no need for me to be a Leonard to her Virginia, as I forget his wretched, I call it his “Bruno Handke side” when reading or being under the influence of the best of him, his work. But no, unfortunately Handke remained true to form and as “humorless as death,” and my W.A.T.V. being the best translation he had ever seen did not keep him from going to Ralph Mannheim and having a second one made. Alas poor Handke is all I can say. However, the appearance of the Mannheim translation, prior to mine, for once totally infuriated me. You find a distorted [the usual distorted I would say of matters of this kind] aspect of part of these events in <u>The Afternoon as a Writer</u> about the alleged former friend who is traveling from one sierra to the other as he goes mad. Humorless as death, Handke appears not to have known, hated being caught, lied, and thus ever so regretfully I must concur with Marie Colbin’s every single point on the estimate of Handke’s character [2], except that he was “just a narcissistic writer” as she evidently herself does no longer as she keeps performing his work, now no longer fails to appreciate what it takes to become that great a couturier of the language he is to whom self-image yet seems to matter more than anything, how he appears on stage, and whose self-image is so wounded and tetchy; and except, hearing and seeing her perform Handke texts, she certainly is still pretty, but how Handke could have stood her presence for even one night without putting duct tape over her mouth is beyond my ears, who knows perhaps he did but she won’t tell us about having been a victim in a sick relationship for some years:</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">http://handke-drama.blogspot.com/2010/09/links-to-videos-of-handke-plays-that.html</span></b></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I imagine the part of my derisive reply to Handke’s threat that got to him was the bit of L. and I having run off together, a reminder of the “worst thing that ever happened” to him. I had yet to appreciate the devastation that that act wrought by looking closely at the works of the period 1971 to 1976, <u>Sorrow Beyond Dreams, Nonsense & Happiness, A Moment of True Feeling, Weight of the World</u> and how Handke imaginatively writes his way out of his injury by several acts of withdrawal, <u>Left-Handed Woman</u> and <u>A Slow Homecoming.</u> And if I had appreciated the devastation then, I might have left out that part of my reply, I would certainly have been a bit more thoughtful than on automatic fury. Handke commented on my poems in my <u>Headshots</u> that I still seemed to be in a fighting mood, I imagine he didn’t think I might fight him, too. At any event, I was now free of the relationship to the person, of course not to the texts, to marry those is fine. Lucky me in that respect, in many ways. I was in a position to remain a <i>getreuer Korreptitor</i> to his texts, sell our correspondence when I needed to, which would fetch far more now I imagine, be a tough on idiot critics as I liked, etc.</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><b><u><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Villages</span></u></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> was eventually published by Ariadne Press, but is now out of print. That stellar firm managed to sell 500 copies in about 15 years, little Urizen and Continuum Books sold about 5,000 copies of <u>Innerworld</u> and <u>Nonsence & Happiness</u> in a few years, of course we submitted galleys to Publisher’s Weekly and Library Journal so the world might know of the existence of these books instead of the cellars in which Ariadne Press’s books molder. There was only one more brief letter from Handke indicating that he had nothing against the publication of the translation being published, to the word and the text we are true, to not much else. When it devolved that no one seemed to be or want to translate the great 1999 VOYAGE BY DUGOUT: THE PLAY ABOUT THE FILM ABOUT THE WAR I contacted Dr. Hardt at Suhrkamp, who is in charge of foreign rights, and indicated that I would be willing to translate the text at no charge, and prepare a translation and a playing version, since I felt that the text a whole would overwhelm the attention span of my local gnats. Via Hardt Handke communicated that “I should accept” – little did he seem to know that the last thing I needed was yet another albatross to shlepp. If we had not been on the outs this <i>getreue Korreptitor</i> would have gone on translating all the plays:</span></b></div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="background: none repeat scroll 0% 0% yellow;"> </span><span style="font-family: Arial;"><br />
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</a></span></b></span><span style="font-size: 14pt;"></span></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">got a few of them published and only a single one of the late great plays performed in English, <u>The Hour we knew nothing about each other,</u> which works so well because it is, on one level, as unchallenging as dance theater, and no one really understands it and its movement, or grace – can’t say that I’ve run into a single review that comments on that line of beauty that most Handke texts have.</span></b></div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">However, unbeknownst at least to Dr. Hardt, Scott Abbott, the translator of JOURNEYS TO THE RIVERS [JUSTICE FOR SERBIA] not yet the friend he is now, was already translating VOYAGE, <i>Conjunctions </i>was even going to run an excerpt until the J.L. Marcus crime appeared in the NYRB, a task he completed a few years ago, first rate work, and neither his or my after all fairly connected attempts to get it staged show any results so far in this garbage heap culture. Here in Seattle I had initially found interest in Richard White at Cornish, who then never got back to me for a second date – he was too busy giving away money from the local arts fund, to matters that never never never will get beyond the borders of these philistine surrounds. Ditto for all the ones who once claimed “Oh Handke I love his work.” Bullshit artists, lazy bones, it’s not the system, a better system with these people would re-create the same culture. I.e. matters are entirely hope-less. The few are far too few.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">One instance of Handke appearing and I availing myself of Michael Brodsky as a foil is the worm hole to matters becoming novelistic and truly worm eaten. The year must be 1977. Handke did not have Amina along as he once did as well, and I decided to go to my, one of the two watering holes in our downtown then urban pioneering idyll, Barnabus Rex, which was on the north side of that very short block of Captain Duane Street between Hudson Street and West Broadway, two blocks north of Chamber, half a dozen of the then still erect WTC, the other was Puffy’s at Jay and Hudson, with author Jim Stratton as part owner. At Barnabus that night the head bartender of that shoebox of a bar that had a bar pool-table and a famous juke box and a postage stamp to dance on, was “Ace”, Andreas Nowa, and I will always recall the way Ace’s face opened gradually into the most welcoming broad happy smile – Ace had studied directing but found that directing the extraordinary goings on at B-Rex, then Mickey’s and ultimately “The Raccoon Lodge,” quite slaked his directorial thirst – when I introduced Handke to him, whose work he knew of his own accord. Handke and Brodsky talked, I played pool and danced a bit, I noticed that the two of them made attempts in that direction, awkward shuffles. The evening was notable for two matters, one that Laurie Spiegel, with whom I had taken a loft and lived in Duane Park for two years appeared at the threshold and promptly fainted at the sight of me happily with friends instead of being two-by-four tossed by her after I had moved out from her harridans fifth floor , the strapping Aussie sheep farmer’s son the Maoist Tim Burns carried her home; and Handke whispering to me out of the nowhere that if I needed $ 10,000 for Urizen Books I should call on him. [5] An observation of Handke’s from that evening has made it into <u>Die Geschichte des Bleistift’s</u> to the effect that he had seen someone who was both playful and serious. Certainly those were the qualities that had also attracted me to his work initially, who would eventually call himself, accurately, “the melancholy player.” If Handke had one actress after another because he said actresses were “lighter” [I would say the company of a pretty actress make Handke look better is the reason, and if he feels better he feels less depressed], all my marriages and marriage-like living arrangements were with artists, two painters, two writers, one dancer, one daughter of a painter on the way to becoming a painter herself, and Laurie, the composer, music touched me most deeply of all, and love of Spiegel Musik, their work exceeded love of their fleshly presence. From such delusions many a “La Boh</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">é</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">me” is born. Even now I can fall in love with a poetess just reading a fine translation of a poem, thank you for laughing Basheva. The fatalities of sons of beautiful mothers.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Let us now fast forward to the early 90s and UC Riverside where I met “sie sind bei Erich Wolfgang Skwara” is how his answering machine greets you who had met Handke at Martin Walser’s place at the Bodensee, which I had once visited in 1969. He needed someone to bring the translation of his wonderful Don Juan novel THE PLAGUE OF SIENA up to snuff and it sure was a pleasure to do so. Udderwise, as became quickly clear, Skwara was a decadent, which did not faze me except that he, too, seemed to be one of those Don Juans who were intent on injuring women. An interesting relationship might ensue, not a close one ever, I was a bit more awake. In a conversation between Skwara and Handke which this absolutely wonderful tattle tale gossip reported Handke explained that his and mine relationship was on the rocks because I had not repaid the 10 K loan he had made to Urizen Books. Well no, it was because I had insulted him with my letter, and I recounted Handke’s proclivities with the fairer sex, roughness of which Skwara himself had gotten good wind off, and Skwara mentioned that he would take care not to afford Handke the opportunity to have any of his women! Men! Just like me: in the later 70s I had a really precocious girlfriend who was studying in Paris and who it turned out was a double for the young Marie Colbin, who was only in Handke’s future then, I had made it a point never to take Rachel to visit Handke, who had moved out of the dark, nicely mysterious extensive semi-basement on the Rue Montmorency to a small <i>Gr</i></span></b><b><i><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">ü</span></i></b><b><i><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">nderzeit </span></i></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">castle in Meudon, the very one where <u>Left Handed Woman </u>was filmed, but only to the man who became my favorite author ever, the aging United Front War reporter Wilfred Burchett and his Bulgarian very peasant sturdy wife, in Clamart, the quarti</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">é</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">r one over from Meudon. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> When the firm, Urizen Books, had gone down and I started on what seemed like a god-send, the translation of WALK ABOUT THE VILLAGES, in the course of that correspondence, Handke had brought up the subject of the outstanding loan and wrote that at the time he had made good on the promise this was a considerable sum for him - and in retrospect I thought if I had known that I would not have called on it, and he also wrote that it did not seem to be enough, indeed it was not, $ 500,000 would have been [see FN # 5], but I wondered whether Handke had any idea of the finances involved in that curious business of book publishing where you pay advances it can take many years to recoup, have to pay salaries and printers and buy paper and afford book sellers credit… If my father’s example as an extraordinarily capable but pathos drenched businessman had not made business of any kind such an unattractive proposition I might even have decided to get myself trained in all aspect of that business in my 20s, opportunities certainly afforded themselves, and not learned the trade by the seat of my pants and, but for the hideous partner ship, business was both fun and surprisingly clean: one bookshop once did not pay up at all during those seven years, one typesetter once held me up and demanded twice the agreed on price on final galleys for Sam Shepard’s Pulitzer Prize play <u>Buried Child</u>, the mob stole the first ten boxes of self-named play from a loading dock and a “used” book shop downtown had copies before I did. By and large, I could not even complain about reviewers as I now do about the treatment Handke has been receiving the past 25 years in this country. Sure, there were these curious events when a marvelous book such as Dolf Sternberger’s <u>Panorama of the 19<sup>th</sup> Century </u>or Gavino Ledda’s <u>Padre Padrone</u> fell entirely through the cracks, no matter what you as the midwife had done, and you then scratched your head.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">At the time, in the early 80s, I replied to Handke that I had an inheritance, as I then did, and my will would mention the debt and consigned the sum to him or to Amina whoever happened to be alive. Later, when it devolved that Suhrkamp owed me $ 10 K from my representation work for them from 1969 to 1971, I also wrote him that since Unseld – as usual I might say – did not honor agreements with the “small people” might put an extra 10 K on Handke’s Suhrkamp issued American Express card: Indeed if you are an A-list Suhrkamp author, at least at that time, you got your own Suhrkamp American Express card and your quarterly royalty statements were accounted in that fashion; i.e. since you could as it were draw ahead, these statements were meaningless. Siegfried Unseld basically was a holdup artist, who if he had done what he did on a street, would have spent time in jail; since he, however, only did it to a fellow publisher, Roger Straus – I want a larger share of the mass paperback rights for Hesse – we are talking hundred of thousands dollars – or we will not permit any other such sales, moreover we will not sign the second ten book contract – you get away with it, since you need to continue to be in business with each other, and the only not very serious consequence is that the agency, Lantz-Donadio and I will stop repping you. I was touched to read in the recently published Unseld-Bernhardt correspondence how Bernhardt seemed to know the vulture and held him up the way an artist can a besotted vulture, I could sympathize with poor Siegfried’s merciless addiction to genius and culture. Again see my home page </span></b><b><span style="font-size: 14pt;"><a href="http://handke--revista-of-reviews.blogspot.com/" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://www.roloff.freehosting.net/index.html</span></a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">for the depth of criminality in that field. I would not drift into it again, but follow my childhood love of flora and fauna and try to work as much as possible in the field.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Since I had translated WALK ABOUT THE VILLAGES for Handke, at his request, I might have brought that up. What amounted to six months intense work over a three year period eventually earned me $ 650.00. $ 500 from the publisher Ariadne Press, $ 150.00 from Partisan Review, and a fine bottle of California Red from Jim Krusoe at the St. Monica Review, who also published an excerpt, minus hundreds of dollars in postage and Xerox to find a publisher. In other words, Handke was lying to Skwara about the cause for his and mine being personally on the outs. What might a real man have said? [a] “When I told him that I didn’t like the way he was going about finding a publisher for the work he insulted him.” Would have been close enough to the truth. Or [b] I screwed his girlfriend back in the 70s, it never seemed to bother him then, now he brings it up and claims he and Libgart would have run away. I and my work don’t need it.”</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Lie only when your existince seems to depend on it, something I have had to do only once. Handke appears to have learned lying early in life, he even claims that as soon as he is caught he lies like the dickens, perhaps it is a part of his general feeling of overall entitlement. In an amazing interview with Rene Mueller, Handke at one point voices the opinion that he’d like to be a real “Schuft” at some point in the future, and Mueller, rather wittily, replies that there is certainly ample time left for that – who as an investigative reporter interviewer seems to leave something to be desired as he places another Handke interview in the pages of a <i>feuilliton. </i>Thus poor Marie Colbin could not be more right about Handke’s character, wrong about his being exclusively a narcissistic writer; and since Handke is such a split being, his lousy character does not effect his work too often, not at all when he is as honest as he is in, say, WALK ABOUT THE VILLAGES or DON JUAN; in a mixed bag such as MORAWIAN NIGHTS, severely. As to <i>Kultchur, </i>don’t necessarily reach for your side arm on hearing the word, but do keep one in your holster when dealing with the vultures. </span></b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"><a href="http://handke--revista-of-reviews.blogspot.com/" target="_blank"><span style="color: black; font-family: "ɼourier New'";"><br />
</span></a></span><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"></span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">End Excursus</span></u></b></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">After Princeton and the party in New York in 1966, you might conclude that the fellow had made an impression, that you would read his first novel and look at his plays, Unseld was certainly happy that a young author had risen to the occasion, in the background would remain these hints of darkness. That the dark would manifest itself then also in the work and in the way the person lived his life might have come as an unhappy realization, but what of course came as ultimately by far greater a surprise was the range of the talent and what it could elicit in me and that there was that much love in the fellow, that he could also be a sweetheart of a guy, and generous, and helpful, and that he turned out to be a genius, and a hardworking, well trained one – that came as one of the more pleasant surprises in my life which would be a far emptier than it is without that encounter; and I am speaking not just for myself. And that he then afforded me the opportunity to get off the Handke bus and merely report on what I had experienced and sell our correspondence of maybe 75 letters for far less than they would fetch now. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">In 1966 I certainly had not the faintest that Handke was someone whose work I might want to translate, personally he was not someone I was attracted to spend time with. As fate or whatever would have it, a few years later with a job at FSG I persuaded the powers that be, with Susan Sontag’s endorsement, to take on a novel of his and the early plays; playing with translating the plays to see who might be the right translator – some pages of <u>Self-Accusation</u> - found it a lot of fun. Thus you became involved, not finding anyone to produce the plays… you [I] became involved more deeply. </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I eventually realized that I was one of those someones for whom Pound seemed to have said in his <u>ABC of Reading</u> that one needed only to know a few things really well. The first instance of that was becoming a Joycean during my senior year in high school [thank you Yoshira Sonbanmatsu!], although, as I think back, I had also been one of those German kids who then read each and every 50+ book by the German writer of adventures set in the Middle East, Central America and the United States Indian country, and retained a lot of its pretty good geography and knowledge of the flora and fauna of those regions – although evidently not well enough not to pursue a big black and white bushy- tailed what I thought cat when, newly arrived, I found myself living at the edge of the woods in West Orange, New Jersey in 1950, with unpleasant consequences as the cat raised its tail and sprayed. Joyce was succeeded, the idea of spending time with Joyceans did not appeal to me, by a year’s complete involvement with Faulkner, then a year of Kafka and Co., the idea of becoming a Kafka nut did not prove attractive either, although Kafka scholars are a nicely variegated lot and he certainly had great initial responders in Walter Benjamin and Theodor W. Adorno. Then came Brecht and Lukacs, Brechtians for a long time either smoked cigars and wore their hair the way Brecht did, but again: a variegated lot. Goethe scholars I have found to be the humanely richest and congenial of that kind, starting with Harry Pfund at Haverford; and Pound, the idea of being a Poundian was even less attractive then being a Joycean, he seemed to attract the genuinely mad and fanatical or soft skulled, and I actually never ploughed through the Cantos in their entirety, or had the slightest desire to trek to St. Elizabeth, although certainly everything else was of real benefit I think, especially to my ear. Faulknerians I never met except for William Styron with whom I had the one really good conversation about Faulkner after my Freshman year, Conrad, Henry James, I ought to thank my stepfather, Colonel Richard Weber who must be getting out of limbo just about now, for having been an utter Shakespeare nut, one of several endearing qualities, which obviated any further Shakespeare nuts down the line and certainly helped avoid some serious gaffes translating Handke who is a kind of Shakespearean talent. Musil… has fine scholars quite a few of whom I admire greatly, sanity prevails. At any event I carried these affairs pretty well to the limit and then went on. Later would come Adorno, who must have the greatest pain-in-the-ass schoolmasterly followers; and eventually Freud whose complete works I read three times, and his disciples. What a wealth there! Handke scholarship, best as I can tell, has attracted some truly talented translators and scholars and fine minds – Scott Abbott, Karl Wagner, Fabjan Haffner, Hans Höller, Georg Pichler [the one who is at the University of Alcala in Madrid] Krishna Winston [despite her failure to read the early work and the idiot advice she gave to Farrar, Straus on KALI], Tom Barry, David Coury, Frank Pillip, Schmidt-Dengler and some of his students, to mention far too few of those who then make up for what the reception leaves to be desired… <span style="color: black;"> <span class="apple-style-span">Some scholars are now so indebted to Handke, </span><br />
<span class="apple-style-span">not just in my postage stamp, so much is invested in him,</span><br />
<span class="apple-style-span">that a differentiated assessment, that is an interesting</span><br />
<span class="apple-style-span">assessment, instead of the building hagiography... will be difficult,</span> <span class="apple-style-span">these are the pendulums... to come…</span></span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">In the U.S. Handke has received a single review from a peer, William Gass, who then regretted that Steve Wasserman at the L.A. Book Review only afforded him half the space he wanted [see the handke-revista-review blog for the Gass’s piece on MY YEAR IN THE NO-MAN’S BAY.</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="font-size: 14pt;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html</span></a></span></u></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I was going to make my decimation of Neil Gordon’s criminally incompetent NY Times Book Review of this round-up, you can find it at:</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"> </span></b><b><span style="font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); font-size: 14pt;"> </span></u></b><b><u><span style="font-size: 14pt;"><a href="http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html" target="_blank"><span style="background: none repeat scroll 0% 0% rgb(255, 102, 102); color: black;">http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html</span></a></span></u></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">as you can the even more detailed job I did on J.L. Marcus equally stupid but far more damaging piece in the New York Review of Books. Then there are the sweet nothings that sweet thing say, the great exception, as mentioned before, was the apparent comprehension of ONE DARK NIGHT I LEFT MY SILENT HOUSE – J.L. Marcus, desperately looking for signs of pro-Serbian sentiment even there, missed Handke’s surrogate, the pharmacist’s nasty insert on some damaged NATO vehicles being pulled north along the Autobahn of the improbably named Taxham, a kind of Salzburg suburb. Among introductions, let me not fail to mention Greil Marcus’s fine one to the NYRB Books edition of SHORT LETTER LONG FAREWELL.</span></b><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 13.5pt;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;"><br />
<span class="apple-style-span">Then there are the Juergen Brockhoffs, I imagine that there</span><br />
<span class="apple-style-span">must be others of that ilk in the discipline, who feel as he does, not that all of them are for sale to the FAZ.</span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">Heinrich <span class="apple-style-span">Detering, someone whose specialty is the productive</span> <span class="apple-style-span">conflict of bi-sexual impulses, Handke might be a fit subject for his approach if he took the trouble to research what psychoanalysis avail in that respect, preferably doing one himself so as to be able to speak with some authority,</span><i><span style="font-family: "Courier New";"> </span></i><span class="apple-style-span">has an oddly idyllic take on that wonderfully dark DON JUAN, which might just become, nay already has become my</span> <span class="apple-style-span">favorite Handke short novel, his piece can be found at:</span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><cite><b><span style="background: none repeat scroll 0% 0% aqua; font-family: "Courier New"; font-size: 14pt; font-style: normal;"><a href="http://www.handkeprose2.scriptmania.com/photo5.html">www.handkeprose2.scriptmania.com/photo5.html</a></span></b></cite><cite><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 14pt; font-style: normal;"></span></b></cite></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><cite><b><span style="background: none repeat scroll 0% 0% yellow; font-family: "Courier New"; font-size: 14pt; font-style: normal;">and I have devoted a page to Don Juan at:</span></b></cite></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua; color: black; font-size: 14pt;">http://handke--revista-of-reviews.blogspot.com/2010/04/review-of-peter-handkes-don-juan-short.html</span></b></span></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">I had a similar experience to the Handke reception during my Freshman year in college in reading the swinishness to which Faulkner’s work was subjected prior to his winning the Nobel Prize and, optimistic fool I continue to be, did not think I would ever encounter anything along those lines again. Ah, but if there isn’t that super-swine J. L Marcus in the NYRB whose infamy I took the trouble to decimate point by point at: </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">http://handke-discussion.blogspot.com/2009/12/letter-to-robert-silvers-ny-review-of.html</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Neil Gordon, who is even head of a writing program and who is mentioned individually only because he appears to have some power is decimated point by ugly stupid point at:</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"><a href="http://handke-discussion.blogspot.com/2010/09/neil-gordons-review-of-handkes-del.html">http://handke-discussion.blogspot.com/2010/09/neil-gordons-review-of-handkes-del.html</a></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">But it is not Gordon who is to be blamed, it is editors like Oh Tannenbaum, Bob Silvers, Robert Wilson of the alleged <i>American Scholar</i> who avail themselves of the likes of Gordon, J.L. Marcus and Michael McDonald, literary counsel to the <i>American Interest, </i>and I blame perpetuators such as Dennis “The Mutton” Dutton of “Artdaily”</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"> </span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">an adjunct of the Chronicle of Higher Education for such perpetuations to the exclusion of balancing counter-argument. Nay, after I complained to the Chronicle about his doing two Michael McDonald idiocies and nothing else, the sweet Mutton me know a few months down the line that he’d run into something positive but because I had complained would not do me the favor. And that poor sheep then complains when I call him petty, and what that has to do with me anyway, or the conveyance of halfway credible information</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">As to the Handke’s publishing career in the U.S., you can lay blame, and squarely at the graves of Roger Straus and Michael diCapua. Handke collections were in semi-mass paperback with Avon and Collier Books in the 70s, the <i>New Yorker </i>had devoted an entire issue to <i>Left-Handed Woman</i> and run a huge especially tailored except from <i>The Repetition</i>. The plays were done all the time in colleges. Then F.S.+G. waited approximately 10 years and brought out a collection of three very different book under the title of its lead novel <i>A Slow Homecoming</i> which three books might have been published in sequence, as they were written, subsequent to <i>Left-Handed Woman. </i>The transition to a somewhat changed Handke was lost; even though <u>Weight of the World</u> had done well FS&G did not follow up with <u>Geschichte des Bleistifts</u> [The History of the Pencil], and though <u>Kaspar + other Plays</u> went through no end of re-printings and <u>Ride Across Lake Constance and Other Plays </u>sold out, F.S.G. did not publish a single of his later greater plays. For that Steve Wasserman during his tenure as editor of the FSG subsidiaries Hill & Wang – where plays are published - and Noonday Books deserves some of the blame, or blame the avariciousness of the quarterly statement. And then in the 90s Roger Straus writes Siegfried Unseld that he has a problem and its name is Handke! No, whatever circle of hell you dwell in Roger, the name and problem is Roger Straus, and that Handke must have had near a dozen editors at Farrar, Straus over the incremental now forty years. Currently F.S. & G. relies on his chief prose translator Krishna Winston as advisor on what Handke to publish and not. For reasons of wanting some time to herself and thinking that the truly very different novel <u>Kali</u> is like other Handke she turned it down. Not only is this evidence of translator’s megalomania, I can think of at least a half dozen translators from the German who could do a fine job with that book, but also of pretense, since Krishna, first rate translator, has not read any Handke prior to the time she came aboard around 1990 with the death of Ralph Mannheim, nay I have been trying to prevail on her for years to read <u>Walk About the Villages</u>. Alas and alas and alas, the wrong kind of amateurishness of U.S. trade publishing will never cease.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Thus, what came as mostly an unhappy experience as of a certain point were matters incidental to being involved in Handke’s work, the reception, his mediocre publisher who had dropped the ball already in the early 80s and still hasn’t really picked it back up, the controversies… literary intramural food fights… German reviewer lack nothing in incompetence over folks like, e.g. David Siegel, that Ulrich Greiner and Iris Radisch are / were chief reviewers for my aunt’s <i>Die Zeit, </i>or that there is an idiot like Hubert Spiegel writing for the Frankfurter Allgemeine… Oddly enough, the re-invented <i>Neues Deutschland,</i> once the organ of the East German S.E.D. [Unified i.e. forcibly joined socialist and communist parties of the Peoples Republic of Germany] does some of the best Handke reviews there! My guess is because now, no longer a party organ, they still revel in their independence and their heart continues to beat on the left, and are under the delusion that Handke, the capitalist, is still a socialist! </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Handke of course has his devotees that unhappily can be as uncritical as Hesse fans used to be. [4] H.M. Enzensberger has a nasty line about both kinds in one of his poems “first she read Hesse then Handke” – anyhow, a devotee such as Lothar Struck is what Handke ought to have as a mother French saint of a wife Portuguese cleaning woman for whom her son can do no wrong, devoted and soft in the noodle he starts to sorrow that there will be no more books at a <i>ficciones</i> such as <u>Morawian Nights</u>, thinks that Handke has never written in as childlike a fashion before [no child writes such formalist tour de forces, Lothar! as <u>Moravian</u> has them] is willing to overlook that her son beats the shit out of women, is astounded by Handke calling Madelaine Allbright “Ganzhell” and that Handke has some of his own characters make brief appearances in the book! Alas, what befuddlement will do in our respective <u>Midsummer Nights Dreams!</u> meanwhile as only mothers can be.</span></b><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 13.5pt;"> </span></b></span><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">Since there are so many that do wrong by</span></b></span><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;"> <span class="apple-style-span">Handke, why not someone who is besotted, like Lothar Struck</span> <span class="apple-style-span">the wife Handke never had! Yet his many reviews of Handke's</span> <span class="apple-style-span">work at his Begleitschreiben blog</span></span></b><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% aqua; color: black; font-size: 14pt;"><br />
http://begleitschreiben.twoday.net/</span></b></span><span class="apple-style-span"><b><u><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"></span></u></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">and at the first rate German on-line Literary Mag</span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">GLANZ UND ELEND contains many fine and valuable insights</span></b></span><span class="apple-style-span"><b><span style="color: black; font-size: 16pt;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; color: black; font-size: 16pt;">http://www.glanzundelend.de/startseite.htm</span></b><b><span style="color: black; font-size: 16pt;"><br />
<span class="apple-style-span"><span style="background: none repeat scroll 0% 0% yellow;"> Struck thus can be forgiven for losing his mind over MORAWIAN</span></span><span style="background: none repeat scroll 0% 0% yellow;"> <span class="apple-style-span">NIGHTS, sorrowing that this might be the master's last work,</span> <span class="apple-style-span">on the one hand reading autobiographically but then refusing to</span> <span class="apple-style-span">do so overall. Lothar is forgiven for this mental lapse,</span> <span class="apple-style-span">after all if I dwell on the mistakes in love I made for all</span> <span class="apple-style-span">the pretty girls, never never never in literature,</span> <span class="apple-style-span">if only the wenches had been books I would not have lost my mind and read some of them better and even loved some of them better...</span></span></span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> Struck helps obviate some of junk perpetrated by German reviewers. It really is not those poor sods who ought to be blamed but the editors of these organs, one notable exception is the NZZ [Neue Zuricher Zeitung].</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">As noted at the beginning of what was meant to be only 5 k words long: Handke is nearly enshrined in Austria as a National Treasure despite or perhaps because he is such a unique <i>Popanz; </i>the National Archives there sprung for an equal amount to the German Marbach archives for their half of his manuscripts and notebooks; perhaps the Slovenian equivalent will get the future accumulation, and Handke’s leavings will then be distributed not to the winds but to the three countries in which he is rooted. Thus scholarship is taking a somewhat uncritical look at the treasure and making it ready to be exhibited as a marble statue. However, this photo, with which I will close, would seem most appropriate to his split nature. When Richard Grey that spectacular Kafka scholar asked me one day about an ambivalence he sensed in my feelings about my subject, I explained that you could hang up a lot of clothes on that clothes line, especially if you looked at all the different matters that you hung on it. But I can’t say that ambivalence has ever been like this, on the one hand the fellow elicits disgust on the other, next to my mother, I can’t say I love any one better.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">One day I arrived at Montmorency, 1974 I think, and an Austrian Backfisch Groupie was there. I sat around for a while thinking what might be going on, but did not stay long. Calling Handke or his calling me, he mentioned that he had then exposed himself and that the girl had blushed, precisely of course the reaction an exhibitionist wants to elicit, and Handke said he did this when he felt “a bit diabolical.” About ten years later in the make love not war and love-making is like breathing but for God’s sake don’t fall in love and into possessiveness of downtown Manhattan of the 70s into the 80s I might even have asked the girl: do you like making love to two men? It would have been perfectly normal in Tribeca then. Handke I suspect would have grinned his famous shit-eating grin. But it wasn’t until I pursued Handke’s childhood tragedy that I understood why exhibition in all its manifestations was one of the forces driving his art – not that his so very chaste art elicits embarrassed blushes from the word, only verbally he does and can, and in his unceasing need to exhibit himself so competitively and compensatorily and vocally. However, I recall an analyst saying to me after a performance of PUBLIC INSULT at the Goethe House in New York that the piece had been as good as a great communal session in making the audience entirely self-conscious about being in the world and about language.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">Meanwhile my man lives as a restaurateur of the finest language salad in the For</span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">ê</span></b><b><span style="background: none repeat scroll 0% 0% yellow; color: black; font-size: 16pt;">t de Chaville, and this “bower bird” in an even finer retreat on Pheasant lane in a prairie by a lake: </span></b></div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">[1] Early works: See:</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 16pt;">http://en.wikipedia.org/wiki/Peter_Handke#List_of_works</span></b></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">[2-A] <u>Colbin </u></span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;">Handke introduces his admission to having beaten a woman, tactical concession defense, as a belated response to former lover and <i>Lebensgefährte,</i> collaborator on a film now Erinye Marie Colbin’s going public, during the Handke/ Yugoslavia publicity wars in the 90s, first in <i>Der Falter, </i>which was picked up</span></b><span style="font-family: Arial; font-size: 14pt;"></span></div><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="background: none repeat scroll 0% 0% aqua; font-family: Arial; font-size: 14pt;"><a href="http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html" target="_blank"><b><span lang="EN-US" style="font-family: "Courier New";">http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html</span></b></a></span><b><span lang="DE" style="font-size: 14pt;"> </span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"> </span></b><span style="font-family: Arial; font-size: 14pt;"></span></div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;">with a description of how Handke had nearly killed her. </span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;">["</span></b><b><i><span lang="DE" style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;">Ich höre noch meinen Kopf auf den Steinboden knallen. Ich spüre noch den Bergschuh im Unterleib und auch die Faust im Gesicht... Solange es Männer gibt auf dieser Welt - Männer wie Dich - einäugig, unnachgiebig, machthungrig und Ego-breit - wird es auch Waffen geben und somit Kriege... Wer bist Du denn, daß Du Dich so wichtig nimmst? Bist weder groß, noch edel oder gar bescheiden und aufrichtig. Ein eitler Schreiber bist Du, der sich sonnt in der Rolle des 'einsamen Rufers.'... Irgendwie wirst Du diesem Krieg dankbar sein, denn er befriedigt auf perverse Weise Dein unstillbares Verlangen nach öffentlicher Anerkennung</span></i></b><b><span lang="DE" style="background: none repeat scroll 0% 0% fuchsia; font-size: 14pt;">."</span></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;"> </span></b><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;">A translation of her statement reads: „<i>I can still feel my head bang on the stone floor. I can still feel the mountain hiker boots hit my stomach and your fist in my face… As long as there are men in the world – men like you – one-eyed, unyielding, power-hungry and egomaniacal – there will be weapons and therefore war… Who are you, to think of yourself as so important. You are neither great, nor noble nor modest nor honest. A vain writer is what you are, who suns himself in the role of the solitary prophet… In some way you will be thankful for this war [The Yugoslav wars of 1994] because it will satisfy your insatiable longing for public acclaim</i>.” –</span></b></div><div class="MsoNormal" style="margin-left: -54pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 14pt;">I gives me little satisfaction [only some] to agree with most of Ms. Colbin’s assessment, who however herself would I think disavow her statement that he is just a vain writer – since she herself doesn’t seem to be able not to perform his work, that is let go. I cannot recall a single instance where Handke in what had been a 20 some year association where he expressed the slightest interest in who I might be, whence I came, my past, etc. Monomaniacal was fine with me once I got an inkling of what a genius he was. Yet what surprised me was that someone so quickly successful might yet be so lonely that he needed to ask me in the 70s to write to him – once I got a drift on how very different his autism made this idiot savant, I allowed that it was simply so, not that I necessarily understood all those equations. Colbin is of course more than right in finding that the Yugoslav wars afforded Handke a golden opportunity for self-display – yet some fine works, as detailed above, have resulted from it too. Perhaps we should just summarize it in your typical all purpose New York Times headline: “Some good, some bad.” !?</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div><h2 style="margin-left: -54pt;">August 9, 2010</h2><h3 style="margin-left: -54pt;"><a href="http://draft.blogger.com/post-edit.g?blogID=36070900&postID=5769839932813588851" name="8261630392849647288"></a><a href="http://www.nachrichten.at/nachrichten/kultur/art16,439989">COLBIN READS HANDKE BACK AT HIM/ and i leave a six part commentar</a> <br />
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"eine verschmitzte, herrlich sinnlose Lebenslust"- GENAU!</span><span style="font-size: 20pt;"><br />
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<span style="font-size: 18pt;"></span></h3><h2 style="background: none repeat scroll 0% 0% yellow; margin-left: -54pt;"><span lang="DE" style="font-size: 16pt;">Festwochen Gmunden: Gedemütigte Frau und Richterin</span></h2><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="font-size: 14.5pt;"> </span><span style="font-size: 14.5pt;"><a href="http://www.nachrichten.at/nachrichten/kultur/art16,439989,B" target="_blank"><span style="text-decoration: none;"><img alt="Marie Colbin" border="0" height="200" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image010.jpg" width="200" /><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image011.gif" width="1" /></span></a></span><b><u><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">Marie Colbin las Peter Handke im Gmundner MYTHOS.</span></u></b><b><span lang="DE" style="background: none repeat scroll 0% 0% yellow; font-size: 24pt;"> </span></b><span lang="DE" style="font-size: 14.5pt;"> </span></div><div class="MsoNormal"><span style="font-size: 14.5pt;"><img border="0" height="1" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image012.gif" width="1" /></span></div><h3 style="background: none repeat scroll 0% 0% yellow; margin-left: -54pt;"><span lang="DE">In Peter Handkes Salzburger Jahren Anfang der 80er war der Schriftsteller der Lebenspartner der Schauspielerin Marie Colbin. Bei den Festwochen Gmunden las Colbin am Samstag im MYTHOS </span><span lang="DE" style="font-size: 14pt;">Handkes Text „Bis dass der Tag euch scheidet oder eine Frage des Lichts“.</span></h3><div class="MsoNormal" style="background: none repeat scroll 0% 0% yellow; margin: 0cm 0cm 12pt -54pt;"><b><span lang="DE" style="font-size: 14pt;">Das MYTHOS in der Badgasse ist ein Ort, an dem nicht über Qualität diskutiert werden muss. In dem kleinen Geschäft mit großem Anspruch stehen Film-Raritäten herum, erlesene Literatur und fantastische Vinyl-Platten. Wer hier Kunde ist, der lässt sich nicht vom Zeitgeist schrecken, der steht auf Dinge für die Ewigkeit. Mit diesem Anspruch reiste die in Salzburg lebende Marie Colbin nicht in ihre Heimatstadt. Für die Ewigkeit – was ist das schon, geht das denn? Sie wollte Peter Handkes im Oktober 2008 entstandenen Monolog bloß mehr Leben injizieren, als es die blutleere Uraufführung bei den Salzburger Festspielen im vergangenen Jahr zu Stande gebracht hat. Das gelingt ihr, mitunter sogar ein bisschen zu lebendig. Sie gibt sich hin, als sei ihr die Anklage der namenlosen Frau selbst aus der Feder geflossen. Handke reagiert mit seinem Text auf Samuel Becketts „Das letzte Band“ und dessen Figur Krapp. Handke bewertete Becketts Werk als die Endstation des Theaters, weil noch mehr Reduktion nicht zu schaffen sei.</span></b><span lang="DE" style="font-size: 14pt;"><br />
<b>Schweigen ohne Widerrede</b><br />
<b>„Mit deiner Art Schweigen wolltest du bestimmen über mich, wolltest du mir dein Gesetz aufzwingen, ein despotisches Gesetz, gegen das es keine Widerrede gab“, liest und lebt Colbin. Im Raum entsteht eine Ahnung davon, wie es sich zwischen ihr und Handke abgespielt haben könnte. Colbin ist kleines Mädchen, gedemütigte Frau und Richterin. Sie stampft, sie marschiert barfuß auf dem eigens ausgelegten roten Teppich, der sich wie eine Blutspur durch den Laden zieht. „Neiiiiiiiiin“, schreit sie gellend und wehrt sich gegen die Bilder, die in ihr aufsteigen, gegen seinen „formvollendeten Gram“ und gegen seine „Leichenbittermiene“, in der sie „eine verschmitzte, herrlich sinnlose Lebenslust“ zu erkennen glaubt. Colbin mutet sich ungebremst zu, und als Adressat ist Handke an diesem Abend nicht mehr aus dem Kopf zu bringen.</b><br />
<b>Marie Colbin steht kurz davor, ins Filmgeschäft zurückzukehren, im Herbst wird über die Finanzierung von zwei Projekten entschieden. Bis dahin hat sie noch einen kleinen Teil ihrer Welt zu retten: das Postamt in ihrem Salzburger Stadtteil Morzg, das zugesperrt werden soll. Ein Salzburger Freibad hat sie schon vor dem Abriss bewahrt und damit verhindert, dass anstelle der urbanen Idylle ein Hotel gebaut wurde. Colbin: „Mit dieser Post ist es genauso, sie ist ein kleines Kommunikationszentrum, vom Uhu bis zur DVD kriegt man alles, und es wäre eine Schande, wenn sie es schließen.“ 1400 Unterschriften hat sie schon gesammelt, die Protestliste wird sie den Zuständigen in Wien zustellen – freilich per Post.</b></span><span lang="DE"><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">[3-a] At one point I sat on the podium next to H.M. Enzensberger whom I had met in 1961 at Ruth Landshoff Yorck’s on Cornelia Street in Greenwich Village. H.M.E. seemed so bored he was teaching himself Chinese, which would take him probably less than a month. Aside from Enzensberger I knew a fair number of members of the Gruppe and their work, I had done long interviews with Uwe Johnson and Peter Weiss, unfortunately Günter Grass did not allow tape recorders, and I did not know stenography. The sergeant major of the group who made short shrift of Handke’s prohibited whole scale attack, only comments on individual texts were allowed, I had met in Berlin. If I had real personal affinity it was with Peter Weiss, but what a talented group of people had developed out of the ashes, and the East Germans were not represented, some Austrians, some Swiss. By Spring 1966 I had spent my Junior year at German Universities; had spent several years in Germanics in graduate school, which remained impervious to then current literature, had been a reader for a variety of U.S. publishers, had spent a year as a literary Scout in Germany with ample time to read, especially at an aunt’s bookshop in Berlin, even had become somewhat versed in the approved East German literature, typing was the one of the most useful thing I took away from high school, no one had mentioned stenography. Had befriended Jürgen Becker, Fritz Raddatz in Hamburg… had read most everything of the “Wiener Schule” and was developing a good dim sense of the lay of the different literary landscapes .</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">[4] I translated three fairly early Hesse novel in the 60s and it was a chore. I always admired Ralph Mannheim for bringing Hesse up to snuff in translation.</span></b></div><div class="MsoNormal" style="margin-right: -45pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">[5]</span></b><b><span style="font-size: 16pt;"> <span style="background: none repeat scroll 0% 0% yellow;">At that time Urizen was in a bit of trouble, when was it not, started with $ 200,000 and what expertise I had and 25 books that I wanted to publish. At that time, 1977, I had just committed myself to contribute $ 50,000 in capital, but only had $ 20 k, ten from my father, and 10 that I had earned through some outside editing of the autobiography of a banker’s wife. Two friends, aside Handke, without being asked contributed the other twenty. I am still mystified how I might have emanated that need or been that well liked or at those expressions of confidence at a moment I was beginning to have some serious doubt about the firm, especially about the other active partner [the third, Leo Feldsberg, Oberon N.V. was by and large silent investor who ought to have and certainly had the funds to invest many a million or at least half a million and the firm could have established its backlist a bit more quickly and less arduously], Susan Sontag had just informed me that Wieland Schulz’s [the passport name] moneys derived from his partnership with a Mafioso in a pornographic dubbing firm, Vicland Productions. I had assumed until then that Schulz’s working capital of $ 100,000 derived from the little social documentaries he was making for West German television. Moreover, Schulz also was beginning to behave just the way Handke himself had described on meeting him ever so briefly at the premiere of <u>My Foot My Tutor</u> and <u>Self-Accusation</u> at B.A.M. in Spring 1971. Schulz was showing that he was a shouting nervous dictator, he had already screwed the other partner out of his $ 50,000 commitment in a venture to make a <u>Midsummer Night’s Dream</u> film where Judith Thurman received $ 5,000 to write the screen play. For me it became a question who of the two partner’s was the greater embarrassment, and THIS threesome had founded what was meant to be a firm “that shared profits with its authors and was owned by its employees”. [Feldsberg’ residence in Kali, Colombia was on a hill looking at a hill opposite that the Catholics ascended on Easter on their knees with Leo cackling as the devout idiots did so. Leo had one of the great collections of recorded opera, son of a Viennese wine merchant he had become a rich man courtesy of a $ 25,000 loan from the Danish consul in the early 40s. Now he wanted to be the impresario that he had dreamed of being as a young man in Vienna. Leo couldn’t bear to lose a buck on the simplest of bets, that I guess is how you become and remain a millionaire in this world.]</span></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;"> I did not see a way out of my predicament, but found ways of introducing moneys into the firm, and found several serious investors who took one look at Schulz and then passed. Here is the first of my two grievous errors that led to the demise to the firm. The second even more grievous and truly fatal one was when our sales manager Hyung Pak showed me that Schulz was using the firm to sluice money from his off-shore vehicle Princeton N.V. through Urizen, and that he was taking a salary even when he didn’t work, Schulz actually, clever [?] fellow, for an alleged investment of $ 100,000 managed to take out $ 300,000 from the firm during its approximate seven year existence. Not only that, he played Feldsberg and me off against each other, by telling our respective selves that the other wanted Schulz to run the firm, something that I didn’t find out until I met with Leo after the firm no longer even existed. At the end, Schulz sold the heart of the firm, its twelve most valuable titles, for $ 25,000 and kept that money for his <u>Under the Volcano Venture</u>, a project that he stole from my Spanish director friend Gonzalo de Herralde Grau one of whose films Schulz had produced out of the Urizen Office. It was that theft that finally made me see clearly and go into action, and it turned out that the crazy making Schulz was an utter coward, as evil so frequently is: served a subpoena he turned blue and fled and never even showed up in court, thus winning that suit turned out to be child’s play. Had Handke ever been right about how dark and also at least very German Schulz was, and discovered in what, five minutes, darkness it took me about half a dozen years to appreciate. No wonder you might say that I decided to see an analyst. During the course of the early years of Urizen Books a kind of sweet dumb and troubled fellow would occasionally show up at Urizen, progressively more distraught, Victor Bertini, and he supplied the “Vic” in Vicland [its German pronunciation is the joke], Schulz’s and his porno-dubbing firm, and he was subjected to the same financial razzle dazzle that also gradually drove me crazy, so that when I look back I can see myself behaving like Victor, who was just a <i>soldati, </i>not some smart mobster at all, until the last moment as it were, but at the last moment Urizen was a sick horse that had to be put out of its misery; thus it’s failure is entirely my fault, the fault of my grandiosity in thinking that my magic could make it survive no matter what. Schulz eventually fled NY and has gone on to acquire judgments galore in the European film business, a long trail of destruction lies in his wake:</span></b><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;"></span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% aqua; font-size: 14pt;">http://www.schulz-keil.faithweb.com/photo.html </span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="background: none repeat scroll 0% 0% yellow; font-size: 16pt;">As someone who knows him observed: “He wants to be caught, and then he wants to do it again.” i.e. a miserable masochist, and where there is masochism there is sadism. However, I also felt obligated at the time, and since the fellow also added the dimension of social history to the firm, and doing it by myself felt too lonely… I failed to take action until it was too late. But such negligence and dithering and grandiosity has consequences. However, my failure at least was not as grave as my grandfather’s in not killing Hitler when he had the opportunity, as Schleicher’s go-between, and seemed to know what that man’s ambitions were. My grandmother said that she’s prefer not to have that gentleman in her house again, the same advice might be passed on to anyone contemplating having that charmer Wieland Schulz [Keil] over for lunch.</span></b></div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><br />
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</div>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-37432144621070686262010-09-28T10:28:00.000-07:002010-09-29T10:56:50.984-07:00NEIL GORDON'S REVIEW OF HANDKE'S DEL GREDOS, DECIMATED <span style="color: red;"><b><big>Preparatory to my summary piece EASING OUT OF , WINDING DOWN THE 25 YEAR HANDKE PROJECT [Oct 1, appr.] <br />
I realized I needed to do "a number" on the atrocity that Neil Gordon perpetrated in the New York Times Book Review<br />
on Handke's DEL GREDOS, and do so along the lines what I did about 3/4ters of a year ago on an even more<br />
stupid and equally damaging J..L. Marcus piece in the NYRB <span style="color: #000099;"><br />
http://handke-discussion.blogspot.com/2009/12/letter-to-robert-silvers-ny-review-of.htm<span style="color: red;">l</span></span></big></b></span><br />
<span style="color: red;"><b><big><span style="color: #000099;"><span style="color: red;">I </span></span></big></b></span><big><big><big><b><small><span style="color: red;"><small> wrote the following letter to the NY Times Book Review upon reading Neil Gordon review three years ago, and of course it was far too long to be published even if Gordon was not one of their regulars whom Auntie then protects from thoroughgoing critique. I was glad to hear<br />
from James Wood that he was in agreement with every sentence of my assessment, it is a lonely job to be a one-person sniper in these jungles, but Auntie didn't either print short disagreements with Gordon, and the chief reason to memorialize the atrocity is because Gordon is a man of some power, he's the dean of the writing school at the New School, editor of the Boston Review, so he is in position to do some real damage, and his review manifest not only ignorance but malice aforethought, thus if I should run into him in the wild, where I have carried a side arm ever since my year in the mid-80s in Billie the Kid country I would not hesitate to be of service to literature and put the man out of misery. <br />
In Seattle I imagine I would merely spit in his face. My fighting days seem to be over except verbally. <br />
Aside the letter, I now comment,<br />
<u>in red</u>, on specific passages that I underline.</small></span>..<span style="color: #ff6600;">. <span style="font-size: x-small;"> <a href="http://www.nytimes.com/2007/08/19/books/review/Gordon-t.html?scp=11&sq=neil%20gordon&st=cse">http://www.nytimes.com/2007/08/19/books/review/Gordon-t.html?scp=11&sq=neil%20gordon&st=cse</a> </span> </span></small> <br />
</b></big></big></big> <br />
<div class="columnGroup first"><big><big><big> </big></big></big> <br />
<h1 class="articleHeadline"><small><b>Over the Hills and Far Away</b><small><b> By NEIL GORDON</b></small></small></h1><big><big><big> </big></big></big> <big><big><big> </big></big></big> <br />
<h6 class="dateline"><big><big><big><b>Published: August 19, 2007</b></big></big></big></h6><big> </big> <big> </big> <br />
<div class="articleBody"><big> </big> <big><b> CROSSING THE SIERRA DE GREDOS </b></big><br />
<big> </big> <big><b> By Peter Handke. Translated by Krishna Winston. </b></big><br />
<big> </big> <big><b> 472 pp. Farrar, Straus & Giroux. $30. </b></big><br />
<big> </big> <big><b> Until the late 1970s, the Austrian writer Peter Handke was for me (and, I think, many like me) the David Byrne of fiction: </b></big><big><b>a writer with a resonant, powerfully direct voice who could invoke the particular Sartrean nausea of postmodern existence in the simplest events</b></big><big><b> -- in, say, the description of a soccer ball crossing a goal line. ''The Goalie's Anxiety at the Penalty Kick,'' ''Short Letter, Long Farewell,'' ''A Moment of True Feeling,'' even his script for Wim Wenders's monumental ''Wrong Move,'' which effectively linked Handke to the ?n of German New Wave cinema: the list of revelatory, exciting works of prose went on and on.</b></big><big><big><big><b><small><span style="color: #ff6600;"><span style="color: red;"> <small>It appears the misunderstanding started at once in this country[ misprisions anyone?], if Gordon's was it, thus that his Gordonship gets the development wrong, in as much as Lazy Bones has failed to follow it even in rough detail.....GOALIE, which I happen to have translated, but whose full import dawned on me only in the bye and bye, digs deeper into the grammar of our being, yet is but a sliver of the aforegoing purely phenomenologically registering DER HAUSIERER, and bears little resemblance to the<br />
fundamentalist as if narrative procedures of Handke's first novel [1964] DIE HORNISSEN [the Hornets, Los Avispones, etc.]. Handke's work from early on confines itself to the formal, those strenuous laws, he later introduces some <i>recits, </i>but fundamentally, Handke does not break form! Aside being a formalist linguist with an unusual range of powers, he is also a conceptualist, which appears to have passed the conceptualists in this<br />
country by.<br />
</small></span></span></small></b></big></big></big><br />
<big><big><big><b><small><small> But then, at a certain point -- in my view, with ''Slow Homecoming,'' published in German in 1979 and in English a few years later</small></small> </b></big></big></big><big><big><big><b> </b></big></big></big><big><big><big><b><small><span style="color: #ff6600;"> <span style="color: red;">......<small>.If the Gordon means the title novel and not the compendium published under that title about a DECADE later than in German, it would seem that Gordon had missed the turn toward the mytho-poeic in LEFT HANDED WOMAN [1974] and already very evident in SHORT LETTER LONG FAREWELL, or the recourse to the allegorical in KASPAR. Gordon's mention of Byrne might indicate that he has some purchase on the formalist as well as melodic qualities in Handke, who does not like to repeat himself, after exploring a formal possibility to its end, nausea prone Handke indeed used to be, including of the eyeballs, however such an excessive condition of disgust [which has zero to do with Sartre's] also of the self will attenuate<br />
with time, if not also medically, and be more discretionary., as say it becomes in Handke's richest work WALK ABOUT THE VILLAGES, published in this country in 1995, of which our "dear professor" appears as innocent as of so much else. If you include A CHILD'S STORY and LESSON OF ST. VICTOIRE in your charge, you are mixing apples and oranges, since the title novel is a work of fiction, that makes the truth claims of fiction, and the two others are very differnent kins of strictly autobiographical summaries and announcements....<br />
</small></span></span></small></b></big></big></big><br />
<big><big><big><b> -- <small><small>his exacting gaze, with its strange combination of compassion and accusation, turned on and began to consume itself.</small></small> </b></big></big></big><big><big><b> </b></big></big><big><big><b><small><span style="color: #ff6600;"> <span style="color: red;">....I am not sure I would put any of Handke into these platitudionous adjectivitis riddled terms, but what might this "consume" possibly mean. If, say, I were a kindly editor who had used Gordon previously, I would say: "Neil, what meanest you, fella? Might you mean that Handke seems self-involved, use his body his experience for his work? Go back and do me a second draft and think about the implications of a writer using his self in his novels, and do so non-accusingly and don't use the cudgel "narcississm" in this Breughelian world where near everyone uses that term as a scythe or cudgel</span></span></small></b><big><b><small><span style="color: #ff6600;"><span style="color: red;">....... </span></span></small></b></big></big></big><small><small><br />
</small></small> <br />
<big><b> In the decades since then, Handke has continued to enjoy the status of enfant terrible in Continental letters, </b></big><big><big><big><b> </b></big></big></big><big><big><big><b><small><span style="color: #ff6600;"> <span style="color: red;">...<span style="font-size: small;">well no, Handke has enjoyed no such status..</span>.......... </span></span></small></b></big></big></big><br />
<big><big><big><b><small><small>but in the English-speaking world he has been steadily demoted to something more like a whipping boy. Indeed, the first few inches of a Nexis search on Handke reads something like a literary Friar's Club roast. ''An exasperating, even neurotic book,'' is one critic's reaction to his memoir, ''A Sorrow Beyond Dreams.''</small></small></b></big></big></big><big><big><big><b><small><span style="color: #ff6600;"><span style="color: red;">....<small>my letter addresses these idiotic canards of the other directed Gordon who consults<br />
Lexis and instead of offering his own impressions rummages for negative reviews..........</small>.. </span></span></small></b></big></big></big><small><br />
</small> <big><big><big><b><small><small><small> In a British newspaper, he is described as ''that arch bore of German experimentalism.'' And a New York </small>Times reviewer, discussing the novel ''On a Dark Night I Left My Silent House,'' observed, ''It is as though he is offering us something for its medicinal effect, like a low-sodium diet.</small>'' </small></b></big></big></big><big><big><b> </b></big></big><big><big><big><b><small><span style="color: #ff6600;"> <span style="color: red;"><small>...Surprisingly, at least to me, the quite difficult DARK NITE even received quite magnificently comprehending reviews in the US, even in some women's magazines, so wonders will never cease including idiocies such as someone like Gordon being a dean of anything but of the utter idiots academe..you will find these reviews on the handke-revista page devoted to this book.......... </small> </span></span></small></b></big></big></big><br />
<big> </big> <big><b> Of late, however, Handke's reputation has suffered even at home. In 2006, he capped his years of baffling defense of -- or, at least, unwillingness to condemn -- Serbian atrocities in the Balkan war with a eulogy at the funeral of the accused war criminal Slobodan Milosevic. The so-called Handke Affair continues to polarize the world of European letters and led him to forfeit -- just before it was withdrawn -- the prestigious Heinrich Heine Prize in D?ldorf. In Paris, the Com?e-Fran?se canceled a Handke production on the same grounds. All of which makes the American appearance of a new Handke novel, five years after it appeared in German, a remarkable act of fidelity on the part of his publisher, a good deed that will not go unpunished -- neither elsewhere nor, it gives me no pleasure to say, here. </b></big><big><b> </b></big><big><big><big><b><small><span style="color: #ff6600;"> <span style="color: red;"><small><small>...</small></small>..<small>.I address this in my letter, so will not repeat what I say there....<br />
and also there are several pages devotes ti DEL GREDOS at <span style="color: #000099;"><br />
http://handke--revista-of-reviews.blogspot.com/...... </span><br />
let me just note <i>in nuce</i> that Gordon finding the prose torturous or this novel lacking in joy misses two or three all important matter, that<br />
this book, like Handkes ABSENCE can also be experienced as a film, that if Gordon followed out his own notion of "consumed"<br />
he might be affected by this projection screen in its entirety, he appears immune to Handke's ability to magick the world anew, appears to belong to the school that literature is either for American simpletons or scholars, and thus fails to realize, since he appears not to have read or experienced the book to its end that narrator and protagonist become one in one of the, if not <i>the </i>most amazing endings in all of literature, which beats that of <u>Ulysses</u> hands down, if only it meansthat Handke loves writing more than anything else, a matter that has made many a woman unhappy, but not literatureif you realize how powerfully Handke can love, not just be nauseated... say by the likes of the Neil Gordons in this world.<br />
To play writers off against each other with their respective merits is the finale of this middle brow performance. <br />
<br />
</small></span></span></small></b></big></big></big><br />
<big><b> On a surface level, ''Crossing the Sierra de Gredos'' is the story of a nameless German woman, a banker, who sets out on a journey through a mountain range in the Iberian Peninsula, where she has apparently traveled many times before. She's heading for La Mancha to meet an author she has hired ''to write a book about her undertakings and her adventures.'' This author is distinct, most of the time, from the narrator of the book itself, who intrudes fairly frequently with ''dear reader'' comments in his own right. </b></big><br />
<big> </big> <big><b> All three have forceful opinions about how we, dear readers, should be reading this book. The banker has insisted that there be no real names or precise ''indications of time,'' and that the style of writing ensure that readers will abandon, ''from the moment they turned the first page, any thoughts they might have had of hunting for clues or sniffing around.'' So she sets off and, in the 40 chapters of this very long book, conducts us on an extensive tour of her consciousness. She has a daughter somewhere, a brother who is a terrorist, a career, an interest in her family ancestry, a strange obsession with Arabic. Most important to her, though, is her interior life of ''images'' -- a kind of mystical, hallucinatory vision of landscapes and places, the experience of which is central both to her life and to this novel (which is titled, in its German edition, ''The Loss of Images: Or, Through the Sierra de Gredos''). Meanwhile, she moves through various meticulously described incidents and encounters in which, although nothing really happens, we're provided views of the Gredos range that alternate among historic, descriptive, imaginary, anthropological, ethnographic, historical and surreal. Finally, she manages to get to La Mancha. ''And with that, the story was done, and we went home.'' <br />
</b></big><br />
<big> </big> <big><b> The translation, by Krishna Winston, is above suspicion. But from the first line, Handke's readers are oppressed by tortured prose, a profusion of elliptical images, allegorical temptations and symbolic hints, which forcefully invite us to ''sniff around'' and ''hunt for clues'' -- all the while undermining our every attempt to do so. Why the Sierra de Gredos? Why La Mancha? Is there a reflection of Cervantes's quest, and is this why Handke has described the book as ''a medieval novel about modern times?'' Is the Iberian Peninsula symbolically linked with the Balkan Peninsula, where Handke's politics have caused him such distress? What of the weird little ethnic war that seems to be going on in the Gredos? And the banker's intense interest in Arabic? Of course, Spain was once Moorish, and a significant number of Bosnians are Muslim. </b></big><br />
<big> </big> <big><b> Perhaps Handke believes that only scholars and specialists should be allowed to share his secrets: certainly there is no way to understand this book without delving deep into conceptual categories -- aesthetic, narratological, analytic -- that belong properly to the scholar. I am thoroughly persuaded, for example, that Ross Benjamin's literate, articulate interpretation of the novel in the current issue of Bookforum is correct. ''Displaying a strong affinity to German Romanticism,'' Benjamin argues, ''Handke seeks to inaugurate a new attunement with the world.'' In Benjamin's view, the novel's confusing and difficult writing ''testifies to Handke's experimental exuberance and his pleasure in random senselessness.'' </b></big><br />
<big> </big> <big><b> But for a general reader the narrative techniques Handke marshals to subvert our understanding seem punitive rather than exuberant. There's the namelessness of the characters, the intrusion of various authors and narrators, the parenthetical nonsense. (''On the contrary? Also not on the contrary.'') There's the insistent whimsicality (''She walked with everything she encountered and came upon, with everything she saw, tasted, heard and smelled''). And the constant, busybodyish rhetorical questions, the seemingly endless digressions, the profoundly and deliberately obscure asides. (''Hadn't too much been revealed already, less about her -- she perhaps had something entirely different to reveal -- than about the circumstances prevailing at the time, which, as previously mentioned, were supposed to be portrayed more 'ex negativo,' through things that did not make up the foreground?'') </b></big><br />
<big> </big> <big><b> Handke's didactic refusal to let us make of his book what we will, his sedulous effort to keep us dizzy and confused, is, more than anything else, a way of infantalizing his readers. By the time we're done, we're feeling so put upon, so talked at, that it's difficult to respond with anything but adolescent sullenness. </b></big><br />
<big><b> In ''Crossing the Sierra de Gredos,'' Handke has demonstrated that the linguistic illusion of narrative truth can be linguistically undone. Well, fine. But attacking the integrity of narrative is an easy job: stories fall apart under a sufficiently analytic gaze; all language does. No one who has followed the lively modernist and postmodernist conversations about reading since the publication of Saussure's ''Course in General Linguistics'' almost a century ago has any doubt about that. The more serious contemporary challenge is posed by another postwar German writer, W. G. Sebald, who saw in the practice of fiction the ethical possibility of ''restitution'' for history's manifold horrors. Like much of Sebald's writing, Handke's novel is denuded of joy. Unlike Sebald's, it also deprives its readers of hope. </b></big></div><div class="articleBody"></div><div class="articleBody"><big><big><big><b><small><small><a class="moz-txt-link-freetext" href="http://www.newschool.edu/lang/faculty.aspx?id=1746">http://www.newschool.edu/lang/faculty.aspx?id=1746</a></small></small></b></big></big></big><br />
<br />
<big><big><big><b><small><small>Here my letter of 2007:</small></small></b></big></big></big><br />
<pre><span style="background-color: lime; font-size: small;">Over the Hills and Far Away
By NEIL GORDON
<a class="moz-txt-link-freetext" href="http://www.nytimes.com/2007/08/19/books/review/Gordon-t.html?pagewanted=2&_r=1&ref=books">http://www.nytimes.com/2007/08/19/books/review/Gordon-t.html?pagewanted=2&_r=1&ref=books</a><a class="moz-txt-link-freetext" href="http://bookforum/">http://bookforum</a>. com/inprint/issue=200703&id=264, I
would like to point out that as a professor of literature he might be
aware of the classical tradition of Goethe, Stifter, Flaubert, Hermann
Lenz and Bove in whose steps Handke, the last great walker on the
earth, exerts himself as someone who is so infinitely of his medium's
contemporaneous possibilities; and to sensitive responses in the
1] LA TIMES/ Thomas McGonigle
<a class="moz-txt-link-freetext" href="http://www.latimes.com/features/books/la-bk-mcgonigle8jul08,0,2189379.story?coll=la-books-headlines">http://www.latimes.com/features/books/la-bk-mcgonigle8jul08,0,2189379.story?coll=la-books-headlines</a><a class="moz-txt-link-freetext" href="http://www.washingtonpost.com/wp-dyn/content/article/2007/07/26/AR2007072601638.html">http://www.washingtonpost.com/wp-dyn/content/article/2007/07/26/AR2007072601638.html</a><a class="moz-txt-link-freetext" href="http://www.handke.scriptmania.com/">http://www.handke.scriptmania.com</a></span>
It is time readers of the New York Times Book Review were made aware
of Handke, the prose writer, having gone through something like half a
dozen changes. Starting of as a supremely playful demonstrator of the
quelling of anxiety in his first three novels, only the third, GOALIE
[1969], exists in English [in my translation], his nausea, once
including words [he now fondle them] is not like Sartre's idea-driven
kind, but has psychosomatic origins; is the nausea produced by what
for him is "the ugly;" no matter that it hits the same nerve. And that
his hyper-sensitivities are uniquely his
If Mr. Gordon were as exacting as he says Handke is, he might have
noticed that Handke already shifted to a more open hearted
mytho-poeic, but equally if not more exacting, position in the 1975
LEFT HANDED WOMAN, [whose personae resembles that of the woman subject
of the current DEL GREDOS] the book just preceding A SLOW HOMECOMING,
whose Alaska section must be one of the most articulated responses to
nature in world literature for its selectivity in naming.
What entered Handke's writing shortly after HOMECOMING, in THE
LESSON OF ST. Victoire, was the pictorial Cezanne re-arrangement of
reality {"Close your eyes and see the world arise anew", the opening
sentence of his 1984 Salzburg novel ACROSS, provides a hint.}
With THE REPETITION [1987, "retrieval"] a book fabulously praised
in The Guardian, the promised re-write of both his first novel, DIE
HORNISSEN [1966], and of SORROW BEYOND DREAMS [1972 – Gordon even
manages to find a negative take on Handke's emotionally most
immediately accessible highly praised book], Handke's search ["I want
to be someone like somebody else was once" KASPAR, 1968; OBIE 1972]
rearranged his roots in his Slovenian grandfather and uncles' region;
which provides a hint to the unnecessarily baffled Professor Gordon
why Handke might prefer a continuous existence of the Yugoslav
Federation over its decimation into small consumer entities; his
defense of the Serbs and Milosevic against the more customary "one
devil" theory of history and journalism.
With the three narratives in THREE ESSAYS [especially ON THE
JUKE-BOX, 1989], culminating in the six-sided weaving self-portrait of
himself - as the once nauseated ex-cultural attaché Keuschnig [of 1974
A MOMENT OF TRUE FEELING], as writer, painter-filmmaker, priest, stone
mason, super-finicky misanthropic restaurateur, and reader, in the
1994 magnum opus ONE YEAR IN THE NO-MAN'S BAY, Handke demonstrated for
stretches – he is the greatest of exhibitionists – the capabilities of
narrative as pure writing music image, as he did already in the 1986
ABSENCE, a narrative that a reader experiences like film.
Subsequent to NO-MAN'S-BAY he then demonstrated that you could zoom
like a camera, in the 1996 ONE DARK NIGHT I LEFT MY SILENT HOUSE, into
the mind of an apothecary, in the improbably named, Salzburg suburb
Taxham, and make that fellow's dream syntax absorb the readers'
projections, a feat worthy of the Joyce of FINNEGAN FUNAGAIN; and in
his 2005 DON JUAN, the fugueing novella that followed the 2003 GREDOS
he showed that you could write both forward and backward in time while
standing in one place. - I know it is all a little much, the fellow
just turned 65 and has published 60 books, and sometimes I wish I'd
never set eyes on him, but he can't help it, he must write to stay
healthy; his symptom is his salvation. And it is that of real readers.
It matters little that the so other-opinion-oriented Mr. Brown's
search for "opinions" yields so little of note; or that Handke is the
whipping boy of miserable reviewers chosen by overly busy editors.
Gordon has searched poorly. REPETITION and NO-MAN'S BAY are regarded,
rightly I think, as two of the great novels of the past hundred years,
e.g. William Gass's estimate of them. Since Gordon cites the Book
Forum review
2] Washington Post/ Guy Vanderhaegen
3] San Franciso Chronicle
Crossing the Sierra de Gredos
San Francisco Chronicle - CA, USA
as well as to sites and blogs I and others run on Handke accessible
via:
These not only contain a wealth of material, but there Handke, his
own severest critic, also is critiqued on his own terms; and flinches
at every lash of the whip!
Gordon's reading of DEL GREDOS shows me that he is the wrong
reader, responder for this book, written in large part to memorialize,
salvage a landscape. He bristles at being shook up.What ought to be done with the likes of Neil Gordon?</pre><br />
<br />
<big><big><big><b><i><small><small><span style="color: red;">If he were a lawyer he would be disbarred. If he were an Indian Scout<br />
his commanding general would have him executed forthwith for utter incompetence<br />
to set an example for what will happen to those who follow in his footsteps,<br />
since he is of no use. Instead the New School has the idiot for a dean,<br />
and Oh Tannenbaum keeps using him. Ah, and what a far cry from Harvey<br />
Shapiro to Oh Tannenbaum! If proof be needed that not all Jews are smart!</span></small></small><br />
</i> </b></big></big></big><br />
<pre></pre><br />
</div><big><big><big> </big></big></big></div><big><big><big><b><br />
</b></big></big></big>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-46015034752965703702010-07-17T08:48:00.000-07:002018-08-23T17:37:52.402-07:00THE CATASTROPHIC HANDKE RECEPTION IN THE UNITED STATES OF INFAMY<h3 class="post-title entry-title" style="font-family: Georgia, serif; font-size: 22px;">
<a href="http://handke-trivia.blogspot.com/2009/01/brief-account-of-us-handke-reception.html" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: magenta;">A BRIEF ACCOUNT OF THE U.S. HANDKE RECEPTION</span></span></a></h3>
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<b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">[29] </span></span></u></b><b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">THE US HANDKE RECEPTION<o:p></o:p></span></span></u></b></div>
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<b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">A + B</span></span></u></b><b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></u></b></div>
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<b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">1970-2008</span></span></u></b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></u></div>
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<b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">OR</span></span></u></b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></u></div>
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<u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">“</span><b><span class="Apple-style-span" style="background-color: yellow;">There is nothing like stupidity to give you a good foretaste of eternity.”</span></b><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></u></div>
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<b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Oedon von Horvarth</span></span></u></b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></u></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">[</span><u><span class="Apple-style-span" style="background-color: yellow;">A</span></u></span></b><b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">-The Plays]</span></span></u></b><b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Peter Handke’s first book publication in the U. S., my translation of </span><u><span class="Apple-style-span" style="background-color: yellow;">Kaspar & Other Plays,</span></u><span class="Apple-style-span" style="background-color: yellow;"> was unusual in receiving a favorable review, any review for that matter, from Stanley Kaufmann in the New Republic, their film reviewer, even prior to official performance of the plays; the more so for it being of a young, foreign, unknown author, albeit some waves he had made in Princeton at the Gruppe 47 meeting, but especially the impact of</span><u><span class="Apple-style-span" style="background-color: yellow;">Kaspar</span></u><span class="Apple-style-span" style="background-color: yellow;"> + </span><u><span class="Apple-style-span" style="background-color: yellow;">Public Insult</span></u><span class="Apple-style-span" style="background-color: yellow;"> [as I now all </span><u><span class="Apple-style-span" style="background-color: yellow;">Offending the Audience</span></u><span class="Apple-style-span" style="background-color: yellow;">] +</span><u><span class="Apple-style-span" style="background-color: yellow;">Self-Accusation</span></u><span class="Apple-style-span" style="background-color: yellow;"> in the arenas of its home language had no doubt generated interest among American intellectuals who were not as insular and self-involved in things American as most of them and U.S. stage directors have become again since.</span></span></b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Mel Gussow of the New York Times and Steve Kroll of Newsweek showed some real understanding of the performance at B.A.M. [Steve Kalfin artistic director] of </span><u><span class="Apple-style-span" style="background-color: yellow;">Self-Accusation </span></u><span class="Apple-style-span" style="background-color: yellow;">and </span><u><span class="Apple-style-span" style="background-color: yellow;">My Foot My Tutor</span></u><span class="Apple-style-span" style="background-color: yellow;">; and the early reviewers not all their names are readily at tip of tongue, Erika Monk, Gordon Rogoff I think, folks around TDR at the time, at Yale Drama Review and School, and it spread across the country from there.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Clive Barnes of the New York Times, evidently uncomprehending of the razzmatazz of the piece and Handke’s intention in withholding any kind of story in </span><u><span class="Apple-style-span" style="background-color: yellow;">Ride Across Lake Constance</span></u><span class="Apple-style-span" style="background-color: yellow;">’s Lincoln Center Vivian Beaumont premiere, however, decided to fence straddle, and </span><u><span class="Apple-style-span" style="background-color: yellow;">Ride</span></u><span class="Apple-style-span" style="background-color: yellow;"> received its finest review in the Windy City in one unwinded line, by a woman, who simply said: “Experience it and then describe it [your experience]” is as good a way to approach Handke and better than anything categorical. The experience of course was totally opposite of the usual theater; the very notion of “experiencing” had also been articulated at that time by one of Susan Sontag’s early essays; whose later one, on “Illness as Metaphor” articulated a point that Handke demonstrated in yet another of the early pieces that confine themselves to the exclusive self-presentation of word series, the 1965 </span><u><span class="Apple-style-span" style="background-color: yellow;">Prophecy</span></u><span class="Apple-style-span" style="background-color: yellow;"> which demolished metaphor and simile as a lazy way of thinking and experiencing… until around 1996, in the novel </span><u><span class="Apple-style-span" style="background-color: yellow;">One Dark Night I Left My Silent House,</span></u><span class="Apple-style-span" style="background-color: yellow;"> Handke found a way of carefully and powerfully re-introducing these means into, anyhow, his usage. That neither Sontag nor Handke’s language critique has had a salutary effect on our politicians and editorialists goes without… What would I have coursing around Leopold Bloom’s noggin occurs to me occasionally when I think on how Joyce would do it now. The first long serious essay in American on Handke’s work in the theater was Richard Gilman’s inclusion of Handke as one of the greats of the </span><u><span class="Apple-style-span" style="background-color: yellow;">The Making of Modern Drama</span></u><span class="Apple-style-span" style="background-color: yellow;">. Dick and I became friends over Handke and Kroetz where he would write a fine introduction, but then</span></span></b><b><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"> </span></span></b><b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">had an ongoing never resolved argument on the Wittgensteinian in Handke’s </span><u><span class="Apple-style-span" style="background-color: yellow;">Ride</span></u><span class="Apple-style-span" style="background-color: yellow;">, where my point always was that the </span><i><u><span class="Apple-style-span" style="background-color: yellow;">use</span></u></i><span class="Apple-style-span" style="background-color: yellow;"> of Wittgensteinian and similar ways of querying language and actions in theater, plus comedy type routines, and</span><i><u><span class="Apple-style-span" style="background-color: yellow;">reading </span></u><span class="Apple-style-span" style="background-color: yellow;"></span></i><span class="Apple-style-span" style="background-color: yellow;">Wittgenstein are two very different matters with different effects and intentions: one introduces skepticism, clarity, distinctions; the other has a cleansing effect in ridding the mind of patterns of thinking and experiencing [perhaps not that different?]. Gilman wrote his piece without having experienced the effect that the pieces have on an audience and, to the best of my knowledge, did not address Handke’s later plays, not that anyone else in the miserable world of American theater has either. </span><u><span class="Apple-style-span" style="background-color: yellow;">Kaspar </span></u><span class="Apple-style-span" style="background-color: yellow;">won two Obies in New York one as the best new foreign play and for Christopher Lloyd, the beginning of a great acting career. Lots of reviews and photos on line at:<o:p></o:p></span></span></b></div>
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<b><span style="background-attachment: scroll; background-clip: initial; background-image: none; background-origin: initial; background-position: 0% 50%; background-repeat: repeat repeat; font-size: 20pt;"><a href="http://www.handkedrama.scriptmania.com/" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.handkedrama.scriptmania.com</span></span></a></span></b><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><br />
and<br />
</span><b><span style="background-attachment: scroll; background-clip: initial; background-image: none; background-origin: initial; background-position: 0% 50%; background-repeat: repeat repeat;"><a href="http://www.handkelectures.freeservers.com/" style="text-decoration: none;" target="_blank"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.handkelectures.freeservers.com</span></span></a></span></b><span class="Apple-style-span" style="background-color: yellow;"> [the drama lecture]</span></span><b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">and here is something else I just came on:<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">http://books.google.com/books?id=BgrJ5Cm7IrUC&pg=PA133&lpg=PA133&dq=kaspar+actor&source=bl&ots=LYv_8ce1jb&sig=HbNSdpDjFX64Xaa42IcW6lYxgYE&hl=en&sa=X&oi=book_result&resnum=3&ct=result<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">These early reviews of these first plays were representative of the overall reception - occasional incomprehension, especially of a ritualized play, of the sadistic master slave relationship, without words but with sounds such as </span><u><span class="Apple-style-span" style="background-color: yellow;">My Foot My Tutor </span></u><span class="Apple-style-span" style="background-color: yellow;">and of</span><u><span class="Apple-style-span" style="background-color: yellow;">Ride,</span></u><span class="Apple-style-span" style="background-color: yellow;"> but positive by and large; where of course I suppose you cannot expect deep understanding of their musical structure, genuinely as opposed to of that time rather superficial revolutionary nature in being thought of as “in your face” still remains ununderstood here; or that Handke is a composer who lost his way into language. Performing and directing these works you sense the music of the spheres emanating from its extremely classical use of syntax. </span><u><span class="Apple-style-span" style="background-color: yellow;">Public Insult’s</span></u><span class="Apple-style-span" style="background-color: yellow;"> Insults at the end are really Haydn’s </span><u><span class="Apple-style-span" style="background-color: yellow;">Surprise Symphony </span></u><span class="Apple-style-span" style="background-color: yellow;">by other means, and the Dadaists and Surrealists had abused audiences from Berlin stages already during the 20s. Neither this nor any of Handke’s other plays are meant to “blow minds” as those whose minds were already in smithereens desired; and that all this “experiencing” would then spill over and out… Ah well…. Their rather specific aware-making quality bore affinity to the conceptualist “happening of the time” which however were not that formally “durch komponiert” [thoroughly composed]; or that they are conceptual works or that these early plays – from </span><u><span class="Apple-style-span" style="background-color: yellow;">Prophecy, Insults, Accusation, Cries for Help, Quodlibet, Tutor</span></u><span class="Apple-style-span" style="background-color: yellow;"> to </span><u><span class="Apple-style-span" style="background-color: yellow;">Ride</span></u><span class="Apple-style-span" style="background-color: yellow;">stand in a particular relationship to each other. Closest affinity that reviewers might have found is to early Ionesco, but I don’t think any of them did, and Handke is not any kind of absurdist, he stands in the tradition of enlightenment theater. He is the successor also to Brecht in an ambiguous ways, that all this aware making, what it amounts to I address in a separate note.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">It took Handke nearly thirty years to subsume the summa of the early dramatic play work in </span><u><span class="Apple-style-span" style="background-color: yellow;">The Hour We Knew Nothing of Each Other</span></u><span class="Apple-style-span" style="background-color: yellow;">, the sort of achievement that made me think that maybe there was something to Hegelian dialectics. The reviews starting in the 90s, of </span><u><span class="Apple-style-span" style="background-color: yellow;">Hour,</span></u><span class="Apple-style-span" style="background-color: yellow;"> memory can be so short, rarely connected that piece with the early ones. Some of the early plays are done now under the aegis of typical U.S. generational revivalitis, in this case of the 60s/70s.</span><u><span class="Apple-style-span" style="background-color: yellow;"></span></u></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">There were of course fine scholarly, and not so, explications of these texts: let </span><u><span class="Apple-style-span" style="background-color: yellow;">Germanisten</span></u><span class="Apple-style-span" style="background-color: yellow;"> loose on </span><u><span class="Apple-style-span" style="background-color: yellow;">Kaspar’s</span></u><span class="Apple-style-span" style="background-color: yellow;"> discernable structures and a heyday they will have! </span><u><span class="Apple-style-span" style="background-color: yellow;">Hour</span></u><span class="Apple-style-span" style="background-color: yellow;"> happens to be one of the very great texts in German in the last 100 or so years, it’s syntax as I keep saying takes your by your pony tail and never lets loose! an experience images themselves in succession cannot have, which point to the need of both together to achieve a really grasping effect on mind; the only thing comparable, textually, that comes to mind is Heiner Mueller’s </span><u><span class="Apple-style-span" style="background-color: yellow;">Quartet</span></u><span class="Apple-style-span" style="background-color: yellow;">. The infamy here is that Handke’s great and deep poetic plays</span><u><span class="Apple-style-span" style="background-color: yellow;">W.A.T.V.,</span></u><span class="Apple-style-span" style="background-color: yellow;"> </span><u><span class="Apple-style-span" style="background-color: yellow;">Art of Asking,</span></u><span class="Apple-style-span" style="background-color: yellow;"> </span><u><span class="Apple-style-span" style="background-color: yellow;">Preparations of Immortality </span></u><span class="Apple-style-span" style="background-color: yellow;">and </span><u><span class="Apple-style-span" style="background-color: yellow;">Canoe</span></u><span class="Apple-style-span" style="background-color: yellow;">have not been done in this country: it bespeaks a culture that is still that, or again that of the whore Hugh Selwyn Mauberly bemoaned these many years ago; and its pimps, I know a few of these forever let them in namelessness be forgotten, as they were and will be then also in Seattle.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">The 1974 </span><u><span class="Apple-style-span" style="background-color: yellow;">They Are Dying Out</span></u><span class="Apple-style-span" style="background-color: yellow;"> had its U.S. premiere in 1979 at the Yale Rep with a weak lead where the equivalent of Gerard Depardieu who played Quitt in France was required [i.e. Scott or equivalent] a dreadful Paula Tax and some hilariously one on one casting in Marianne Weber as the Quitt’s mad wife; otherwise, I at least, couldn’t have been happier with the players who all had a great time. But it is a weak piece in the sense that making Quitt’s problem, his coming out on top, the issue, it cops out on a dramatic resolution. Since </span><u><span class="Apple-style-span" style="background-color: yellow;">Dying</span></u><span class="Apple-style-span" style="background-color: yellow;"> is basically a Viennese Raimund type comedy, albeit with a continuing – from</span><u><span class="Apple-style-span" style="background-color: yellow;">Ride</span></u><span class="Apple-style-span" style="background-color: yellow;"> – linguistic, now business and leftist lingo, patter, it of course does not have “warm real living flesh and blood characters” that American reviewers asked for: it has types who are used as critical foils. But by</span><span class="Apple-style-span" style="background-color: yellow;"> </span><span class="Apple-style-span" style="background-color: yellow;">1979 the time for the play to cut with those quite sophisticated foils had passed. The most interesting part of the play occurs at the beginning of Act II where Quitt and his factotum Hans discuss the low down play they went to see with “real people” and where Handke, quoting Stifter, indicates that he will take the high poetic road from now on to make contact with his audience. See </span><u><span class="Apple-style-span" style="background-color: yellow;">Note # 28</span></u><span class="Apple-style-span" style="background-color: yellow;"> on the ultimately hideous Kroetz who is the playwright Handke has specifically in mind, aside all these lower depth plays.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">The early plays fit in with the cult of happenings and the general ethos of American avant garde procedures, though I keep being surprised that the high serious conceptual wing did not see how conceptualistic all these plays were – how right on the nose they pinned the butterfly of the king’s conscience; or their formalist procedures which not only enhance their playfulness but their intensity; my own favorite, aside </span><u><span class="Apple-style-span" style="background-color: yellow;">Ride</span></u><span class="Apple-style-span" style="background-color: yellow;"> and</span><u><span class="Apple-style-span" style="background-color: yellow;">Self-Accusation</span></u><span class="Apple-style-span" style="background-color: yellow;"> [which has nearly entered the college and off off repertory] being the rarely if ever performed </span><u><span class="Apple-style-span" style="background-color: yellow;">Cries for Help</span></u><span class="Apple-style-span" style="background-color: yellow;">, urMarxist existentialist, which has the kind from left field approach I like best, but that is me. I myself have written a tough piece on what it meant to translate them that at</span><a href="http://www.handketrans.scriptmania.com/" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.handketrans.scriptmania.com</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">With the great change in Handke from being purely critically aware-making, into a ambiguously affirmative stupendously poetic author, in </span><u><span class="Apple-style-span" style="background-color: yellow;">Walk About the Villages</span></u><span class="Apple-style-span" style="background-color: yellow;"> and the series of grand fable plays that followed up to an including the rather Brechtian/ Kipphardtish </span><u><span class="Apple-style-span" style="background-color: yellow;">Canoe</span></u><span class="Apple-style-span" style="background-color: yellow;">, this idiot’s optimism that American directors would follow a writer of such apparent genius into unknown reaches keeps being gravely disappointed. No realization that </span><u><span class="Apple-style-span" style="background-color: yellow;">Ride </span></u><span class="Apple-style-span" style="background-color: yellow;">might be done instead of doing the same Noel Coward over, to indicate that side of Handke, more manifest perhaps in</span><u><span class="Apple-style-span" style="background-color: yellow;">They Are Dying Out</span></u><span class="Apple-style-span" style="background-color: yellow;">, the comedy with “real” people, real types, that Handke if he had so been inclined has the virtuoso facility to have become a Coward kind of boulevardier. But, as one can also see from </span><i><span class="Apple-style-span" style="background-color: yellow;">Dying, </span></i><span class="Apple-style-span" style="background-color: yellow;">he was interested in more demanding endeavors and the laurel crown. Handke is the true successor, completer of the chief aspect of Brecht’s anti-Aristotelian theater, in that it achieves not transcendence nor apotheosis but catharsis without indulging in the pornography of violence of any kind, which however is the dark ground, background on which all of these works play for someone who calls himself with for once great self-understanding a “melancholy player.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">So much on that side of Handke’s work. Lots of reviews, an entire reception of a most formidable body of work yet to come??? Don’t bet on it in the American theater of any kind.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">[</span><i><u><span class="Apple-style-span" style="background-color: yellow;">B-The Prose</span></u></i><span class="Apple-style-span" style="background-color: yellow;">]<o:p></o:p></span></span></b></div>
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<b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">In general and also specifically<o:p></o:p></span></span></u></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Reviews of Handke’s first two prose texts to appear in the U.S. – </span><u><span class="Apple-style-span" style="background-color: yellow;">Goalie</span></u><span class="Apple-style-span" style="background-color: yellow;"> and </span><u><span class="Apple-style-span" style="background-color: yellow;">Short Letter Long Farewell</span></u><span class="Apple-style-span" style="background-color: yellow;"> were positive, too. Since neither of the first two novels and the early short texts from </span><u><span class="Apple-style-span" style="background-color: yellow;">Begrüssung des Aufsichtsrats</span></u><span class="Apple-style-span" style="background-color: yellow;"> but for a few are available in English the Handke reception is somewhat limited in its overall understanding of his development. I try to fix that a tad with a few notes and excerpts from these novels in the Note # 6 [p. ].<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">A lot of these and reviews from other language have been assembled at<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><a href="http://www.handkeprose.scriptmania.com/" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.handkeprose.scriptmania.com</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">there is even a site devoted to Romance language reception of Handke:<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><a href="http://www.handkeromance.scriptmania.com/" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.handkeromance.scriptmania.com</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">I had let </span><i><span class="Apple-style-span" style="background-color: yellow;">ancien amis </span></i><span class="Apple-style-span" style="background-color: yellow;">Frank Conroy have a look at my translation of </span><u><span class="Apple-style-span" style="background-color: yellow;">Goalie</span><i><span class="Apple-style-span" style="background-color: yellow;"> </span></i></u><span class="Apple-style-span" style="background-color: yellow;">and this pol in the making wangled himself a review of it in the NY Times where he properly found a few exceptions to my translation. No one could say that this was an inside job! I well recall John Rockwell’s review of </span><u><span class="Apple-style-span" style="background-color: yellow;">Short Letter</span></u><span class="Apple-style-span" style="background-color: yellow;"> which found it brilliant but terribly cold – and my offering him a puppy to take to bed. But these two books were taken up widely and might have been better understood if at least </span><u><span class="Apple-style-span" style="background-color: yellow;">Hausierer</span></u><span class="Apple-style-span" style="background-color: yellow;"> existed in English too. My fault entirely. When I had my own firm, or part of one, one of the other partner’s, who felt he had been dissed by Handke, objected to my wanting to do </span><u><span class="Apple-style-span" style="background-color: yellow;">Hausierer</span></u><span class="Apple-style-span" style="background-color: yellow;"> there; not that all the rest of U.S. publishing, except for Farrar, Straus which passed, hasn’t had a chance. So if you don’t read German: it exists in the Romance languages and Hornissen may too. Just check the web.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">More serious and sounder reviews would be forthcoming from Frank Kermode and Michael Wood in the New York review in the next few years, I have them on the prose site. As reviews went, they were pretty good, appreciative; except for my having this sense that the fellow had access to the music of the sphere, which I had acquired by directing the early pieces and working with Herbert Berghof and E.G. Marshall on them, I did not have a sense of where Handke would go, and that he sure was one odd fellow indeed, but then so were most of the geniuses I had or was to meet, Uwe Johnson, Sam Shepherd, Theodore Adorno.</span><u><span class="Apple-style-span" style="background-color: yellow;">Innerworld</span></u><span class="Apple-style-span" style="background-color: yellow;">, done at Continuum Books, in 1974, went over well, too; I am so embarrassed by my postscript: now I have made up for that miss by devoting some thought to the extraordinary being that tries to exteriorize itself.</span><i><span class="Apple-style-span" style="background-color: yellow;"> </span></i><span class="Apple-style-span" style="background-color: yellow;">I can’t say that anyone got that these books, aside being excrudences of Handke’s imagination and need and wish to write differently, were also projection screens. I as the translator of course understood them perfectly, if only I could say that! One short work after the other: </span><u><span class="Apple-style-span" style="background-color: yellow;">Sorrow Beyond Dreams</span></u><span class="Apple-style-span" style="background-color: yellow;">, was certainly Handke’s highpoint in the United States. </span><u><span class="Apple-style-span" style="background-color: yellow;">A Moment of True Feeling</span></u><span class="Apple-style-span" style="background-color: yellow;"> – that’s where the misunderstanding set in and you could see the inception of anything but close reading: I think everyone just about missed that </span><i><span class="Apple-style-span" style="background-color: yellow;">moment </span></i><span class="Apple-style-span" style="background-color: yellow;">– certainly Neil Gordon, who traces Handke’s change to </span><u><span class="Apple-style-span" style="background-color: yellow;">A Slow Homecoming</span></u><span class="Apple-style-span" style="background-color: yellow;">, did; so did that fast reader John Leonard surrounded in all photos by piles of books about to crush him. The change from Kafka bug to June bug was on the way! Love burst through! Indeed, one Kafka is quite enough, though a second Handke who could avail himself of what he has enabled… maybe another classic period of German literature… that would certainly be welcomed, and he or she may or they may be writing and publishing now but I am no longer nor will I ever be as well read in the contemporary literature as I was once upon a time. Handke impersonating the </span><u><span class="Apple-style-span" style="background-color: yellow;">Left-Handed Woman</span></u><span class="Apple-style-span" style="background-color: yellow;"> was read quite literally and was a big hit with the girls! The automatic writing notations that became </span><u><span class="Apple-style-span" style="background-color: yellow;">Weight of World</span></u><span class="Apple-style-span" style="background-color: yellow;"> did not seem to unduly disturb the hell out of anyone! As it did me! Then there was an awfully long pause since Farrar, Straus [see footnote # 12] in their benighted cheapness – my guess is that this was the doing of Handke’s and my nemesis at Farrar, Straus, the ass-licking stiletto man as I think of Michael DeCapua, then editor in chief, a low point in the firm’s career, in tandem with ever cheapskate Roger Straus, who reached that disastrous for the Handke reception decision - had decided to publish the first three works of Handke’s “Homecoming Period” -- </span><u><span class="Apple-style-span" style="background-color: yellow;">A Slow Homecoming Period</span></u><span class="Apple-style-span" style="background-color: yellow;">, </span><u><span class="Apple-style-span" style="background-color: yellow;">The Lesson of St. Victoire</span></u><span class="Apple-style-span" style="background-color: yellow;"> and </span><u><span class="Apple-style-span" style="background-color: yellow;">A Child’s Story</span></u><span class="Apple-style-span" style="background-color: yellow;"> in one volume… instead of sequentially, say in 1981, 82 and 83, as would have been proper; and which would have allowed to connect</span><u><span class="Apple-style-span" style="background-color: yellow;">A Slow Homecoming</span></u><span class="Apple-style-span" style="background-color: yellow;"> with its predecessor, </span><u><span class="Apple-style-span" style="background-color: yellow;">The Left-Handed Woman.</span></u><span class="Apple-style-span" style="background-color: yellow;">Instead, reviewers were faced with a volume of three very different works; which even lacked the fourth part of the “Home Coming” quartet, </span><u><span class="Apple-style-span" style="background-color: yellow;">Walk About the Villages.</span></u><span class="Apple-style-span" style="background-color: yellow;"> See note # 30, my attempt to see them as a unit. And that proved impossible no matter some fine responses to the novel </span><u><span class="Apple-style-span" style="background-color: yellow;">Homecoming</span></u><span class="Apple-style-span" style="background-color: yellow;">, I recall a fine New Republic Review, I think it is on the</span><a href="http://www.handkeprose.scriptmania.com/" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.handkeprose.scriptmania.com</span></span></a><span class="Apple-style-span" style="background-color: yellow;"> site. Farrar, Straus had done well with Handke. Kaspar was being reprinted just about once a year, they had sold paperback rights to the previous books. There was and is no excuse for that miserable publishing decision. Nor for failing to publish the successor to </span><u><span class="Apple-style-span" style="background-color: yellow;">Weight</span></u><span class="Apple-style-span" style="background-color: yellow;">,</span><u><span class="Apple-style-span" style="background-color: yellow;">Die Geschichte des Bleistifts</span></u><span class="Apple-style-span" style="background-color: yellow;"> [The History of the Pencil/ L’histoire de crayon] which whose chiefly workbook side would have shown those who were interested the direction was taking and also why and that his thinking was, so that there are least there would be less of an excuse for all many numbskull reviewers being so puzzled by rake’s metamorphoses.</span><i><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></i></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">The mythic calmness that began to infuse the calmed down Handke with </span><u><span class="Apple-style-span" style="background-color: yellow;">Left-Handed Woman </span></u><span class="Apple-style-span" style="background-color: yellow;">might of course have given reviewers pause, but how many reviewers are there, or review editors, who keep even a native rake’s much less a foreign one’s mood progress in mind or puzzle out reasons for it, which in this instance was staring the reader in the face in that “moment” in</span><u><span class="Apple-style-span" style="background-color: yellow;">A Moment of True Feeling.</span></u><span class="Apple-style-span" style="background-color: yellow;"> The by and large poor reception of Handke’s subsequent work was not helped in that FSG failed to publish the successor volume to </span><u><span class="Apple-style-span" style="background-color: yellow;">Weight of the World</span></u><span class="Apple-style-span" style="background-color: yellow;"> though they had done well with </span><u><span class="Apple-style-span" style="background-color: yellow;">Weight</span></u><span class="Apple-style-span" style="background-color: yellow;">, for this successor becomes a work book that would have told Handke’s audience what he was up to, especially with </span><u><span class="Apple-style-span" style="background-color: yellow;">Walk About the Villages</span></u><span class="Apple-style-span" style="background-color: yellow;">. Handke must have had perhaps close to a dozen different editors at that house, mediocre by compare not just with Handke’s chief German but with his French and Spanish and Italian publisher, and others too most likely, Portuguese I think. And probably Serbo-Croat.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Then came the 1884 </span><u><span class="Apple-style-span" style="background-color: yellow;">Across</span></u><span class="Apple-style-span" style="background-color: yellow;"> around 1987 in the U.S.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><img border="0" height="191" shapes="_x0000_i1025" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image002.jpg" width="269" /><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Here a photo of my subject with his inamorata Marie Colbin with a group of folks on the Mönchsberg, boy is she pretty and he did meet her on a bridge, but on bridge across the Salzach not the Rio Grande! And am I ever glad that I didn’t introduce him to the dark-haired beauty I was with in 1979 in Paris.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Folks start talking about p.m.s. instead of responding! </span><u><span class="Apple-style-span" style="background-color: yellow;">The Repetition</span></u><span class="Apple-style-span" style="background-color: yellow;">, a very different book really from all the others, an excerpt ran in “The New Yorker,” had a fabulous review in the Guardian, and good enough overall in the U.S. I’ve already mentioned the stupidity that Auntie [the Grey Lady] committed in N.Y. </span><u><span class="Apple-style-span" style="background-color: yellow;">The Afternoon of a Writer</span></u><span class="Apple-style-span" style="background-color: yellow;"> had one of several other slovenly reviews from the intellectually so lazy John Updike in the New Yorker. I already have brief comment on the by and large favorable but also mystified reception of </span><u><span class="Apple-style-span" style="background-color: yellow;">Absence</span></u><span class="Apple-style-span" style="background-color: yellow;"> [see a text excerpt at Note # 23] but let me repeat: Not a single reviewer nationwide had the eerie reading experience of </span><u><span class="Apple-style-span" style="background-color: yellow;">Absence</span></u><span class="Apple-style-span" style="background-color: yellow;"> as experiencing a film! And what if they had caught on, been sufficiently sensitive as readers to be alert to that dimension back then? No critique that caught on to some of Handke’s evasions, mystifications in AMTF and ACROSS. A lot of p.m.s. [post mentrualist] verbiage starts creeping into the reception around the time of </span><u><span class="Apple-style-span" style="background-color: yellow;">Across</span></u><span class="Apple-style-span" style="background-color: yellow;">; and real disasters occur even prior to Handke becoming controversial with his so different take on the disintegration of Yugoslavia.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><u><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Three Assayings</span></span></u></b><b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"> I already mention in the main text as I do </span><u><span class="Apple-style-span" style="background-color: yellow;">No-Man’s Bay, </span></u><span class="Apple-style-span" style="background-color: yellow;">the one time that Handke has received a review from one of his peers in this country, William Gass, in the L.A. Times when it was edited by Steve Wasserman. Steve Siegel and J.L. Marcus I decimate at length at<o:p></o:p></span></span></b></div>
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<b><a href="http://www.handkeprose.scriptmania.com/" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.handkeprose.scriptmania.com/</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">The reviews of </span><u><span class="Apple-style-span" style="background-color: yellow;">Winter’s Journey </span></u><span class="Apple-style-span" style="background-color: yellow;">were devastatingly uncomprehending by the uniformly media-washed bien pênsant, except by my Trotskyite friends at the</span><a href="http://www.wsws.org/index.shtml" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.wsws.org/index.shtml</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">but since all that is treated in the Yugoslavia Note [#2] I will not beat this horse once again.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Outstanding reviews: I can only think of a single one in all these years, William Gass’s in the L.A. Times, favorable impressionistic inarticulations there were quite a few. Incomprehension and the inability to react to and report or insensitivity to the experience of reading these text is in the ascendance. On the one hand the gobbledygook from the turkeys in academia, on the other the nefariousness of reviewers ill-picked by a succession<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">The response to </span><u><span class="Apple-style-span" style="background-color: yellow;">One Dark Night I Left My Silent House</span></u><span class="Apple-style-span" style="background-color: yellow;">, the novel subsequent to</span><u><span class="Apple-style-span" style="background-color: yellow;"> No-Man’s-Bay</span></u><span class="Apple-style-span" style="background-color: yellow;">, surprise, surprise, just to prove me wrong, received uniformly favorable but also surprisingly comprehending reception from a host of reviewers and review organs, Kai Maristad the NY Times, Benjamin Kunkel in the</span><i><span class="Apple-style-span" style="background-color: yellow;">Village Voice, </span></i><span class="Apple-style-span" style="background-color: yellow;">Mark Levine brilliant in Cosmo of all damn places, the idiot J.L. Marcus of the NYRB is still looking for signs of pro-Serbian sentiment and keeps missing those wrecked blue and white U.N. trucks that “the pharamacist’s” wish fulfillment sees being dragged north on the Austrian Autobahn! Richard Bernstein I forgot where right now but he too received a note of appreciation from yours truly.<o:p></o:p></span></span></b></div>
<pre style="margin-left: -27pt; text-align: center;"><b><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">=III=<o:p></o:p></span></span></b></pre>
<pre style="margin-left: -27pt; text-align: center;"><b><span style="font-size: 20pt;"><o:p><span class="Apple-style-span" style="background-color: yellow;"> </span></o:p></span></b></pre>
<pre style="margin-left: -27pt;"><b><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"> With that we come to the focus of my rambles: </span><i><u><span class="Apple-style-span" style="background-color: yellow;">Del Gredos</span></u><span class="Apple-style-span" style="background-color: yellow;"> </span></i><span class="Apple-style-span" style="background-color: yellow;">which received the customary “masterpiece” from Erich Wolfgang Skwara in The International Review of Literature, and if you get to know Skwara a little as I once did it will not be all that long that this sometimes first rate writer allows that he thinks he’s really the better of the two! The country being as lousy as it is, he’s had four novels published by Ariadne Press and if he has received a sing;e review I sure haven’t seen it. Not his fault of course but his publisher which doesn’t even send galleys to Publisher’s Weekly or Library Journal [yes, folks, that too exists!]<o:p></o:p></span></span></b></pre>
<pre style="margin-left: -27pt;"><b><span style="font-size: 20pt;"><a href="http://www.ariadnebooks.com/" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.ariadnebooks.com/</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></pre>
<pre style="margin-left: -27pt;"><b><span style="font-size: 20pt;"><o:p><span class="Apple-style-span" style="background-color: yellow;"> </span></o:p></span></b></pre>
<pre style="margin-left: -27pt;"><b><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">One splendid review, in the Washington Post, from the Canadian novelist Vanderhaege <o:p></o:p></span></span></b></pre>
<pre style="margin-left: -27pt;"><b><i><span style="font-size: 20pt;"><a href="http://www.washingtonpost.com/wp-dyn/content/article/2007/07/26/AR2007072601638.html" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.washingtonpost.com/wp-dyn/content/article/2007/07/26/AR2007072601638.html</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></i></b></pre>
<pre><b><i><span style="font-size: 20pt;"><o:p><span class="Apple-style-span" style="background-color: yellow;"> </span></o:p></span></i></b></pre>
<pre style="margin-left: -27pt;"><b><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">something positive but not as good a reading in the L.A. Times Book Review<o:p></o:p></span></span></b></pre>
<pre style="margin-left: -27pt;"><b><span style="font-size: 20pt;"><o:p><span class="Apple-style-span" style="background-color: yellow;"> </span></o:p></span></b></pre>
<pre style="margin-left: -27pt;"><b><i><span style="font-size: 20pt;"><a href="http://www.latimes.com/features/books/la-bk-mcgonigle8jul08,0,2189379.story?coll=la-books-headlines" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.latimes.com/features/books/la-bk-mcgonigle8jul08,0,2189379.story?coll=la-books-headlines</span></span></a></span></i></b><b><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></pre>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">several shorter favorable notices, and a crucially stupid review from a Neil Gordon in the N.Y. Times:<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><a href="http://www.nytimes.com/2007/08/19/books/review/Gordon-t.html?pagewanted=2&_r=1&ref=books" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.nytimes.com/2007/08/19/books/review/Gordon-t.html?pagewanted=2&_r=1&ref=books</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">and here is my letter to its Book Review section:<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">“It is time readers of the New York Times Book Review were made aware of Handke, the prose writer, having gone through something like half a</span><i><span class="Apple-style-span" style="background-color: yellow;"> dozen changes. Starting of as a supremely playful demonstrator of the quelling of anxiety in his first three novels, only the third, GOALIE [1969], exists in English [in my translation], his nausea, once including words [he now fondles them] is not like Sartre's idea-driven kind, but has psychosomatic origins; is the nausea produced by what for him is "the ugly;" no matter that it hits the same nerve. And that his hyper-sensitivities are uniquely his. If Mr. Gordon were as exacting as he says Handke is, he might have noticed that Handke already shifted to a more open hearted mytho-poeic, but equally if not more exacting, position in the 1976 LEFT HANDED WOMAN, [whose personae resembles that of the woman subject of the current DEL GREDOS] the book just preceding A SLOW HOMECOMING, whose Alaska section must be one of the most articulated responses to nature in world literature for its selectivity in naming. What entered Handke's writing shortly after HOMECOMING, in THE LESSON OF ST. Victoire, was the pictorial Cezanne re-arrangement of reality {"Close your eyes and see the world arise anew", the opening sentence of his 1984 Salzburg novel ACROSS, provides a hint.} With THE REPETITION [1987, "retrieval"] a book fabulously praised in The Guardian, the promised re-write of both his first novel, DIE HORNISSEN [1966], and of SORROW BEYOND DREAMS [1972 – Gordon even manages to find a negative take on Handke's emotionally most immediately accessible highly praised book], Handke's search ["I want to be someone like somebody else was once" KASPAR, 1968; OBIE 1972] rearranged his roots in his Slovenian grandfather and uncles' region; which provides a hint to the unnecessarily baffled Professor Gordon why Handke might prefer a continuous existence of the Yugoslav Federation over its decimation into small consumer entities; his defense of the Serbs and Milosevic against the more customary "one devil" theory of history and journalism. With the three narratives in THREE ESSAYS [especially ON THE JUKE-BOX, 1989], culminating in the six-sided weaving self-portrait of himself - as the once nauseated ex-cultural attaché Keuschnig [of 1974 A MOMENT OF TRUE FEELING], as writer, painter-filmmaker, priest, stone mason, super-finicky misanthropic restaurateur, and reader, in the 1994 magnum opus ONE YEAR IN THE NO-MAN'S BAY, Handke demonstrated for stretches – he is the greatest of exhibitionists – the capabilities of narrative as pure writing music image, as he did already in the 1986 ABSENCE, a narrative that a reader experiences like film. Subsequent to NO-MAN'S-BAY he then demonstrated that you could zoom like a camera, in the 1996 ONE DARK NIGHT I LEFT MY SILENT HOUSE, into the mind of an apothecary, in the improbably named, Salzburg suburb Taxham, and make that fellow's dream syntax absorb the readers' projections, a feat worthy of the Joyce of FINNEGAN FUNAGAIN; and in his 2005 DON JUAN, the fugueing novella that followed the 2003 GREDOS he showed that you could write both forward and backward in time while standing in one place. - I know it is all a little much, the fellow just turned 65 and has published 60 books, and sometimes I wish I'd never set eyes on him, but he can't help it, he must write to stay healthy; his symptom is his salvation. And it is that of real readers whose minds his self-state inducing work opens up. It matters little that the so other-opinion-oriented Mr. Gordon's search for "opinions" yields so little of note; or that Handke is the whipping boy of miserable reviewers chosen by overly busy editors. Gordon has searched poorly. REPETITION and NO-MAN'S BAY are regarded, rightly I think, as two of the great novels of the past hundred years, e.g. William Gass's estimate of them. Since Gordon cites the Book Forum</span></i></span></b><i><span class="Apple-style-span" style="background-color: yellow;"> </span></i><b><i><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">review:</span></span></i></b><i><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></i></div>
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<i><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></i></div>
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<i><a href="http://bookforum.com/inprint/issue=200703&id=264" style="text-decoration: none;"><b><span style="font-size: 20pt;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://bookforum.com/inprint/issue=200703&id=264</span></span></span></b></a></i><b><i><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></i></b></div>
<pre><b><i><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"> </span><span class="Apple-style-span" style="background-color: yellow;">*<o:p></o:p></span></span></i></b></pre>
<pre style="margin-left: -27pt;"><b><i><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">I would like to point out that as a professor of literature he might be aware of the classical tradition of Goethe, Stifter, Flaubert, Hermann Lenz and Bové in whose steps Handke, the last great walker on the earth, exerts himself as someone who is so infinitely of his medium's contemporaneous possibilities; and to sensitive responses in [as already listed above]. And the:<o:p></o:p></span></span></i></b></pre>
<pre style="margin-left: -27pt;"><b><i><span style="font-size: 20pt;"><o:p><span class="Apple-style-span" style="background-color: yellow;"> </span></o:p></span></i></b></pre>
<pre style="margin-left: -27pt;"><b><i><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">3] San Franciso Chronicle<o:p></o:p></span></span></i></b></pre>
<pre><b><i><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">> Crossing the Sierra de Gredos<o:p></o:p></span></span></i></b></pre>
<pre><b><i><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">> San Francisco Chronicle - CA, USA<o:p></o:p></span></span></i></b></pre>
<pre><b><i><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">></span><o:p><span class="Apple-style-span" style="background-color: yellow;"> </span></o:p></span></i></b></pre>
<pre><b><i><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">> as well as to sites and blogs I and others run on Handke, accessible<o:p></o:p></span></span></i></b></pre>
<pre><b><i><span lang="ES" style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">></span><o:p><span class="Apple-style-span" style="background-color: yellow;"> </span></o:p></span></i></b></pre>
<pre><b><i><span lang="ES" style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">> via: </span></span></i></b><b><i><span style="font-size: 20pt;"><a href="http://www.handke.scriptmania.com/" style="text-decoration: none;"><span lang="ES"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.handke.scriptmania.com</span></span></span></a></span></i></b><b><i><span lang="ES" style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></i></b></pre>
<pre><b><i><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">></span><o:p><span class="Apple-style-span" style="background-color: yellow;"> </span></o:p></span></i></b></pre>
<pre style="margin-left: -27pt;"><b><i><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"> These not only contain a wealth of material, but there Handke, his own severest critic, also is critiqued on his own terms; and flinches at every lash of the whip! Gordon's reading of DEL GREDOS shows me that he is the wrong reader, that is a non-reader, responder for this book, written in large part to memorialize, salvage a landscape. He bristles at being shook up.<o:p></o:p></span></span></i></b></pre>
<pre><span style="font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">></span><b><o:p><span class="Apple-style-span" style="background-color: yellow;"> </span></o:p></b></span></pre>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">The nadir of 40 some years of being published in the U.S. and having 20 some of his 65 works published here comes fittingly from the </span><u><span class="Apple-style-span" style="background-color: yellow;">American Innerest</span></u><span class="Apple-style-span" style="background-color: yellow;"> as GH Bush used to pronounce it </span></span></b><b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">[“we create our own reality. And while you're studying that reality - judiciously, as you will - we'll act again, creating other new realities, which you can study too, and that's how things will sort out. We're history's actors.... and you, all of you, will be left to just study what we do. We say what reality is.”]first in the once lustrous American Scholar</span><a href="http://www.theamericanscholar.org/the-apologist" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.theamericanscholar.org/the-apologist</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">the second time going after Handke in the </span><u><span class="Apple-style-span" style="background-color: yellow;">Weekly Standard</span></u><span class="Apple-style-span" style="background-color: yellow;">.</span><a href="http://www.weeklystandard.com/check.asp?idArticle=14548&r=fgpba" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.weeklystandard.com/check.asp?idArticle=14548&r=fgpba</span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">but accessible for free at </span><a href="http://www.aldaily.com/" style="text-decoration: none;" target="_blank"><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%; background-repeat: repeat repeat; font-family: "times new roman";"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.aldaily.com/</span></span></span></a><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">probably in their 2007 archive</span><span class="Apple-style-span" style="background-color: yellow;"> </span><span class="Apple-style-span" style="background-color: yellow;">is a certain Michael McDonald, supposedly a not just, but literary, counselor who has been working on a biography of Malaparte since his days in high school. No wonder the country is in the shape that it is in. The first time he charged Handke with committing Robbe-Grillet using a paragraph quoted by John Updike as an authority without it appears being familiar with any of Handke’s other work or the fact that among the several hundred books and dissertations written about Handke’s 65 five books and plays, one deals specifically with that topic but with a completely different book where Robbe-Grillet served as kind of grid, namely</span><i><span class="Apple-style-span" style="background-color: yellow;"> Der Hausierer.</span></i><span class="Apple-style-span" style="background-color: yellow;"> If McDonald only had the talent to be influenced by Robbe-Grillet this poor sod of a hired gun for </span><i><span class="Apple-style-span" style="background-color: yellow;">The American Innerest</span></i><span class="Apple-style-span" style="background-color: yellow;"> and </span><i><span class="Apple-style-span" style="background-color: yellow;">The Weekly Standard</span></i><span class="Apple-style-span" style="background-color: yellow;"> [which is quite capable at times of doing perfectly fine reviewing] when it is not in need of </span><i><span class="Apple-style-span" style="background-color: yellow;">Stürmer</span></i><span class="Apple-style-span" style="background-color: yellow;">-like tendentiousness, but this great “humanity hyena” [you find them outdoing each other on both sides of the aisle] thinks Handke’s three dystopias are a Chomskian utopia, whatever that might be, evidently the chap is blind or speed-reads {?} lives in an inverted world of his own making {?}. There is a connection between Handke and Chomsky, but it is via the former’s language education play </span><u><span class="Apple-style-span" style="background-color: yellow;">Kaspar</span></u><span class="Apple-style-span" style="background-color: yellow;">; however dear Naom has not read what he too helped whelp – I mean it is just a guess of mine that Handke also read Chomsky in the late Sixties, but</span><u><span class="Apple-style-span" style="background-color: yellow;">Kaspar</span></u><span class="Apple-style-span" style="background-color: yellow;"> obviates a lot of reading of difficult technical prose in linguistics.</span><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">I wouldn’t carry on about that infamy McDonald were it not that his first piece was published by Wilson the current editor of </span><i><span class="Apple-style-span" style="background-color: yellow;">The American Scholar</span></i><span class="Apple-style-span" style="background-color: yellow;">, which, like the </span><i><span class="Apple-style-span" style="background-color: yellow;">American Innerest</span></i><span class="Apple-style-span" style="background-color: yellow;"> has gone to the dogs; or that if both McDonald’s pieces had not given wide circulation by Dennis {“Le Mouton”] Dutton of Artsdaily</span><a href="http://www.aldaily.com/" style="text-decoration: none;" target="_blank"><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%; background-repeat: repeat repeat; font-family: "times new roman";"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.aldaily.com/</span></span></span></a><span class="Apple-style-span" style="background-color: yellow;"> who is well aware of other more perceptive reviews, if he too, who claims Kant as his patron saint, [Pauvre Immanuel!] were not part of the vilest group of piler-ons that has been whelped in some time, since the Nazi days I would say. No need for Hegelian formulations I don’t think. Swine. Little swine with small stiletto tusks, editors, cuntellas, if you follow artsdaily for a while, run under the aegis of the American Chronicle of Higher Education no less, you notice how our mutton chisels when it comes to providing a sense of spectrum, especially since he often does in matters where his ideology is not at stake. If these conservatives only knew how conserving and conservative the innovative Handke was it might give the movement some substance.<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Last and least, on par with McDonald, searching for reviews I had missed brought up John Leonard’s in Harper’s, which elicited the following nasty letter from me:<o:p></o:p></span></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">“</span><i><span class="Apple-style-span" style="background-color: yellow;">Quite belatedly, while doing the "U.S. Handke-Reception" footnote of my "Musings about Handke's Prose on the occasion of his Crossing the Sierra del Gredos" [on line at: </span><span style="background-attachment: scroll; background-clip: initial; background-image: none; background-origin: initial; background-position: 0% 50%; background-repeat: repeat repeat;"><a href="http://handke-discussion.blogspot.com/" style="text-decoration: none;" target="_blank"><span style="font-family: "times new roman";"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://handke-discussion.blogspot.com/ </span></span></span></a></span></i></span></b><i><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;"><br />
</span><b><span class="Apple-style-span" style="background-color: yellow;">I happened on the now deceased John Leonard's review of </span><u><span class="Apple-style-span" style="background-color: yellow;">Del Gredos</span></u><span class="Apple-style-span" style="background-color: yellow;"><br />
</span><a href="http://www.harpers.org/media/free/2008/JohnLeonard/HarpersMagazine-2007-08-0081651.pdf" style="text-decoration: none;"><span style="font-family: "times new roman";"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: yellow;">http://www.harpers.org/media/free/2008/JohnLeonard/HarpersMagazine-2007-08-0081651.pdf</span></span></span></a><span class="Apple-style-span" style="background-color: yellow;"><br />
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and the there perpetrated infamies require a response, correction, even at this late date, working backwards in order of the ignorance and lies that this review contains:<br />
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1] As to Mr. Handke's denying or excusing Srebrenice: that is of course why he has a surrogate for himself<br />
exclaim over and over, in "A Summer's Follow Up" [</span><u><span class="Apple-style-span" style="background-color: yellow;">Sommerlicher Nachtrag</span></u><span class="Apple-style-span" style="background-color: yellow;">] at S., which he visited at least a dozen times: "I don't want to be a Serb!"<br />
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2] As to "A Winter's Journey" being "agitprop", Mr. Leonard's ability to read in anything but the simplest of U.S. and bién pênsant approved propaganda terms is not only confirmed by his take on "A Winter's Journey", intentionally written in poetic and not in the usual categories, as is Leonard's entirely superficial response to "Del Gredos." Mr. Leonard hadn't understood what Handke did since the beginning when he praised him, nor subsequently, as his various ignorant responses [also, in </span><u><span class="Apple-style-span" style="background-color: yellow;">The Nation</span></u><span class="Apple-style-span" style="background-color: yellow;">] demonstrated to me.<br />
<br />
The most simplified down version of what is known as the "Handke-Yugoslavia Affair"<br />
I have in Footnote 2 of the above[ that is this book]<o:p></o:p></span></b></span></i></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">Evidently Leonard is stumped by 480 pages, and fails to ascertain that he is meant to read a book that normally would be between 750 and a 1000 pages if its publisher did not try to save money at the cost of readers’ eyesight. Known as an astute reader, he wastes that reputation in this instance. He resorts to a bit of plot summary where plot is the least of it; and then he expresses his general disenchantment with P.M.S. as I call it. Let’s hope he has more time in reviewers hell heaven or limbo wherever his soul wafts.</span><i><span class="Apple-style-span" style="background-color: yellow;"><o:p></o:p></span></i></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20pt;"><span class="Apple-style-span" style="background-color: yellow;">And on that sorrowful note, </span><u><span class="Apple-style-span" style="background-color: yellow;">finito</span></u><span class="Apple-style-span" style="background-color: yellow;"> for this very long footnote.<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-36070900.post-20167235527314380602010-05-29T19:10:00.000-07:002016-04-03T20:07:29.104-07:00INDEX PAGE FOR THIS AND ALL OTHER HANDKE-BLOGS AND HANDKE-SCRIPTMANIA SITES<b>http://handke-discussion.blogspot.com/2013/04/handkes-reality-surfeit-versus-david.html</b><br />
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<b>http://handke-discussion.blogspot.com/2012/12/comments-on-nyu-deutsches-haus-handke.html</b><br />
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<b>http://handke-discussion.blogspot.com/2010/12/marie-colbin-review-of-herwigs-meister.html</b><br />
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<b><span style="font-size: 13.5pt;"><a href="http://handke-discussion.blogspot.com/2010/11/roloff-review-of-malte-herwigs-meister.html">http://handke-discussion.blogspot.com/2010/11/roloff-review-of-malte-herwigs-meister.html</a></span></b></div>
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<big><b><a class="moz-txt-link-freetext" href="http://handke-discussion.blogspot.com/2010/11/malte-herwigs-handke-biography-meister.html"><span style="font-size: small;">http://handke-discussion.blogspot.com/2010/11/malte-herwigs-handke-biography-meister.html</span></a></b></big></div>
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<span class="Apple-style-span" style="font-family: "arial";"><b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><u><span lang="FR" style="background-attachment: scroll; background-image: none; background-position: 0% 0%; font-family: "arial";"><b><span class="Apple-style-span" style="background-color: lime;">INTRA-LINK PAGES FOR ALL HANDKE-BLOGS AND</span></b></span></u></span></span></b></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><u><span lang="FR" style="background-attachment: scroll; background-image: none; background-position: 0% 0%; font-family: "arial";"><b><span class="Apple-style-span" style="background-color: lime;">HANDKE.SCRIPTMANIA SITES</span></b></span></u></span></span></b></span><br />
<span class="Apple-style-span" style="font-family: "arial";"><b><span class="Apple-style-span" style="font-family: "arial";"><u>first for this handke-discussion blog</u></span></b></span></div>
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<b><a href="http://www.handkeprose.scriptmania.com/"><span class="Apple-style-span" style="background-color: yellow;"><span class="Apple-style-span" style="color: black;">http://www.handkeprose.scriptmania.com/</span></span></a></b></div>
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<b><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;"><a href="http://www.handkeprose.scriptmania.com/"></a></span></span><a href="http://handkescholar.scriptmania.com/custom2.html"><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;">http://handkescholar.scriptmania.com/custom2.htm</span></span><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;">l</span></span></a></b><br />
<b><span style="background-color: yellow;">This site and the various handke blogs</span></b><br />
<b><span style="background-color: yellow;"><br /></span></b>
<b><span style="background-color: yellow;"><big><b><big><span style="font-family: "arial";"><big><big><span class="Apple-style-span" style="font-size: small;"><br /></span></big></big></span></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">1]</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">]</span></span></a></big></b></big><a href="http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html</span></span></big></b></big></a></span></b><br />
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<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"><span style="background-color: lime;">http://handke-discussion.blogspot.com/2010/11/malte-herwigs-handke-biography-meister.html</span></span></span></big></b></big></span></b><br />
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<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span></big></b></big><big><b><big><big><big><span class="Apple-style-span" style="font-size: small;"><br /></span></big></big><span class="Apple-style-span" style="font-size: small;"><br /></span></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2010/04/most-remarkable-prose-poem-that-ought.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">2] http://handke-discussion.blogspot.com/2010/04/most-remarkable-prose-poem-that-ought.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: #d0e0e3;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/10/note-on-cuckooks-of-velica-hoca.html" style="background-color: #d0e0e3;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">3] http://handke-discussion.blogspot.com/2009/10/note-on-cuckooks-of-velica-hoca.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/11/few-commments-on-handke-tale-kali.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">4] http://handke-discussion.blogspot.com/2009/11/few-commments-on-handke-tale-kali.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: #ea9999;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/12/morawian-night-tough-love-for-peter_22.html" style="background-color: #ea9999;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">5] http://handke-discussion.blogspot.com/2009/12/morawian-night-tough-love-for-peter_22.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/12/letter-to-robert-silvers-ny-review-of.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">6] http://handke-discussion.blogspot.com/2009/12/letter-to-robert-silvers-ny-review-of.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2010/01/letter-to-david-remnick-at-new-yorker.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">7] +http://handke-discussion.blogspot.com/2010/01/letter-to-david-remnick-at-new-yorker.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2010/03/handke-reader-under-discussion.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">8] http://handke-discussion.blogspot.com/2010/03/handke-reader-under-discussion.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/06/best-handke-books.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">9] http://handke-discussion.blogspot.com/2009/06/best-handke-books.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">10] http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/09/peter-handke-wounded-love-child.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">11] http://handke-discussion.blogspot.com/2009/09/peter-handke-wounded-love-child.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/06/part-ii-handke-psycho-bio-memoir.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">12] http://handke-discussion.blogspot.com/2009/06/part-ii-handke-psycho-bio-memoir.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/06/scott-abbotts-bar-raising-comment-on.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">13] http://handke-discussion.blogspot.com/2009/06/scott-abbotts-bar-raising-comment-on.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">14] http://handke-discussion.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: cyan;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html" style="background-color: cyan;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">15] http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2008/08/just-little-excerpt-re-mcdonald-from.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">16] http://handke-discussion.blogspot.com/2008/08/just-little-excerpt-re-mcdonald-from.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2007/08/ny-times-murders-handke-once-again.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">17] http://handke-discussion.blogspot.com/2007/08/ny-times-murders-handke-once-again.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2007/12/yes-page-of-handke-day-with-your-apple.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">18] http://handke-discussion.blogspot.com/2007/12/yes-page-of-handke-day-with-your-apple.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: lime;"><br /></span><a href="http://handke-discussion.blogspot.com/2008/02/london-reviews-of-handkes-hour.html" style="background-color: lime;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">19] http://handke-discussion.blogspot.com/2008/02/london-reviews-of-handkes-hour.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2008/09/handke-withdraws-from-competition.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">20] http://handke-discussion.blogspot.com/2008/09/handke-withdraws-from-competition.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><a href="http://handke-discussion.blogspot.com/2009/03/resume-of-handke-case.html" style="background-color: magenta;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">21] http://handke-discussion.blogspot.com/2009/03/resume-of-handke-case.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span></big></b></big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><big><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"><big></big></span></span></b></big></a><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">22</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html</span></span></a><a href="http://handke-discussion.blogspot.com/2007/03/4-mireille-handkes-sense-of-place.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">\</span></span></a><span class="Apple-style-span" style="font-size: small;"><br /></span></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">23</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/4-mireille-handkes-sense-of-place.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/03/4-mireille-handkes-sense-of-place.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">24</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/02/part-3-weller-handkes-poetry-of-handke.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/02/part-3-weller-handkes-poetry-of-handke.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: cyan;"><br /></span></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">25</span></span></a></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/02/2-posting-wefelmeyer-handkes-drama.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/02/2-posting-wefelmeyer-handkes-drama.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">26</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/02/incremental-eventually-complete-essay.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/02/incremental-eventually-complete-essay.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">27</span></span></a></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2006/10/anouncement.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2006/10/anouncement.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">28</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/04/letter-to-phi-beta-kappa-members-re.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/04/letter-to-phi-beta-kappa-members-re.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br /></span></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">29</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><span class="Apple-style-span" style="font-size: small;"><a href="http://handke-discussion.blogspot.com/2007/03/b-c-reverse-of-initial-posting-of-open.html"><span class="Apple-style-span" style="background-color: #ffd966;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/03/b-c-reverse-of-initial-posting-of-open.html</span></span></a></span></big></b></big></span></b><br />
<b><span style="font-size: medium;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="background-color: cyan;">30] </span></span></big></b></big></span><span class="Apple-style-span" style="font-weight: normal;"><b></b></span></b><br />
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<b><b><a href="http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html"><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html</span></span></a></b></b><br />
<b><b><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;"><span style="background-color: yellow;">31}http://handke-discussion.blogspot.com/2010/09/neil-gordons-review-of-handkes-del.html</span></span></span></b></b><br />
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<big><span style="font-size: small;"><b> </b><b><u style="background-color: lime;">NEWS + LINKS</u></b></span></big></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b><u style="background-color: yellow;"><a href="http://handke--revista-of-reviews.blogspot.com/2013/08/essay-assaying-fool-for-mushrooms.html" style="color: #1155cc;" target="_blank">http://handke--revista-of-<wbr></wbr>reviews.blogspot.com/2013/08/<wbr></wbr>essay-assaying-fool-for-<wbr></wbr>mushrooms.html</a></u></b></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><u style="background-color: lime;"><a href="http://handke-discussion.blogspot.com/2010/12/full-length-review-of-herwigs-handke.html" style="color: #1155cc;" target="_blank">http://handke-discussion.<wbr></wbr>blogspot.com/2010/12/full-<wbr></wbr>length-review-of-herwigs-<wbr></wbr>handke.html</a></u></span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><b><u style="background-color: cyan;"><a href="http://handke-discussion.blogspot.com/2012/12/comments-on-nyu-deutsches-haus-handke.html" style="color: #1155cc;" target="_blank">http://handke-discussion.<wbr></wbr>blogspot.com/2012/12/comments-<wbr></wbr>on-nyu-deutsches-haus-handke.<wbr></wbr>html</a></u></b></span><br />
<b><span style="font-family: "times" , "times new roman" , serif;"><u style="background-color: cyan;"><br /></u></span>
<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: cyan;"><u>MORAVIAN NIGHTS</u></span></span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><b><u><i style="background-color: yellow;">one of these days FARRARM STRAUS will publish it!!!</i></u></b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: cyan;"><b><u><a href="http://moravian-nights-discussion.blogspot.com/2012/06/moravian-nights-discussion-blog-will-do.html" style="color: #1155cc;" target="_blank">http://moravian-nights-<wbr></wbr>discussion.blogspot.com/2012/<wbr></wbr>06/moravian-nights-discussion-<wbr></wbr>blog-will-do.html</a></u></b></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><b><span style="background-color: yellow;"><a href="http://www.handke.scriptmania.com/favorite_links_1.html" style="color: #1155cc;" target="_blank"><span style="color: black;">http://www.handke.scriptmania.<wbr></wbr>com/favorite_links_1.html </span></a></span></b></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><span style="font-family: "arial";"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><span style="background-color: red; color: black;">HANDKE-MAGAZINE </span></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: yellow;"><span style="color: black; font-size: medium;">is the hub for my Handke project,</span></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: yellow;"><span style="color: black;">for its half dozen </span><span style="background-color: lime;"><span style="color: black;">blogs</span></span><span style="color: black;"> and the dozen plus </span><span style="background-color: cyan;"><span style="color: black;">handke.scriptmania sites.</span></span></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: yellow;"><span style="color: black; font-size: medium;">It will have one page devoted to the content of</span></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: yellow;"><span style="color: black;">each blog and each </span><span style="background-color: cyan;"><span style="color: black;">handke.scriptmania </span></span><span style="color: black;">site</span></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: yellow;"><span style="color: black; font-size: medium;">with links to the content of each</span></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: yellow;"><span style="color: black; font-size: medium;">and one page devoted to links to other Handke</span></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: yellow;"><span style="color: black; font-size: medium;">material accessible via the WWW</span></span></span></span></u></b></span></span></span></span></span></span></span></div>
<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: lime;"><i><span style="color: black;">michael roloff</span></i><span style="color: black;">, 2014</span></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="color: black;"><br /></span></span></span></u></b></span></span></span></span></span></span></span></div>
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<span style="font-family: "arial"; font-size: small;"><b><span style="font-family: "times new roman"; font-size: 13.1944px;"><u><span style="font-size: large;"><span style="background-color: red;">The Hub, the Navel to Todos Handke!</span></span></u></span> </b></span><br />
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<span style="font-family: "arial"; font-size: small;"><span style="background-color: magenta;">=I= </span></span></b><br />
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<span style="font-family: "times new roman";"><big><big><big><span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 10.4167px;"><big><big><b><a href="http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html" style="color: #1155cc;" target="_blank"><span style="font-family: "courier new" , monospace;"><span style="background-color: yellow;"><span style="color: black;">http://handke-magazin.<wbr></wbr>blogspot.com/2010/06/handke-<wbr></wbr>magazine-is-over-arching-site.<wbr></wbr>html</span></span></span></a></b></big></big></span></big></big></big></span></div>
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<span style="font-family: "times new roman";"><big><span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 10.4167px;"><big><big><span style="font-size: 35px;"><b><span style="font-size: small;"><span style="font-family: "courier new" , monospace;"><span style="background-color: yellow;"><a href="http://www.handke.scriptmania.com/favorite_links_1.html" style="color: #1155cc;" target="_blank"><span style="background-color: #ea9999;"><span style="color: black;">http://www.handke.scriptmania.<wbr></wbr>com/favorite_links_1.html</span></span></a><span style="background-color: #ea9999;"> </span></span></span></span></b></span></big></big></span></big></span></div>
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<span style="font-family: "times new roman";"><big><span style="font-family: monospace; white-space: pre-wrap;"><span style="font-family: "arial"; white-space: normal;"><span style="font-family: "courier new";"><span style="font-size: small;"><b><u><span style="font-family: "arial"; font-size: large;"><span style="font-size: 19px; font-weight: normal;"><span style="background-color: lime;"><br /></span></span></span></u></b></span></span></span></span></big></span></div>
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<span style="font-family: "times new roman";"><big><span style="font-family: monospace; white-space: pre-wrap;"><span style="font-family: "arial"; white-space: normal;"><big><big><b><u><small><span style="font-size: small;"><span style="background-color: lime;"><span style="font-family: "courier new" , monospace;"> </span></span></span></small></u></b></big></big><a href="http://handke-watch.blogspot.com/2010/05/index-page-for-this-and-all-other.html" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><b><span style="background-color: lime;"><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://handke-watch.blogspot.<wbr></wbr>com/2010/05/index-page-for-<wbr></wbr>this-and-all-other.html</span></span></span></b></span></a></span></span></big></span></div>
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<span style="font-family: "times new roman";"><big><span style="font-family: monospace; white-space: pre-wrap;"><span style="font-family: "arial"; white-space: normal;"><big><big><b><u><small><span style="font-family: "courier new";"><span style="font-size: x-small;"><span style="background-color: #b6d7a8;"><br /></span></span><span style="font-size: small;"><a href="http://handke-trivia.blogspot.com/2010/05/index-page-for-this-and-all-other.html" style="color: #1155cc;" target="_blank"><span style="background-color: #b6d7a8;"><span style="color: black;">http://handke-trivia.blogspot.<wbr></wbr>com/2010/05/index-page-for-<wbr></wbr>this-and-all-other.html</span></span></a></span></span></small></u></b></big></big></span></span></big></span></div>
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<span style="font-family: "times new roman";"><big><span style="font-family: monospace; white-space: pre-wrap;"><span style="font-family: "arial"; white-space: normal;"><big><big><b><u><small><span style="font-family: "courier new";"><span style="font-size: small;"><br /></span><span style="font-size: small;"><span style="background-color: cyan;"><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html" style="color: #1155cc;" target="_blank"><span style="color: black;">http://handke--revista-of-<wbr></wbr>reviews.blogspot.com/2010/05/<wbr></wbr>index-page-for-handke-revista-<wbr></wbr>of.html</span></a></span></span></span></small></u></b></big></big></span></span></big></span></div>
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<span style="font-family: "times new roman";"><big><span style="font-family: monospace; white-space: pre-wrap;"><span style="font-family: "arial"; white-space: normal;"><big><big><b><u><small><span style="font-family: "courier new";"><span style="font-size: small;"><br /></span></span></small></u></b></big></big><a href="http://handke-scholar.blogspot.com/2010/05/index-page-for-handke-scholar-and-all.html" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><b><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: black;">http://handke-scholar.<wbr></wbr>blogspot.com/2010/05/index-<wbr></wbr>page-for-handke-scholar-and-<wbr></wbr>all.html</span></span></b></span></a></span></span></big></span></div>
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<span style="font-family: "times new roman";"><big><span style="font-family: monospace; white-space: pre-wrap;"><span style="font-family: "arial"; white-space: normal;"><span style="font-family: "courier new";"><span style="font-size: small;"><b><u><span style="font-family: "arial"; font-size: large;"><span style="font-size: 19px; font-weight: normal;"><br /></span></span></u></b></span></span></span></span></big></span></div>
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<span style="font-family: "times new roman";"><big><span style="font-family: monospace; white-space: pre-wrap;"><span style="font-family: "arial"; white-space: normal;"><span style="font-family: "courier new";"><b><u><span style="font-size: small;"><span style="background-color: yellow;"><a href="http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html" style="color: #1155cc;" target="_blank"><span style="color: black;">http://handke-yugo.blogspot.<wbr></wbr>com/2010/05/links-page-for-<wbr></wbr>pages-of-this-blog.html</span></a> </span></span></u></b></span></span></span></big></span></div>
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<b><span style="background-color: magenta;">=II=</span><br /><span style="background-color: magenta;"><span style="color: yellow;">INDEX TO PAGES OF THIS SITE</span></span><br /><span style="background-color: magenta;"><span style="color: yellow;">each will have its own table of content...</span></span><br /><span style="background-color: magenta;"><br /></span><br /><big><a href="http://handke-magazin.blogspot.com/2010/06/httphandke-revista-of.html" style="color: #1155cc;" target="_blank"><span style="font-size: x-small;"><span style="background-color: yellow;"><span style="color: black;">http://handke-magazin.<wbr></wbr>blogspot.com/2010/06/http</span></span></span><big><span style="font-size: x-small;"><span style="background-color: yellow;"><span style="color: black;">handk<wbr></wbr>e-revista</span></span></span></big><span style="font-size: x-small;"><span style="background-color: yellow;"><span style="color: black;">-of.html</span></span></span></a><span style="font-size: x-small;"><br /><span style="background-color: cyan;"><br /></span></span><a href="http://handke-magazin.blogspot.com/2010/06/httphandke-scholarblogspotcom2.html" style="color: #1155cc;" target="_blank"><span style="font-size: x-small;"><span style="background-color: cyan;"><span style="color: black;">http://handke-magazin.<wbr></wbr>blogspot.com/2010/06/http</span></span></span><big><span style="font-size: x-small;"><span style="background-color: cyan;"><span style="color: black;">handk<wbr></wbr>e-scholar</span></span></span></big><span style="font-size: x-small;"><span style="background-color: cyan;"><span style="color: black;">blogspotcom2.html</span></span></span></a><span style="font-size: x-small;"><br /><span style="background-color: lime;"><br /></span></span><a href="http://handke-magazin.blogspot.com/2010/06/httphandke-triviablogspotcom.html" style="color: #1155cc;" target="_blank"><span style="font-size: x-small;"><span style="background-color: lime;"><span style="color: 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style="background-color: #cfe2f3;"><span style="color: black;">blogspotcom.html</span></span></span></a><span style="font-size: x-small;"><br /><span style="background-color: yellow;"><br /></span></span><a href="http://handke-magazin.blogspot.com/2010/06/httphandke-watchblogspotcom201005index.html" style="color: #1155cc;" target="_blank"><span style="font-size: x-small;"><span style="background-color: yellow;"><span style="color: black;">http://handke-magazin.<wbr></wbr>blogspot.com/2010/06/http</span></span></span><big><span style="font-size: x-small;"><span style="background-color: yellow;"><span style="color: black;">handk<wbr></wbr>e-watch</span></span></span></big><span style="font-size: x-small;"><span style="background-color: yellow;"><span style="color: black;">blogspotcom201005index.<wbr></wbr>html</span></span></span></a><span style="font-size: x-small;"><br /><span style="background-color: cyan;"><br /></span></span><a href="http://handke-magazin.blogspot.com/2010/06/httphandke-dramablogspotcom201005index.html" style="color: #1155cc;" target="_blank"><span style="font-size: x-small;"><span style="background-color: cyan;"><span style="color: black;">http://handke-magazin.<wbr></wbr>blogspot.com/2010/06/http</span></span></span><big><span style="font-size: x-small;"><span style="background-color: cyan;"><span style="color: black;">handk<wbr></wbr>e-drama</span></span></span></big><span style="font-size: x-small;"><span style="background-color: cyan;"><span style="color: black;">blogspotcom201005index.<wbr></wbr>html</span></span></span></a><span style="font-size: x-small;"><span style="background-color: cyan;"><br /></span><span style="background-color: #b6d7a8;"><br /></span></span><a href="http://handke-magazin.blogspot.com/2010/06/main-script-mania-sitehttpwwwhandkescri.html" style="color: #1155cc;" target="_blank"><span style="font-size: x-small;"><span style="background-color: #b6d7a8;"><span style="color: black;">http://handke-magazin.<wbr></wbr>blogspot.com/2010/06/</span></span></span><big><span style="font-size: x-small;"><span style="background-color: #b6d7a8;"><span style="color: black;">main-<wbr></wbr>script-mania-site</span></span></span></big><span style="font-size: x-small;"><span style="background-color: #b6d7a8;"><span style="color: black;">httpwwwhandke<wbr></wbr>scri.html</span></span></span></a><span style="font-size: x-small;"><span style="background-color: #b6d7a8;"><br /></span><span style="background-color: #c27ba0;"><br /></span></span><a href="http://handke-magazin.blogspot.com/2010/06/httphandke-revista-of.html" style="color: #1155cc;" target="_blank"><span style="font-size: x-small;"><span style="background-color: #c27ba0;"><span style="color: black;">http://handke-magazin.<wbr></wbr>blogspot.com/2010/06/http</span></span></span><big><span style="font-size: x-small;"><span style="background-color: #c27ba0;"><span style="color: black;">handk<wbr></wbr>e-revista</span></span></span></big><span style="font-size: x-small;"><span style="background-color: #c27ba0;"><span style="color: black;">-of.html</span></span></span></a><span style="font-size: x-small;"><br /><span style="background-color: yellow;"><br /></span></span><a href="http://handke-magazin.blogspot.com/2010/06/httphandke-yugoblogspotcom.html" style="color: #1155cc;" target="_blank"><span style="font-size: x-small;"><span style="background-color: yellow;"><span style="color: black;">http://handke-magazin.<wbr></wbr>blogspot.com/2010/06/http</span></span></span><big><span style="font-size: x-small;"><span style="background-color: yellow;"><span style="color: black;">handk<wbr></wbr>e-yugoblog</span></span></span></big><span style="font-size: x-small;"><span style="background-color: yellow;"><span style="color: black;">spotcom.html</span></span></span></a><br /><br /><span style="background-color: magenta;"><span style="font-size: small;">=III=</span></span></big><br /><big><span style="background-color: magenta;"><span style="font-size: small;"> [The Scriptmania Sites]</span></span></big><span style="border-collapse: collapse; border-spacing: 0px; font-family: "courier new" , monospace;"><u><span style="font-family: "arial";"><div class="gmail_quote" style="border-collapse: collapse; display: inline; font-family: arial, sans-serif;">
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span style="font-family: "arial";"><span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b style="background-color: #ffcc00;"><u><span style="font-size: small;"><span style="background-color: lime;"><span style="color: black;">LINK OF LYNXES TO MOST HANDKE MATERIAL</span></span></span><span style="font-size: small;"><span style="background-color: lime;"><span style="color: black;"><br /></span></span></span></u></b></u></b></span></span></span></span></span></span></span></span></u></b></span></span></span></span></span></span></div>
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<a href="http://www.handke.scriptmania.com/favorite_links_1.html" style="color: #1155cc;" target="_blank">http://www.handke.scriptmania.<wbr></wbr>com/favorite_links_1.html</a> </div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><u><span style="font-family: "arial";"><span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="background-color: #33cc00;"><span style="font-size: small;"><span style="color: black;">e.g. </span></span><big><big><big><big><span style="font-size: small;"><span style="color: black;">DRAMA SITES</span></span></big></big></big></big></span></u></span></span></span></span></span></span></span></span></u></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><big><big><big><b><big><big><big><span style="background-color: #33cc00;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></big></big></big></b></big></big></big></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><big><big><big><b><big><big><big><span style="background-color: yellow;"><a href="http://www.handkedrama.scriptmania.com/index.html" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.handkedrama.<wbr></wbr>scriptmania.com/index.html</span></span></a></span></big></big></big></b></big></big></big></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><big><big><big><b><big><big><big><span style="font-size: small;"><span style="background-color: #f9cb9c;"><span style="color: black;"><br /></span></span></span></big></big></big></b></big></big></big></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><big><big><big><b><a href="http://www.handkedrama2.scriptmania.com/index.html" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="background-color: #f9cb9c;"><span style="color: black;">http://www.handkedrama2.<wbr></wbr>scriptmania.com/index.html</span></span></span></a></b></big></big></big></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><big><big><big><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></big></big></big></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><big><big><big><b><span style="background-color: yellow;"><a href="http://www.handkedrama2.scriptmania.com/index.html" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.handkedrama3.<wbr></wbr>scriptmania.com/</span></span></a><span style="font-weight: normal;"><b><span style="font-size: small;"><a href="http://www.handkedrama2.scriptmania.com/index.html" style="color: #1155cc;" target="_blank"><span style="color: black;">index.html</span></a></span></b></span></span></b></big></big></big></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: #00cccc;"><b><span style="font-size: small;"><span style="color: black;"><br /></span></span><a href="http://handke-drama.blogspot.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://handke-drama.blogspot.<wbr></wbr>com/</span></span></a><span style="font-size: small;"><span style="color: black;"><br /></span></span><big><big><span style="font-size: small;"><span style="color: black;"><br /></span></span><a href="http://www.handke.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="background-color: yellow;"><span style="color: black;">http://www.handke.scriptmania.<wbr></wbr>com/</span></span></span></a><span style="font-size: small;"><span style="background-color: yellow;"><span style="color: black;"> SITES:</span></span></span></big></big></b></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><a href="http://www.handkeromance.scriptmania.com/index.html" style="color: #1155cc;" target="_blank"><span style="background-color: #ff6666;"><span style="font-size: small;"><span style="color: black;">http://www.handkeromance.<wbr></wbr>scriptmania.com/index.html</span></span></span></a></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: #33cc00;"><a href="http://www.handkelectures.freeservers.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">h</span></span></a><a href="http://www.handkelectures.freeservers.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">ttp://www.handkelectures.<wbr></wbr>freeservers.com/</span></span></a><span style="font-weight: normal;"><b><a href="http://www.handkedrama2.scriptmania.com/index.html" style="color: #1155cc;" target="_blank"><span style="background-color: yellow;"><span style="font-size: small;"><span style="color: black;">index.html</span></span></span></a></b></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><a href="http://www.handkescholar.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.handkescholar.<wbr></wbr>scriptmania.com/</span></span></a><span style="font-size: small;"><span style="color: black;">index.htlm</span></span></b></u></b></span></span></span></span></span></div>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><u><span style="font-family: "courier new" , "courier" , monospace;"><b><u><b><a href="http://www.handkebild.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="background-color: cyan;"><span style="color: black;">http://www.handkebild.<wbr></wbr>scriptmania.com/</span></span></span></a><span style="font-size: small;"><span style="background-color: cyan;"><span style="color: black;">index.htlm</span></span></span></b></u></b></span></u></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><a href="http://handke-photo.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://handke-photo.<wbr></wbr>scriptmania.com/</span></span></a><span style="font-size: small;"><span style="color: black;">index.htlm</span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: #999900;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: #999900;"><a href="http://www.handke-nobel.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.handke-nobel.<wbr></wbr>scriptmania.com/</span></span></a><span style="font-weight: normal;"><b><span style="background-color: yellow;"><span style="font-size: small;"><span style="color: black;"><a href="http://www.handkedrama2.scriptmania.com/index.html" style="color: #1155cc;" target="_blank">index.ht</a></span></span></span></b></span></span></b></u></b></span></span></span></span></span><b><u><b><span style="background-color: silver;"><span style="font-size: small;"><span style="color: black;"><a href="http://www.handkeprose.scriptmania.com/" style="color: #1155cc;" target="_blank">http:/<wbr></wbr>/www.handkeprose.scriptmania.<wbr></wbr>com/ [PROSE SITES]</a></span></span></span></b></u></b></div>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-weight: normal;"><b><a href="http://www.handkeprose.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.handkeprose</span></span></a><span style="background-color: #ffcc00;"><span style="font-size: small;"><span style="color: black;">2.</span></span></span><a href="http://www.handkeprose.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">script<wbr></wbr>mania.com/</span></span></a><span style="font-weight: normal;"><b><span style="font-weight: normal;"><b><a href="http://www.handkedrama2.scriptmania.com/index.html" style="color: #1155cc;" target="_blank"><span style="background-color: yellow;"><span style="font-size: small;"><span style="color: black;">index.htm</span></span></span></a><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></span></b></span></b></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><u><span style="font-weight: normal;"><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></span></u></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: red;"><a href="http://www.handkefilm.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.handkefilm.<wbr></wbr>scriptmania.com/</span></span></a><span style="font-weight: normal;"><b><span style="background-color: yellow;"><span style="font-size: small;"><a href="http://www.handkedrama2.scriptmania.com/index.html" style="color: #1155cc;" target="_blank"><span style="color: black;">index.html</span></a></span></span><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: red;"><span style="font-weight: normal;"><b><span style="background-color: yellow;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></b></span></span></b></u></b></span></span></span></span></span></div>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
</b><br />
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><b><u><span style="font-family: "courier new" , "courier" , monospace;"><b><u><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><span style="background-color: #6666cc;"><a href="http://www.handkebild.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: black;">http://www.handkeTRANS.<wbr></wbr>scriptmania.com/</span></span></span></a><span style="font-size: small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: black;">index.htlm</span></span></span></span></b></span></span></u></b></span></u></b></span></span></span></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><u><span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><b><u><span style="font-family: "courier new" , "courier" , monospace;"><b><u><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><span style="background-color: #6666cc;"><span style="font-size: small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: black;"><br /></span><span style="background-color: yellow;"><span style="color: black;">[TRANSLATION SITE AND LINK TO SCHWAGERLE ESSAY]</span></span></span></span></span></b></span></span></u></b></span></u></b></span></span></span></u></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><u><span style="border-collapse: separate; font-family: "times new roman";"><span style="font-family: "arial";"><span style="font-family: "arial";"><b><u><span style="font-family: "courier new" , "courier" , monospace;"><b><u><span style="border-collapse: separate; font-family: "times new roman";"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><span style="background-color: #6666cc;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></b><a href="http://picasaweb.google.com/lh/sredir?uname=mikerol&target=ALBUM&id=5476148831173253505&authkey=Gv1sRgCJeIus7_7LaY9QE&feat=email" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><b><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: black;">http://picasaweb.google.com/<wbr></wbr>lh/sredir?uname=mikerol&<wbr></wbr>target=ALBUM&id=<wbr></wbr>5476148831173253505&<wbr></wbr>authkey=Gv1sRgCJeIus7_7LaY9QE&<wbr></wbr>amp;feat=email</span></span></b></span></a><b><span style="background-color: #6666cc;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></b></span></span></u></b></span></u></b></span></span></span></u></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-weight: normal;"><b><span style="font-size: small;"><a href="http://handke-discussion.blogspot.com/" style="background-color: #00cccc; color: #1155cc;" target="_blank"><span style="color: black;">http://handke-discussion.</span></a></span><span style="font-size: small;"><a href="http://handke-discussion.blogspot.com/" style="background-color: #00cccc; color: #1155cc;" target="_blank"><span style="color: black;">blogs<wbr></wbr>pot.com/</span></a></span><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-weight: normal;"><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-weight: normal;"><b><span style="background-color: #ffcc00;"><span style="font-size: small;"><span style="color: black;">the American Scholar caused controversy about Handke, reviews, detailed of Coury/ Pilipp's THE WORKS OF PETER HANDKE, the psycho-biological monograph/ a note on Velica Hoca/ open letter to Robert Silvers + NYRB re: JS Marcus.. </span></span></span></b></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="font-weight: normal;"><b><u><b><b><span style="background-color: #00cccc;"><a href="http://handke--revista-of-reviews.blogspot.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://handke--revista-of-<wbr></wbr>reviews.blogs</span></span></a><a href="http://handke--revista-of-reviews.blogspot.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">pot.com/</span></span></a></span></b></b></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="font-weight: normal;"><b><u><b><b><span style="background-color: #33ff33;"><a href="http://handke-yugo.blogspot.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://handke-yugo.blogspot.<wbr></wbr>com/</span></span></a></span></b></b></u></b></span></span></span></span></span></span></div>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="font-weight: normal;"><u><a href="http://handke-trivia.blogspot.com/" style="color: #1155cc;" target="_blank"><span style="background-color: #cc33cc;"><span style="font-size: small;"><span style="color: black;">http://handke-</span></span></span><span style="background-color: #cc33cc;"><span style="font-size: small;"><span style="color: black;">trivia.blogspot.<wbr></wbr>com/</span></span></span></a></u></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;">[</span></span><u><span style="font-size: small;"><span style="color: black;">moravian nights</span></span></u><span style="font-size: small;"><span style="color: black;"> </span></span><span style="font-size: small;"><span style="color: black;">discussion, etc]</span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: #ffcc00;"><span style="font-size: small;"><span style="color: black;">the newest:</span></span></span><span style="font-size: small;"><span style="background-color: cyan;"><span style="color: black;"><br /></span></span></span></b></u></b></span></span></span></span></span></div>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-family: "courier new" , monospace;"><a href="http://handke-photo.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="background-color: cyan;"><span style="color: black;">http://handke-photo.</span></span></span></a><a href="http://handke-photo.scriptmania.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="background-color: cyan;"><span style="color: black;">scriptmani<wbr></wbr>a.com/</span></span></span></a><span style="font-weight: normal;"><b><span style="font-size: small;"><span style="color: black;"> </span></span></b></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-family: "courier new" , monospace;"><span style="font-weight: normal;"><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: yellow;"><span style="font-size: small;"><span style="color: black;">bpth have the psychoanalytic monograph</span></span></span><span style="font-size: small;"><span style="background-color: lime;"><span style="color: black;"><br /></span></span></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: yellow;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></span></b></u></b></span></span></span></span></span></div>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="background-color: lime;"><a href="http://analytic-comments.blogspot.com/" style="color: #1155cc;" target="_blank"><span style="color: black;">http://analytic-comments.<wbr></wbr>blogspot.com/</span></a></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="background-color: lime;"><span style="color: black;"><br /></span></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><a href="http://www.handkelectures.freeservers.com/" style="background-color: #6633ff; color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.handkelectures.</span></span></a><a href="http://www.handkelectures.freeservers.com/" style="background-color: #6633ff; color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">free<wbr></wbr>servers.com</span></span></a><span style="font-size: small;"><span style="color: black;">/</span></span><span style="font-weight: normal;"><b><span style="background-color: yellow;"><a href="http://www.handkedrama2.scriptmania.com/index.html" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">index.html</span></span></a><span style="font-weight: normal;"><b><span style="font-size: small;"><span style="color: black;"> </span></span></b></span></span></b></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;">[the drama lecture]</span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><span style="font-size: small;"><span style="color: black;"><br /></span></span></u></b></span></span></span></span></span></div>
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<pre style="white-space: pre-wrap; word-wrap: break-word;"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b style="background-color: #ff6666;"><a href="http://www.van.at/see/mike/index.htm" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.van.at/see/mike/</span></span><span style="font-size: small;"><span style="color: black;">ind<wbr></wbr>ex.htm</span></span></a></b><span style="font-size: small;"><span style="color: black;">
</span></span></u></b></span></span></span></span></span></pre>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: #ffcc00;"><span style="font-size: small;"><span style="color: black;">[dem handke auf die schliche/besuch auf dem Moenchsberg, a book of mine about Handke]</span></span></span><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b style="background-color: #ff6666;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b style="background-color: #ff6666;"><a href="http://begleitschreiben.twoday.net/topics/Peter+Handke/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://begleitschreiben.</span></span></a><a href="http://begleitschreiben.twoday.net/topics/Peter+Handke/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">twoday<wbr></wbr>.net/topics/Peter+</span></span></a><a href="http://begleitschreiben.twoday.net/topics/Peter+Handke/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">Handke/</span></span></a><span style="font-weight: normal;"><b><span style="font-size: small;"><span style="color: black;"> </span></span></b></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="color: black;"><b><br /></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: #00cccc;"><u><span style="font-size: small;"><span style="color: black;">With three photo albums, to wit:</span></span></u></span><span style="font-size: small;"><span style="color: black;"><br /></span></span><a href="http://picasaweb.google.com/mikerol" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://picasaweb.google.com/</span></span></a><a href="http://picasaweb.google.com/mikerol" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">mi<wbr></wbr>kerol</span></span></a></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE#" style="background-color: #ffcc00; color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://picasaweb.google.com/</span></span><span style="font-size: small;"><span style="color: black;">mi<wbr></wbr>kerol/HANDKE3ONLINE#</span></span></a><span style="font-size: small;"><span style="color: black;"> </span></span><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="background-color: #00cccc;"><b><u><span style="font-size: small;"><span style="color: black;"><br /></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><a href="http://picasaweb.google.com/mikerol/HANDKE2ONLINE#" style="color: #1155cc;" target="_blank"><span style="background-color: #00cccc;"><span style="font-size: small;"><span style="color: black;">http://picasaweb.google.com/</span></span></span><span style="background-color: #00cccc;"><span style="font-size: small;"><span style="color: black;">mi<wbr></wbr>kerol/HANDKE2ONLINE#</span></span></span></a><span style="font-size: small;"><span style="color: black;"><br /></span></span><span style="background-color: #00cccc;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></b><a href="http://picasaweb.google.com/lh/sredir?uname=mikerol&target=ALBUM&id=5476148831173253505&authkey=Gv1sRgCJeIus7_7LaY9QE&feat=email" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://picasaweb.google.com/<wbr></wbr>lh/sredir?uname=mikerol&<wbr></wbr>target=ALBUM&id=<wbr></wbr>5476148831173253505&<wbr></wbr>authkey=Gv1sRgCJeIus7_7LaY9QE&<wbr></wbr>amp;feat=email</span></span></a><span style="font-size: small;"><span style="color: black;"><br /></span></span></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><a href="http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#" style="background-color: #ffcc00; color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://picasaweb.google.com/</span></span><span style="font-size: small;"><span style="color: black;">mi<wbr></wbr>kerol/POSTED?authkey=</span></span><span style="font-size: small;"><span style="color: black;">YeKkFSE3-<wbr></wbr>Js#</span></span></a><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><a href="http://www.handke.scriptmania.com/favorite_links_1.html" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.handke-trivia.</span></span></a><span style="font-size: small;"><a href="http://www.handke.scriptmania.com/favorite_links_1.html" style="color: #1155cc;" target="_blank"><span style="color: black;">blogs<wbr></wbr>pot.com</span></a></span></b><big><big><span style="font-size: small;"><span style="color: black;"><br /></span></span></big></big></u></b></span></span></span></span></span><br />
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></u></b></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><big><big><span style="background-color: red;"><a href="http://www.artscritic.blogspot.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.artscritic.</span></span></a></span><span style="background-color: red;"><a href="http://www.artscritic.blogspot.com/" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">blogspot<wbr></wbr>.co</span></span></a><span style="font-size: small;"><span style="color: black;">m</span></span></span></big></big></u></b></span></span></span></span></span></div>
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<pre style="white-space: pre-wrap; word-wrap: break-word;"><b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="color: black;">
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><b><u><b><span style="background-color: yellow;"><span style="font-size: small;"><span style="color: black;">[some handke material, too, the Milosevic controversy summarized]</span></span></span></b></u></b></span></span></span></span></span></div>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><br /></span></span></span></span></span>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><span style="border-collapse: collapse; font-family: "courier new" , monospace;"><b><u><b><a href="http://analytic-comments.blogspot.com/" style="color: #1155cc;" target="_blank"><span style="background-color: #33ccff;"><span style="font-size: small;"><span style="color: black;">http://analytic-comments.<wbr></wbr>blogspot.com/</span></span></span></a></b><b><span style="background-color: silver;"><span style="font-size: small;"><span style="color: black;"><a href="http://handke-discussion.blogspot.com/" style="color: #1155cc;" target="_blank"> </a></span></span></span></b></u></b></span></span></span></span></span></span></span></div>
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<b><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><br /></span></span></span></span></span></span>
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><br /></span></span></span></span></span></span>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><b><span style="background-color: yellow;"><span style="font-size: small;"><a href="http://www.facebook.com/mike.roloff1?ref=name" style="color: #1155cc;" target="_blank"><span style="color: black;">http://www.facebook.com/mike.<wbr></wbr>roloff1?ref=name</span></a></span></span></b></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><br /><br /><span style="background-color: silver;"></span></span></u></b></span></span></span></span></span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="font-size: small;"><span style="color: black;">Member Seattle Psychoanalytic Institute and Society</span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="font-size: small;"><span style="color: black;">This LYNX will LEAP you to my HANDKE project sites and BLOGS:</span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="font-size: small;"><span style="color: black;"><br /></span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: #ff6666;"><a href="http://www.roloff.freehosting.net/index.html" style="color: #1155cc;" target="_blank"><span style="font-size: small;"><span style="color: black;">http://www.roloff.freehosting.<wbr></wbr>net/index.html</span></span></a></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: #ff6666;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: #ffff66;"><span style="font-size: small;"><span style="color: black;">"MAY THE FOGGY DEW BEDIAMONDIZE YOUR HOOSPRINGS! </span></span></span><span style="background-color: #33ffff;"><span style="font-size: small;"><span style="color: black;">+</span></span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;">
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: #33ffff;"><span style="font-size: small;"><span style="color: black;">THE FIREPLUG OF FILIALITY REINSURE YOUR BUNGHOLE!</span></span></span><span style="font-size: small;"><span style="color: black;">" {</span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="font-size: small;"><span style="color: black;">J. Joyce}</span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: #33ff33;"><span style="font-size: small;"><span style="color: black;">"Sryde Lyde Myde Vorworde Vorhorde Vorborde"</span></span></span><span style="font-size: small;"><span style="color: black;"> </span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="font-size: small;"><span style="color: black;">[von Alvensleben]</span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: #66ffff;"><span style="font-size: small;"><span style="color: black;">"Siena me fe, disfescimi Maremma."</span></span></span><span style="font-size: small;"><span style="color: black;"> [Dante]<br />"</span></span><span style="background-color: #ffcc00;"><span style="font-size: small;"><span style="color: black;">Ennui [Lange Weile] is the dreambird that</span></span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: #ffcc00;"><span style="font-size: small;"><span style="color: black;"> hatches the egg of<br />experience.</span></span></span><span style="font-size: small;"><span style="color: black;">" </span></span></b></span></span></u></b></span></span></span></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-weight: 800;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="font-size: small;"><span style="color: black;">[Walter Benjamin, the essay on Leskov.]</span></span></b></span></span></u></b></span></span></span></span></span></span><br />
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<b><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;"><a href="http://www.handkeprose.scriptmania.com/"></a></span></span><a href="http://handkescholar.scriptmania.com/custom2.html"><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;">http://handkescholar.scriptmania.com/custom2.htm</span></span><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;">l</span></span></a></b><br />
<b><span style="background-color: yellow;">This site and the various handke blogs</span></b><br />
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<b><span style="background-color: yellow;"><big><b><big><span style="font-family: "arial";"><big><big><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></big></span></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">1]</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">]</span></span></a></big></b></big><a href="http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2010/05/index-page-for-this-and-all-other.html</span></span></big></b></big></a></span></b><br />
<b><br /></b>
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"><span style="background-color: lime;">http://handke-discussion.blogspot.com/2010/11/malte-herwigs-handke-biography-meister.html </span></span></span></big></b></big></span></b><br />
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<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span></big></b></big><big><b><big><big><big><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></big><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2010/04/most-remarkable-prose-poem-that-ought.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">2] http://handke-discussion.blogspot.com/2010/04/most-remarkable-prose-poem-that-ought.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: #d0e0e3;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/10/note-on-cuckooks-of-velica-hoca.html" style="background-color: #d0e0e3;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">3] http://handke-discussion.blogspot.com/2009/10/note-on-cuckooks-of-velica-hoca.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/11/few-commments-on-handke-tale-kali.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">4] http://handke-discussion.blogspot.com/2009/11/few-commments-on-handke-tale-kali.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: #ea9999;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/12/morawian-night-tough-love-for-peter_22.html" style="background-color: #ea9999;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">5] http://handke-discussion.blogspot.com/2009/12/morawian-night-tough-love-for-peter_22.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/12/letter-to-robert-silvers-ny-review-of.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">6] http://handke-discussion.blogspot.com/2009/12/letter-to-robert-silvers-ny-review-of.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2010/01/letter-to-david-remnick-at-new-yorker.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">7] +http://handke-discussion.blogspot.com/2010/01/letter-to-david-remnick-at-new-yorker.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2010/03/handke-reader-under-discussion.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">8] http://handke-discussion.blogspot.com/2010/03/handke-reader-under-discussion.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/06/best-handke-books.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">9] http://handke-discussion.blogspot.com/2009/06/best-handke-books.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">10] http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/09/peter-handke-wounded-love-child.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">11] http://handke-discussion.blogspot.com/2009/09/peter-handke-wounded-love-child.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/06/part-ii-handke-psycho-bio-memoir.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">12] http://handke-discussion.blogspot.com/2009/06/part-ii-handke-psycho-bio-memoir.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/06/scott-abbotts-bar-raising-comment-on.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">13] http://handke-discussion.blogspot.com/2009/06/scott-abbotts-bar-raising-comment-on.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">14] http://handke-discussion.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: cyan;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html" style="background-color: cyan;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">15] http://handke-discussion.blogspot.com/2009/06/continuation-of-whats-your-favorite.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2008/08/just-little-excerpt-re-mcdonald-from.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">16] http://handke-discussion.blogspot.com/2008/08/just-little-excerpt-re-mcdonald-from.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2007/08/ny-times-murders-handke-once-again.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">17] http://handke-discussion.blogspot.com/2007/08/ny-times-murders-handke-once-again.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2007/12/yes-page-of-handke-day-with-your-apple.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">18] http://handke-discussion.blogspot.com/2007/12/yes-page-of-handke-day-with-your-apple.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: lime;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2008/02/london-reviews-of-handkes-hour.html" style="background-color: lime;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">19] http://handke-discussion.blogspot.com/2008/02/london-reviews-of-handkes-hour.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2008/09/handke-withdraws-from-competition.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">20] http://handke-discussion.blogspot.com/2008/09/handke-withdraws-from-competition.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> <a href="http://handke-discussion.blogspot.com/2009/03/resume-of-handke-case.html" style="background-color: magenta;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">21] http://handke-discussion.blogspot.com/2009/03/resume-of-handke-case.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></b></big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><big><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"><big></big></span></span></b></big></a><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">22</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html</span></span></a><a href="http://handke-discussion.blogspot.com/2007/03/4-mireille-handkes-sense-of-place.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">\</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">23</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/4-mireille-handkes-sense-of-place.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/03/4-mireille-handkes-sense-of-place.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">24</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/02/part-3-weller-handkes-poetry-of-handke.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/02/part-3-weller-handkes-poetry-of-handke.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="background-color: cyan;"><br />
</span> </big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">25</span></span></a></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/02/2-posting-wefelmeyer-handkes-drama.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/02/2-posting-wefelmeyer-handkes-drama.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">26</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/02/incremental-eventually-complete-essay.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/02/incremental-eventually-complete-essay.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">27</span></span></a></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big style="background-color: cyan;"><b><big><a href="http://handke-discussion.blogspot.com/2006/10/anouncement.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2006/10/anouncement.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">28</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/04/letter-to-phi-beta-kappa-members-re.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/04/letter-to-phi-beta-kappa-members-re.html</span></span></a></big></b></big></span></b><br />
<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span> </big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">29</span></span></a></big></b></big><big><b><big><a href="http://handke-discussion.blogspot.com/2007/03/forthcoming-also-will-be-long-open.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">] </span></span></a></big></b></big><big><b><big><span class="Apple-style-span" style="font-size: small;"><a href="http://handke-discussion.blogspot.com/2007/03/b-c-reverse-of-initial-posting-of-open.html"><span class="Apple-style-span" style="background-color: #ffd966;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2007/03/b-c-reverse-of-initial-posting-of-open.html</span></span></a></span></big></b></big></span></b><br />
<b><span style="font-size: medium;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="background-color: cyan;">30] </span></span></big></b></big></span><span class="Apple-style-span" style="font-weight: normal;"><b></b></span></b><br />
<b><br /></b>
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<b><b><a href="http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html"><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/2010/07/catastrophic-handke-reception-in-united.html</span></span></a></b></b><br />
<b><b><span class="Apple-style-span" style="background-color: cyan;"><span class="Apple-style-span" style="color: black;"><span style="background-color: yellow;">31}http://handke-discussion.blogspot.com/2010/09/neil-gordons-review-of-handkes-del.html </span></span></span></b></b></div>
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<b><span style="background-color: yellow;"><big><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"><a href="http://handke-discussion.blogspot.com/2007/03/b-c-reverse-of-initial-posting-of-open.html"></a></span></span><span class="Apple-style-span" style="font-size: small;"><br />
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<b><span style="background-color: yellow;">and the handke.scriptmania project</span></b></div>
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<b><span style="background-color: yellow;"> presents academic scholarship, creative personal essays, book reviews, bibliographic materials, etc. concerning the writings of Peter Handke.</span><span style="background-color: yellow;"></span></b></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><u><span class="Apple-style-span" style="font-size: small;"><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><b><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><span class="Apple-style-span" style="font-size: small;">[1] </span></span></u></span></span></span></span></span></span></span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span class="Apple-style-span" style="font-size: small;"><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"></span></span></u></span></span></span></span></span></span></span></span></b></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><b><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><span class="Apple-style-span" style="font-size: small;">FOR THE HANDKE-REVISTA-OF-REVIEWS-BLOG</span></span></u></span></span></span></span></span></span></span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><big><big><u><span class="Apple-style-span" style="font-size: small;"><br />
</span><span class="Apple-style-span" style="background-color: #99ff99;"><span class="Apple-style-span" style="font-size: small;">ONE PAGE BY TITLE EVENTUALLY, about 50<br />
also FOR THE MAJOR DRAMAS ON THE HANDKE-DRAMA-BLOG to come<br />
a few dozen</span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span></u></big></big></span></span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><big><big><u><span class="Apple-style-span" style="font-size: small;">INDEX PAGE: </span><big><big><span class="Apple-style-span" style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></big></u></big></big></span></span><big><big><a href="http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html"><span class="Apple-style-span" style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke--revista-of-reviews.blogspot.com/2010/05/index-page-for-handke-revista-of.html</span></span></span></a></big></big><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "arial";"></span></span></span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><big><big><u><span class="Apple-style-span" style="font-size: small;"><br />
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b><small><big><a href="http://handke-scholar.blogspot.com/2010/05/thomas-barry-on-handke-himeji-dokkyo.html"><span class="Apple-style-span" style="background-color: #ff6666;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-scholar.blogspot.com/2010/05/thomas-barry-on-handke-himeji-dokkyo.html</span></span></span></a></big></small><span class="Apple-style-span" style="font-size: small;"><br />
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</span><a href="http://handke-scholar.blogspot.com/2010/05/lead-page-handke-scholar-periodically.html" moz-do-not-send="true"><span class="Apple-style-span" style="background-color: #00cccc;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-scholar.blogspot.com/2010/05/lead-page-handke-scholar-periodically.html</span></span></span></a></b></span></span><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b><span class="Apple-style-span" style="background-color: #ffcc00;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="background-color: #ffcc00;"></span></span><a href="http://handke-scholar.blogspot.com/2010/05/goethe-and-handke-and-goethe.html" moz-do-not-send="true"><span class="Apple-style-span" style="background-color: #ffcc00;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-scholar.blogspot.com/2010/05/goethe-and-handke-and-goethe.html</span></span></span></a><span class="Apple-style-span" style="font-size: small;"><br clear="all" /></span></b></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b><a href="http://handke-scholar.blogspot.com/2010/05/peter-strasser-das-subjekt-der-dichtung.html" moz-do-not-send="true"><span class="Apple-style-span" style="background-color: #33cc00;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-scholar.blogspot.com/2010/05/peter-strasser-das-subjekt-der-dichtung.html</span></span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b><big><big><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "arial";"></span></span></span><small><span class="Apple-style-span" style="font-size: small;">=================================================</span><u><span class="Apple-style-span" style="font-size: small;"> </span></u></small></big></big><span class="Apple-style-span" style="font-size: small;"><br />
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"></span></span></span><br /></b>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span class="Apple-style-span" style="font-size: small;"><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"></span></span></u></span></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><span class="Apple-style-span" style="font-size: small;">INTRA-LINK PAGES<br />
[3]<br />
FOR THE HANDKE-YUGO-BLOG</span></span></u></b></span></span></span></span></span></span></span></span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><span class="Apple-style-span" style="font-size: small;"><br />
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><u><span class="Apple-style-span" style="font-size: small;"><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"></span></span></u></b><span class="Apple-style-span" style="font-family: "arial"; font-weight: normal;"><b><u><span class="Apple-style-span" style="font-size: small;"><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"></span></span></u></b><b><u><span lang="FR" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span></u><span lang="FR" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span></b></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ff9966; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;"> </span><span class="Apple-style-span" style="font-size: small;">1] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #ff9966; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html</span></span></a></span></big></b></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ff9966; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ff9966; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span></a></span></big></b><a href="http://handke-yugo.blogspot.com/2010/05/links-page-for-pages-of-this-blog.html" target="_blank"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><big><big><b><u><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">[INDEX PAGE]</span></span></u></b></big></big></span></span></a><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ff9966; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">2] </span></span><a href="http://handke-yugo.blogspot.com/2010/05/lead-page-periodically-updated_10.html" target="_blank"><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/lead-page-periodically-updated_10.html</span></span></span></a><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #00cccc; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">3] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #00cccc; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/opening-salvo-open-letter-decimation-of.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/opening-salvo-open-letter-decimation-of.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #33ff33; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">4] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #33ff33; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/psychoanalytic-page-mass-and-class_15.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/psychoanalytic-page-mass-and-class_15.htm</span></span></a></span><span lang="FR"><a href="http://handke-yugo.blogspot.com/2010/05/psychoanalytic-page-mass-and-class_15.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">l</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ff99ff; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">5] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #ff99ff; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/summary-of-handke-yugo-controrsy.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/summary-of-handke-yugo-controrsy.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span class="Apple-style-span" style="font-size: small;"><span style="background-attachment: scroll; background-color: #cccccc; background-image: none; background-position: 0% 0%;"></span></span><span lang="FR" style="background-attachment: scroll; background-color: #cccccc; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">6] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #cccccc; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/austrian-writer-peter-handke-european.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/austrian-writer-peter-handke-european.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ff6600; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">7] </span></span><span style="background-attachment: scroll; background-color: #ff6600; background-image: none; background-position: 0% 0%;"><span lang="FR"><a href="http://handke-yugo.blogspot.com/2010/05/voyage-by-dugout-play-that-came-out-of_10.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/voyage-by-dugout-play-that-came-out-of_10.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ffcccc; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">8] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #ffcccc; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/dear-mrrs-sulzberger-kelleret-al-i.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/dear-mrrs-sulzberger-kelleret-al-i.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #00cccc; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">9] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #00cccc; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/back-ground-texts-habermas-etc.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/back-ground-texts-habermas-etc.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ffcc00; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">10] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #ffcc00; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/roloff-breviary-of-handke-position.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/roloff-breviary-of-handke-position.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ff6666; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">11] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #ff6666; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/handke-die-tablas-des-daimiel-with.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/handke-die-tablas-des-daimiel-with.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #33ccff; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">12] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #33ccff; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/discussion-page.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/discussion-page.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">13] </span></span><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/05/consequences.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/consequences.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: red; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">14] </span></span><span lang="FR" style="background-attachment: scroll; background-color: red; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/04/history-of-yugo-slavia-and-its-break-up.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/04/history-of-yugo-slavia-and-its-break-up.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ffcc33; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">15] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #ffcc33; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/04/human-rights-watch-resource-for-crimes.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/04/human-rights-watch-resource-for-crimes.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #00cccc; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">16] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #00cccc; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/04/interviews-with-handke-about-his.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/04/interviews-with-handke-about-his.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span lang="FR" style="background-attachment: scroll; background-color: #ff6666; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">17] </span></span><span lang="FR" style="background-attachment: scroll; background-color: #ff6666; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/04/cross-sections-of-opinions-on.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/04/cross-sections-of-opinions-on.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span style="background-attachment: scroll; background-color: #cccccc; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">18] </span></span><span style="background-attachment: scroll; background-color: #cccccc; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/04/two-futher-handke-pieces-in-german-on.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/04/two-futher-handke-pieces-in-german-on.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span style="background-attachment: scroll; background-color: #33ccff; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">19] </span></span><span style="background-attachment: scroll; background-color: #33ccff; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/04/gerechtigkeit-fuer-serbien-by-peter.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http:/handke-yugo.blogspot.com/2010/04/gerechtigkeit-fuer-serbien-by-peter.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span style="background-attachment: scroll; background-color: #33ff33; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">20] </span></span><span style="background-attachment: scroll; background-color: #33ff33; background-image: none; background-position: 0% 0%;"><a href="http://handke-yugo.blogspot.com/2010/04/sorting-out-handkes-intervention-in.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/04/sorting-out-handkes-intervention-in.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">21] </span><a href="http://handke-yugo.blogspot.com/2010/04/this-is-first-piece-i-wrote-on-subject.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/04/this-is-first-piece-i-wrote-on-subject.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span style="background-attachment: scroll; background-color: #ff6600; background-image: none; background-position: 0% 0%;"><span class="Apple-style-span" style="font-size: small;">22] </span><a href="http://handke-yugo.blogspot.com/2010/05/roloff-summary-of-handke-yugo.html" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/roloff-summary-of-handke-yugo.html</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></big></b></span></span></span></span></span></span></div>
<div class="MsoNormal" style="margin: 0px;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><big><b><span class="Apple-style-span" style="background-color: #33ccff;"><a href="http://handke-yugo.blogspot.com/2010/05/handke-yugoslav-intervention-reception.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">23] http://handke-yugo.blogspot.com/2010/05/handke-yugoslav-intervention-reception.html</span></span></a></span></b></big></span></span></span></span></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<o:p><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><span class="Apple-style-span" style="background-color: #33ccff;"><big><span class="Apple-style-span" style="font-size: small;">24] </span></big></span></b></span></span></span></span></span></span></o:p><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "arial";"></span></span></span></b></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><br />
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<div style="margin: 0cm 0cm 0.0001pt;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><span class="Apple-style-span" style="background-color: #33ff33;"><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span></b></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="background-color: #33ff33;"></span></span><big><span class="Apple-style-span" style="background-color: #33ff33;"><a href="http://handke-yugo.blogspot.com/2010/05/links-to-scott-abbotts-work-on-handke.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/links-to-scott-abbotts-work-on-handke.html</span></span></a></span></big><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><big><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="background-color: #33ff33;"></span></span><big><span class="Apple-style-span" style="font-size: small;"><br />
</span></big></big></b></span></span></span></span></span></span><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><big><b><span class="Apple-style-span" style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;">25] </span></span><a href="http://handke-yugo.blogspot.com/2010/05/roloff-summary-take-on-handkes.html"><span class="Apple-style-span" style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/2010/05/roloff-summary-take-on-handkes.html</span></span></span></a><big><span class="Apple-style-span" style="font-size: small;"><br />
========================================================================================<br />
========================================================================================</span></big></b></big><u><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></u></span></span></span></span></span></span><br />
<div align="center">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><span class="Apple-style-span" style="font-size: small;">LINKS</span></span></u></span></span></span></span></span></span></span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span class="Apple-style-span" style="font-size: small;"><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"></span></span></u></span></span></span></span></span></span></span></span></b></span></span></span></span></span></span></div>
<div align="center">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><span class="Apple-style-span" style="font-size: small;">[4] </span></span></u></span></span></span></span></span></span></span></span><span class="Apple-style-span" style="font-size: small;"><span style="background-color: yellow;"></span></span><span style="background-color: magenta;"><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span class="Apple-style-span" style="font-size: small;"><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"></span></span></u></span></span></span></span></span></span></span></span></b></span></span></span></span></span></span></div>
<div align="center">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><span class="Apple-style-span" style="font-size: small;">TO THE HANDKE-YUGO-BLOG</span></span></u></span></span></span></span></span></span></span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "arial";"></span></span></span></b></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><big><big><span class="Apple-style-span" style="font-size: small;"></span></big></big></span></span><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></span></span></span></span></span></span><br />
<div align="center">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><u><span class="Apple-style-span" style="font-size: small;"> </span></u><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span class="Apple-style-span" style="font-size: small;"><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"></span></span></u><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><i><span class="Apple-style-span" style="font-size: small;">HANDKE-WATCH & HANDKE-DISCUSSION,<br />
HANDKE-TRIVIA & DRAMA BLOGS </span></i><span class="Apple-style-span" style="font-size: small;"><br />
&</span></span></u></span></span></span></span></span></span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u><span lang="FR" style="background-attachment: scroll; background-color: yellow; background-image: none; background-position: 0% 0%; font-family: "arial";"><span class="Apple-style-span" style="font-size: small;"><br />
PAGES OF THE HANDKE.SCRIPTMANIA.PROJECT</span></span></u></span></span></span></span></span></span><span class="Apple-style-span" style="font-size: small;"><br />
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u></u></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u></u></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u></u></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u></u></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><u></u></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><u><span style="background-color: red;"><b><span class="Apple-style-span" style="font-size: small;">MAY - JUNE - 2010 STATUS</span></b></span></u></b></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><b><u></u></b></span></span></span></span></span></span></div>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="background-color: #ffcc00;"><u><span class="Apple-style-span" style="font-size: small;"><span style="background-color: yellow;"></span></span></u></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="background-color: #ffcc00;"><u></u></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="background-color: #ffcc00;"><u></u></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="background-color: #ffcc00;"><u></u></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="background-color: #ffcc00;"><u></u></span></u></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b style="background-color: #ffcc00;"><u><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;">LINK OF LYNXES TO MOST HANDKE MATERIAL</span></span><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b style="background-color: #ffcc00;"><u></u></b></u></b><b><u><b style="background-color: #ffcc00;"><u><span class="Apple-style-span" style="font-size: small;"> AND BLOGS ON THE WEB:</span></u></b><span class="Apple-style-span" style="font-size: small;"><br />
</span><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><big><big><b><u><span class="Apple-style-span" style="font-size: small;">INDEX PAGE:</span></u></b></big></big></span></span><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><big><big><big><big><b><big><big><big><big><span class="Apple-style-span" style="font-size: small;"> </span><a href="http://www.handke.scriptmania.com/favorite_links_1.html" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handke.scriptmania.com/favorite_links_1.html</span></span></a><span class="Apple-style-span" style="font-size: small;"> </span></big></big></big></big></b></big></big></big></big></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><u><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;"> </span></span><span style="background-color: yellow;"><a href="http://www.handke-nobel.scriptmania.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handke-nobel.scriptmania.com/</span></span></a></span></u></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><u><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><u><span style="background-color: yellow;"><a href="http://handke-discussion.blogspot.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-discussion.blogspot.com/</span></span></a></span></u></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><u><span style="background-color: #33ff33;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><u><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><u><span style="background-color: yellow;"><a href="http://handke-watch.blogspot.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-watch.blogspot.com/</span></span></a></span></u></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span class="h4" id="q_12875ec02e72cba9_3" style="cursor: pointer;"><b><u><span class="Apple-style-span" style="font-size: small;">-</span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;"><span style="background-color: #33cc00;"></span></span></b><b><u><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><u style="background-color: #33cc00;"><span class="Apple-style-span" style="font-size: small;">HANDKE LINKS + BLOGS SCRIPTMANIA PROJECT MAIN SITE:</span></u><span class="Apple-style-span" style="font-size: small;"> </span></b><b><span class="Apple-style-span" style="font-size: small;"><br />
</span><a href="http://www.handke.scriptmania.com/" moz-do-not-send="true" style="background-color: #ffcc00;" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handke.scriptmania.</span></span></a><a href="http://www.handke.scriptmania.com/" moz-do-not-send="true" style="background-color: #ffcc00;" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">com</span></span></a><span class="Apple-style-span" style="font-size: small;">/</span><span style="font-weight: normal;"><b><a href="http://www.handkedrama2.scriptmania.com/index.html" moz-do-not-send="true" target="_blank"><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">index.html</span></span></span></a></b></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span class="Apple-style-span" style="font-size: small;">- </span></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="background-color: red;"><span class="Apple-style-span" style="font-size: small;">and sub-sites</span></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="background-color: #33cc00;"><span class="Apple-style-span" style="font-size: small;">e.g.<br />
</span><big><big><big><big><span class="Apple-style-span" style="font-size: small;">DRAMA SITES</span></big></big></big></big><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><big><big><big><b><big><big><big><span style="background-color: #33cc00;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><big><big><big><b><big><big><big><span style="background-color: yellow;"><a href="http://www.handkedrama.scriptmania.com/index.html" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handkedrama.scriptmania.com/index.html</span></span></a></span></big></big></big></b></big></big></big></u></b></span></span></span></span></span></span></span></span></div>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><big><big><span class="Apple-style-span" style="font-size: small;"><big></big></span></big></big></u></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><big><big><big><b><big><big><big><span class="Apple-style-span" style="font-size: small;"><br />
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><u><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><u></u></span></u></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><u><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><u></u></span></u></u></span></span></span></span></span></span></span></span><br /></b>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><u><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><u></u></span></u></u></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><u><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><b><u><a href="http://www.handkebild.scriptmania.com/" moz-do-not-send="true" target="_blank"><b><span style="background-color: #6666cc;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: small;"></span></span></span></b></a><b><a href="http://www.handkebild.scriptmania.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handkebild.scriptmania.com/</span></span></a><span class="Apple-style-span" style="font-size: small;">index.htlm</span></b></u></b></span></u></b></u></b></span></span></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><u><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><b><u></u></b></span></u></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><a href="http://handke-photo.scriptmania.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-photo.scriptmania.com/</span></span></a><span class="Apple-style-span" style="font-size: small;">index.htlm</span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="background-color: #999900;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="background-color: #999900;"><a href="http://www.handke-nobel.scriptmania.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handke-nobel.scriptmania.com/</span></span></a><span style="font-weight: normal;"><b><a href="http://www.handkedrama2.scriptmania.com/index.html" moz-do-not-send="true" target="_blank"><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">index.html</span></span></span></a></b></span></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><a href="http://www.handkeprose.scriptmania.com/" moz-do-not-send="true" target="_blank"><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handkeprose.scriptmania.com/ [PROSE SITES]</span></span></span></a></b></u></b></span></span></span></span></span></span></span></span></div>
<div style="background-color: #00cccc; text-align: center;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></u></b></span></span></span></span></span></span></span></span></div>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-weight: normal;"></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-weight: normal;"></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-weight: normal;"></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-weight: normal;"></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-weight: normal;"></span></u></span></span></span></span></span></span></span></span><br /></b>
<div style="background-color: #00cccc; text-align: center;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="font-weight: normal;"><b><a href="http://www.handkeprose.scriptmania.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handkeprose</span></span></a><span style="background-color: #ffcc00;"><span class="Apple-style-span" style="font-size: small;">2.</span></span><a href="http://www.handkeprose.scriptmania.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">scriptmania.com/</span></span></a><span style="font-weight: normal;"><b><span style="font-weight: normal;"><b><a href="http://www.handkedrama2.scriptmania.com/index.html" moz-do-not-send="true" target="_blank"><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">index.html</span></span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
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[TRANSLATION SITE AND LINK TO SCHWAGERLE ESSAY]</span></span></b><a href="http://picasaweb.google.com/lh/sredir?uname=mikerol&target=ALBUM&id=5476148831173253505&authkey=Gv1sRgCJeIus7_7LaY9QE&feat=email"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://picasaweb.google.com/lh/sredir?uname=mikerol&target=ALBUM&id=5476148831173253505&authkey=Gv1sRgCJeIus7_7LaY9QE&feat=email</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span><b><span style="background-color: #6666cc;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="font-weight: normal;"><b><span style="background-color: #ffcc00;"><span class="Apple-style-span" style="font-size: small;">the American Scholar caused controversy about Handke, reviews, detailed of Coury/ Pilipp's THE WORKS OF PETER HANDKE, the psycho-biological monograph/ a note on Velica Hoca/ open letter to Robert Silvers + NYRB re: JS Marcus.. </span></span></b></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="font-weight: normal;"><b></b></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span class="Apple-style-span" style="font-size: small;"><span style="background-color: #00cccc;"></span></span></u></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="background-color: #00cccc;"><b><u><b><span class="Apple-style-span" style="font-size: small;"> </span></b></u></b></span><span style="font-weight: normal;"><b><u><b><b><span class="Apple-style-span" style="font-size: small;"> </span></b></b></u></b></span></span></span></span></span></span></span></span></span><br />
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><b><u><b><b><span class="Apple-style-span" style="font-size: small;"> </span><span style="background-color: #00cccc;"><a href="http://handke--revista-of-reviews.blogspot.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke--revista-of-reviews.blogs</span></span></a><a href="http://handke--revista-of-reviews.blogspot.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">pot.com/</span></span></a></span></b></b></u></b></span></span></span></span></span></span></span></span></span></div>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><b><u><b><b><span style="background-color: #33ff33;"><a href="http://handke-yugo.blogspot.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-yugo.blogspot.com/</span></span></a></span></b></b></u></b></span></span></span></span></span></span></span></span></span></div>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><b><u><b><b><span style="background-color: #33ff33;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><b><u><b><b></b></b></u></b></span></span></span></span></span></span></span></span></span></div>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><u><span class="Apple-style-span" style="font-size: small;"></span></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"></span></span></span></span></span></span></span></span></span><br /></b>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><span style="font-weight: normal;"><u><span class="Apple-style-span" style="font-size: small;"></span></u></span></span></span></span></span></span></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><span style="font-weight: normal;"></span></span></span></span></span></span></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><span style="font-weight: normal;"></span></span></span></span></span></span></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><span style="font-weight: normal;"></span></span></span></span></span></span></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><span style="font-weight: normal;"></span></span></span></span></span></span></span></span></span></span><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><span style="font-weight: normal;"><u><a href="http://handke-trivia.blogspot.com/" moz-do-not-send="true" target="_blank"><span style="background-color: #cc33cc;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-</span></span></span><span style="background-color: #cc33cc;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">trivia.blogspot.com/</span></span></span></a></u></span></span></span></span></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="font-weight: normal;"><span style="font-weight: normal;"></span><span style="font-weight: normal;"><u><span class="Apple-style-span" style="font-size: small;"></span></u></span></span></span></span></span></span></span></span></span></span></b></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><span style="font-weight: normal;"></span><span style="font-weight: normal;"><u><span class="Apple-style-span" style="font-size: small;"></span></u></span></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;">[</span><u><span class="Apple-style-span" style="font-size: small;">moravian nights</span></u><span class="Apple-style-span" style="font-size: small;"> </span><span class="Apple-style-span" style="font-size: small;">discussion, etc]</span></b></u></b></span></span></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><span class="Apple-style-span" style="font-size: small;"><b></b></span></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="background-color: #ffcc00;"><span class="Apple-style-span" style="font-size: small;">the newest:</span></span><span class="Apple-style-span" style="font-size: small;"><br style="background-color: #ffcc00;" /></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-family: "courier new" , monospace;"></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-family: "courier new" , monospace;"></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-family: "courier new" , monospace;"></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-family: "courier new" , monospace;"></span></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u><span style="font-family: "courier new" , monospace;"></span></u></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="font-family: "courier new" , monospace;"><a href="http://handke-photo.scriptmania.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://handke-photo.</span></span></a><a href="http://handke-photo.scriptmania.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">scriptmania.com/</span></span></a><span style="font-weight: normal;"><b><span class="Apple-style-span" style="font-size: small;"> </span></b></span></span></b></u></b></span></span></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="font-family: "courier new" , monospace;"></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;">bpth have the psychoanalytic monograph</span></span><span class="Apple-style-span" style="font-size: small;"><br />
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u></u></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u></u></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="background-color: #ffcc00;"><a href="http://analytic-comments.blogspot.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://analytic-comments.blogspot.com/</span></span></a></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b></b></u></b></span></span></span></span></span></span></span></span></div>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span class="Apple-style-span" style="font-size: small;"><u></u></span></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><a href="http://www.handkelectures.freeservers.com/" moz-do-not-send="true" style="background-color: #6633ff;" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handkelectures.</span></span></a><a href="http://www.handkelectures.freeservers.com/" moz-do-not-send="true" style="background-color: #6633ff;" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">freeservers.com</span></span></a><span class="Apple-style-span" style="font-size: small;">/</span><span style="font-weight: normal;"><b><span style="background-color: yellow;"><a href="http://www.handkedrama2.scriptmania.com/index.html" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">index.html</span></span></a><span style="font-weight: normal;"><b><span class="Apple-style-span" style="font-size: small;"> </span></b></span></span></b></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;">[the drama lecture]</span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span class="h4" id="q_12875ec02e72cba9_5" style="cursor: pointer;"><b><u><span class="Apple-style-span" style="font-size: small;"><br />
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<pre style="font-family: Verdana,Arial,Helvetica,sans-serif; margin: 0px; white-space: pre-wrap; word-wrap: break-word;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b style="background-color: #ff6666;"><a href="http://www.van.at/see/mike/index.htm" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.van.at/see/mike/</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">index.htm</span></span></a></b><span class="Apple-style-span" style="font-size: small;">
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="background-color: #ffcc00;"><span class="Apple-style-span" style="font-size: small;">[dem handke auf die schliche/besuch auf dem Moenchsberg, a book of mine about Handke]</span></span><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b style="background-color: #ff6666;"><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></u></b></span></span></span></span></span></span></span></span></div>
</div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b></b></u></b></span></span></span></span></span></span></span></span></div>
<div>
<div>
<div style="text-align: center;">
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="background-color: #00cccc;"><u><span class="Apple-style-span" style="font-size: small;">With three photo albums, to wit:</span></u></span><span class="Apple-style-span" style="font-size: small;"><br />
</span><a href="http://picasaweb.google.com/mikerol" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://picasaweb.google.com/</span></span></a><a href="http://picasaweb.google.com/mikerol" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">mikerol</span></span></a></b></u></b></span></span></span></span></span></span></span></span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></u></b></span></span></span></span></span></span></span></span></div>
</div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE#" moz-do-not-send="true" style="background-color: #ffcc00;" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://picasaweb.google.com/</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">mikerol/HANDKE3ONLINE#</span></span></a><span class="Apple-style-span" style="font-size: small;"> </span><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></u></b></span></span></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="background-color: #00cccc;"><b><u><span class="Apple-style-span" style="font-size: small;"><br />
</span></u></b></span></span></span></span></span></span></span></span></span><br />
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><a href="http://picasaweb.google.com/mikerol/HANDKE2ONLINE#" moz-do-not-send="true" target="_blank"><span style="background-color: #00cccc;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://picasaweb.google.com/</span></span></span><span style="background-color: #00cccc;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">mikerol/HANDKE2ONLINE#</span></span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span><span style="background-color: #00cccc;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></b><a href="http://picasaweb.google.com/lh/sredir?uname=mikerol&target=ALBUM&id=5476148831173253505&authkey=Gv1sRgCJeIus7_7LaY9QE&feat=email"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://picasaweb.google.com/lh/sredir?uname=mikerol&target=ALBUM&id=5476148831173253505&authkey=Gv1sRgCJeIus7_7LaY9QE&feat=email</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></u></b></span></span></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></u></b></span></span></span></span></span></span></span></span><br />
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><a href="http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#" moz-do-not-send="true" style="background-color: #ffcc00;" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://picasaweb.google.com/</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">mikerol/POSTED?authkey=</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">YeKkFSE3-Js#</span></span></a><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></u></b></span></span></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></u></b></span></span></span></span></span></span></span></span><br />
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<div align="center">
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><a href="http://www.handke.scriptmania.com/favorite_links_1.html" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.handke-trivia.</span></span></a><a href="http://www.handke.scriptmania.com/favorite_links_1.html" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">blogspot.com</span></span></a></b><big><big><span class="Apple-style-span" style="font-size: small;"><br />
</span></big></big></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><big><big><span style="background-color: red;"><a href="http://www.artscritic.blogspot.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.artscritic.</span></span></a></span><span style="background-color: red;"><a href="http://www.artscritic.blogspot.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">blogspot.co</span></span></a><span class="Apple-style-span" style="font-size: small;">m</span></span></big></big></u></b></span></span></span></span></span></span></span></span></div>
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<pre style="font-family: Verdana,Arial,Helvetica,sans-serif; margin: 0px; white-space: pre-wrap; word-wrap: break-word;"><div>
<div style="text-align: center;">
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><u></u>
<u></u>
<u></u>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;">[some handke material, too, the Milosevic controversy summarized]</span></span></b></u></b></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><b><u><b></b></u></b></span></span></span></span></span></span></span></span></div>
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<b>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span class="Apple-style-span" style="font-size: small;">
</span></span></span></span></span></span></span></span></span></b></pre>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"></span></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><span style="border-collapse: collapse; font-family: "courier new" , monospace;"><b><u><b><a href="http://analytic-comments.blogspot.com/" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="background-color: #33ccff;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://analytic-comments.blogspot.com/</span></span></span></a></b><b><a href="http://handke-discussion.blogspot.com/" moz-do-not-send="true" target="_blank"><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"> </span></span></span></a></b></u></b></span></span></span></span></span></span></span></span></span></span></div>
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<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><u><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="background-color: yellow;"></span></span></span></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><u><span style="font-family: "courier new" , monospace;"></span></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><u><span style="font-family: "courier new" , monospace;"></span></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><u><span style="font-family: "courier new" , monospace;"></span></u></span></span></span></span></span></span></span></span></span><br /></b>
<b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><u><span style="font-family: "courier new" , monospace;"></span></u></span></span></span></span></span></span></span></span></span><br /></b>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><b><a href="http://www.facebook.com/mike.roloff1?ref=name" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.facebook.com/mike.roloff1?ref=name</span></span></span></a></b></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"></span><br />
<span style="background-color: silver;"></span><br />
<span style="background-color: silver;"></span><br />
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<span style="background-color: silver;"></span></span></u></b></span></span></span></span></span></span></span></span></span><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;">Member Seattle Psychoanalytic Institute and Society</span></span></b></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;">This LYNX will LEAP you to my HANDKE project sites and BLOGS:</span></span></b></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><a href="http://www.roloff.freehosting.net/index.html" moz-do-not-send="true" target="_blank"><span class="Apple-style-span" style="background-color: #ff6666;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;">http://www.roloff.freehosting.net/index.html</span></span></span></a></b></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;">"MAY THE FOGGY DEW BEDIAMONDIZE YOUR HOOSPRINGS! +</span></span></b></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;">THE FIREPLUG OF FILIALITY REINSURE YOUR BUNGHOLE!" {J. Joyce}</span></span></b></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;">"Sryde Lyde Myde Vorworde Vorhorde Vorborde" [von Alvensleben]</span></span></b></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;">"Siena me fe, disfescimi Maremma." [Dante]<br />
"Ennui [Lange Weile] is the dreambird that</span></span></b></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;"> hatches the egg of<br />
experience." </span></span></b></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: "arial" , sans-serif;"><span style="border-collapse: separate; font-family: "arial";"><b><u><span style="font-family: "courier new" , monospace;"><span style="background-color: silver;"><b><span style="background-color: silver;"><span class="Apple-style-span" style="font-size: small;">[Walter Benjamin, the essay on Leskov.]</span></span></b></span></span></u></b></span></span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="border-collapse: separate; font-family: "times new roman"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: "arial";"><b><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"></span></span></span><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span class="Apple-style-span" style="font-size: small;"><o:p></o:p></span></span></span></span></b></span></span></span></div>
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</span><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;">This site and the various handke blogs </span></span><span class="Apple-style-span" style="font-weight: normal;"><span class="Apple-style-span" style="font-size: small;"><b></b></span></span></b></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="font-weight: 800;"><span class="Apple-style-span" style="font-family: "georgia" , serif; font-weight: normal;"><b><b><b><span style="background-color: yellow;"><span class="Apple-style-span" style="font-size: small;">and the handke.scriptmania project</span></span></b></b></b></span></span></span></span></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-21868137655422970072010-04-12T15:50:00.001-07:002011-11-12T14:05:33.633-08:00THE HANDKE READER - STATUS OF OUTLINE ROUGH, APRIL 2010<div align="center" class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: -54.0pt; margin-right: -54.0pt; margin-top: 0cm; text-align: center;">
<b><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;"> General Considerations:</span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><u><span style="color: black; font-family: 'Courier New'; font-size: 18pt;">THE TITLE:<o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">PETER HANDKE, THE MELANCHOLY PLAYER</span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">A Self-Appellation that fits!</span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Division into periodicities would be easy in Handke’s case, and also appropriate, <br />
but each period requires its own focus.<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Rather and also, why not [also, chiefly] three intertwining foci on Handke’s three main avenues of communicating as playfully as he does, his three ways of playing?<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">[1] <u>Narrative Prose</u><o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">[2] <u>Plays</u> <o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">[3] <u>Essays</u><o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">I am going to take a chance and have three central sections devoted to the development of the prose and plays and essay and thus obviate, or interlink what would otherwise be required in a chronological arrangement. But also provide on example of its near perfection.<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;"> After all, Handke’s work is over-determined, that makes him challenging, and drives what he says through to real readers; and these sections would be of interest not only to readers but to writers and playwrights and also to philosophers of language.<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Also, <u>The Reader</u> might afford the opportunity to translate certain texts not otherwise available.<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Since <u>The Reader</u>, and each section of it, is chronological, each of those sections might have excerpts from the contemporaneous spontaneous diary notations that Handke started to keep as of what I call the Paris crisis period of the early 70s, from WEIGHT OF THE WORLD, <i style="mso-bidi-font-style: normal;"><u>THE HISTORY OF THE PENCIL, MORNINGS AT THE ROCK WINDOW;</u></i> <i style="mso-bidi-font-style: normal;"><u>YESTERDAY, ON MY WAY</u></i>...<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">[<i style="mso-bidi-font-style: normal;">texts in italics are not in English but exists in all major Romance languages] <o:p></o:p></i></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">On the aspect of Handke as "assayer" <br />
as I think of his different kinds of essays – it isn’t just the “THREE ESSAYS” or DON JUAN but the play THE ART OF ASKING falls into it too,<br />
John D'Agata is a natural to address if he is game, what with having picked a long text from<u> Innerworld</u> as an example of the “lost origins of the essay”, say <u>Singular and Plural</u> from<u> Innerworld</u> [where I once demonstrated how <i>by writing</i> Handke conquers fear! now if that isn't something to have given the "new Kafka" a swollen head!]<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">I would put in a center fold of photos,<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">of Baby Handke and his mother Maria eyeing each other, of the young student holding a book, these are in Haslinger’s “Jugend eines Schriftstellers”<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Then one of his with fist wife Libgart, the one where they are drinking beer, it catches his spirit of the time… of him in his workroom in Salzburg… there are hundreds to choose from…<br />
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<b><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Table of Content Rough</span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"> <o:p></o:p></span></b></div>
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<b><u><span style="color: red; font-family: 'Courier New'; font-size: 18pt;">-I-<o:p></o:p></span></u></b></div>
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<b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"> <u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial;">THE GENERAL INTRODUCTION</span><o:p></o:p></u></span></b></div>
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<b><u><span style="color: red; font-family: 'Courier New'; font-size: 18pt;">[II]<o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">An essay on the early work.</span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;"> The introduction to this section, or the general one, needs to dwell on how this <u>Innerworld ./Outer World/ of the Innerworld</u> phenomenon/ procedure [not that different from T.S. Elliot’s] grows yet remains an essential feature of Handke’s self based work, “Objective correlative”; and in general, on how Handke uses his self, self-states and experience as his own material while generalizing it. Masks, personae later in the novels, starting with <u>Goalie.</u> </span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></b></div>
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a] <i><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;">When I was 15</span></i><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;"> [to be found in an early anthology by Eckehard Kronenberg, needs to be translated, effervescent]<br style="mso-special-character: line-break;" /> <br style="mso-special-character: line-break;" /> </span><o:p></o:p></span></b></div>
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<b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;">b] “<span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;">Welcoming the Board of Directors…<o:p></o:p></span></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">The title story from the early virtuoso things in <u>Begrüssung des Aufsichtsrats</u>, it exists in an Austrian story collections. <i><o:p></o:p></i></span></b></div>
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<b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;">c] <i><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;">I am an Inhabitant of the Ivory Tower</span></i><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;"> [one of the playful provocative essays of the period, might have been translated meanwhile]<o:p></o:p></span></span></b></div>
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</span></i></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;">d</span></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">] Half a dozen texts from<i> <u>Innerworld</u><o:p></o:p></i></span></b></div>
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</span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;">e] <i><u><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;">Radio-Play I</span></u></i><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;"> ???[because it demonstrates how Handke plays with fear, and it disappears] and is in the then strict serial mode… and because it is not readily available as are the other early play texts. Or <u>Self-Accusation.<o:p></o:p></u></span></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">f] at this point I would segue into the prose section with excerpts from:…<br />
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<b><u><span style="color: red; font-family: 'Courier New'; font-size: 18pt;">[III]<o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">PROSE DEVELOPMENT ESSAY<o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">This would be the central section on the development of the prose. It needs to address the “personae” that Handke finds, Josef Bloch, Keuschnig, Sorger, Loser, Kobal, The Pharmacist, The Ex-Bankieress; The Ex-Author; and needs to have commentary, annotation, guidance from section to section…</span></b><b><span style="font-family: 'Courier New'; font-size: 18pt;"> <o:p></o:p></span></b></div>
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<span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;">There ought to be one section that focuses very closely on technical innovations...the way dream writing arises out of the control of deep syntax, and what Edmond Caldwell calls "the Handke effect", Handke’s use of filmic techniques…<o:p></o:p></span></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">A section from both <u>Die Hornissen</u> [The Hornets] and <u>Der Hausierer</u> [The Panhandler] which exist in the Romance languages, whose audience has been more receptive, especially Spain and Portugal. I translated a few pages of <u>Hornets</u> as part of an essay on Handke’s development as a prose writer. I was going to translate <u>Panhandler</u> until Handke told me that it contained a lot of quotes from U.S. “black mask” type detective and crime novels, and not from the originals! One section to illustrate both his phenomenological procedure and how fear is quelled while being toyed with. <u> </u><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></b></div>
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<b><span lang="DE" style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">1] A section from <i style="mso-bidi-font-style: normal;">Die Hornissen<o:p></o:p></i></span></b></div>
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<b><span lang="DE" style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">2] from <i style="mso-bidi-font-style: normal;">Der Hausierer </i><u>[</u>i.e. pure phenomenology]<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">3] The opening of <u>Goalie</u> as an example how<br />
syntax can involve your state of mind in that<br />
of a paranoid-schizophrenic...<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">4] the dream image section from <u>Afternoon of the Writer</u>where the writer is injured by the Salzburg<br />
gossips and feels like a hit and run victim in a ditch…<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">5] “the king of slowness” <i style="mso-bidi-font-style: normal;">The Repetition </i>excerpt… to show how you are <i>slowed down </i>by reading a text<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">6] the dream syntax section<i style="mso-bidi-font-style: normal;"> </i>and<i style="mso-bidi-font-style: normal;"> </i>the section that Edmund Caldwell picked in <u>One Dark Night I Left my Silent House</u> where textual doubt is demonstrated most successfully.. From the same book, after the "Pharmacist" gets bumped on the head...<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">7] a section from <u>The Hour we knew Nothing of each Other</u> because the text takes you<br />
by the scruff of your syntax and doesn't let<br />
go until the end. A better translation than<br />
the Honegger one, perhaps the one that was done for the performance at The National in London<br />
two years ago???<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">8] Either the opening of <u>Absence</u> or of the 2007 novel <u>Kali</u> where the text is not only experienced as such but also as opera to adumbrate the reading experience...<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">9] RE-MAGICKING THE WORLD: A section from <u>Del Gredos<o:p></o:p></u></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">10] A page of so from the “Apache” section of <u>Moravian Night</u> where the underlying fury rumbles barely suppressed through the syntax… Faulknerian…<u><br style="mso-special-character: line-break;" /> <br style="mso-special-character: line-break;" /> <o:p></o:p></u></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">10]PROSE PURE: <i style="mso-bidi-font-style: normal;">ecriture pure </i>A few sections from <u>Moravian Night</u></span></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;"> <o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">11] LEFT-HANDED WOMAN in its entirety?<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">12] One of the pieces from <i style="mso-bidi-font-style: normal;">Once More for Thucydides. </i>As an example of pure lyric prose.<br style="mso-special-character: line-break;" /> <br style="mso-special-character: line-break;" /> <o:p></o:p></span></b></div>
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<b><u><span style="color: red; font-family: 'Courier New'; font-size: 18pt;">[IV]<o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Problematics [1971-76]</span></u></b><b><u><span style="color: red; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></u></b></div>
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<b><u><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><br />
</span></u></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Can one get away without the mistitled<br />
<u>Sorrow Beyond Dreams</u>… and the need to annotate it from the perspective of imagining what life was like for Maria Sivec's firstborn under those circumstances? This section affords the opportunity for a good biographical essay. <br />
Perhaps one of the progressively more<br />
<i>fugueing </i>poems in <i>Nonsense & Happiness<br />
</i>[but if there is a separate short section on Handke's poem???...] A section from <u>Moment of True Feeling</u> perhaps not the suicidal parts but the one of that famous <i>Moment?</i></span></b><b><i><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"> </span></i></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">This section would address itself to what I call Handke's Paris Crisis [1971-78] the lay-a-broad left high and dry both by his mom and his wife, and like many a lay-abroad before him... couldn't handle it, started to fugue, but wrote some first rate things about his then state of mind. And didn't learn the lesson that you have to treat a woman right, or they will split no matter how famous or a great artist you are! Not many French saints about! Fewer and fewer by the year who want to live with a frigid Salamander who hits and bites!</span></b> <img height="32" src="file:///C:/Users/michael/AppData/Local/Temp/msohtml1/01/clip_image001.gif" v:shapes="_x0000_i1025" width="32" /><b><i><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></i></b></div>
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<b><u><span style="color: red; font-family: 'Courier New'; font-size: 18pt;">[V]<o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">PLAYWRIGHTING</span></u></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">The “Second Weaving” as it were, picking up<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">The <u>Radio Play</u> / <u>Self-Accusation </u> and <u>HOUR </u>strands..<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">Needs an introductory essay, describing the early procedures and intentions, and the transition to and with an excerpt from VILLAGES, ART OF ASKING<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">Perhaps <u>La Cuisine</u> as something more playful and quite different???<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">Or his Becket play “Until the Day Parts us.”<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">???</span></b><b><span style="color: #333333; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><u><span style="color: red; font-family: 'Courier New'; font-size: 18pt;">V<o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">The Home-Coming Period</span></u></b><b><u><span style="font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">Sections from <u>History of the Pencil</u> as the transitional<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">from <u>Walk about the Villages<o:p></o:p></u></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">Opening Chapter of <u>A Slow Homecoming, </u>the Alaska <span style="color: #333333;">section..<o:p></o:p></span></span></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: red; font-family: 'Courier New'; font-size: 18pt;">-VI-<o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">HANDKE AS ESSAYIST<o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">Needs an introduction, my choice is John D’Agata<o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">“Assayings” as I call his approach<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">The strand [s] that are picked up… <u>Innerworld… Art of Asking<o:p></o:p></u></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">A text from INNERWORLD, <o:p></o:p></span></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">On the Jukebox </span></u></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">in its entirety<u><o:p></o:p></u></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">A Section from<u> THE ART OF ASKING</u></span></b><b><u><span style="color: #333333; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: #333333; font-family: 'Courier New'; font-size: 18pt;">A section from</span></b><b><span style="color: #333333; font-family: 'Courier New'; font-size: 18pt;"> </span></b><b><u><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">THE PLAY ABOUT THE FILM ABOUT THE WAR</span></u></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;"> to show Handke’s indebtedness to the German tradition - Brecht, Kipphardt, Grass, Weiss – of critical drama, with Handke’s very own twist.<o:p></o:p></span></b></div>
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<b><u><span style="color: red; font-family: 'Courier New'; font-size: 18pt;">VII<o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">The Salzburg Period</span></u></b><b><u><span style="font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">.An Essay linking<u> SORROW</u> with <u>THE REPETITION <o:p></o:p></u></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">And indicating the firming up of Handke’s identity with the installation of his Slovenian Grandfather as the father figure, on his closer identification with Slovenia, Yugoslavia, and their literatures</span></b><b><u><span style="font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></u></b></div>
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<span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;">The Salzburg period 1979 to 1987, another 7 year stint, at which point we fled back to Paris, we'd gotten ourselves into trouble with a wench! who is haunting and hunting him even now as I write. Erinyes like that exist!</span></span></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: grey; font-family: 'Courier New'; font-size: 18pt;"> </span></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">No fury has hell... <o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;"> Linking up with the<o:p></o:p></span></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">The Repetition<o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;"><br />
</span></u></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">As an example of the fellow's state<br />
of mind <u>The Afternoon of the Writer</u>, which differs not that much from "Loser", the case, who differs as a “case” not that much from su suicidal Keuschnig the once again murderously minded,<br />
in <u>Across </u>[Chinese des Schmerzens] 1984, <o:p></o:p></span></b></div>
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<b><u><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"> </span></u></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><br style="mso-special-character: line-break;" /> <br style="mso-special-character: line-break;" /> <o:p></o:p></span></b></div>
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<b><u><span style="color: red; font-family: 'Courier New'; font-size: 18pt;">[VII]</span></u></b><b><u><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"> <o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Chaville Paris II<o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">1998 to the present<o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">A section, which one [?] from <o:p></o:p></span></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">No-Man’s-Bay<o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">From <u>Del Gredos:</u> The five thousand words<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">on the destruction wrought by the hurricane that hit Northern France around 2000</span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;">.<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Perhaps: </span></b><b><span style="background-attachment: initial; background-clip: initial; background-color: lime; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">“<i>Lucy with the Thingamajigs</i>”?</span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><span style="color: red; font-family: 'Courier New'; font-size: 18pt;">[VIII]</span></b><b><u><span style="font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: cyan; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">Handke the Traveler Walker</span></u></b><b><u><span style="background-attachment: initial; background-clip: initial; background-color: red; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">?????</span></u></b><b><u><span style="font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">Sections on walking in Yugoslavia<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">From</span></b><b><span style="font-family: 'Courier New'; font-size: 18pt;"> <u><span style="background-attachment: initial; background-clip: initial; background-color: lime; background-image: initial; background-origin: initial;">No-Man’s-Bay</span><o:p></o:p></u></span></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: lime; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">Del Gredos</span></u></b><b><u><span style="font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></u></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">From the Diary volume</span></b><b><u><span style="font-family: 'Courier New'; font-size: 18pt;"> <span style="background-attachment: initial; background-clip: initial; background-color: lime; background-image: initial; background-origin: initial;">“<i style="mso-bidi-font-style: normal;">Yesterday, on my way”</i></span><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></u></b></div>
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<b><u><span style="background-attachment: initial; background-clip: initial; background-color: red; background-image: initial; background-origin: initial; font-family: 'Courier New'; font-size: 18pt;">IX</span></u></b><b><u><span style="font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></u></b></div>
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<span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;">How does one deal with the Yugoslavia involvement? If at all here?<br />
I think I mentioned initially that such a reader represents a wonderful opportunity to make up where his main US Publisher<br />
Farrar, Straus has been remiss over the years. <br />
<u>The Cuckoos of Velica Hoca</u> [2007] see this page devoted to it at handkeprose2.scriptmania site [link to all matters mentioned here<br />
via the link below]<u> Velica Hoca</u> is certainly by far the best focused text on that subject and demonstrates what a great reporter Handke can be <br />
who normally showers obloquy on these critters.<o:p></o:p></span></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">Scott seems to fell that JOURNEY TO THE RIVERS is the most important text… I disagree, because at the very least it needs to be put in tandem with SUMMER’S REPRIEVE<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">[and I think all the Yugoslavia texts plus the <o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">THE PLAY ABOUT THE FILM ABOUT THE WAR<o:p></o:p></span></b></div>
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<b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">need to be published as one volume.<br />
With an essay by Scott Abbot on Handke's involvement in Yugoslavia <br />
where I only fault Handke for then copping out when it came to <br />
being an "expert witness" for Milosevic at Scheveningen.<br />
I myself have written a small book’s worth of pieces on the subject<br />
and did so to make Handke’s engagement comprehensible to myself. That is how I work.<br />
<br />
German reviewers meanwhile - Weinzierl, Kastberge<i>r, </i>Detering<br />
who come out of Germanistik - have become utterly deferential, <br />
now that Handke is about to win the Nobel, has sold his notebooks <br />
and manuscript for a total of about one million Euro to two institutions<br />
that buy that kind of stuff, keeps the company of princes of industry<br />
and presidents....but Handke has always been his own best critic. The German <br />
reviewer rabble is nearly as hideous as those here, and some of them have jobs<br />
at major papers! Aren't merely occasional idiots but convey their<br />
idiocy into print day and week in and out. Hubert Spiegel at the FAZ,<br />
a couple of folks at Die Zeit. One fellow who usually has a cool head, Lothar<br />
Struck has become prematurely Apfelmus over <i>Moravian, in Glanz und Elend.<br />
</i>One of those on-line review organs that give you hope as there are increasing<br />
numbers in all languages!!</span></b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></div>
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<b><u><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><br />
<br />
</span></u></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"> <br style="mso-special-character: line-break;" /> <br style="mso-special-character: line-break;" /> <o:p></o:p></span></b></div>
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<b><u><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><br />
<br />
<span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;">Poems<br />
</span></span></u></b><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial; color: black; font-family: 'Courier New'; font-size: 18pt;">A wonderful edition of Handke's complete poems <br />
was published recently by Bartelsby in Madrid,<br />
it contains all of <i>Innerworld</i>, all the long poems from <br />
<i>Nonsense and Happiness</i>, the incidental poems<br />
as they appear in the four published notebook volumes<br />
and the wonderful, as yet untranslated into English,<br />
<u>Das Gedicht an die Dauer</u> <br />
["Poem to Lasting Things," as it might be called]</span></b><b><span style="color: black; font-family: 'Courier New'; font-size: 18pt;"><o:p></o:p></span></b></div>
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<span class="apple-style-span"><span style="color: black; font-family: Arial; font-size: 9.5pt;">.</span></span><span class="apple-style-span"><b><span style="color: black; font-family: 'Courier New';">MICHAEL ROLOFF</span></b></span><span style="color: black; font-family: 'Courier New';"><br />
<span class="apple-style-span"><b><span style="background-attachment: initial; background-clip: initial; background-color: yellow; background-image: initial; background-origin: initial;"><a href="http://www.facebook.com/mike.roloff1?ref=name" target="_blank"><span style="color: #c3390b;">http://www.facebook.com/mike.roloff1?ref=name</span></a></span></b></span><br />
<br />
<span class="apple-style-span"><b>Member Seattle Psychoanalytic Institute and Society</b></span><br />
<br />
<span class="apple-style-span"><b>This LYNX will LEAP you to my HANDKE project sites and B</b>LOGS</span><br />
<span class="Apple-style-span" style="color: #c3390b;"><b><span class="Apple-style-span" style="color: black; font-weight: normal;"><b><span style="background-attachment: initial; background-clip: initial; background-color: #33ff33; background-image: initial; background-origin: initial;"><a href="http://www.handke.scriptmania.com/favorite_links_1.html" target="_blank"><span style="color: #c3390b;">http://www.handke.scriptmania.com/favorite_links_1.html</span></a></span> </b></span></b></span> <b><br />
<span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: silver; background-image: initial; background-origin: initial;"><a href="http://www.roloff.freehosting.net/index.html" target="_blank"><span style="color: #c3390b;">http://www.roloff.freehosting.net/index.html</span></a></span></span></b><br />
<br />
<span class="apple-style-span"><b>"Degustibus disputandum est." Theodor Wiesenthal Adorno</b></span><b><br />
<span class="apple-style-span">"May the foggy dew bediamondize your hoosprings + the fireplugof filiality reinsure your bunghole! {James Joyce}</span><br />
<span class="apple-style-span">"Sryde Lyde Myde Vorworde Vorhorde Vorborde." [von Alvensleben]</span><br />
<span class="apple-style-span">"Siena me fe, disfescimi Maremma." [Dante]</span><br />
<span class="apple-style-span">"Ennui [Lange Weile] is the dreambird that hatches the egg ofexperience." Walter Benjamin, the essay on Leskov.</span></b><br />
<b><br />
<span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: #00cccc; background-image: initial; background-origin: initial;"><a href="http://analytic-comments.blogspot.com/" target="_blank"><span style="color: black;">http://analytic-comments.blogspot.com/</span></a> </span></span><br />
<span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: #ff9900; background-image: initial; background-origin: initial;"><a href="http://summapolitico.blogspot.com/" target="_blank"><span style="color: black;">http://summapolitico.blogspot.com</span></a></span>/</span><br />
<span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: red; background-image: initial; background-origin: initial;"><a href="http://artscritic.blogspot.com/" target="_blank"><span style="color: black;">http://artscritic.blogspot.com/</span></a></span></span></b></span><span style="color: black;"><a href="http://artscritic.blogspot.com/" target="_blank"><span class="apple-style-span"><span style="color: black; font-family: Arial; font-size: 9.5pt; text-decoration: none;">.</span></span></a></span><span style="color: black; font-family: Arial;"><br />
<span class="apple-style-span"><b><span style="background-attachment: initial; background-clip: initial; background-color: #ffcc00; background-image: initial; background-origin: initial;"><a href="http://seattle-vistas.blogspot.com/"><span style="color: black;">http://seattle-vistas.blogspot.com/</span></a></span></b></span></span><span style="color: black;"><o:p></o:p></span></div>
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<span class="apple-style-span"><b><span style="color: black; font-family: Arial;"><a href="http://handke-discussion.blogspot.com/"><span style="background-attachment: initial; background-clip: initial; background-color: #60bf00; background-image: initial; background-origin: initial; color: black; text-decoration: none;">http://handke-discussion.blogspot.com/</span></a></span></b></span><span style="color: black;"><o:p></o:p></span></div>
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<span class="apple-style-span"><b><span style="color: black; font-family: Arial;"><a href="http://handke--revista-of-reviews.blogspot.com/"><span style="background-attachment: initial; background-clip: initial; background-color: magenta; background-image: initial; background-origin: initial; color: black; text-decoration: none;">http://handke--revista-of-reviews.blogspot.com/ [Don Juan Review]</span><span style="background-attachment: initial; background-clip: initial; background-color: magenta; background-image: initial; background-origin: initial; color: black;"><br />
</span></a></span></b></span><span style="color: black;"><o:p></o:p></span></div>
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</i> <br style="mso-special-character: line-break;" /> <u><o:p></o:p></u></span></b></div>
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<br /></div>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-73517161788472691692010-04-12T15:41:00.000-07:002010-04-12T15:41:26.274-07:00DON JUAN [AS TOLD BY HIMSELF, TO A RESTARATEUR I MIGHT ADD WHO...<div bgcolor="#ffffff" style="text-align: center;" text="#000000"><span style="background-color: #ff6666;"><b>"A most remarkable prose poem that ought to be read at the rate it was written, </b></span></div><div bgcolor="#ffffff" text="#000000"><div style="text-align: center;"><span style="background-color: #ff6666;"><b>about three pages a day," </b></span></div><div style="text-align: center;"></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: large;"><u><b>THE COMPLETE PIECE CAN BE FOUND AT:</b></u></span></div><div><div></div><div class="h5"><div class="gmail_quote"><big><big><br />
</big></big> <br />
<div style="text-align: center;"><big><big><b><span style="font-weight: normal;"><b><span style="font-weight: normal;"><b><span style="background-color: #33ff33;"> </span></b><span style="font-family: Georgia, serif;"><a href="http://handke--revista-of-reviews.blogspot.com/" target="_blank"><b><span style="background-color: #33ff33;">http://handke--revista-of-reviews.blogspot.com/</span></b></a></span></span></b></span></b></big></big></div><span style="font-family: Georgia, serif;"><br />
</span><br />
<span style="font-family: Georgia, serif;"><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: 'Courier New';"><b><u><span style="font-family: Georgia, serif; font-weight: normal;"> </span></u></b></span><br />
<span style="font-family: 'Courier New';"><b><u><span style="font-family: Georgia, serif; font-weight: normal;"><div align="center" class="MsoNormal" style="text-align: center;"><b><u><span style="background-color: cyan; font-family: 'Courier New';">DON JUAN REVIEW</span></u></b></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div align="center" class="MsoNormal" style="text-align: center;"><b><u><span style="background-color: cyan; font-family: 'Courier New';">(short version)</span></u></b></div></span></u></b></span></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div style="margin: 0cm;"><b><span style="background-color: yellow; color: black; font-family: 'Courier New';">“By the way, he told me later, if one refrained from looking directly at a thing and <span style="background-color: yellow;">instead</span></span></b><span style="background-color: yellow;"> </span><b><span style="background-color: yellow; color: black; font-family: 'Courier New';">just brushed it with a glance, the image could burn itself into one's retina in a way that no </span></b><span style="background-color: yellow;"> </span><b><span style="background-color: yellow; color: black; font-family: 'Courier New';">purposeful</span></b><b><span style="background-color: yellow; color: black; font-family: 'Courier New';"> observation or contemplation could."</span></b><span style="color: black; font-family: 'Courier New';"></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="margin-bottom: 0cm; margin-right: 9pt; margin-top: 0cm;"><b><span style="background-color: cyan; font-family: 'Courier New';">What a marvelous book! An aging reclusive restaurateur, gripped by the blues, dreams of an orgy, of the return to “womantime” – the erotic connection to the world and time and being seemingly forever: “I want a Bird” the dream begins, elicited by a pornographic fantasy; promptly “a sparrow” alights on a hazel stick lance, “Ich will vögeln” it says in dream language, and there he is: Don Juan! Through the “breach” in the wall.</span></b></div><div class="MsoNormal" style="margin-bottom: 0cm; margin-right: 9pt; margin-top: 0cm; text-indent: 54pt;"><b><span style="background-color: cyan; font-family: 'Courier New';">There was a time that Handke belittled “magic realism” – from his customary envy I imagine – and here he is more magical than any of them in transposing his interiority, his libido, into a playful many layered… into a real motherfucker of a book, oh and what dark sides this imagined Don has. - And not one single reviewer in the English language knows how to read! Don’t burn books, burn reviewers, don’t even bother putting them on a stake! Handke’s subsequent novel, the 2006 <u>Kali</u> is even more ambitious and an equally magical opera film – not that I haven’t half a dozen minor quarrels with <u>Don Juan,</u> oh and isn’t it ever so unfortunate that the second novel after <u>Don Juan</u>, the 2008 <u>Moravian Nights</u>, isn’t as multi-dimensionally composed as the formally so perfect <u>Don Juan</u>, a book that Thomas Mann would have envied! What reading experiences Handke continues to provide!...</span></b></div><div class="MsoNormal" style="margin-bottom: 0cm; margin-right: 9pt; margin-top: 0cm; text-indent: 54pt;"><b><span style="background-color: cyan; font-family: 'Courier New';"><br />
</span></b></div><div class="MsoNormal" style="margin-bottom: 0cm; margin-right: 9pt; margin-top: 0cm; text-indent: 54pt;"><b><span style="background-color: cyan; font-family: 'Courier New';">ctd. 2: <span style="font-family: arial; font-weight: normal;"><b><span style="background-color: #33ff33;"> </span></b><span style="font-family: Georgia, serif;"><b><span style="background-color: #33ff33;"><a href="http://handke--revista-of-reviews.blogspot.com/" target="_blank">http://handke--revista-of-reviews.blogspot.com/</a></span></b></span></span></span></b></div><div class="MsoNormal" style="margin-bottom: 0cm; margin-right: 9pt; margin-top: 0cm; text-indent: 54pt;"><b><span style="background-color: cyan; font-family: 'Courier New';"><span style="font-family: arial; font-weight: normal;"><span style="font-family: Georgia, serif;"><b><br />
</b></span></span></span></b></div><div class="MsoNormal" style="margin-bottom: 0cm; margin-right: 9pt; margin-top: 0cm; text-indent: 54pt;"><b><span style="background-color: cyan; font-family: 'Courier New';"><span style="font-family: arial; font-weight: normal;"><span style="font-family: Georgia, serif;"><b><span style="border-collapse: collapse; font-family: arial, sans-serif; font-weight: normal;">.<big><span style="border-collapse: separate; color: black; font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: arial;"><span style="font-family: 'Courier New';"><b><span style="font-size: small;">MICHAEL ROLOFF</span></b><span style="font-size: small;"><br />
</span> <b><span style="background-color: yellow;"><a href="http://www.facebook.com/mike.roloff1?ref=name" style="color: #c3390b;" target="_blank"><span style="font-size: small;">http://www.facebook.com/mike.roloff1?ref=name</span></a></span></b><span style="font-size: small;"><br />
<br />
</span><b><span style="font-size: small;">Member Seattle Psychoanalytic Institute and Society</span></b><span style="font-size: small;"><br />
<br />
</span><b><span style="font-size: small;">This LYNX will LEAP you to my HANDKE project sites and B</span></b><span style="font-size: small;">LOGS<br />
</span><b><span style="background-color: #33ff33;"><a href="http://www.handke.scriptmania.com/favorite_links_1.html" style="color: #c3390b;" target="_blank"><span style="font-size: small;">http://www.handke.scriptmania.com/favorite_links_1.html</span></a></span><span style="font-size: small;"> </span></b><span style="font-size: small;"><br />
</span> <b><span style="font-size: small;"><br />
</span><span style="background-color: silver;"><a href="http://www.roloff.freehosting.net/index.html" style="color: #c3390b;" target="_blank"><span style="font-size: small;">http://www.roloff.freehosting.net/index.html</span></a></span></b><span style="font-size: small;"><br />
<br />
</span><b><span style="font-size: small;">"Degustibus disputandum est." Theodor Wiesenthal Adorno<br />
"May the foggy dew bediamondize your hoosprings + the fireplug<br />
of filiality reinsure your bunghole! {James Joyce}<br />
"Sryde Lyde Myde Vorworde Vorhorde Vorborde." [von Alvensleben]<br />
"Siena me fe, disfescimi Maremma." [Dante]<br />
"Ennui [Lange Weile] is the dreambird that hatches the egg of<br />
experience." Walter Benjamin, the essay on Leskov.</span></b><span style="font-size: small;"><br />
</span><b><span style="font-size: small;"><br />
</span><span style="background-color: #00cccc;"><a href="http://analytic-comments.blogspot.com/" style="color: #c3390b;" target="_blank"><span style="font-size: small;">http://analytic-comments.blogspot.com/</span></a><span style="font-size: small;"> </span></span><span style="font-size: small;"><br />
</span> <span style="background-color: #ff9900;"><a href="http://summapolitico.blogspot.com/" style="color: #c3390b;" target="_blank"><span style="font-size: small;">http://summapolitico.blogspot.com</span></a></span><span style="font-size: small;">/<br />
</span><span style="background-color: red;"><a href="http://artscritic.blogspot.com/" style="color: #c3390b;" target="_blank"><span style="font-size: small;">http://artscritic.blogspot.com/</span></a></span></b></span></span></span></big></span><a href="http://artscritic.blogspot.com/" style="color: #c3390b;" target="_blank"><span style="border-collapse: separate; color: black; font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: collapse; font-family: arial, sans-serif;">.</span></span></a><span style="border-collapse: separate; color: black; font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: arial;"><br />
<b><a href="http://seattle-vistas.blogspot.com/" target="_blank"><span style="background-color: #ffcc00;"><span style="color: black;">http://seattle-vistas.blogspot.com/</span></span></a></b></span></span><br />
</b></span></span></span></b></div></span></div></div></div></div>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-12560136615119200832010-03-07T16:58:00.000-08:002010-03-07T16:58:30.038-08:00THE HANDKE READER, UNDER DISCUSSION...<span style="font-family: Georgia;"><big><b><big><span class="Apple-style-span" style="background-color: yellow;">I have had scarcely as much feedback <br />
as I would like on my proposition of a HANDE READER. Below you will find<br />
a table of content - divisions and foci and raison d'</span></big></b></big><big><b><big><span class="Apple-style-span" style="background-color: yellow;">ê</span></big></b></big><big><b><big><span class="Apple-style-span" style="background-color: yellow;">tre for same.<br />
</span></big></b></big><big><b><big><span class="Apple-style-span" style="background-color: yellow;"><br />
Meanwhile it is worth dwelling on who ought to do the introducing,<br />
not just overall, but to individual sections.<br />
<br />
Overall what is needed for the USA and the UK I expect, I think,<br />
is someone who not has some real understanding of Handke, but<br />
someone who is not in Germanics studies [who currently have <br />
no one I know as Victor Lange could be said to have had the<br />
range beyond those particular confines]<br />
that is a critic with range, an Edmund Wilson type,<br />
a Henry James... what is the closest we get to an Adorno,<br />
a Leavis, Walter Benjamin, Ernst Bloch, Georgy Lukacs,<br />
Ernst Curtius, Auerbach... Harold Bloom comes to mind,<br />
Frank Kermode, Dennis Donahue, William Gass, Michael Wood, <br />
David Bromwich, and I expect I am leaving out others, <br />
I do not read as much criticism as I used to. <br />
Some of these gentlemen are not exactly spring chicken - <br />
though I ran a six minute mile this summer past, <br />
nor am I... and so can be said to have lost only a minute<br />
and a half since my best time ever - which was the last time of that?<br />
1980 on the beach on St. Simons Island on the Georgia<br />
Goldcoast, the Marshes of Glynn, and met "Lucky Thompson"<br />
a sweet Sax player who struck me also as harmlessly loony.<br />
<br />
There is a lot of Handke, and about 7 different phases! <br />
That can be divided into 7 year periods, so far! <br />
The fellow prides himself on non-repetition even though <br />
he titled one novel THE REPETITION which indeed retrieves <br />
and rewalks a lot! And one diary excerpt "Phantasies of Repetition". <br />
<br />
My own approach to Handke in some sense is as a composer,<br />
and if you look what the guy was like as a kid - <br />
practicing writing as of an early age like someone<br />
possessed by the piano, you get a hint of why the<br />
fellow is such a virtuoso. And he still wears his hair long! <br />
[Makes him suspect like Liszt, don't want to leave your <br />
daughter in his presence too long unattended!]<br />
A bit better kempt than during his </span> <u><span class="Apple-style-span" style="background-color: yellow;">Sturm</span></u><span class="Apple-style-span" style="background-color: yellow;"> period, <br />
that's about all! There is a different dress mode <br />
for each stage of your career on the world stage. <br />
Since the fellow also needs to write nearly all the <br />
time to stay halfway sane and since he loves writing<br />
more than any muse he has ever encountered <br />
[see the end of Del Gredos for this],<br />
well, if you are like that and also have some<br />
genius and attend to Greek and Latin early on... <br />
and are autistically sensitive as to be nauseated <br />
by other bodies and thus need to take even your <br />
closest friends out of the house to go mushroom picking... <br />
you actually have a lot of time to kill and get somewhere <br />
especially if you are as ambitious as Napoleon who wants <br />
to be # Uno on the parade ground!<br />
<br />
Names that come to mind for the general introduction,<br />
are William Gass I got to know a bit after his first <br />
rate piece on MY YEAR IN THE NO-MAN'S BAY.<br />
James Wood endeared himself to my trembling heart<br />
when he agreed with every word of my letter to the NY Times <br />
on the occasion of Neil Gordon's </span> <u><span class="Apple-style-span" style="background-color: yellow;">abomination</span></u><span class="Apple-style-span" style="background-color: yellow;"> in the <br />
NY Times Book Review on the occasion of CROSSING THE SIERRA DEL GREDOS.<br />
keep writing to Neil Gordon and the New School and ask them<br />
how it is that someone like that is in charge of their writing<br />
program who clearly does not know how to read! And has the character<br />
of a hired assassin, hired by Sam Tanenhaus the Book Review editor,<br />
who from the few things of his I have read [most recently on<br />
the psychotic narcissistic rager at Biology at the Department<br />
at some University in Georgia is a dunce too.<br />
Frank Kermode did a fine early response in the NYRB...<br />
A friend is approaching Denis Donahue for me... <br />
whose work I certainly think first rate, <br />
whether he knows Handke remains to be revealed. <br />
And since my attempts to breathe life into the ghost of <br />
Henry James are succeeding only fitfully if anyone knows <br />
how fiction works and where it can take you... <br />
and what your exposure to it can do your state of mind, so that...<br />
<br />
Since Greil Marcus did such a fine job with the<br />
introduction to to the new edition of SHORT LETTER...<br />
perhaps he would be willing to address some of Handke's knottinesses...<br />
<br />
I'm afraid I don't see anyone in post-menstrualist studies <br />
whose Tampax has enough moisture... Although Barthes could have<br />
written wonderfully about Handke.<br />
<br />
Since I regard Handke also as a kind of activist Wittgenstein...<br />
someone from those regions perhaps? <br />
<br />
There have been some texts in Handke studies that have been <br />
invaluable to my own understanding, especially the book length <br />
interview that Herbert Gamper conducted with Handke in the mid-80,</span> <u><span class="Apple-style-span" style="background-color: yellow;">But I live exclusively from the Threshhods/ the Inbetween</span></u><span class="Apple-style-span" style="background-color: yellow;"> as</span> <u><span class="Apple-style-span" style="background-color: yellow;">Ich lebe doch nur von den Zwischenr</span></u></big></b></big><small><u><big><big><b><big><span class="Apple-style-span" style="background-color: yellow;">ä</span></big></b></big></big></u></small><big><b><big><u><span class="Apple-style-span" style="background-color: yellow;">umen </span></u><span class="Apple-style-span" style="background-color: yellow;">might be called; <br />
also the book tracing how other writers work has entered Handke, <br />
I forget the fine scholar's name right now, <br />
I met him back around 1990 at one of the Austrian shindig at U.C. Riverside. <br />
Peter Strasser's </span><u><span class="Apple-style-span" style="background-color: yellow;">Freudenstoff</span></u><span class="Apple-style-span" style="background-color: yellow;"> I care for since it indicates <br />
the immense joy via some of Handke's mother Maria Sivec's<br />
love for her little bastard is transmitted reaches us - <br />
but that I imagine sounds a bit mystical to you.<br />
<br />
Since Handke as dramatist is a chip off the Shakespeare and<br />
Aeschylus block... a section devoted to that aspect is needed.<br />
Richard Gilman is no longer with us. Besides, he never saw the plays<br />
before he wrote the first long essay on the early Handke plays.<br />
And to really attend to them you have to describe the EXPERIENCES<br />
they create. I have a monograph on the dramas nearly completed, <br />
and aside a lot of tidying up have plans for only two more essays <br />
on Handke, on his poetics and on his development - oh boy!!! - as prose writer,<br />
from the early virtuoso things in </span> <u><span class="Apple-style-span" style="background-color: yellow;">Begr</span></u></big></b></big><small><u><big><big><b><big><span class="Apple-style-span" style="background-color: yellow;">ü</span></big></b></big></big></u></small><big><b><big><u><span class="Apple-style-span" style="background-color: yellow;">ssung des Aufsichtsrats</span></u><span class="Apple-style-span" style="background-color: yellow;"> <br />
[Welcoming the Board of Directors and </span><u><span class="Apple-style-span" style="background-color: yellow;">Die Hornissen</span></u><span class="Apple-style-span" style="background-color: yellow;"> <br />
[The Hornets] and </span></big></b></big><big><b><big><u><span class="Apple-style-span" style="background-color: yellow;">Der Hausierer</span></u></big></b></big><big><b><big><span class="Apple-style-span" style="background-color: yellow;"> [The Panhandler] <br />
which both exist in the Romance languages, whose audience <br />
has been more receptive to him, especially Spain and Portugal,<br />
to the 2008 </span></big></b></big><big><b><big><u><span class="Apple-style-span" style="background-color: yellow;">Moravian Night</span></u></big></b></big><big><b><big><span class="Apple-style-span" style="background-color: yellow;">...<br />
<br />
Division into periodicities thus would be easy and also appropriate, <br />
but it requires certain foci, such as on the prose development,<br />
the change in poetics, on the aspect of Handke as "assayer" <br />
as I think of is different kinds of essays <br />
[John D'Agata is a natural to address that],<br />
say </span> <u><span class="Apple-style-span" style="background-color: yellow;">Singular and Plural</span></u><span class="Apple-style-span" style="background-color: yellow;"> from</span><u><span class="Apple-style-span" style="background-color: yellow;"> Innerworld</span></u><span class="Apple-style-span" style="background-color: yellow;"> <br />
[where I once demonstrated how </span><i><span class="Apple-style-span" style="background-color: yellow;">by writing</span></i><span class="Apple-style-span" style="background-color: yellow;"> Handke conquers fear! <br />
now if that isn't something to give the "new Kafka" a swollen head!]<br />
plus what I regard as the high point of that assaying approach,<br />
now combined with rediscovered narrative, </span><u><span class="Apple-style-span" style="background-color: yellow;">Don Juan.</span></u><span class="Apple-style-span" style="background-color: yellow;"> <br />
I am just now starting to write a piece on that<br />
and will share it anon.</span> <u><span class="Apple-style-span" style="background-color: yellow;"> </span> </u><span class="Apple-style-span" style="background-color: yellow;">The second section would address itself to what I call<br />
Handke's Paris crisis [1971-78] the lay-a-broad<br />
left high and dry both by his mom and his wife,<br />
and like many a lay-abroad before him... couldn't handle it, <br />
started to fugue, but wrote some first rate things about<br />
his then state of mind. And didn't learn the lesson<br />
that you have to treat a woman right, or they will split <br />
no matter how famous or a great artist you are! <br />
Not many French saints about! Fewer and fewer by the year<br />
who want to live with a frigid Salamander who hits and bites!<br />
Via John D'Agata's great collection "The Origin of the Essay"<br />
that contains a Handke text from </span><u><span class="Apple-style-span" style="background-color: yellow;">Innerworld</span></u><span class="Apple-style-span" style="background-color: yellow;"> I have fallen<br />
in love with a Sumerian text that talks about biting bitches<br />
to be avoided on those streets, the concubines tossed<br />
out by the high and mighty. Oh how old the corruption of the<br />
world is!<br />
<br />
Then we have the Salzburg period 1979 to 1986, another 7 year stint,<br />
at which point we fled back to Paris, <br />
we'd gotten ourselves into trouble with a wench!<br />
who is haunting and hunting him even now as I write. <br />
Erinyes like that exist!</span> </big></b></big><span class="Apple-style-span" style="color: grey; font-family: verdana, arial, sans-serif; font-size: 14px;"><b><span class="Apple-style-span" style="background-color: yellow;"> </span></b></span><big><b><big><span class="Apple-style-span" style="background-color: yellow;">No fury has hell... <br />
<br />
There are all those wonderful texts that<br />
describe wanderings in Yugoslavia, the Provence, Spain...<br />
<br />
There ought to be one section that focuses very closely<br />
on technical innovations... dreams writing, <br />
what Edmond Caldwell calls "the Handke effect", <br />
writing in dream syntax, certain sections from </span> <u><i><span class="Apple-style-span" style="background-color: yellow;">Moravian</span></i></u><i><span class="Apple-style-span" style="background-color: yellow;"> </span></i><span class="Apple-style-span" style="background-color: yellow;">[which I regard<br />
as Handke's most problematic text, for a host of reasons,<br />
even though it contains some of his most astonishing writing ever.<br />
How he does his making the world magical again! </span><u><span class="Apple-style-span" style="background-color: yellow;">Del Gredos</span></u><span class="Apple-style-span" style="background-color: yellow;"><br />
in particular for that, excerpts.</span><i><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </i><span class="Apple-style-span" style="background-color: yellow;"><br />
Perhaps a section devoted to excepts from his four diary volumes??<br />
<br />
How does one deal with the Yugoslavia involvement?<br />
I think I mentioned initially that such a reader represents<br />
a wonderful opportunity to make up where his main US Publisher<br />
Farrar, Straus has been remiss over the years. </span> <u><span class="Apple-style-span" style="background-color: yellow;">The Cuckoos of Velica Hoca</span></u><span class="Apple-style-span" style="background-color: yellow;"> [2007] see this page devoted to it at <br />
handkeprose2.scriptmania site [link to all matters mentioned here<br />
via the link below]</span><u><span class="Apple-style-span" style="background-color: yellow;"> Velica Hoca</span></u><span class="Apple-style-span" style="background-color: yellow;"> is certainly by far the best text on that subject <br />
and demonstrates what a great reporter Handke can be <br />
who normally showers obloquy on these critters.<br />
With an essay by Scott Abbot on Handke's involvement in Yugoslavia <br />
where I only fault Handke for then copping out when it came to <br />
being an "expert witness" for Milosevic at Scheveningen.<br />
I myself have written a small books worth of pieces on the subject<br />
and did so to make it comprehensible to myself. That is how I work.<br />
<br />
German reviewers meanwhile - Weinzierl, Kastberge</span><i><span class="Apple-style-span" style="background-color: yellow;">r, </span></i><span class="Apple-style-span" style="background-color: yellow;">Detering<br />
who come out of Germanistik - have become utterly deferential, <br />
now that Handke is about to win the Nobel, has sold his notebooks <br />
and manuscript for a total of about one million Euro to two institutions<br />
that buy that kind of stuff, keeps the company of princes of industry<br />
and presidents....but Handke has always been his own best critic. The German <br />
reviewer rabble is as hideous as here, and some of them have jobs<br />
at major papers! Aren't merely occasional idiots but convey their<br />
idiocy into print day and week in and out. Hubert Spiegel at the FAZ,<br />
a couple of folks at Die Zeit. One fellow who usually has a cool head, Lothar<br />
Struck has become prematurely Apfelmus over </span><i><span class="Apple-style-span" style="background-color: yellow;">Moravian, in Glanz und Elend.</span> </i><span class="Apple-style-span" style="background-color: yellow;">One of those on-line review organs that give you hope as there are increasing<br />
numbers in all languages!!</span><i><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </i><u><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </u></big></b></big></span><span class="Apple-style-span" style="background-color: yellow;"> </span><br />
<div align="center"><span style="font-family: Georgia;"><big><b><big><big><u><span class="Apple-style-span" style="background-color: yellow;">A proposed table of Content</span></u><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <u><span class="Apple-style-span" style="background-color: yellow;">Introduction<br />
</span> </u><span class="Apple-style-span" style="background-color: yellow;">[I] </span> <u><span class="Apple-style-span" style="background-color: yellow;">The Playful Avant Gardist</span></u><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <i><span class="Apple-style-span" style="background-color: yellow;">When I was 15</span></i><span class="Apple-style-span" style="background-color: yellow;"> [to be found in an early anthology<br />
by Eckehard Kronenberg]</span> <i><span class="Apple-style-span" style="background-color: yellow;">Welcoming the Board of Directors</span></i><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <i><span class="Apple-style-span" style="background-color: yellow;">I am an Inhabitant of the Ivory Tower<br />
Self-Accusation</span></i><span class="Apple-style-span" style="background-color: yellow;"><br />
Half a dozen texts from</span><i><span class="Apple-style-span" style="background-color: yellow;"> Innerworld</span></i><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <i><span class="Apple-style-span" style="background-color: yellow;">Radio-Play I</span></i><span class="Apple-style-span" style="background-color: yellow;"><br />
[because it demonstrates how Handke<br />
plays with fear, and it disappears]<br />
Perhaps </span><i><span class="Apple-style-span" style="background-color: yellow;">My Foot My Tutor</span></i><span class="Apple-style-span" style="background-color: yellow;"><br />
instead because it also manifests his<br />
serial procedure with such utter clarity?<br />
<br />
</span> <u><span class="Apple-style-span" style="background-color: yellow;">II</span></u><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <u><span class="Apple-style-span" style="background-color: yellow;">Problematics [1971-78]</span> </u><span class="Apple-style-span" style="background-color: yellow;">You can't get away without the mistitled</span> <u><span class="Apple-style-span" style="background-color: yellow;">Sorrow Beyond Dreams</span> </u><span class="Apple-style-span" style="background-color: yellow;">and need to annotate it from the perspective<br />
of imagining what life was like for Maria<br />
Sivec's firstborn under those circumstances.<br />
This section affords the opportunity<br />
for a good biographical essay. <br />
Perhaps one of the progressively more</span> <i><span class="Apple-style-span" style="background-color: yellow;">fugueing </span></i><span class="Apple-style-span" style="background-color: yellow;">poems in </span><i><span class="Apple-style-span" style="background-color: yellow;">Nonsense & Happiness</span> </i><span class="Apple-style-span" style="background-color: yellow;">[but since there ought to be a separate<br />
short section on Handke's poem...]<br />
A section from </span><u><span class="Apple-style-span" style="background-color: yellow;">Moment of True Feeling</span></u><span class="Apple-style-span" style="background-color: yellow;"><br />
perhaps not the suicidal parts but the one of that<br />
famous </span><i><span class="Apple-style-span" style="background-color: yellow;">Moment??</span></i><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <u><span class="Apple-style-span" style="background-color: yellow;"><br />
<br />
III<br />
Salzburg</span> </u><span class="Apple-style-span" style="background-color: yellow;">As an example of the fellow's state<br />
of mind </span><u><span class="Apple-style-span" style="background-color: yellow;">The Afternoon of the Writer</span></u><span class="Apple-style-span" style="background-color: yellow;">, which differs<br />
not that much from "Loser", the case, <br />
the once again murderously minded,<br />
in </span><u><span class="Apple-style-span" style="background-color: yellow;">Across </span></u><span class="Apple-style-span" style="background-color: yellow;">[Chinese des Schmerzens] 1984,<br />
but also as an example of one of Handke's<br />
short novels, a la </span><u><span class="Apple-style-span" style="background-color: yellow;">Left-Handed Woman</span></u><span class="Apple-style-span" style="background-color: yellow;">...</span> <u><span class="Apple-style-span" style="background-color: yellow;"><br />
IV<br />
Escriture Pure</span> </u><span class="Apple-style-span" style="background-color: yellow;">This is the central section on prose writing<br />
NAMING: Chapter I from </span><u><span class="Apple-style-span" style="background-color: yellow;">A Slow Homecoming</span> </u><span class="Apple-style-span" style="background-color: yellow;">THE KING OF SLOWNESS: A section from</span> <u><span class="Apple-style-span" style="background-color: yellow;">The Repetition</span></u><span class="Apple-style-span" style="background-color: yellow;"> to show how you are </span><i><span class="Apple-style-span" style="background-color: yellow;">slowed down </span></i><span class="Apple-style-span" style="background-color: yellow;">by reading a text<br />
SYNTAX: The opening of </span><u><span class="Apple-style-span" style="background-color: yellow;">Goalie</span></u><span class="Apple-style-span" style="background-color: yellow;"> as an example how<br />
syntax can involve your state of mind in that<br />
of a paranoid-schizophrenic...</span> <u><span class="Apple-style-span" style="background-color: yellow;">The Hour we knew Nothing of each Other</span> </u><span class="Apple-style-span" style="background-color: yellow;">in its entirety because the text takes you<br />
by the scruff of your syntax and doesn't let<br />
go until the end. A better translation than<br />
the Honegger one, perhaps the one that was done for the performance at The National in London<br />
two years ago???</span> <u><span class="Apple-style-span" style="background-color: yellow;">Dream Metaphor</span></u><span class="Apple-style-span" style="background-color: yellow;">: the section from </span><u><span class="Apple-style-span" style="background-color: yellow;">Afternoon of the Writer</span> </u><span class="Apple-style-span" style="background-color: yellow;">where the writer is injured by the Salzburg<br />
gossips and feels like a hit and run victim in a ditch<br />
THE HANDKE EFFECT: The section that Edmund Caldwell<br />
picked in </span><u><span class="Apple-style-span" style="background-color: yellow;">One Dark Night I Left my Silent House</span></u><span class="Apple-style-span" style="background-color: yellow;"> where textual doubt is demonstrated most successfully<br />
DREAM SYNTAX: From the same book, after the "Pharmacist"<br />
gets bumped on the head...<br />
PROSE experienced AS FILM: Either the opening of </span><u><span class="Apple-style-span" style="background-color: yellow;">Absence</span></u><span class="Apple-style-span" style="background-color: yellow;"><br />
or of the 2007 novel </span><u><span class="Apple-style-span" style="background-color: yellow;">Kali</span></u><span class="Apple-style-span" style="background-color: yellow;"> where the text<br />
is not only experienced as such but<br />
also as opera to adumbrate the reading experience...<br />
Handke the operatic, his knowledge as a dramatist<br />
enters in unexpected ways...<br />
RE-MAGICKING THE WORLD: A section from </span><u><span class="Apple-style-span" style="background-color: yellow;">Del Gredos</span> </u><span class="Apple-style-span" style="background-color: yellow;">PROSE PURE: A few sections from </span><u><span class="Apple-style-span" style="background-color: yellow;">Moravian Night<br />
<br />
V<br />
Poems</span> </u><span class="Apple-style-span" style="background-color: yellow;">A wonderful edition of Handke's complete poems <br />
was published recently by Bartelsby in Madrisdd,<br />
it contains all of </span><i><span class="Apple-style-span" style="background-color: yellow;">Innerworld</span></i><span class="Apple-style-span" style="background-color: yellow;">, all the long poems from </span> <i><span class="Apple-style-span" style="background-color: yellow;">Nonsense and Happiness</span></i><span class="Apple-style-span" style="background-color: yellow;">, the incidental poems<br />
as they appear in the four published notebook volumes<br />
and the wonderful as yet untranslated, into English,</span> <u><span class="Apple-style-span" style="background-color: yellow;">Das Gedicht an die Dauer</span></u><span class="Apple-style-span" style="background-color: yellow;"> <br />
["Poem to Lasting Things," as it might be called]</span> <i><span class="Apple-style-span" style="background-color: yellow;">Vivir sin Poesia </span></i><span class="Apple-style-span" style="background-color: yellow;">is the title of the Bartleby Edition.</span> </big></big></b></big></span><span class="Apple-style-span" style="background-color: yellow;"> </span><div align="center"> <div align="center"><span class="Apple-style-span" style="border-collapse: separate; color: black; font-family: 'Times New Roman'; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-style-span" style="color: #464646; font-family: Verdana,'Trebuchet MS',Arial;"><span class="titulo_catalogo" style="color: #e2001a; float: left; font-family: Verdana,'Trebuchet MS',Arial; font-size: 0.7em; font-weight: bolder; padding-top: 5px;"></span><span class="texto_obra_interior" style="clear: left; color: #4e4e4e; float: left; font-family: Verdana,'Trebuchet MS',Arial; font-size: 0.7em; padding-top: 5px; text-align: left; width: 400px;"></span></span></span><span class="Apple-style-span" style="border-collapse: separate; color: black; font-family: 'Times New Roman'; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-style-span" style="color: #464646; font-family: Verdana,'Trebuchet MS',Arial;"><span class="titulo_catalogo" style="color: #e2001a; float: left; font-family: Verdana,'Trebuchet MS',Arial; font-size: 0.7em; font-weight: bolder; padding-top: 5px;"><span class="Apple-style-span" style="background-color: yellow;">Vivir sin poesía</span></span><big><big><span class="texto_obra_interior" style="clear: left; color: #4e4e4e; float: left; font-family: Verdana,'Trebuchet MS',Arial; font-size: 0.7em; padding-top: 5px; text-align: left; width: 400px;"><a href="http://draft.blogger.com/ficha_obra.php?id_obra=136&genero=poesia" style="color: black; text-decoration: none;"><span class="Apple-style-span" style="background-color: yellow;">Reunida aquí y traducida al español por vez primera toda la obra poética publicada en alemán de </span><strong><span class="Apple-style-span" style="background-color: yellow;">Peter Handke</span></strong><span class="Apple-style-span" style="background-color: yellow;">, "</span><em><span class="Apple-style-span" style="background-color: yellow;">el lector en lengua castellana que haya tenid ...</span></em><span class="Apple-style-span" style="background-color: yellow;"> [Más]</span></a></span></big></big></span></span></div><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <div align="center"><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </div></div><span style="font-family: Georgia;"><big><b><big><big><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <u><span class="Apple-style-span" style="background-color: yellow;"><br />
VI<br />
<br />
Drama</span> </u><span class="Apple-style-span" style="background-color: yellow;">Since the Reader already contains a number of<br />
texts along that line: either </span><i><span class="Apple-style-span" style="background-color: yellow;">Radio Play </span></i><span class="Apple-style-span" style="background-color: yellow;">or </span><i><span class="Apple-style-span" style="background-color: yellow;">My Foot My Tutor </span></i><span class="Apple-style-span" style="background-color: yellow;">from the first sections, </span><i><span class="Apple-style-span" style="background-color: yellow;">The Hour</span></i><span class="Apple-style-span" style="background-color: yellow;"> and a couple of filmic and<br />
operatic sections in </span><u><span class="Apple-style-span" style="background-color: yellow;">Escriture Pure</span></u><span class="Apple-style-span" style="background-color: yellow;">, I would put in the<br />
opening from </span><u><span class="Apple-style-span" style="background-color: yellow;">Preparations for Immortality</span></u><i><span class="Apple-style-span" style="background-color: yellow;"> </span></i><span class="Apple-style-span" style="background-color: yellow;">to show what<br />
Fifth Symphony type openings Handke can write,<br />
and put in one of the two plays that he wrote<br />
in French, my favorite being, </span><u><span class="Apple-style-span" style="background-color: yellow;">La Cuisine</span></u><i><span class="Apple-style-span" style="background-color: yellow;">,</span> </i><span class="Apple-style-span" style="background-color: yellow;"> written for the Serbian director Materic.<br />
and celebrating, wouldn't you know, Serbian ham!<br />
And a really good essay on his development<br />
which certainly has left American theater and<br />
its miserable directors and artistic directors<br />
in the dust... don't let me get started on that<br />
subject and my prime example, the Nordic<br />
Provinciality of Seattle. John Lahr knew<br />
the early Handke, I dropped him a note<br />
the other day after I read his wonderful<br />
piece on ex-author Sam Shepard in </span><i><span class="Apple-style-span" style="background-color: yellow;">The New Yorker.</span></i><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <u><span class="Apple-style-span" style="background-color: yellow;">I await your feedback..<br />
</span></u><u><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </u></big></big></b></big></span></div><span style="font-family: Georgia;"><big><b><big><i><span class="Apple-style-span" style="background-color: yellow;"> </span></i></big></b></big></span><span class="Apple-style-span" style="background-color: yellow;"> </span><div align="center"><span style="font-family: Georgia;"><big><b><big><i><span class="Apple-style-span" style="background-color: yellow;"> from this<br />
<br />
</span> </i></big></b></big></span><span class="Apple-style-span" style="background-color: yellow;"><img alt="Pay for Peter Handke - Die Innenwelt der Außenwelt der Innenwelt . mp3" src="http://cdn.7static.com/static/img/sleeveart/00/007/123/0000712358_350.jpg" /></span> <span style="font-family: Georgia;"><big><b><big><i><span class="Apple-style-span" style="background-color: yellow;"> </span></i></big></b></big></span></div><div align="center"><span style="font-family: Georgia;"><span class="Apple-style-span" style="background-color: yellow;"><br />
<br />
</span> </span><span class="Apple-style-span" style="background-color: yellow;"> </span><div align="center"><big><big><big><b><u><span class="Apple-style-span" style="background-color: yellow;">to this</span></u></b></big></big></big><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </div><span style="font-family: Georgia;"><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </span></div><span style="font-family: Georgia;"><small><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </small><big><b><big><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </big></b></big></span><span class="Apple-style-span" style="background-color: yellow;"> </span><div align="center"><span style="font-family: Georgia;"><span class="Apple-style-span" style="background-color: yellow;"><img src="http://handke-photo.scriptmania.com/images/340x.jpg" /><br />
</span> <big><span class="Apple-style-span" style="border-collapse: separate; color: black; font-family: 'Times New Roman'; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: arial; font-size: small;"><b><span class="Apple-style-span" style="background-color: yellow;">MICHAEL ROLOFF</span></b><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <b><span class="Apple-style-span" style="background-color: yellow;">http://www.facebook.com/mike.roloff1?ref=name</span></b><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <b><span class="Apple-style-span" style="background-color: yellow;">Member Seattle Psychoanalytic Institute and Society</span></b><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <b><span class="Apple-style-span" style="background-color: yellow;">This LYNX will LEAP you to my HANDKE project sites and B</span></b><span class="Apple-style-span" style="background-color: yellow;">LOGS</span> <b><span class="Apple-style-span" style="background-color: yellow;">http://www.handke.scriptmania.com/favorite_links_1.html </span></b><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <b><span class="Apple-style-span" style="background-color: yellow;"><br />
http://www.roloff.freehosting.net/index.html</span> </b><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <b><span class="Apple-style-span" style="background-color: yellow;">"Degustibus disputandum est." Theodor Wiesenthal Adorno<br />
"May the foggy dew bediamondize your hoosprings + the fireplug<br />
of filiality reinsure your bunghole! {James Joyce}<br />
"Sryde Lyde Myde Vorworde Vorhorde Vorborde." [von Alvensleben]<br />
"Siena me fe, disfescimi Maremma." [Dante]<br />
"Ennui [Lange Weile] is the dreambird that hatches the egg of<br />
experience." Walter Benjamin, the essay on Leskov.</span></b><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> <b><span class="Apple-style-span" style="background-color: yellow;"><br />
http://analytic-comments.blogspot.com/<br />
http://summapolitico.blogspot.com/<br />
http://artscritic.blogspot.com/</span> </b></span></span></big><span class="Apple-style-span" style="background-color: yellow;"><br />
</span> </span></div><span style="font-family: Georgia;"><big><b><big><span class="Apple-style-span" style="background-color: yellow;"> <br />
<br />
</span> </big></b></big><big><b><big><span class="Apple-style-span" style="background-color: yellow;"><br />
<br />
<br />
<br />
</span> </big></b></big></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-50575243441761580072010-01-28T17:48:00.000-08:002010-01-28T17:52:45.427-08:00A LETTER TO DAVID REMNICK AT THE NEW YORKER ABOUT PUBLISHING HANDKE THERE AGAIN<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial, sans-serif; font-size: 22px;"><b><big><span style="font-family: 'Courier New';"><span class="Apple-style-span" style="background-color: #cccccc;"> Dear David Remnick,<br />
I wanted to take the opportunity to point out some excerptable sections in Peter<br />
Handke's </span><u><span class="Apple-style-span" style="background-color: #cccccc;">The Moravian Night</span></u><span class="Apple-style-span" style="background-color: #cccccc;">, which Krishna Winston is currently translating.<br />
Before doing so, however, I wanted to express some surprise at not seeing any excerpts at the New Yorker, or anywhere for that matter, from his last major novel to be published in translation, </span><u><span class="Apple-style-span" style="background-color: #cccccc;">Crossing the Sierra del Gredos</span></u><span class="Apple-style-span" style="background-color: #cccccc;"> where I think I pointed out at least that extraordinary section that memorializes the hurricane that struck northern France around the year 2000 and, knowing my man and how fond he is of the Forêt de Chaville, knew he would take particular notice of its aftereffects, and I had even had my friend and associate Franz Angst send him a shoebox full of our famous North West spruce and pine cones, to make that forest which apparently [by account of </span><u><span class="Apple-style-span" style="background-color: #cccccc;">My Year in the Noman's-Bay</span></u><span class="Apple-style-span" style="background-color: #cccccc;"> has one palm!] even more exotic. That five thousand word section might just be [or have been at the time] the best five thousand word I had read in nearly 70s years of reading... meanwhile there are a few sections of pure writing in </span><u><span class="Apple-style-span" style="background-color: #cccccc;">Moravian</span></u><span class="Apple-style-span" style="background-color: #cccccc;"> that literally give me the willies they are so good - not that I feel</span><u><span class="Apple-style-span" style="background-color: #cccccc;">Morawian</span></u><span class="Apple-style-span" style="background-color: #cccccc;"> is anything as successful formally overall, an entirely different matter. However, in the opening section which has a trip by some Serbian mourners to a cemetery that holds their murdered brethren in the Kosovo there is a bus driver where the anger and deep rumbling at the injustice is transmitted' while he drives and keep listening along to a metal song called </span><i><span class="Apple-style-span" style="background-color: #cccccc;">Appache</span></i><span class="Apple-style-span" style="background-color: #cccccc;">that is as astonishing as anything Faulkner ever wrote along those lines. There is a great section on a conference on noise in Soria, Spain. I could go on, have someone look through it.<br />
<br />
There was a time when the New Yorker did Handke excerpts and it also published<br />
quite a few of my translations of Handke's poem. He is one of your authors really, and do not be dismayed in case you are by Handke's involvement in Balkan messes, I spent the better part of December crafting a long letter to Bob Silvers and then decimating the worst thing the New York Review ever published, by some J.S. Marcus about Handke, and if you and your colleagues are interested it is all on line at assiduous length and devastating detail at the handke-watch.blog spot [link below].<br />
<br />
The only thing really to be held against Handke in all that is that he then flinched when it came to being a defense witness for Milosevic, but nonetheless exhibited himself famously at the funeral.<br />
<br />
You also may have gotten wind of Handke cussing the media and journalists, as far as I am concerned after years of research, he did so very justly. Meanwhile, perhaps to prove that he can also function as a journalist, not just as a narrative lyrical writer,and great dramatist, he wrote something called </span><u><span class="Apple-style-span" style="background-color: #cccccc;">Die Kuckucke [the cuckoos] of Velica Hoca</span></u><span class="Apple-style-span" style="background-color: #cccccc;"> and shows what a caring careful reporter he can be, and as far as I am concerned<br />
sets the bar impossibly high for such reportage.<br />
<br />
I have a page with some translated excerpt to </span><u><span class="Apple-style-span" style="background-color: #cccccc;">Velica Hoca</span></u><span class="Apple-style-span" style="background-color: #cccccc;"> at </span><span class="Apple-style-span" style="background-color: #cccccc;"><a href="http://www.handkeprose2.scriptmania.com/" style="color: #c3390b;" target="_blank">http://www.handkeprose2.<wbr></wbr>scriptmania.com</a> </span><span class="Apple-style-span" style="background-color: #cccccc;">that will give you a bit better idea.<br />
A slew of links below.<br />
<br />
As a matter of many years of fathoming the various aspects of the why and wherefores of Handke's involvement in the matter I reached the conclusion that it might really be both useful and interesting' to hold a symposium of some kind on why the Serbs and Milosevic,<br />
and now Karadic were so exclusively demonized. These readings brought me to something that might be called "The Tinderbox" theory of the disintegration of Yugoslavia; it is not Hegelian inevitability, and no one really comes out looking great, but some come out looking a lot worse than others, and it is not the Serbs or Milosevics.<br />
Yours sincerely,</span></span></big></b></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial, sans-serif; font-size: 22px;"><b><big><span style="font-family: 'Courier New';"><span class="Apple-style-span" style="background-color: #cccccc;"><br />
</span></span></big></b></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial, sans-serif; font-size: 22px;"><b><big><span style="font-family: 'Courier New';"><span class="Apple-style-span" style="background-color: #cccccc;"></span></span></big></b></span><br />
<b><big><span style="font-family: 'Courier New';"><span class="Apple-style-span" style="background-color: #eeeeee;">MICHAEL ROLOFF</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;"><br />
</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">http://analytic-comments.blogspot.com/ </span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">http://summapolitico.blogspot.com/</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">http://handke-discussion.blogspot.com/</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;"><br />
</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">http://www.facebook.com/mike.roloff1?ref=name</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">Member Seattle Psychoanalytic Institute and Society</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">This LYNX will LEAP you to my HANDKE project sites and BLOGS:</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;"><br />
</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">http://www.roloff.freehosting.net/index.html</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">"MAY THE FOGGY DEW BEDIAMONDIZE YOUR HOOSPRINGS! +</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">THE FIREPLUG OF FILIALITY REINSURE YOUR BUNGHOLE!" {J. Joyce}</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">"Sryde Lyde Myde Vorworde Vorhorde Vorborde" [von Alvensleben]</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">"Siena me fe, disfescimi Maremma." [Dante]</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">"Ennui [Lange Weile] is the dreambird that hatches the egg of</span><br />
<span class="Apple-style-span" style="background-color: #eeeeee;">experience." Walter Benjamin, the essay on Leskov.</span></span></big></b>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-12834178332913610072009-12-31T11:40:00.000-08:002015-11-24T10:43:27.376-08:00LETTER TO ROBERT SILVERS + NY REVIEW OF BOOKS RE: J.S. MARCUS<span class="Apple-style-span" style="font-family: "arial"; font-size: small;"></span><br />
<div style="text-align: center;">
<b><span style="font-family: "courier new" , monospace;"> <span style="background-color: #ffcc00;">The below cover letter to Bob Silvers + NYRB </span></span></b></div>
<div style="text-align: center;">
<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;">plus the attachment <u>RE: J.S MARCUS</u> HUGELY DAMAGING PIECE</span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><a href="http://www.nybooks.com/articles/13838" target="_blank">http://www.nybooks.com/<wbr></wbr>articles/13838</a></span></b></u></span></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;">also at:</span></b></u></span></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></b></u></span></span></span></b><br />
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<span style="background-color: #ffcc00;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><u><span style="background-color: red;"><b><span style="font-family: "courier new" , monospace;"><a href="http://www.handke-nobel.scriptmania.com/custom4.html" target="_blank"><span style="color: black;">http://www.handke-nobel.<wbr></wbr>scriptmania.com/custom4.html</span></a></span></b></span></u></span></span></b></u></span></span></span></b></span></span></b></u></span></div>
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<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b><br />
<div style="text-align: center;">
<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;">will go to about 2500 people</span></span></b></span></span></b></u></span></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"> First to <span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b></span></span></b></u></span></span></span></b><br />
<div style="display: inline !important; text-align: center;">
<span style="background-color: #ffcc00;"><u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;">this "hard core" of Handke aficionados</span></span></b></span></span></b></u></span></span></span></b></span></span></span></b></u></span></div>
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<u><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></u><br />
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<u><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b></span></span></b></u></span></span></span></b></span></u><br />
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<u><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none;"><span style="background-color: #ffcc00;"><u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><b><big> and with attachment will be posted at:</big></b></span></span></b></span></span></b></u></span></span></span></b></span></span></span></b></u></span></span></u></div>
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<u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b></u><br />
<div style="display: inline !important; text-align: center;">
<u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><b><span style="font-family: "courier new"; font-size: 18pt;"></span></b><b><a href="http://handke-discussion.blogspot.com/" target="_blank"><span lang="DE" style="color: black;"><span style="background-color: #00cccc;">http://handke-discussion.<wbr></wbr>blogspot.com/</span></span></a></b><br />
<big><b>where you may wish to comment<br />
and at:<br />
</b></big><b><span style="font-family: "courier new"; font-size: 18pt;"></span></b><b><span style="color: black;"><span style="background-color: #00cccc;"><a href="http://www.handke-nobel.scriptmania.com/" target="_blank">http://www.handke-nobel.<wbr></wbr>scriptmania.com/</a></span></span></b></span></span></b></span></span></b></u></span></span></span></b></span></span></span></b></u></div>
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<u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b></u><br />
<div style="display: inline !important; text-align: center;">
<u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="color: black;"><span style="background-color: #00cccc;"><a href="http://www.handke-nobel.scriptmania.com/" target="_blank"></a></span></span>which has its own blog.</span></span></b></span></span></b></u></span></span></span></b></span></span></span></b></u></div>
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<u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b></u><br />
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<u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><br />
<b><big>That site has the J.S. Marcus piece in all its 7 thousand word glorious misery!<br />
if you happen not to subscribe to the NYRB and do not have access to its archive. <span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; font-family: "arial"; font-size: small; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></big></b></span></span></b></span></span></b></u></span></span></span></b></span></span></span></b></u><br />
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<u><span style="background-color: #ffcc00;"><u><span style="font-family: "arial"; font-weight: normal;"><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><b><big><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; font-family: "arial"; font-size: small; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b></span></span></b></u></span></span></span></b></span></big></b></span></span></span></u></span></u><br />
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<u><big><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; font-family: "arial"; font-size: small; font-weight: normal;"><span style="background-color: #ffcc00;"><u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><b><big>I can also send it to you.</big></b></span></span></b></span></span></b></u></span></span></span></b></span></span></span></b></u></span></span></big></u></div>
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<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b><br />
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<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><b><big><br />
Do not hesitate to forward to possibly interested parties,<br />
and to e-mail Bob Silvers <u><a href="mailto:rsilvers@nybooks.com" target="_blank">rsilvers@nybooks.com</a><br />
<a href="mailto:letters@nybooks.com" target="_blank">letters@nybooks.com</a><br />
</u>endorsing or whatever</big></b><b><big><br />
<br />
You will note that I am tough on Handke when I feel it is justified.<br />
That lends this decimation of J.S. Marcus and of the NYRB's edititorial practices credibility [?]<br />
</big></b></span></span></b></span></span></b></u></span></span></span></b></span></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b><br />
<div style="display: inline !important; text-align: center;">
<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><b><big><br />
</big></b></span></span></b></span></span></b></u></span></span></span></b></span></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b><br />
<div style="display: inline !important; text-align: center;">
<b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><b><big><span style="font-family: "arial"; font-size: small; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></big></b></span></span></b></span></span></b></u></span></span></span></b></span></span></span></b><br />
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<span style="background-color: #ffcc00;"><u><span style="font-family: "arial"; font-weight: normal;"><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><b><big><span style="font-family: "arial"; font-size: small; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"></span></span></b></u></span></span></span></b></span></span></span></b></span></span></b></u></span></span></span></b></span></big></b></span></span></span></u></span><br />
<div style="display: inline !important; text-align: center;">
<u><big><span style="font-family: "arial"; font-size: small; font-weight: normal;"><span style="background-color: #ffcc00;"><u><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><span style="font-family: "arial"; font-weight: normal;"><u><b><span style="font-family: "courier new" , monospace;"><span style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span style="background-color: #ffcc00;"><b><big> Just imagine<br />
- what if Handke had not got off that plane to Lockerbee?, in London, back then?</big></b></span></span></b></span></span></b></u></span></span></span></b></span></span></span></b></u></span></span></big></u></div>
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<u><big><br />
Gracias,<br />
</big><b><big></big></b><b><big><br />
<span style="font-family: "courier new";"> </span></big><span style="font-family: "courier new";"><big>MICHAEL ROLOFF</big></span></b></u></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">AN OPEN LETTER</span></b></span></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">TO ROBERT SILVERS, THE NYRB</span></b></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">Re: J.S. MARCUS</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">"We are the market.</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">We are the world. We are the power.</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">We write the history…</span></b></span><span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;"> </span></b></span><span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">That’s the way it is.</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">That’s the way it has to be.</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">We are the language.</span></b></span><span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">"</span></b></span><span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">From Handke’s </span></b><u><b><span style="font-family: "courier new" , monospace;">VOYAGE BY DUGOUT</span></b></u></span></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">AN OPEN LETTER</span></b></span></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">TO ROBERT SILVERS, THE NYRB</span></b></span></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">Re: J.S. MARCUS</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">"We are the market.</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">We are the world. We are the power.</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">We write the history…</span></b></span><span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;"> </span></b></span><span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">That’s the way it is.</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">That’s the way it has to be.</span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">We are the language.</span></b></span><span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">"</span></b></span><span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<span style="background-color: lime;"><b><span style="font-family: "courier new" , monospace;">From Handke’s </span></b><u><b><span style="font-family: "courier new" , monospace;">VOYAGE BY DUGOUT</span></b></u></span></div>
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<u><b><span style="font-family: "courier new" , monospace;"><a href="http://www.nybooks.com/articles/13838" target="_blank">http://www.nybooks.com/<wbr></wbr>articles/13838</a></span></b></u><span style="background-color: red;"><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<span style="background-color: red;"><b><span style="font-family: "courier new" , monospace;">posted at:</span></b></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<u><span style="background-color: red;"><a href="http://www.handke-nobel.scriptmania.com/custom4.html" target="_blank"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://www.handke-nobel.<wbr></wbr>scriptmania.com/custom4.html</span></span></b></a></span></u><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">&</span></b></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="background-color: yellow;"><a href="http://handke-discussion.blogspot.com/" target="_blank"><span style="color: black;"><b><span style="font-family: "courier new" , monospace;">http://handke-discussion.<wbr></wbr>blogspot.com/</span></b></span></a></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;">where you can comment</span></b></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">&</span></b></span><span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;"> in as much as my letter specifically addresses Marcus’s comments on Handke’s </span></b><u><b><span style="font-family: "courier new" , monospace;">EINBAUM/ VOYAGE BY DUGOUT</span></b></u></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<b><span style="font-family: "courier new" , monospace;">And in greater detail</span></b><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;">at the </span></b></span><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">CANOE </span></b></span><span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;">page of</span></b></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="background-color: #00cccc;"><a href="http://www.handkedrama2.scriptmania.com/" target="_blank"><b><span style="font-family: "courier new" , monospace;">http://www.handkedrama</span></b><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">2.</span></b></span><b><span style="font-family: "courier new" , monospace;">script<wbr></wbr>mania.com/</span></b></a></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;">the second of the handkedrama sites.</span></b></span></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">&</span></b></span><span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;"> at</span></b></span><b><span style="font-family: "courier new" , monospace;">:</span></b><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<u><span style="background-color: yellow;"><a href="http://handke-drama.blogspot.com/" target="_blank"><b><span style="font-family: "courier new" , monospace;">http://handke-drama.blogspot.<wbr></wbr>com/</span></b></a></span></u><u><b><span style="font-family: "courier new" , monospace;"></span></b></u></div>
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<span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;">where again you may comment:</span></b></span></div>
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<a href="http://www.nybooks.com/articles/13838" target="_blank"><b><span style="font-family: "courier new" , monospace;">http://www.nybooks.com/<wbr></wbr>articles/13838</span></b></a><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;">in its 7 thousand word entirety can also be found at:</span></b></span></div>
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<u><span style="background-color: red;"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;"><a href="http://www.handke-nobel.scriptmania.com/custom4.html" target="_blank">http://www.handke-nobel.<wbr></wbr>scriptmania.com/custom4.html</a></span></span></b></span></u><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<u><b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;">===========================================</span></span></b></u></div>
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<span style="background-color: red;"><b><span style="font-family: "courier new" , monospace;">Dear Bob,</span></b></span><span style="background-color: red;"><b><span style="font-family: "courier new" , monospace;"> </span></b></span><span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;"> </span></b></span><span style="background-color: red;"><b><span style="font-family: "courier new" , monospace;"><br />
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This is a detailed exposition - point by point - critique and disavowal - of one J.S. Marcus’s</span></b></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="font-variant: small-caps;"><b><span style="font-family: "courier new" , monospace;">Volume 47, Number 14 · </span></b><a href="http://www.nybooks.com/contents/20000921" target="_blank"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">September 21, 2000</span></span></b></a></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<a href="http://www.nybooks.com/articles/13838" target="_blank"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://www.nybooks.com/<wbr></wbr>articles/13838</span></span></b></a><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;"><br />
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heinous, crude, accusatory, by and large utterly ignorant and unperceptive, nay one could call it an assassination attempt on Handke, an </span></b><b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;">atrocity</span></span></b><b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"> </span>to which you refused to run my letter of disagreement [which I make part of my “note” on the Handke play VOYAGE BY DUGOUT, both of which I will send separately], a publishable brief letter where, however, I merely addressed "Marcus's" baldly – baldy will not do now that I scalp him! – utterly but uniquely ignorant </span></b><i><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">literary</span></b></span></i><b><span style="font-family: "courier new" , monospace;"> opinions. - </span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">I myself had not reached anything conclusionary about Handke's to me then still somewhat puzzling involvement in matters Yugoslavian, but especially not about all that went into the making of that disintegration – Marcus it appears in 2000 had all the “facts” at his command and so could say that Handke “</span></b><span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;">impugned the facts,”</span></b></span><b><span style="font-family: "courier new" , monospace;"> and perhaps you and your fellow editors, too, were in some kind of general agreement if not to the disposition of the facts but at least how you were disposed towards them to permit this unknown scribe to ascribe impugning; and, then, to Handke in the play </span></b><u><b><span style="font-family: "courier new" , monospace;">VOYAGE BY DUGOUT, </span></b></u><b><span style="font-family: "courier new" , monospace;">which finally exists in translation – </span></b><i><b><span style="font-family: "courier new" , monospace;">thus</span></b><u><b><span style="font-family: "courier new" , monospace;"> the reason for this missile</span></b></u><b><span style="font-family: "courier new" , monospace;">, </span></b></i><b><span style="font-family: "courier new" , monospace;">that he “did entirely without them”, as in fact he really did since, unlike e.g. Johannes R. Becher’s STALIN SCHLACHT, Handke has always prided himself on </span></b><u><b><span style="font-family: "courier new" , monospace;">not</span></b></u><b><span style="font-family: "courier new" , monospace;"> putting tanks on his stage, if you get what I mean what a stage is? And letting stage action and nothing else onto his so playfully instructive play space.<span class="Apple-style-span" style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"> </span></b></span></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">Whatever inhibitions I may have had with respect to addressing both Handke’s involvement and the “facts” that went into the disintegration have meanwhile disappeared, thus this letter; disoriented as this once abandoned child can so easily be, I then take the trouble to orient myself so much more thoroughly so as to ride a little less insecurely on Rosinante.</span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">I shared that 2000 letter with a number of people, my friend and once agent, the now deceased Robert Lantz, and they all felt that I stood on pretty good ground, Robbie, who cared for Handke, prayed that you would publish it - you apparently did not, or perhaps you did not want to see the worst piece ever to appear in your pages taken note of, </span></b><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">an atrocity,</span></b></span><b><span style="font-family: "courier new" , monospace;"> an atrocity with consequences, as detailed here. And you yourself know only too well what influence the NYRB has on all those who don’t do their own thinking and researching, who merely want to natter at cocktail parties – the reaches of such laziness are amazing! Reviewers, that lazy riff raff.</span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">A truly amazing piece the Marcus piece is considering that you had published good enough pieces by Michael Wood and Frank Kermode in your pages for you to run something as uncomprehending as this immensely injurious piece under the aegis of the NYRB. But perhaps the NYRB does not even consult its own archives as a refresher to its institutional memory. The piece looks like an off-shoot from Susan Sontag's comment at the time that "Handke is finished in New York" who had originally supported my effort to land him at Farrar, Straus. Dear truly loved Susan – what a great American car body and a with a mind and not in but to boot! – rehearsing Beckett in Sarajevo and then theatrically showing her friends “back in the U.S.S.R” what evading snipers was like, and writing in the New York Times </span></b></span><b><span style="font-family: "courier new" , monospace;">M</span></b><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">agazine, on the occasion of the Kosovo war, “now the Serbians are the victims” – alas, all our pipsqueak vantages as we forget the 500,000 displaced Serbians from Croatia! Perhaps the Marcus piece was meant as a coup de gr</span></b></span><b><span style="font-family: "courier new" , monospace;">â</span></b><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">ce for not toeing the party line on Yugoslavia. It certainly did the trick.</span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">I think we first met when Fred Seidel sent me to you, I must have been in or just out of Grad School and you, at Harper’s, wanted a piece on US Higher Education. I could do you one now after having been a visiting scholar at the </span></b><u><b><span style="font-family: "courier new" , monospace;">Udub</span></b></u><b><span style="font-family: "courier new" , monospace;"> as it calls itself, and so glad to have escaped the clutches of those privileges. No doubt if I had been a hotshot I would have grabbed the opportunity, but the very thought of it, and that it produces the likes of J.S. Marcus, and my being </span></b><i><b><span style="font-family: "courier new" , monospace;">seizes</span></b></i><b><span style="font-family: "courier new" , monospace;"> up. I think it must have been because of Fred that I knew Whitney and somehow hung around the founding crowd, still very disoriented in NY, feeling my way. Later we saw a bit of each other and had the occasional lunch at Patsy’s.</span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">I had thought that the NYRB was serious in its idea to produce an alternative to the NY Times Book Review, which in their last review of Handke committed yet another atrocity by that non-reader Neil Gordon who teaches “realism” at the New School! Hear Hear!</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;"><a href="http://www.nytimes.com/2007/08/19/books/review/Gordon-t.html?_r=1&scp=1&sq=gordon%20handke&st=cse" target="_blank">http://www.nytimes.com/2007/<wbr></wbr>08/19/books/review/Gordon-t.<wbr></wbr>html?_r=1&scp=1&sq=gordon%<wbr></wbr>20handke&st=cse</a></span></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">My and many another shorter letter to the Book Review on the occasion of this atrocity also went unpublished, but you can </span></b><span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">find it at:</span></b></span><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<span style="background-color: cyan;"><a href="http://handke-trivia.blogspot.com/" target="_blank"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://handke-trivia.blogspot.<wbr></wbr>com/</span></span></b></a></span><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">in a roundup of the Handke reception, such as it is.</span></b></span><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;"> James Wood I was glad to find out entirely agreed with me – always so glad not to be regarded as entirely bonkers! Meanwhile I have come to appreciate what a tough act it is to put out so much readable copy to the unwashed crowd of “innelectuals”, and that the Brits seem to be better at it; and that a little controversy, even if it is spurious, as the one on psycho-analysis about a decade or so was, can help the churn. Language is something we take a bath in, and perhaps because he is so literate David Bromwich’s brain is magicked out of existence at sonorous Obambi prose.</span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">As editor and publisher I could not fail to notice that one of those long reviews in the NYRB did absolutely nothing for sales. People read or at least glance at those long pieces and think they KNOW! Thus a </span></b><u><b><span style="font-family: "courier new" , monospace;">negative</span></b></u><b><span style="font-family: "courier new" , monospace;"> review in the NYRB will definitely depress sales, can do no end of harm, and your Marcus piece sure did when </span></b><u><b><span style="font-family: "courier new" , monospace;">Conjunctions</span></b></u><b><span style="font-family: "courier new" , monospace;"> then cancels its plan to publish an excerpt from VOYAGE, or a proto-post menstrualist like Benjamin Kunkels</span></b><i><b><span style="font-family: "courier new" , monospace;"> </span></b></i><b><span style="font-family: "courier new" , monospace;">pays heed to something like Marcus… and on and on among the review </span></b><i><b><span style="font-family: "courier new" , monospace;">Gesindel, the riff-raff</span></b></i><b><span style="font-family: "courier new" , monospace;"> as Handke calls them… that daisy chain of lazy opinion makers. Thus the “long essay review,” as it favors the reader with the notion that they know enough, better be at least within the continuum of what can be entertained at the time of the then knowledge: Marcus falls way off the cliff of the norm at nearly every moment.</span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">You are most welcome to run this critique as a letter to editor, it will fill a few of your generous pages, you don’t need to pay letter writers, and it would definitely stir a needed controversy. Point by point, dirty tail by dirty detail.</span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">At the time, you promised to forward my letter to the writer, who is noted as living in Berlin. I never heard from him. He appears only once more in your pages, with a </span></b><u><b><span style="font-family: "courier new" , monospace;">Letter from the Danube,</span></b></u><b><span style="font-family: "courier new" , monospace;"> perhaps he has drowned meanwhile and been devoured by a sturgeon, as best as my searches in your archives find. So I imagine he is a real person and not a fictional attack dog hired for the purposeful occasion of attacking Handke who was getting it from nearly all sides at that time and has ever since from great humanists like Michael McDonald of </span></b><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">The American [</span></b></span><span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">Imperialist] </span></b></span><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">Interest,</span></b></span><b><span style="font-family: "courier new" , monospace;"> at R. Wilson’s </span></b><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">American Scholar</span></b></span><b><span style="font-family: "courier new" , monospace;">, which sure has gone to the dogs since that fellow started editing it, where McDonald accused Handke via a John Updike quote – we are talking 2007! – of being under the sway of Robbe-Grillet in his 1974 novel A MOMENT OF </span></b><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">TRUE</span></b></span><b><span style="font-family: "courier new" , monospace;"> FEELING! And, at </span></b><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">The Weakly Standard</span></b></span><b><span style="font-family: "courier new" , monospace;">, of writing Chomskyish idyllics in his 2002/ 2007 </span></b><u><b><span style="font-family: "courier new" , monospace;">Crossing the Sierra</span></b></u><b><span style="font-family: "courier new" , monospace;"> </span></b><u><b><span style="font-family: "courier new" , monospace;">Del Gredos</span></b></u><b><span style="font-family: "courier new" , monospace;">! These then the only links to Handke that sweet fuddy duddy Dennis [“The Mutton”] Dutton, who runs </span></b><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">ArtsDaily</span></b></span><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<a href="http://www.aldaily.com/" target="_blank"><span style="background-color: #9999ff;"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://www.aldaily.com/</span></span></b></span></a><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">from Kiwiland, will link to; and who then lets me know, after I complain to the Chronicle of Higher Education under whose aegis Artsdaily runs, that he has nothing against Handke. Well he did not link to William Gass’s piece on Handke’s </span></b><u><b><span style="font-family: "courier new" , monospace;">No-Man’s-Bay</span></b></u><b><span style="font-family: "courier new" , monospace;"> at the L.A. Times, the only peer response Handke has had in these many years since Richard Gilman did a piece on Handke’s theater early on, nor a quite perceptive one of </span></b><u><b><span style="font-family: "courier new" , monospace;">Del Gredos</span></b></u><b><span style="font-family: "courier new" , monospace;"> that ran at the Washington Post where the Canadian novelist reviewer noted that Handke made you see the world anew – and to achieve that was the mark of a major writer. And that is what two of the bloody genius’s greatest plays </span></b><u><b><span style="font-family: "courier new" , monospace;">“Ride across Lake Constance</span></b></u><b><span style="font-family: "courier new" , monospace;">” and “</span></b><u><b><span style="font-family: "courier new" , monospace;">The Hour we Knew nothing of Each Other”</span></b></u><b><span style="font-family: "courier new" , monospace;"> do, too: they clean out your clock. I am going to clean out Mr. Marcus’s clock in quite a different fashion. With all these folk and the NY Times Book Review and the American Scholar etc. this might be called “piling on” Handke=The Skandal. I can think of </span></b><i><b><span style="font-family: "courier new" , monospace;">skandalons</span></b></i><b><span style="font-family: "courier new" , monospace;"> they are so immense, they aren’t really mentioned, are they?<span class="Apple-style-span" style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"> </span></b></span></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">Marcus it appears is also an occasional writer in the Travel section of the New York Times – </span></b></span><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">the section I detest more than any other, each piece comes with the appropriate ads, is tied to them – but certainly the right place for him, perhaps Marcus even wrote that piece that showed two Slovenian ex-doctorands now that the </span></b><span style="background-color: silver;"><b><span style="font-family: "courier new" , monospace;">abstract</span></b></span><b><span style="font-family: "courier new" , monospace;"> , as J.S. Marcus calls it, little country is part of the EU, working in one of those inns frequented by German and Austrian Mercedes owners, smiling their cool Slovenian grins, a book that proved to me how right Handke was with the first, and gentlest, of his books on the disintegration of the Yugoslav Federation" </span></b><u><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">Abschied vom Neunten Land</span></b></span></u><b><span style="font-family: "courier new" , monospace;"> - where 9th Land is the land of peace, an important province for a hypersensitive autist with such deep longing for peace what with such a streak of violence in him, three near epileptic fits a day, who as a young man was one of the angriest, most nauseated, enraged ever - and occasional "sacred rage" as he calls his Tourettish explosions! Who certainly had one of last centuries major love child fits all over the media, our great exhibitionist did, it seemed both his Grandpa Sivec and his Mom, Maria were being torn to pieces!...And if one sees something of the kind: well that troubled child, you try to understand it! No? instead of beating up on him. See:</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;"><a href="http://handke-photo.scriptmania.com/" target="_blank">http://handke-photo.<wbr></wbr>scriptmania.com/</a></span></span></b></span></div>
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<span style="background-color: lime;"><a href="http://picasaweb.google.com/mikerol" target="_blank"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://picasaweb.google.com/</span></span></b></a><b><span style="font-family: "courier new" , monospace;"><span style="color: black;"><a href="http://picasaweb.google.com/mikerol" target="_blank">mi<wbr></wbr>kerol</a></span></span></b></span></div>
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<span style="background-color: yellow;"><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE" target="_blank"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://picasaweb.google.com/<wbr></wbr>mikerol/HANDKE3ONLINE#</span></span></b></a><b><span style="font-family: "courier new" , monospace;"> <span class="Apple-style-span" style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"> </span></b></span></span></b></span></div>
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<span style="background-color: cyan;"><a href="http://picasaweb.google.com/mikerol/HANDKE2ONLINE" target="_blank"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://picasaweb.google.com/<wbr></wbr>mikerol/HANDKE2ONLINE#</span></span></b></a><b><span style="font-family: "courier new" , monospace;"> </span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;"><a href="http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js" target="_blank">http://picasaweb.google.com/<wbr></wbr>mikerol/POSTED?authkey=<wbr></wbr>YeKkFSE3-Js#</a></span></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">the exhibitionist love child posing, certainly the most photographed and posed writer ever. And continued to with his visit to the funeral of the Big Bad Wolf of </span></b></span><span style="background-color: cyan;"><a href="http://en.wikipedia.org/wiki/Po%C5%BEarevac" target="_blank" title="Požarevac"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">Požarevac</span></span></b></a><b><span style="font-family: "courier new" , monospace;">, Milošević, [who supposedly killed all those lambs all by himself!</span></b></span><b><span style="font-family: "courier new" , monospace;">]</span></b><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;"> as I made a bet with myself that Handke would, when it became clear that the Hague Tribunal that would be far better off trying some American Geo-political Monsters, would let Milosevic die in prison, that my man would show up there:<span class="Apple-style-span" style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;">and, winning my own bet, treated myself to a bottle of Dom and a gram of the best flake and celebrated my win with a lissome wench at the wedding suite of the best fleabag hotel in this hick town as I hadn’t done for about thirty years!</span></b></span></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">Not only that, my Handke </span></b><span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">b</span></b></span></span><span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">ébé</span></b></span><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">, as of J. D. Marcus having had a go at him, has written quite a number of other texts on the subject,[*] in one of which - </span></b><u><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">THE CUCKOOS OF VELICA HOCA</span></b></span></u><b><span style="font-family: "courier new" , monospace;"> – he finally stops excoriating the world of reporters and proves that he is a hundred times better, and if you had an ounce of guts left you would have that text translated and publish it, because it would set the bar of reportage higher than anything that’s around now. Handke no longer just sputters with rage: he has become an </span></b><i><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">intimate respectful loving and caring </span></b></span></i><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">r</span></b></span><b><span style="font-family: "courier new" , monospace;">eporter. As in this photo of him taken where he appears to be following the observation of the [by him] so enviously detested Hans Magnus Enzensberger’s observation that after the men were done you could see all those old women cleaning bricks for a rebuilding:</span></b></span></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;">The Velica Hoca page</span></b></span></span></b></div>
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<span style="background-color: yellow;"><a href="http://www.handkeprose2.scriptmania.com/custom_1.html" target="_blank"><span lang="ES"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://www.handkeprose2.<wbr></wbr>scriptmania.com/custom_1.html</span></span></b></span></a></span><span lang="ES"><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">is devoted to that book and I suspect Scott Abbott could translate it. Krishna Winston has no end of other things of his to translate. I will only translate Josef Winkler these days, of whom the bloody ignorant country hasn’t heard no matter that two books of his are in English. However, I wouldn’t bet more than a cent on a magazine that has backed a variety of war criminals – “Wreck another plane, bombs away McCain” and General Wesley Clark of Belgrade and infra-structure-destruct “shock and awe” infamy – on doing anything of the kind. McCain of course paid an undeserved price, but could not claim at DeHague that such enthusiastic Indian warrior dare-devilishness was done “under orders”, so he will merely have the label “war criminal” attached to his lapel together with the other pins, but serve no more time; the NYRB is just one degree to the center of Kristol’s Weakly Standard these days, and I’m sure you all could enjoy a laugh together at whatever P.J.’s. And “The Weakly” even runs the occasional perfectly acceptable review. And it appears by the latest issue, off you all are to “Surgistan” with Obambi.<span class="Apple-style-span" style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"> </span></b></span></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">Now follows a point by point critique of Marcus’s atrocity. An even more detailed decimation, focusing just on Marcus's take on </span></b><u><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">Einbaum/ Voyage</span></b></span></u><b><span style="font-family: "courier new" , monospace;"> will reach you with my sending of VOYAGE. You will note that even in 1999 I was not in complete disagreement with a few points that Marcus then made about a year later about the play, and then there are these odd moments when he is on the verge of being on to something! “</span></b><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">Marcus [occasionally] on the Verge”</span></b></span><b><span style="font-family: "courier new" , monospace;"> we will entitle this ever so generously then. Perhaps with so many brilliant Marcuses around, you just happened to pick the one louse there has to be in such a plethora?<span class="Apple-style-span" style="font-family: "arial"; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"> </span></b></span></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">I would also have you note, unless you had already noticed, that I am in the enviable, I say to myself, position of being able to both champion Handke’s work, by pointing out the fundamental possibilities he avails the logos, whose first translator and editor I happened to be in this country, and to criticize it when I feel really critical, as I have rarely, some minor matters here and there, but quite severely in the instance of some matters his latest novel </span></b><u><b><span style="font-family: "courier new" , monospace;">Morawische Nacht</span></b></u><b><span style="font-family: "courier new" , monospace;"> - albeit it contains stretches of the most amazing writing that I have come on in my near seventy years of deciphering lettering, and I will have to go back and read it a third time once it is translated to make sure I was not, my whole body was not hallucinating and tremoring with what Handke manages to accomplish in a few sections, and with a classical style that exceeds Goethe and Flaubert combined.[see the </span></b><u><b><span style="font-family: "courier new" , monospace;">Morawian Night</span></b></u><b><span style="font-family: "courier new" , monospace;"> page at:</span></b></span><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<a href="http://www.handkeprose2.scriptmania.com/" target="_blank"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://www.handkeprose2.<wbr></wbr>scriptmania.com/</span></span></b></a><b><span style="font-family: "courier new" , monospace;"></span></b></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">the second of the two prose sites and:</span></b></span><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<span style="background-color: yellow;"><a href="http://handke-discussion.blogspot.com/" target="_blank"><b><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://handke-discussion.<wbr></wbr>blogspot.com/</span></span></b></a></span><span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;"></span></b></span></div>
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<span style="background-color: #66cccc;"><b><span style="font-family: "courier new" , monospace;">and also as a person, for some of the extremely ugly things he has done. As he once confessed: “When I am bad I am really bad, and when I am good I am an angel.” Veridad. He also mentioned to his most frequent interviewer over the years that he wished the day would come that he could be a real “Schuft” [bastard], Mueller replied that he had lots of time left for that, and I would say that Handke has accomplished it multiply, [Handke can be utterly oblivious of what he does, tends to wake up about ten or twenty years later, which is extremely funnee!], as Wim Wenders mentioned to me here in Seattle, godfather to his second daughter, Handke invariably hurts those closest to him, quite aside being a bastard child to start off with, but of Shakespearean talent at times. Alright, let’s have at it, sorry about the long pre-amble, which sure ambled, but I had, have a lot to get off me chest!</span></b></span></div>
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<span style="background-color: cyan;"><b><span style="font-family: "courier new" , monospace;">Note that another politically themed Handke play - "</span></b><u><b><span style="font-family: "courier new" , monospace;">Storm Still"</span></b></u><b><span style="font-family: "courier new" , monospace;"> [about a Slovenian partisan uprising in Spring 1945] - another Shakespeare derived title – ["they sure took their time, THOSE </span></b><i><b><span style="font-family: "courier new" , monospace;">Partisanen</span></b></i><b><span style="font-family: "courier new" , monospace;">!” is all I can say] will premiere under Klaus Peymann's direction at the Burgtheater, Vienna in February 2010 or "O-Ten" as which it will be known "o-then!” Send someone other than Marcus I pray!</span></b></span></div>
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<span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">You have committed a grave service to your readers and to literature with that J.S. Marcus piece, nay you have committed a kind of crime for which in more regulated regions you might be decapitated. Make amends, </span></b></span><span style="background-color: red;"><b><span style="font-family: "courier new" , monospace;">Bob Silvers </span></b></span><span style="background-color: yellow;"><b><span style="font-family: "courier new" , monospace;">while you still have the time!</span></b></span></div>
<b><span style="background-color: #ff99ff;"><span style="font-family: "courier new" , monospace;">MICHAEL ROLOFF<br />
</span></span></b><a href="http://www.facebook.com/mike.roloff1?ref=name" target="_blank"><b><span style="background-color: #ff99ff;"><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://www.facebook.com/mike.<wbr></wbr>roloff1?ref=name</span></span></span></b></a><b><span style="background-color: #ff99ff;"><span style="font-family: "courier new" , monospace;"><br />
Member Seattle Psychoanalytic Institute and Society<br />
This LYNX will LEAP you to my HANDKE project sites and BLOGS:<br />
</span></span></b><a href="http://www.roloff.freehosting.net/index.html" target="_blank"><b><span style="background-color: #ff99ff;"><span style="font-family: "courier new" , monospace;"><span style="color: black;">http://www.roloff.freehosting.<wbr></wbr>net/index.html</span></span></span></b></a><b><span style="background-color: #ff99ff;"><span style="font-family: "courier new" , monospace;"><br />
"MAY THE FOGGY DEW BEDIAMONDIZE YOUR HOOSPRINGS! +<br />
THE FIREPLUG OF FILIALITY REINSURE YOUR BUNGHOLE!" {J. Joyce}<br />
"Sryde Lyde Myde Vorworde Vorhorde Vorborde" [von Alvensleben]</span></span></b><b><span style="font-family: "courier new" , monospace;"><br />
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;">NAMES TO APPEAR IN THE MAIN TEXT OF THIS COMMUNICATION:</span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><span class="Apple-style-span" style="font-family: "arial"; font-weight: normal;"><big><big><big><big><big><big><big><u><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><br />
</span></span></span></u><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>scott abbot, krishna winston, ralph mannheim, gitta honegger, john rockwell, frank conroy, richard gilman, michael wood,<br />
frank kermode, james wood, william, GREIL marcus, jim krusoe, edmond caldwell, neil gordon, michael mcdonald [of "the amurrican interest"], dennis ["tsweet fuddy duddy mutton"] dutton, robert wilson [of "the amurrican scholar"], the 'reichs-kanickel' i.e. marcel reich ranicki, lothar struck, svetlana of byzantine [de] construct, benjamin kunkel, marie colbin, </b></span></span></span></big></big><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Amina Schwartz-Handke,</b></span></span></span></span><big><big><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b> sophie semin, libgart schwartz, siegfried unseld, roger straus, henry james, naom chomsky, ludwig wittgenstein, peter strasser, weinzierl, </b></span></span></span></big></big><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Erich Wolfgang Skwara, umerto eco, </b></span></span></span></span><big><big><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>milosevic, riki'c, </b></span></span></span></big></big><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Karadzic,</b></span></span></span></span><big><big><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b> </b></span></span></span></big></big><span class="apple-style-span"><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Tomislav Nikolic, </b></span></span></span></span></span><big><big><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>zejlko dujkic, zarko, ramsey clark, roger cohen roger cohen roger cohen, steve erlanger, </b></span></span></span></big></big><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Herbert Mathews </b></span></span></span></span><big><big><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>harold brodky, elizabeth hardwick, barbara epstein, guenter grass, heinrich boell, leila vennewitz, peter weiss jakov lind, pannah grady, alan ginsberg, ted ziolkovsky, susan sontag, beckett, hans werner richter, hans magnus enzensberger, juergen habermas, wim wenders, generals sturm von bordwehr and wesley clark, john mccain, robert musil, erich kuby, steve glass, elaine kaufmann, kafka, klaus peymann, rolf hochhut, heiner kipphart, bert brecht, heiner mueller, euripedes, goethe, hermann hesse, </b></span></span></span></big></big><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Josep Palau Balletbó, karls kraus, </b></span></span></span></span><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Thomas Bernhard</b></span></span></span></span><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Ambassadors Peter Galbraith, Richard Holbrooke, </b></span></span></span></span><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Brzezinski, Presidents Carter, Reagan and Bill Clinton, Castro, Tjudman, Izetbetgowitch</b></span></span></span></span><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>. </b></span></span></span></span><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Isaiah Berlin, Gottfried Benn, Klaus Mann, </b></span></span></span></span><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><b><span class="Apple-style-span" style="background-color: #ff6600;"></span></b></span></span></span><u><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Hölderlin</b></span></span></span></span></u><big><big><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>, Hermann Lenz, Thomas Mann, Einstein, Freud, </b></span></span></span></big></big><span style="background-attachment: scroll; background-image: none; background-position: 0% 50%;"><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>Dostoyevsky, </b></span></span></span></span><big><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="background-color: #ff6600;"><b>among others</b></span></span></span></big></big></big></big></big></big></span><big><big><big><big><br />
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><br /></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><br /></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><br /></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: silver; mso-shading: #66CCCC;">“Marcus [occasionally] on the Verge”</span></u><u><span style="background: #66CCCC; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><o:p></o:p></span></u></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: silver; mso-shading: #66CCCC;">Marcus quotes in:</span><span style="background: #66CCCC; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> GRAY<u><span style="color: white;"> </span></u><span style="background: silver; mso-highlight: silver;"><o:p></o:p></span></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: silver; mso-shading: #66CCCC;">since he feels that that is Handke’s coloring</span><span style="background: #66CCCC; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: #66CCCC;">I am YELLOW JACKET!</span><span style="background: #66CCCC; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: #66CCCC;">Handke quotes in Green</span><span style="background: #66CCCC; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: fuchsia; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: fuchsia; mso-shading: #66CCCC;">One or two Scott Abott quotes</span><span style="background: #66CCCC; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;">…<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: #66CCCC; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><span style="mso-spacerun: yes;"> </span><span style="background: olive; mso-highlight: olive;">Others, Colbin, Caldwell etc…</span>…<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: #999999; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><br />
V</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">olume 47, Number 14 · <a href="http://www.nybooks.com/contents/20000921"><span style="color: #003399;">September 21, 2000</span></a></span><span style="font-family: "courier new"; font-size: 14.0pt; font-weight: normal;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: silver;">Apocalypse Now<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: silver;">By <a href="http://www.nybooks.com/authors/381"><span style="color: #003399;">J.S. Marcus</span></a></span><span style="font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> <span style="background: silver; color: black; mso-highlight: silver;"><o:p></o:p></span></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Die Fahrt im Einbaum oder Das Stück zum Film vom Krieg<span style="color: black;"> [The Journey in the Dugout Canoe, or The Piece about the Film about the War]<o:p></o:p></span></span></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">by Peter Handke<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Frankfurt am Main: Suhrkamp, 126 pp., DM 32.00 (paper)<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Scott Abbott’s translation is called:<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">VOYAGE BY DUGOUT: THE PLAY ABOUT THE FILM ABOUT THE WAR<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Unte<u>r Tränen fragend </u>[Questioning Through Tears] <o:p></o:p></span></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">by Peter Handke<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">Frankfurt am Main: Suhrkamp, 158 pp., DM 36.00<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">OTHER BOOKS REFERRED TO IN THIS ESSAY<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">My Year in the No-Man's-Bay<o:p></o:p></span></u></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">by Peter Handke, Translated from the German by Krishna Winston<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Farrar, Straus and Giroux, 468 pp., $30.00<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">A Journey to the Rivers: Justice for Serbia<o:p></o:p></span></u></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">by Peter Handke, Translated from the German by Scott Abbott/ Viking, 83 pp., $17.95<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">A Sorrow Beyond Dreams<o:p></o:p></span></u></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">by Peter Handke, Translated from the German by Ralph Manheim<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Farrar, Straus and Giroux, 70 pp., (out of print)<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">In print with New York Review Books!<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Repetition<o:p></o:p></span></u></i></span></b></big></big></span></span></b></div>
<div class="MsoNormal" style="line-height: 15.6pt; margin-right: -81.0pt; mso-outline-level: 5;">
<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">by Peter Handke, Translated from the German by Ralph Manheim<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Farrar, Straus and Giroux, 225 pp., $ 18.95<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Plays: 1<o:p></o:p></span></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">by Peter Handke, Translated from the German by Michael Roloff, with an introduction by Tom Kuhn<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Methuen, 308 pp., $17.95 (paper)<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Abschied des Träumers vom Neunten Land</span></u></i><i><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> [The Dreamer's Farewell to the Ninth Country]<o:p></o:p></span></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">by Peter Handke<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">Frankfurt am Main: Suhrkamp, 50 pp., DM 19.80<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><u><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">Sommerlicher Nachtrag zu einer winterlichen Reise</span></u></i><i><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;"> [Summer Afterword to a Winter Journey]<o:p></o:p></span></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">by Peter Handke<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">Frankfurt am Main: Suhrkamp, 92 pp., DM 24.80<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><u><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">Der Himmel über Berlin: Ein Filmbuch</span></u></i><i><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;"> [released in America as "Wings of Desire"]<o:p></o:p></span></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">by Wim Wenders, by Peter Handke<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">Frankfurt am Main: Suhrkamp, 170 pp., DM 29.00<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Noch einmal vom Neunten Land</span></u></i><i><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> [One More Time from the Ninth Country]<o:p></o:p></span></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">by Peter Handke, by Joze Horvat<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span lang="DE" style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: silver;">Klagenfurt: Wieser Verlag, 110 pp., DM 29.80<u><o:p></o:p></u></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><i><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">On a Dark Night I Left My Silent House</span></u></i><i><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></i></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">by Peter Handke, Translated from the German by Krishna Winston<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Farrar, Straus and Giroux, 185 pp., $ 23.00<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">1]</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> J.S. Marcus’s hook begins like this and it at once familiarizes the reader with several of his favorite adjectives: “</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">grey” </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">and </span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“abstract”<span style="mso-spacerun: yes;"> </span></span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">and </span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“detached”</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“One of the last German films to win an international following was Wim Wenders's 1987 fantasy <u>Wings of Desire,</u></span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span></u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">about an angel, played by Bruno Ganz, who longs to be mortal; he sees</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">everything but feels nothing. The film is remarkable for its muted</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">black-and-white images of West Berlin, which shows up on screen as a blank, <u>almost abstract</u>, cityscape (the Potsdamer Platz, then in the shadow of the wall, appears, memorably, as a vacant lot), and for its</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">stern, incantatory dialogue.</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Wings of Desire</span></u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> was co-written, we are told, by Wenders and the Austrian novelist and playwright Peter Handke; but the story and</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">the effect of the images, like the dialogue, bear the mark of Handke,</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">generally regarded at the time as the premier prose stylist in the</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">German language, and one of post-war Europe's most recognizable</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">literary figures.</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">At the end of the film, Ganz's angel finally gets his wish and</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">becomes merely human — unlike Lucifer, he is redeemed by his fall, and</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">the film is submerged in a haze of color. <span style="color: black;">Handke has lately taken his own fall: he has put himself at the center of a resounding controversy by forsaking his </span><u>gray world of detachment</u> and longing…” <span style="color: black;">[ my emphases throughout- M.R.]<o:p></o:p></span></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I once analyzed the film and the screenplay and in the process made several interesting discoveries: [1] that Handke can be the ultimate scavenger of his own work, since he wrote only several long poems that are new, most famously of course his “The Song of Childhood” which is all over the web in no end of translations, and through whose eyes the film is filmed and magicks Berlin and the world, which is what made the film such a success:</span></b><b><span style="color: #333333; font-family: "arial"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"> <o:p></o:p></span></b></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime;">Song of Childhood <br />
By Peter Handke</span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child <br />
It walked with its arms swinging, <br />
wanted the brook to be a river, <br />
the river to be a torrent, <br />
and this puddle to be the sea. </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child, <br />
it didn’t know that it was a child, <br />
everything was soulful, <br />
and all souls were one. </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child, <br />
it had no opinion about anything, <br />
had no habits, <br />
it often sat cross-legged, <br />
took off running, <br />
had a cowlick in its hair, <br />
and made no faces when photographed. </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child, <br />
It was the time for these questions: <br />
Why am I me, and why not you? <br />
Why am I here, and why not there? <br />
When did time begin, and where does space end? <br />
Is life under the sun not just a dream? <br />
Is what I see and hear and smell <br />
not just an illusion of a world before the world? <br />
Given the facts of evil and people. <br />
does evil really exist? <br />
How can it be that I, who I am, <br />
didn’t exist before I came to be, <br />
and that, someday, I, who I am, <br />
will no longer be who I am? </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child, <br />
It choked on spinach, on peas, on rice pudding, <br />
and on steamed cauliflower, <br />
and eats all of those now, and not just because it has to. </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child, <br />
it awoke once in a strange bed, <br />
and now does so again and again. <br />
Many people, then, seemed beautiful, <br />
and now only a few do, by sheer luck. </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">It had visualized a clear image of Paradise, <br />
and now can at most guess, <br />
could not conceive of nothingness, <br />
and shudders today at the thought. </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child, <br />
It played with enthusiasm, <br />
and, now, has just as much excitement as then, <br />
but only when it concerns its work. </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child, <br />
It was enough for it to eat an apple, … bread, <br />
And so it is even now. </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child, <br />
Berries filled its hand as only berries do, <br />
and do even now, <br />
Fresh walnuts made its tongue raw, <br />
and do even now, <br />
it had, on every mountaintop, <br />
the longing for a higher mountain yet, <br />
and in every city, <br />
the longing for an even greater city, <br />
and that is still so, <br />
It reached for cherries in topmost branches of trees <br />
with an elation it still has today, <br />
has a shyness in front of strangers, <br />
and has that even now. <br />
It awaited the first snow, <br />
And waits that way even now. </span><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: lime; font-family: "arial"; font-size: 14.0pt; mso-highlight: lime;">When the child was a child, <br />
It threw a stick like a lance against a tree, <br />
And it quivers there still today.</span><span style="font-family: "arial"; font-size: 14.0pt;"> <o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">[2] That the naturalistic dialogue is either Wenders or was created by the actors during the filming, since Handke refuses to write naturalistically, but since Handke was not present during the filming itself and the idea for a film about angels had been Wenders it is exceedingly speculative to decide what idea derives from whom, or what happened in the editing room, and it was better to concentrate on the work as a whole. It is a long quite demanding essay and it appeared in the St. Monica review which was then edited by Jim Krusoe, but a good section of it can be found at:</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></b></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><b style="mso-bidi-font-weight: normal;"><span style="background: aqua; font-family: "courier new"; font-size: 14.0pt; mso-highlight: aqua;"><a href="http://www.handkefilm.scriptmania.com/">http://www.handkefilm.scriptmania.com</a></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></b></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">J.S. Marcus begins in typical fashion, for him and many another writer in the age of celebrities, by mentioning that the film is famous for being famous, and that Handke is now also famous for being infamous. The transition from the fallen angel to the “fallen Handke” is the kind of </span></b><b style="mso-bidi-font-weight: normal;"><span style="background: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: red;">specious </span></b><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">transition that you find rarely among good enough reviewers, say in the New York Times or the New Yorker or L.A. Times which have many good ones on film and art. These hooks are meant to have a noose at the end, and the noose in this instance is called “romanticism”, on which Handke, at the end of J.S. Marcus’s [J.S. from now on] piece is accused of having strangled himself, and a very specific Serbian one at that. That is, between the hook and the noose is a narrative that those habituated to narration can follow, and if really followed he had and responded to what Handke’s prose had turned into by the year 2000 would have discovered that the kind of magicking that the film performs is also performed and ever more successfully thereafter by Handke’s </span></b><b style="mso-bidi-font-weight: normal;"><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“gray” </span></b><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">prose!<o:p></o:p></span></b></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Although Handke early on wrote <span style="mso-spacerun: yes;"> </span>a<span style="mso-spacerun: yes;"> </span>lovely essay called “Literature is romantic,” he is not Lord Byron yet by a long shot, and if you read the highpoint of his “Home Coming Cycle” [1] the dramatic poem play <u>Walk About the Villages</u> [2] and everything that whelms out of the treasure chest he built himself there, you notice that our man is as fiendishly critical as ever if not more so, also of many features in Serbia, no matter that he has stuck to his Balkan guns as I will update my I hope patient readers at the end of a kind of decimation of J.S.</span></b> <b style="mso-bidi-font-weight: normal;"><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></b></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Marcus pathetic impressionistic way of describing, his repeated use of the term </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">gray world of detachment</span></u><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> is the oddest when applied to a writer whose every sentence becomes more and more anchored in images lying behind the syntax and where the syntax itself, later in the form of dream syntax, subliminally engages the reader on a far deeper than ordinary level of communication, who with the 2007 novel film opera <u>KALI</u> has re-acquired the great narrative style, sentence by sentence. see the KALI page at: <o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: aqua; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: aqua;">http://www.handkeprose2.scriptmania.com</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">You can go anywhere, as of Handke’s third extended prose text, <u>The Goalie’s Anxiety at the Penalty Kick,</u> and notice that Handke is anything but “gray” whatever gray might actually mean when applied to prose:<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime;"><span style="mso-spacerun: yes;"> </span><i>“While the child was speaking, sentence after sentence, a strip of light traveled beneath the plane which was flying at a perceptively lower altitude now, moved across the plateau, and caused a band of asphalt to shimmer, a reservoir to glitter, an irrigation canal to flash. A topsy-turvy new world on the first day of the journey [but hadn’t several days passed already?]: the sky above the glass roof nearly as black as night, with a hint of the first stars, and down below the sunlit earth. In similar fashion, on the way to the airport, an ancient crone, without her dentures, had come towards her, driving a factory-new race car, as if trying to set a new record, the car’s number emblazoned from stem to stern. And similarly, the outskirt’s troupe of drunks had been hauling cases of beverage from the super market to their lairs in the wood – without exception bottles of mineral water. And was that possible? a flock of wild geese, flying past the plane window in a long, jagged V formation from right to left: “Arabic writing,” the boy commented. And could there be such a thing: in the same fashion a swarm of leaves swept past the window, holm oak leaves typical of the plateau? And where and since when did this exist?: and next a pale-pink of snowflake like blossoms, as if the almonds were abloom and had almost finished blooming, now in February early March.” </i><span style="mso-bidi-font-style: italic;">[</span></span></span><span class="apple-style-span"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: yellow;">page: 77-79 of <u>Del Gredos</u><i>. </i></span></span><span class="apple-style-span"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">You can see how Handke makes matters fabulous when he cooking as he is nearly entirely for the first ten chapter, and it is something to behold how he inhabits a woman’s consciousness, when she is not being the ice queen; and here something that, basically, falls into the realm of the strictly realistic convention, also fabulous, I find, in its way:</span></span><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime;"> <i>"None of the other trees had such spreading crowns as the giant oaks, or oak giants. At the same time, the branches in the crowns were inter-woven, forming a dense mass. And nothing made a more powerful impression of devastation than all the oak crowns lying smashed on the forest floor. Yet even these almost countless heaps of broken limbs offered something to observe. On its way down, one of these giant trees had fallen on its equally large, equally broad, giant neighbor, which in turn had fallen on the oak in front of it and now they lay there as a single trunk, forming a sort of transcontinental line, all pointing toward a common vanishing point at the very end of the continent.” </i></span></span><span class="apple-style-span"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: yellow;">What is noticeable, too, is Handke’s sparse use of adjectiva – well, J.S. who must be the kind of fellow who really digs vivid writing, Tom Wolfe, Salmon Rushdie? Since J.S. also makes a mis-description of Handke’s first novel, <u>Die Hornissen</u> [I will not anticipate what I have to say about his idiocy on that score] except to mention that Handke’s second novel, <u>Der Hausierer’s</u>, <u>[The Panhandler/ Peddler]</u> main text - it exists in various Romance language translation - consists of nothing but impressions left on the consciousness of a terrified being in a room. It’s half dozen or so sections have descriptions of the procedures of the crime novel. Handke, as we also know from his 1971 <u>Short Letter, Long Farewell</u><i>,</i> just republished by NYRB Books, with a first rate appreciation by </span></span><span class="apple-style-span"><span style="background: aqua; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: aqua;">Greil</span></span><span class="apple-style-span"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: yellow;"> Marcus, played with the conventions of the U.S. black mask novel. These works, including the play <u>My Foot My Tutor</u> and <u>Radio Play One</u>, also quite a few poems from his <u>Innerworld of the Outerworld of the Innerworld</u> all play with and conquer anxiety. Handke, who is indeed somewhat sinister, and for good reason, became a virtuoso at that; until his first wife split and the lay-abroad had a tachycardia attack, as lay-abroads like that usually do under such circumstances, became panicked, fugued! And wrote great literature about it! The three long poems in <u>Nonsense & Happiness [</u>Urizen Books, 1976<u>], A Moment of True Feeling, </u>Farrar, Straus 1975] and the diary novel, process notes of automatic spontaneous notations <u>Weight of the World</u> [F.S. & G. 1977]. As a kind of supreme phenomenologist Handke is immediately accessible to readers of impressionism. Being somewhat autistic, Handke uses himself as his own material via a series of focused personae throughout his burgeoning work: as pure consciousness in <u>Der Hausierer;</u> and as Josef Bloch, the “German Writer,” Keuschnig, the “Left-Handed Woman”, Sorger, Loser, “the writer” [of <u>An Afternoon]</u>, Keuschnig again, the “Pharmacist of Taxham”, an ex-bankieress, an woman opera singer, most recently as “ex-writer,” in each instance variously transforming what he has acknowledged can be unrolled [“vom autobiographischen aufrollen,” see his book-length weekend’s conversation with Herbert Gamper, ICH LEBE DOCH NUR VON DEN ZWISCHENRAUEMEN - for once Handke is not lying and playing games with one of his interviewers] into a thoroughly re-imagined prose text that communicates his state of mind and takes over the states of minds of real readers, <i><u>Freudenstoff</u>, </i>Peter Strasser has called it and reading books of Handke’s such as <i><u>No-Man’s-Bay</u></i> or <i><u>Crossing the Sierra del Gredos</u></i> has put me into such a joyous state… and my guess is that Handke’s sheer love of writing communicates itself, subliminally. Formally successful, each book is also a lesson in writing. You may not wish to follow the instruct, but you will be glad to see what the teacher can show. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span class="apple-style-span"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: yellow;">As to “</span></span><span class="apple-style-span"><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: silver;">detached”: </span></span><span class="apple-style-span"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: yellow;">Handke is the writer who said to himself: “</span></span><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: lime;">Write everything with passion,” </span></span><span class="apple-style-span"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: yellow;">which of course does not imply that you have roaring Italian arias, but that the passion goes into the construction of a text, passionately dispassionate as we may recall Stephen Deadalus proceeding in <u>Portrait of the Artist.</u> Not that Handke did not have some real problems accessing his own feelings, until they surfaced at about the time that he wrote the 1974 novel A MOMENT OF TRUE FEELING, after his first wife had left the lay-abroad, no doubt finding him to be as cold a fish as his second wife did, a cold fish who was always writing, as of puberty, nearly at every moment of the day, terrorizing his entire family, as we can find out as of the 1981 WALK ABOUT THE VILLAGES, his greatest and richest work by far, it has every facet manifested, exhibited, and as is described at greater length in the sometimes extremely autobiographical 2008 MORAWISCHE NACHT. Think of him as a musician possessed by one brilliant idea after the other, and it becomes easier to take - after all you are not married to the guy nor his child.</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-highlight: yellow;"><o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">2]</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“He became famous, indeed infamous, as a very young man for<u> exquisite</u>, <u>absurdist</u>… [</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">my emphases m.r.]” Handke’s plays are never absurdist, that only applies to the one playwright with both whose formalism and playfulness he has affinity: Ionesco. As to </span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">”exquisite”:</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> Handke comes out of Latin “clarity”, precision, Wittgenstein, differentiation as you find them in legal texts, he has a very light touch - that<span style="mso-spacerun: yes;"> </span>shows his affinity for Austrian playwrights Horvath and Raimund, exquisite would mean Proustian, Valery. Handke is not a jeweler, to put it that way, not even the short pieces in <u>Once More for Thucydides [1980 New Directions]</u> ought to be called “exquisite” if that term has meaning and use. Handke was not famous for any of those matters, though famous he was indeed. Infamous he has made himself only since his intervention in matters Yugoslavian.<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">a] His first play, the 1965 PROPHECY, does the same thing as Susan Sontag’s essay “Illness as Metaphor” – it excoriates similes and stupid metaphoric thinking and it does so in Handke’s serial fashion, playfully and unrelentingly.<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">b] <u>Offending the Audience</u>, which I now call <u>Public Insult</u> [the word “Abuse” having become too fraught] addresses an audience and tells it all about going to the theater and what it will experience as it experiences – as it exists on the world stage - with the effect of making the audience as self-conscious about theater and their own BEING IN THE WORLD - as Mr. Handke is about language, and ends with the delivery of the offensive come-on curses in the form of musically arranged sets of cuss chords: just like old Franz Josef Haydn had his drum roll <u>Surprise Symphony</u>. Handke is a didacticist, a language educator, an activist Wittgenstein, and can be a real pain when he turns self-righteous judge and jury [see anon], his now priestlyness bothers me less because it is infused with his immense capacity for love.<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">c] <u>Self-Accusation</u>, the obverse of <u>Public Insult</u>, and the most frequently performed of his early pieces, turns the table on himself, and drives the series of failures of the person to obey the claims the super ego has on it to a point where we have the first instance [that <u>I</u> know of] of Handke’s later characteristic pathos - the unreachability of the ideal, which most famously attains a climax in Nova’s great final Hoelderlinesque aria at the end of Handke’s 1981 <u>Walk about the Villages</u> which was published in this country in 1995 and which, if J.S. had read and half-way understood it, would have clued him in on Handke’s changed playing procedures, not that he evidently has the faintest about what was involved initially, nor did idiot Neil Gordon for that matter despite claims to the contrary, and the recourse Handke began to take to Euripidean and Goethean techniques while driving forward his modernist project, and so might just have obviated no end of stupid statements of J.S.’s about <u>Einbaum/ Voyage</u> or alleged coldness; boy is <u>Villages</u> hot! What a heart test it is too! And what a way to find out why so many of the cold hearted have heart attacks. On the other hand, by the time that J.S. comes to misportray VOYAGE it is clear that he has not the faintest about drama.<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">e] The wordless 1967 <u>My Foot My Tutor</u> is the purest and <u>poetic</u> demonstration ever of the master slave sado-masochistic relationship, in a wonderful rural setting. Nothing absurd about that, is there? Anyhow, not as long as we remain in the world of ordinary language. Noticeable, too, how Handke <i style="mso-bidi-font-style: normal;">sustains</i> his formal procedures.<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">All these plays – from the 1965 PROPHECY to the 1973 THEY ARE DYING OUT – also exist within their time and its conversation about these matters, not in a vacuum, although Handke’s approach, his conceptions are sufficiently fundamental, keenly conceived, <span style="mso-spacerun: yes;"> </span>to outlive their immediate circumstances, 1968 and all that!<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">f] The 1968 <u>Kaspar</u> is not a “</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">retelling of the Kaspar Hauser story,” </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">it merely abstracts one sentence from it, “I want to be like someone else was once.” Max Frisch, appropriately, called it THE play of the fatherless generation. It is Chomsky and Wittgenstein rolled into one and a half hours of language education; and once I got a bead on my man’s psychic dimensions, I can see him as that Kaspar who was never successfully Kasperfied, whose autism keeps breaking out, as he moves so discombobulatedly on stage. In some ways <u>Kaspar</u> is pure determinism, its final sentence “goats and monkeys,” [<u>Othello</u>] repeated several times over is neither nihilist nor absurd.<o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">g] The 1969 <u>Quodlibet</u> [As You like It.] is THE statement of his artistic work as a dramatist: the play works on the principle of auditory hallucination – “Catch the conscience of the King” – that is, of an <i style="mso-bidi-font-style: normal;"><u>audience</u></i> that is now <u>king</u>! Handke creates projection screens, also in his novels, projections which absorb the reader’s self; playfully of course. You can then either think, or not. In <u>Quodlibet</u> a bunch of World Stage Characters parade around - C.I.A. KGB, great whores of the world, Geopolitical monsters, one J.S. Marcus - muttering monosyllabics which this <u>Finnegan’s Wake </u>aficionado translated into Joycean puns along those ambiguous lines. Handke does not care for Joyce, or perhaps just not for <u>Ulysses</u>, so he has said several times, though he used the rhythms of the end of <u>The Dead</u> for a section in <u>No-Man’s-Bay,</u> just as he has some bees from Beckett’s <u>Molloy</u> buzzing around in the Chaville woods, can’t really tell whose bees are more metaphysical! But I give very good odds that my infinitely competitive lord knew what he was doing. <o:p></o:p></span></span></b></big></big></span></span></b></div>
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<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">h] The 1970 <u>Ride Across Lake Constance</u> starts with a maid in black face vacuuming the stage, and that is what Handke then proceeds to do with stage practices, with boulevard theater, the first character waking from a dream and the characters engaging in that maddening specious Wittgensteinian Socratic questioning - not just of language but of everyday activities, and you listen to that for an hour and half of ever more sinister goings, are subjected to it, and it is the weirdest experience I have ever had, I as its translator who hadn’t the faintest how that would play and what effect a performance would have on me, and I had absolutely nothing to compare it to until I entered psychoanalysis: the famous “good hour” where the cobwebs are cleaned away, the world looks fresh, the angers and conflicts, the passions are assuaged, that kind of <u>catharsis</u>, better than good love making and how you can feel afterwards even. Absurd? No, neither the procedure nor the effect. I wish friend Richard Gilman had experienced the play before writing about it and merely pointing to Wittgensteinian procedures in it, a very different thing to read and be subjected to! Handke creates “happenings” in the best sense of that word.<o:p></o:p></span></span></b></big></big></span></span></b></div>
<b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Janning</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">s: Not that I know</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">George</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: If you don't know it, then you haven't heard of it either. But the expres"<span style="color: red;">George</span>: And have you ever heard of a "fiery Eskimo" </span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">sion "a flying ship" - that you have heard?</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Jannings</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: At most in a fairy tale.</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">George</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: But scurrying snakes exist?</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Jannings</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: Of course not.</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">George</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: But fiery Eskimos - they exist?</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Jannings</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: I can't imagine it.</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">George</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: But flying ships exist?</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Jannings</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: At most in a dream.</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">George</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: Not in reality?</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Jannings</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: Not in reality.</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><i><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">pause</span></i></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">George</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: But born losers?</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Jannings</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: Consequently they exist.</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">George</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: And born trouble makers?</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Jannings</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: They exist.</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">George</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: And therefore there are born criminals.</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Jannings</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: It's only logical.</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">George</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: As I wanted to say at the time...</span></strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">Jannings:</span></strong><strong><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;"> [<i>interrupts him</i>] "At the time"? Has it been that long already?</span></strong><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span><br />
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">i] If your man missed the humor in the previous plays, he cannot have missed it in <u>They Are Dying Out,</u> especially in Act One, with its antics of business folk talking the Marxist and Revolutionary lingo of the Sixties, language games of a more specific kind now, some of which calcified into the P.C. of the following decades. This is within the comic tradition of the best that Austrian theater, Raimund, has to offer; Thornton Wilder, you may recall, had fine traffic with that tradition, too.<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Though the volume with my 12 translations is listed with the article, J.S. literally has not the faintest. Why did you pay a purblind to write nonsense? <o:p></o:p></span></div>
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<span style="background: red; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: red;">Bob Silvers, </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Wasn’t there an editor in the house, I believe Elizabeth Hardwick was still alive, Barbara Epstein? <o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">3]”</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">threatening rants, and were scandals when they opened in Germany in the 1960s. <i>Kaspar</i>, the best known of these dramas…” </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">There is not one single “rant” threatening or otherwise in any of these or any other play Handke has <u>written</u>. Some wonderful monologues in <u>Dying Out</u>, which contains one attack aria that Handke re-uses in the section of the “Internationals” of Einbaum/VOYAGE. Handke is best considered as a composer, and there exist a handful of dissertations that demonstrate the musical form of these plays. Handke becomes more and more graceful a matter no one in this utterly klunky country appears to have noticed. As matter of fact, there exists a Handke industry, which even by the time J.S. shat his shit in your pages, numbered close to a hundred books, and some thousand of articles, few if any of as low a quality as J.S.’s. <i style="mso-bidi-font-style: normal;"><u><span style="mso-spacerun: yes;"> </span></u><o:p></o:p></i></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">4]</span><i><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“A Sorrow Beyond Dreams</span></i><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> is Handke's masterpiece, a short, concentrated, mysteriously exhaustive portrait of his mother, from whom history and circumstance have removed most traces of an identity; as a character, she <u>is weirdly, poignantly, blank…</u>” <o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Maybe J.S. ought to have his eye checked or the spectrum in his vocabulary that responds to descriptions. Otherwise, he is not all that dreadful for once. However, Maria Sivec comes through to me as anything but a blank, as very clearly delineated, but am unfamiliar with such unhappy Austrian or German lives, although not with the waste of love and effort that women in all classes suffered, except for<span style="mso-spacerun: yes;"> </span>those that became professionals, or if they were Junker wives knew how to run an estate and ride a horse if their husband was off to war and got himself killed, as so many did. J.S. needs to take the adjective cure. Aside the impression I have of Maria Sivec as a young and adventurous woman who fell in love too easily as which young woman and man does not, and her trying to make a life for herself, also in Berlin, the mistake she makes in her choice of a surrogate father for the utterly beloved illegitimate Peter baby, the truly dreadful image that sticks is of the preparations she made, so as not to leave a mess: by putting on diapers. Handke recently was interviewed by his friend, the fine writer Weinzierl, who now edits the <u>Welt</u> Feuilleton. There Handke states that he feels his mother decided to kill herself chiefly at the thought of the return of her dreadful husband, the detested Bruno Handke. Peter was actually seeing a lot of her, I thought that he had been berating himself for having neglected her, as it looks if you read the book, and he describes how distant he had become, and it occurs to me to wonder: had no one heard of divorce, or at least separation in Griffen in 1971?<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">5]</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> Born into a seemingly feudal world of peasants and landowners (<u>Handke depicts his mother's father as a kind of freed serf)…”</u> </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Has J.S. had read <u>Sorrow</u> and <u>Repetition </u>carefully he would have discovered that Old Man Sivec was anything but a Serf, a proud small farmer carpenter, who kept working his way back out from one financial crisis of that time in Austria after the other, but became the <u>father figure</u> for the fatherless Handke with whom Handke then identified himself, and who voted for the first Yugoslav federation back in 1921, which would lead your sleuth on the right trek to appreciate why a <u>federated</u> Yugoslavia, a successor to the K.u.K. federation, was important also to his grandson; why the Serbs, initially under Milosevic, the defenders of the Federation, then upon its dissolution became Handke’s particular love, the kind of conflation that occurred there… perhaps they really got more of a shaft than <span style="mso-spacerun: yes;"> </span>the other tribes.<o:p></o:p></span></div>
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<i><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“Repetition</span></i><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">, often regarded as Handke's best novel, is a companion piece of sorts, in which language (Slovenian) and circumstance (a walk through Slovenia) are used to create <u>an identity for the Austro-Slovenian writer-narrator</u>. Handke has described the two books as opposites. <i>A Sorrow Beyond Dreams </i>is concerned with the oppression of language. Handke's mother, with no voice of her own, must rely on the cheerful, <u>monstrously inappropriate banalities of her time.</u> <i>Repetition</i> describes the regenerative powers of language — Handke's narrator travels through Slovenia with the help of a turn-of-the-century German-Slovenian dictionary.” </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Not that bad actually, J.S., you are verging! Handke even made his own Slovene-German dictionary at the time of the writing and rewalking of his high school graduation trip, and subsequently translated from Slovenian, and you [I] leave reading the book in the late 80s, not only walking like the king of slowness Handke had become, good the guy’s got himself a firm identity and he’s at least half a Slovene, if he needs that, no skin off my nose. Meanwhile, even as of J.S.’s writing in 2000, it is pretty well understood that <u>No-Man’s-Bay</u> [1992 in German/ 1996 in English; and <u>Crossing the Sierra del Gredos</u> [2002 in German, 2007 in English, are Handke’s two really big efforts; wonderful shorter works galore, LEFT HANDED WOMAN, THE THREE ESSAYS, <span style="mso-spacerun: yes;"> </span>recently the extraordinary KALI, the forthcoming in English DON JUAN… As to <u>The Repetition,</u> it had a truly spectacularly understanding review in <u>The Guardian</u>, in the NY Times the reviewer advised the author that he ought to have his young student, Filip Kobal, as he crosses the border to Slovenia, it’s around 1960, go into a tirade against Tito. Go check out the NY Times Book Reviews and its daily take on Handke, and by and large you will be appalled all over again. Not at the beginning in the 60s to early 70s with Frank Conroy and John Rockwell. <u>Repetition</u> is the book that Handke announced with the<span style="mso-spacerun: yes;"> </span>last sentence of <i style="mso-bidi-font-style: normal;">Sorrow: </i>“I will get back to all that once more later” and then did and re-arranged the family constellation entirely.<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">6</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">]<u>“The predominant atmosphere in both books, however, is one of detachment;</u> in <i>Repetition</i>, the descriptions of the Slovenian countryside are almost…” </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I must have read at least a 1000 psycho-analytic case histories; very coolly written: I supply the tears where I know oceans of them were shed on the couch. J.S. needs to re-examine his use of detached, take a look at how Joyce describes his procedure in <u>Portrait of the Artist.</u> It appears that J.S. wants to contrast Handke’s way of writing his novels with his engagement for the Serbians – well, even the three Yugoslav travel books, the parts that are strictly phenomenological are just as “detached”. <i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">7]</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span></span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“<u>His work may be set almost anywhere in Europe and America, but there is remarkably little of the world in that work; the landscapes and cityscapes are undifferentiated, reduced, often, to abstract visual sensations</u> “</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke is a phenomenologist, he is noted for how rooted, site specific his work is! Whole books and essays have been written on the subject, look at the work of Mireille.Tabah [a] ulb.ac.be. GOALIE is obviously set first in the Viennese Prater Section, SHORT LETTER ever so obviously all over the USA, LEFT-HANDED WOMAN begins with a very beautiful description of the undulating Paris as it look from Clamart/Meudon, where Handke was living at the time and also filmed the book; ACROSS in Salzburg, the chief reason for writing that book was to memorialize its surround, I could go on and on. J.S. must be one of the biggest morons ever to set words on paper! Or whatever, the only reason I am doing this is because this shit appeared in the vaunted NYRB.</span><span style="color: black; font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">8]<u>“</u></span><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Handke's prose doesn't translate well into English, but in German it has remarkable power, a</span></u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> sort of <u>full-throated subtlety</u> — he would seem to combine the <u>directness of a writer like Hemingway with the astringency and ease of Don DeLillo</u>, though he has his own, invariably alienating purpose….”</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">…Handke’s work does what he, who has translated from five languages, does: it takes the translator by the elbows; he has taken me, Krishna Winston, Scott Abbott, and Ralph Mannheim by their best elbows, he thought my translation of his WALK ABOUT THE VILLAGES was better than any translation he could have imagined. Well, t’wouldn’t have been feasible without an original text, which daft as my man can be he clear forgot for a while in his enthusiasm he himself had written! This is yet another of J.S.’s bald ignorant assertions, since he is so ill-versed, so utterly ignorant that then is all he can do. Amazing that </span><span style="background: red; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: red;">you, Bob Silvers </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">and your editors who must have at least glanced at the Handke books that you gave out for review would let this <i style="mso-bidi-font-style: normal;">merde</i> pass and go into print. <o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Here some samples and a link to the site that addresses Handke as a translator:<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><a href="http://www.handketrans.scriptmania.com/">http://www.handketrans.scriptmania.com</a><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">You have a sample of Scott Abbott’s in his translations of JUSTICE FOR SERBIA and VOYAGE BY DUGOUT coming, and of Krishna Winston’s work on DEL GREDOS above, who succeeded Ralph Manheim midway of his work on the so highly and specifically localized – Lineares, Soria, Paris - THREE ESSAYS [Farrar, Straus, 1993], and boy did Handke get lucky with Krishna! Mannheim did fine work except, I found, especially with the beginning of A SLOW HOME COMING [which American edition of this 1979 title novel also contains the 1979 walking journal book, THE LESSON OF ST. VICTOIRE [1980] and the 1981 memoir A CHILD’S STORY,<span style="mso-spacerun: yes;"> </span>just re-issued by NEW YORK REVIEW OF BOOKS BOOKS] he failed to find the adequate rhythms. Here two samples of my work. The early plays were pretty straightforward, except that they needed to be tested by actors mouths, as they then were, however the KASPAR was only for the UK Methuen edition thereof. Handke got lucky there with me, not only that I knew my Shakespeare courtesy of my lunatic of an OSS stepfather but also courtesy of my knockabout with the tongue of the street,[3] which is where the re-emigrated Ralph Mannheim is sorely lacking in all his work. With DYING OUT matters began to be more challenging, by the time I got to WALK ABOUT THE VILLAGES we were in the realm of great and powerful poetry. However, he also got quite unlucky with Gitta Honegger’s translations of HOUR and the ART OF ASKING where the National’s London Production commissioned a new translation of what is one of the great unspoken text in the German language [it’s syntax takes you by the scruff of yours and doesn’t let go until the end, I only know of one other text like that, Heiner Mueller’s HAMLET MACHINE] of stage directions. AART OF ASKING, prior to its English language premiere. needs at least a thorough revision, but “Ekel” Peter has only himself to blame, he hates it when he gets caught with his hands in the cookie jar, and becomes as humorless as death, the confessed liar does!<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">From the three long progressively more fugueing poems in <u>Nonsense and Happiness</u>, Urizen Books, 1976, at the end of which my man had a panic attack and ended up in a hospital with a tachycardia: </span><span style="color: black; font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“This fall time passed nearly without me<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and my life stood as still as then<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when I had felt so low<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I wanted to learn to type<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and waited evenings in the windowless ante-room<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">for the course to begin<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The neon-tubes roared<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and at the end of the hour<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the plastic covers were pulled back over the type-writers.<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I came and went and<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">would have not been able to say anything about myself.<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I took myself so seriously that I noticed it,<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I was not in despair merely discontent.<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I had no feeling for myself and no feeling for anything else. (…)<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">A diary I wanted to keep<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">consisted of a singe sentence<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“I’d like to throw myself into an umbrella”<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and even that I hid in shorthand<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The sun has been shining for four weeks<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and I have been sitting on the terrace<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and to everything that crossed my mind<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and to everything I saw<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I only said “yes yes” (…)<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">”The longer I think the more Siberian the wind that blows through my head”<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I read in James Hadley Chase (…)<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I had the need to love someone<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">but when I imagined it in detail<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I became discouraged<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">In The Man Without Qualities I reached the sentence “Ulrich examined the man”<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">(“man”, too, Musil meant disparagingly)<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when nausea stopped me from reading on<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">That perhaps was a sign that things were looking up for me<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Occasionally I thought of my child<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and went to him<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">only to show him that I was still there<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Because I had such a guilty conscience<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I spoke very distinctly to him (…)<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">At that time in summer<o:p></o:p></span></div>
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<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when the grass was still dense and long colorful toys lay strewn about in it<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and someone said<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“That lies there like a child’s dream”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">(Before I wrote that<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I had to laugh very intimately<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">But it fit the facts –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and without conceptual exertion)...<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">In this monstrously glowing autumnal world<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">writing too seemed nonsensical to me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Everything pressed itself so much upon me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">that I lost all imagination (…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">In the papers I read that a wealthy aristocratic banker’s wife had said “The rich became even richer under this government. You won’t believe me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">BUT MY HUSBAND WAS FURIOUS ABOUT THAT.”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">That perked me up absurdly<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Once a woman sat before me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">so beautifully<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and I thought<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“I have to get very close to her<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">so that her beauty can unfold itself.”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">but she shriveled<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when I approached her (…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">flies died everywhere obtrusively<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I picked them up and threw them in the wastebasked<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">When I turned on the faucet<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I always caught the chlorine donation (…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">… and when I went to the mailbox<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I was so blinded by the asphalt<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I had to put my hand over my eyes<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">so as to be able to greet the dark figures approaching me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Finally, then, at dusk<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">at the gabled house diagonally opposite<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the EDEKA sign glowed<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">consolingly yellow<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and I went shopping<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The shop was so bright and quiet<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the manager was counting the receipts<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the freezers hummed endearingly<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the fact that the chives I bought<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">were held together by a rubber band<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">practically moved me to tears (…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Then at night<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I slept with the garden shears beside me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the child fidgeted with trembling hands<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">screaming in his bed<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">When I closed my eyes I could open them only one by one<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Yes, I had once known how I ought to live<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">But now everything was forgotten<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I would not even perceive a fart<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as something physical<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I’m really in a bad way’<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I know one shouldn’t stop like that<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">but there’s no alternative”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">with precisely those words<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- Speedy Gonzales of concepts –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- I wanted to stop<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">even before I started to write<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Then with the insolence<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">of self-expression<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">what was thought-out beforehand became even ghostlier<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">word by word<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and really with one jolt<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I again knew what I wanted<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and again felt eager for the world<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">(As a boy when a feeling of the world overcame me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I only felt the desire tot WRITE something<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">now a poetic desire for the world usually<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">only occurs when I write something)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“I am feeling again” I thought<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">But I made a slip of mind<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and thought “I am reeling again.”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">In the last few days<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">nature became musical<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">It s beauty<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">became human<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and its magnificence so intimate<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I sloshed with pleasure through the dead leaves<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">walked behind the perfumed poodle<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The bushes moved<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as when soldiers are on maneuvers<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">are camouflaged behind them<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The deep brown fir trees stood animally physical<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">before the window<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and at one place in the ominous landscape<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the birch tree leaves glinted as bright<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as a cry of pain<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“Oh” I thought<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Farther away smoke drifted past behind houses<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the TV antennas in front became monuments<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">With every day you saw more branches among the foliage<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the few leaves of grass grown back since the last mowing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">glowed so intimately<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">that I became afraid of the end of the world<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">even the façade of the houses<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">smiled in my human reflection<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“It hurts so much!” I heard a woman say of the jet trails in the sky (…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Deep at night<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">it became bright again<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Crushed from the outside<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I began to curdle<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">in full consciousness<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Unfeeling my cock twitched<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">larger<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">from breath to breath<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“Don’t wake up now!” I thought<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and held my breath<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">But it was too late<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Nonsense had struck again<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Never before had I felt so in the minority<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Outside the window<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">nothing but omnipotence<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">At first a few bird sang<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">then so many<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the singing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">became a racket<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the air an echo chamber<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">without pause or end<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Such a down<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">suddenly no memory<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">no thought of the future.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I lay stretched out long in my fear<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">did not dare<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">open my eyes<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">relived the winter night<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when I did not turn once<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">from one side<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">to the other<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">gnarled by the cold then<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">now stretched out<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">illiterate from the horror outside me (…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The unleveled rolling plazas<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">in the large graceful city<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">this repetition of the open country<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">with the horizons of hills<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">amid the houses<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the land<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">prolonged into the city<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">onto these plazas<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">where you were over-whelmed as nowhere else<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">by horizon longing…<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">When I climbed out of the subway<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">even the dog shitting on the sidewalk<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">struck me as magicked<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I shuddered with disbelief<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">suddenly I was THE OBJECTIVELY LIVING THING<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">My cock lay strangely forgotten<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">between my legs<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Joy rose from the deepest depths<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and replaced me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“I can be happy” I thought<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“Why don’t you envy me!”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">For days I was beside myself<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and yet as I wanted to be.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I ate little<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">talked just to myself –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">needless so happy<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">unapproachable so full of curiosity<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">selfless<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and self-confident(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I as inspired machine<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">everything happened by chance:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">that a bus stopped<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and that I got on<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">that I rode the ticket’s worth<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">that I walked through the streets(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The cats sniffed around in the mausoleums<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">of the large cemeteries<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Very small couples sat in the cafes<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and ate Salade Niçoise together…<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I was in my element<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">clucking<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">But in my dreams<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I hadn’t yet lost all interest<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Straggling slime track<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">of the snail person.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I was not ashamed<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">was only angry.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I made myself wishless<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">by drinking too much<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The twitching eyelids became irksome<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The passersby were walk-ons<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">who behaved like stars<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“Levi-Jeans-People! I thought<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“Ad-space bodies!”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">-“Which says everything about you” I thought<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">without the earlier sympathy.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I became superficial with crossness(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">In any case:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">a DIFFERENT NONSENSE<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">without deathly fear<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">My heart throbbed for no one<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the city was foreign to me again<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">from all its familiar landmark<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">In a friend’s apartment<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I sat absentmindedly<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">my ears buzzing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and heard my own soulless voice<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Being happy all I could remember<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">was happiness<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">being unhappy merely unhappiness<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Indifferently I recounted<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">how okay everything had been with me.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Then we talked about fucking<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The sexual expressions<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">provided us with the unabashedness<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">for everything else<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Anyone joining us we greeted<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">with obscenities<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and let loose<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">they lost their strangeness(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Everything without being horny<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">In the upper deck of the bus<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the total strangers grinned<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as they listened to us<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and felt at home with us<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">What exhibitionism<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as soon as one of us<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">suddenly mentioned something!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">But there was always someone<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">who found a hint of sex<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">in the allegedly other…<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Yet no one talked about him or herself<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">we only fantasized<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">never the embarrassment of true stories<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">How the surrounding flourished then<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the pleasure of the sour wine in<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the heartiness of the sour wine<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">in the cylindrical glasses<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Don’t stop!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The indescribable particular<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">of the grim new age<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the order of their lost connection<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">in the dirty stories<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Hello meaning is back!(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Then it got serious<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the seriousness hit so quickly<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">that it didn’t want to be me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">who was meant<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Then I became curious<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">then ruthless<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I would take a woman to the next best toilet<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">No more flirting<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">no more obscenities<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">no more double entendres<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">instead of “fucking” I now said:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">“sleep with you”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- if I said anything at all.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I pared my fingernails<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">so as not to hurt you too much<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">In my horniness<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">I could suddenly call nothing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">by its name<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Before I had found a metaphor for sex<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">in the most unsuspecting things<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">now<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">during the experience<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">we experienced the sexual acts<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as metaphors for something else(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">On a cold indescribable day<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when it does not want to become dark and not bright<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the eyes neither want to open nor shut<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and familiar sights don’t remind you<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">of your old familiarity with the world,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">nor as new sights magick a feeling for the world<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- <span style="mso-spacerun: yes;"> </span>the Two & One poetic world feeling –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when there exists no When and But,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">no Earlier ad no Then,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">dawn sweaty<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and evening still unimaginable<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and on the motionless trees only quite rarely a single twig snaps<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as if it had become slightly lighter,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">on an the indescribable day like that,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">on the street,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">between two steps,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the sense is suddenly lost:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the black man walking toward you<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">in his leather coat –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">you want to slug his face,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and throttle the woman<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">reading off her list before you in the shop.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">And more and more often<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the thought frightens you<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">how you nearly did it<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- a jolt was still lacking, the mysterious<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">JOLT<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">with which love set in at one time<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">or the wild resolve to lead life your way,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the certainty of a formless kind of immortality…<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">(Then you read in the papers of some who succumbed to this jolt and you wonder why there are still so few.)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Wherever you look now – everything greenish-discolored at such moments<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as on a too briefly discolored photo,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the objects half complete,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and no hope of completing them,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">every sight a rotted fragment<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">without the idea of a plan,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">which became lost,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">still raw-girdered and already a ruin,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">which you avoid,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">fearing you will collapse with it(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">excrescence of an excrescence<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- if only the eyes would close,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- of you could only squint at such moments,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">soothe the nausea in the eyeballs,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- and it would be just MOMENTS (after which you could sigh) –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">but not this TIMELESS, EMPTIED-OUT, SPEECHLESS, FUTURE-REPRESSING, INANIMATE, SENSELESS HUMBUG<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">IRREMOVABLE FROM THE ZENITH, SCRATCHING YOUR<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">SOUL FROM YOUR BODY.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- Someone has stopped on the street<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and cannot go on:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">not only he has stopped,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">everything else has too,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and so it seems that he walks on,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and that the rest walks on too.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">But he is only pretending to walk; and the way he regards the horizon at the end of the street is also feigned;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the French fries which he smells somewhere while he pretends<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">to walk<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- it might be altogether somewhere else –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">he only notices<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as a last kindness toward himself;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">actually he does not smell anything any more,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the French fries are homeless remnants<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">from that already unimaginable time<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when every object still hugged its meaning:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">recollection of a picture in a church where the Just stand beneath the Blessed Virgin’s coat.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Yes, everything has turned into abrasive outer world in this state<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and in the open-skull an unappetizing something, once called brain<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">puffs itself up in the draft.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Instead of consciousness<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">nettle-like vegetation<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">skin sensations and allergy:’<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">an incalculable time of rashes,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">of goose bumps,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">of eczemas,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">of soreness.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">An unpleasant itch<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when the lips accidentally touched each other<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- you have become ticklish to yourself. (…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The sky above the crane could be a picture,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">which rekindles the necessary patience,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">but the well-worn sky heals nothing either,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">nor the word that soothes so often,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">which you say to yourself:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the clouds grow repulsively<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">lie in unholy havoc,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">wind-wrecked,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the earth too, leveled to the horizon.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Everything wind-wrecked.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Everything mixed up.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">And everything expressionless.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">AND EVERYTHING COMPLETELY EXPRESSIONLESS. (…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and feel in the wrong toward others<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and regard your states just one of those states:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">as if you behaved “like a schoolboy<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">not to be taken seriously.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">So you don’t take yourself seriously in company<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">but the nonsense is too real,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and therefore unbearable.(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">but even the prettiest sight now diminishes life.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">A bombing attack of nonsense on the world:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">right behind the house wall the earth breaks off<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">into whirlpools of<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the indefinable<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">(some call it ocean trench, others space, others hell)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and on the last atoll a children’s carousel turns<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">tinkling, god forlorn.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Stop! Gaze at this picture:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Did not the lids lower over the eyes at this sight?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- It is no picture: and if so, it went under from your impatience<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">with the last bit of earth.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">The gloom where the earth was<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">distinguishes itself from the gloom<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">of the indefinable all around<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">only by its fresher black,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and now even the whirlpools are streaming in…(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">in the shattering environment,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">which had been on the verge of soothing itself,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">your dyed in the wool HUMBUG breaks forth aain,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">world-wide and skin-tight…(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">or another time<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">a typewriter shop,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">you stare down at the machine<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">with paper to try it out,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and there<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">among the people in the shop,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="ES" style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-ansi-language: ES; mso-highlight: lime;">read:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="ES" style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-ansi-language: ES; mso-highlight: lime;">“O desespoir! O villessee! </span><span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">O rage!...”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">- Your eyes grow wide,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">whatever you look at<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">LAUGHS<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">after such long nonsense, suddenly there was so much of the world’s abundance. (…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">a feeling also returns<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">to your own ugly, deaf face,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and the indescribable day<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">becomes describable,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">it wanes<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and when you look at the woman again<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">you notice she isn’t smiling at all,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">but only has an expression:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">even the expression on her face<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">seemed like a smile to you.(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">gradually you begin to picture these different women<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">even as something mythical<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">-old hiccup of poets drunk on being –:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">when a woman with water in her leg climbs in,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">more awkwardly than the others, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">and kindly destroys the facile PICTURE…<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">And what do you bring home in the evening?-<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Such sights for example,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">the sight collector answers proudly.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">And how do you order them?-<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Because the fear of the nonsense is over<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">they no longer need an order.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">And your own impression? –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: lime;">Because the nonsense is over the sight has simultaneously become the </span><span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">impression.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">And the actual words?-<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">When I see something, I only say: O God!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">or: No!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">or: Ah!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">or simply call out: The evening sky!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">or whimper softly..<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">And yet –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">Beware of the musicality of the world!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">Beware of the happy ending!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">For even when the indescribable day came<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">you had been warned of previous indescribable days,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">as in a fairy tale,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">before you walked through the forest,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">of the good fairy<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">or of the talking animal,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">- and must,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">as in the fairy tale,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">have forgotten the warning after all.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">At least,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">instead of the all too anecdotal happiness,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">you cling to the moment<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">when the nonsense let up and the new familiarity was felt as pain.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">The dreams are in the offing.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">They are there:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">A large red cherry falls slowly past you down the elevator shaft.(…)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">the time when you can dream<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">is a sensible time.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">Already you nod to yourself in the street and shake your head; munch like a child an apple before falling asleep;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">walk straight through puddles<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">and again say “merry go round”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">instead of “carousel”…<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">On a cold bright morning<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">still imbued by a long<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">bliss-kindling dream<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">where you were<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">what you can be<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">-the dream itself was the fulfillment –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">and at the sight of the wide sky<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">behind the edge of the city<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">you look forward to growing old for the first time,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">and in front of the child<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">who looks at you<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">after he has knocked over the glass,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">you think<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">if the child wouldn’t have to look at you like that any more –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">that might be the real way.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">fini</span><span style="color: black; font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: -81.0pt; mso-line-height-alt: 13.5pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">NOW A SERIES OF QUOTES FROM <u>WALK ABOUT THE VILLAGES</u></span><u><span style="color: black; font-family: "courier new"; font-size: 14.0pt;"> [</span></u><u><span style="font-family: "courier new"; font-size: 14.0pt;">1981]<o:p></o:p></span></u></div>
<div style="margin-right: -81.0pt; text-align: justify;">
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">"At dusk it is quiet and empty there, the mounds are enshrouded , the glaciers have melted just now, it is ten thousand years before out time, and it is our time...."</span></strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></div>
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">"The last dramas are those of places..."</span></strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span><br />
<div style="margin-right: -81.0pt; text-align: justify;">
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">"Land, lower your flag and coat of arms. Valleys all, strike your hymns, forget your names. Ways here, shelter yourself in namelessness... Construction site, here, you too, as in the old saying, animate yourself in nameless simplicity."</span></strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></div>
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">"We are the figures walking in the distance through the fields, the silhouettes in the cross country bus which drives through the snow plain. Our shadow faces fill the first to last subway are and only in the curves do our eyes briefly lose touch..."</span></strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></div>
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">"I saw this spot as the colors and forms which had been cleansed of everything secretive, everything parochial, everything atmospheric, everything typical, everything manic...." <o:p></o:p></span></strong></div>
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">"A few centuries ago it was the practice in this valley to make so-called <i>leaf-masks</i>. Between woodcut leaves a a mouth opened and out looked human eyes. Once I saw us - not just us three - thus together in the foliage, I walked late in fall through a large park that was covered with fallen leaves, the afterglow of the sunset sky on them, the leaves moved lightly between the blades and sometimes one of them also leaped up or flipped over, and while I moved slowly through the leaves all our faces and all our stores rose form the foliage: it was one face and one story, and this one face and the one story that I know now, should be the goal of the work, not only of my work but of all our work. The movement of these fallen leaves in the grass was the gentlest that man has ever seen! But now it is as though only a few single leaves chased after me in the dark crackling and rusting like dogs or pursuers."</span></strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></div>
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">"Wretched is everything, from here to the horizon, and here is the pain, forever. I will turn to me dead. Haven't they been the green field on my breast time and again? It is them I address in the dark, and they appear, in the eye of the cat, in the branch brushing the window in the night-wind, even in the humming of the ice box. The skeletons lie there stretched on in the earth and can be approached. I will squat down with them, and that will do me good. No, they don't want anything from me and are not angry. I think myself free of everything - and they are there, not as the dead but as my saints and helpmates. I show my profile to the false abundance of the here and now and they form the interface profile in empty space. I let them be around me and my evil blood flows differently. My dead are not ghosts of the night - they are part of the brightest daylight, and I touch them not when I sleep but when I rest...<o:p></o:p></span></strong></div>
<strong><span style="background: yellow; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow; mso-shading: yellow;">From the end of W.A.T.V. <span style="mso-spacerun: yes;"> </span></span></strong><span style="background: yellow; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS</span></strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: <b style="mso-bidi-font-weight: normal;">[softly to his three colleagues]<i>: </i>Say: "Sorrow"</b></span><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">THE THREE</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: "Sorrow."</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: "Who helps?"</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: Look away from me.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">ANTON</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: The river has dried up.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">IGNATIUS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: The milk stand torn down.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">ALBIN</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: The village tavern without wine.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: It is becoming hard to walk on the earth.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b></div>
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">ANTON:</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;"> The sun is made of ice.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">IGNATIUS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: It refuses to shine.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">ALBIN</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: I see behind the evil moon an even more evil one rise.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: Gaze, stars, finally down on different earthlings.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b></div>
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">ANTON:</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;"> The man at the well is a good-for-nothing.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b></div>
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">IGNATIUS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: The barefoot lady no longer lifts the hem of her skirt in the grass.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b></div>
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">ALBIN</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: The boy with the red vest spits on us.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: The girl at the well is no longer an image of life. Sing the song of woe. Scream in rhythm. Rise against so-called creation and, with all your might in the wrong key sing our song of woe and revenge. [<i>They wail off key with all their might.</i>]</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b></div>
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">ANTON:</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;"> Sunken the shores of love.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">IGNATIUS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: I lie twitching on no beach.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">ALBIN:</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;"> My brain twists and turns in the broken-in-two nutshell, no man with the password helps me to get out, no one will sit down sweetly beside me, my despairing glance meets no pair of eyes, my lips twitch in bewilderment, and I pant for no heaven in the last waves before the nought-nought-nought.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b></div>
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: [<i>turning to the Old Woman</i>]: "There is no consolation."</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b></div>
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">THE OLD WOMAN</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: "There is no consolation."</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: There is neither knowledge nor certainty, there is nothing whole, and what I think I think alone, and what occurs to me alone is not the truth but an opinion, and there is no such rule as universal reason, and collective human destiny walks about more than ever as a ghost.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b></div>
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">THE OLD WOMAN</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: The vinegar sponge doesn't even have vinegar an more.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS:</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;"> The man with the redeeming glance is rattling full of millstones.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b><br />
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">HANS</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">: Church spires jut like spears in enemy country. </span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></b></div>
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<strong><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;">THE OLD WOMAN:</span></strong><b style="mso-bidi-font-weight: normal;"><span style="background: lime; color: maroon; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: yellow;"> The side-wound has a stench, and the ruby-red gleaming stars are the killer bear's.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; color: maroon; font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt;">So much for the “<span style="background: silver; mso-highlight: silver;">grey”</span> poet Peter Handke, who re-invented alternating discourse [in lieu of hideous naturalistic dialogue] we will now all take up a collection to pay to give eyes to the sightless J.S. <o:p></o:p></span></b></div>
<b style="mso-bidi-font-weight: normal;"><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">directness of a writer like Hemingway with the astringency and ease of Don DeLillo</span></u></b><b style="mso-bidi-font-weight: normal;"><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">,</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></b><br />
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">As for the idiotic helplessness of describing a writer in terms of other writers - the other recourse aside impressionistic loads of adjectives that folks of the ilk of J.S. have - comparisons of this kind are only useful and justified in the case of, say, Hemingway copy cats. Handke uses the standard classical style in an extremely economical manner initially, eventually reacquiring the whole range, and because he has that genius access to syntax and the dream-film screen on which within which he writes he is a virtuoso. Dangerously virtuoso like even. As of about the mid-70s.<o:p></o:p></span></div>
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<u><span style="background: silver; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: silver;">full-throated subtlety…???</span></u><u><span style="background: yellow; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: yellow;">What might that be, warbles <span style="mso-spacerun: yes;"> </span>like a Robin?? Full-spectrum </span></u><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: silver;">grey?</span></u><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">9]“</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">The important distinction in Handke's work is between the writer, or the writer's surrogate, and everything else; indeed one is so separate from the other that <u>Handke can at times sound like an idiot savant whose talent is writing.”</u></span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> <span style="mso-spacerun: yes;"> </span>I am not quite sure what the hell J.S. means by “writer” and “writer’s surrogate”, and am amazed that THE </span><span style="background: red; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: red;">VAUNTED EDITOR ROBERT SILVERS </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">WHO EDITS UNTIL THE DEPTHS OF NIGHT let this piece of nonsense pass. I don’t think J.S. means that Handke then delegates someone to impersonate himself? However it is one of those moments when your man, </span><span style="background: red; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: red;">Bob Silvers, </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">might be on the verge of being on to something: Yes the man with the pencil in his hand at his desk, or in a hollowed out tree in the F</span><span style="background: yellow; font-family: "times new roman"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">ô</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">ret de Chaville, or the moments as he walks, with friends, or by himself and pulls a writing tool and notes down an observation – Handke is cooking nearly all the time – he was certainly as a young man – he is not the same guy as when he brays out to the media, or makes self-righteous pronouncements – but then who is? Handke becomes calm when he writes, after all he did not call himself “the new Kafka” for nothing, it turns out that he is a hysteric, which dramatist isn’t? And being autistic he is or was a kind of awkward Kaspar, with the frequent added piquancy of a tad from old man, Messieur Tourette.<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke once said: “When I am good I am very good, when I am bad I am very bad.” I would say that he is rarely very bad with pencil in hand, far too frequently when he addresses the world through the media, gives vent to his jealousies, ugly opinions, and ultra bad when it comes to his behavior to women, nearly as bad as his hated stepdad Bruno Handke - that came as a big surprise; and it has landed Handke in a lot of hot water and cost him a lot of friends. And it at those moments, too, that he can be said to be as “humorless as death” as he himself knows better than anyone else; but fine pieces of writing that ironically attack that streak in himself, such as The <u>Tablas of Daimiel</u> [this is a pdf. file which I also have on my disk and can send].<o:p></o:p></span></div>
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<span style="font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span></span><span style="font-family: "courier new"; mso-bidi-font-size: 12.0pt;"><a href="http://begleitschreiben.twoday.net/files/Die-Tablas-von-Daimiel/" target="_blank">http://begleitschreiben.twoday.net/files/Die-Tablas-von-Daimiel/</a><span style="background: yellow; color: black; mso-highlight: yellow;"><o:p></o:p></span></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">only really count as long as he writes them. In no time at all, with Günter Grass on the ropes for owning up to having been in the Waffen SS as a 17 year old, Peter Handke, not only jealous of Grass fame but of all the media attention Grass is getting will unloose an attack that “Everyone knew at age 17 [in 1945] what the Waffen SS did… and besides Grass has been doing nothing but writing the same book over and over.” To which my reply was “Everyone at the age of 30 knows not to nearly kill his two year old daughter with a smack to the head in a fit of irritation or beat up women like his gruesome stepdad… and quite a number of other utterly reprehensible matters… “<span style="mso-spacerun: yes;"> </span>On the score of Grass never quite matching his first two books: Handke is severe on writers repeating themselves and in that arena cannot be charged with gross hypocrisy, each book is a new problem solved, and so is nearly each play. <o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">10] </span><i><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">The Hornets </span></u></i><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">— an account of village life written in the manner of Alain Robbe-Grillet—…” </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Back to nonsense: it is not an account, it is a novel… I hate using that word: but it is a kind of ultimate de-construction that precedes Handke’s subsequent development into a full-fledged writer of lyrical prose: <u>The Hornets</u>, it exists in Romance language translations, is Handke’s first attempt, there would be many more, to translate the experience of the “as if” into independently existing works of literary art, which then become <span style="mso-spacerun: yes;"> </span>experiences for the reader. As to Handke and Robbe-Grillet: The grilled <i style="mso-bidi-font-style: normal;">Robbe</i> supplied a kind of screen, a scrim, a grid to control the whelming associations. Handke was, even during his early days, a very warm writer compared to the great engineer Robbe Grillet. Think of Mondrian, Max Bill, painterly orderliness within which much can be done. I translated a section from <u>The Hornets</u> as part of my essay on Handke’s development as a prose worker and it can be found at the<o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><a href="http://handke-discussion.blogspot.com/" target="_blank"><span style="background: #00CCCC; color: black;">http://handke-discussion.blogspot.com/</span></a></span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">and on the handkeprose2.scriptmania.com site. It is very interesting book, it makes the reader’s imagination work even more than the subsequent DER HAUSIERER. What a total and complete idiot J.S. is, it is beyond breathtaking!</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">11]. </span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">The Latin, the Slavic, and the Germanic overlap in Slovenia, and in traveling there, one has the impression of a composite European setting, of a Slavic Scandinavia on the Mediterranean coast;<u> of an abstraction</u>. Slovenia is <u>stirringly vague—a correlative of sorts for the best of Handke's work.”</u> </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">How Slovenia can be an </span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">abstraction</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> of any kind is also beyond me, this is the most absolute bullshit, both about Slovenia being </span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">abstract</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> and <u>The Repetition.</u> But it gives me the idea that J.S.’s brain is made of porridge or that it has been stirred into slurry and thus his recollection, if he has any, then deserves abstract as an adjective!</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">12] </span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">He had <u>come to be known as an apolitical writer</u>, as an<u> aesthete</u> of sorts, <u>an admirer of the refined prose of Austria's great Biedermeier novelist Adalbert Stifter</u>. As his interest in Slovenia grew, however, so did <u>traditionally Romantic elements</u> in his writing. Handke's "Slovenia" was a mythical place, a part of the larger, more remote myth of what Handke calls "the great Yugoslavia." </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">J.S. might make up his own mind -</span><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> come to be known- </span></u><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span>and not be just another other-directed rumor pipeline like Neil Gordon, the NY Times reviewer, head of the New School’s creative writing program, and fiction editor of the Boston Review. <o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">(1) The question of what kind of political writer Handke might be, is indeed of interest:<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">a] He certainly does not campaign for any candidate for dog catcher in the F</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">ô</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">ret de Chaville, at least not to my knowledge; and he chided Grass for doing so in campaigning for Social Democracy with Willie Brandt [“Grass, write better novels, stop this stupid campaigning.”]; in one of the long poems in <u>Nonsense and Happiness</u> {Urizen Books, 1976} he describes a politician, I think a Frenchman, campaigning on T.V. as treating the electorate as sparrows who are meant to eat out of the palm of his hand. True or not?<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke befriended a variety of powerful people, also politicians from very early on in his career, they sought him out, it’s a European tradition, his genius was quickly recognized, Austrian Presidents, he decimated that unmentionable ex-Nazi who had headed the UN for a while prior to assuming the Austrian Presidency and then being shooed into retirement; most famously of course Handke befriended the Milosevic family, he was asked to be a witness for the Milosevic defense at DeHague, but refused since in fact he had no knowledge of the crimes of which Milosevic stood accused and I imagine – here I am allowing myself a speculation – only as someone who surrounded himself with other artists, not that unusual in Europe at all of course, could only have spoken to that. And so he might have: but I think that was a bit much of exposure even for my man. A witness on the stand has to be excused, he is locked into position.<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Why ought an ever upwardly mobile Hoveling {my translation of Handke’s self-appellation Keuschnig, someone who was born in hovel, and might just not be chaste=keusch} refuse an Angel, a Maezaen? Best as I can tell, Handke has never been lax to describe some of these men, e.g. his very powerful publisher in the most critical light if he felt they deserved it, or simply described them, which in Handke’s phenomenological x-ray method usually suffices once and for all. Rarely does he carry on at length as he did in his description of a man I call the Reichs-Kanickel in <u>The Lesson of St. Victoire</u> for the stupidest and nastiest and most uncomprehending reviews ever. Early on he berated the German language writers whose themes were exclusively social and political - he might not have said anything, but his contrariness comes also into play there. For Handke literature was romantic from the beginning, an adventure although he seems to have envisioned a large body of work, too.<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">b] However, if you look just at the early plays, and the language criticism they perform, you might arrive at the notion that Handke’s politics are rather more fundamental than what in every day speech is called “political”, it verges on the Confucian/ Taoist belief that a hale language is a fundamental requirement for a successful healthy polis, which is where the writers and poets come in, and slews of propagandists and pundits of all kinds are slaughtered. “</span><span style="font-family: "courier new"; font-size: 14.0pt;">If language is not correct, then what is said is not what is meant; if what is said is not what is meant, then what must be done remains undone; if this remains undone, morals and art will deteriorate; if justice goes astray, the people will stand about in helpless confusion. Hence there must be no arbitrariness in what is said. This matters above everything. — <u>Confucius</u> <span style="background: yellow; mso-highlight: yellow;">Words that J.S. might keep in mind. Easier said than done, Confu, Baby!</span></span><span style="font-family: "courier new"; font-size: 14.0pt; font-weight: normal;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span>(2) </span><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">aesthete</span></u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> of sorts. </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Well what sort? I would say that Handke is aesthetically, each of his senses hypersensitive, grounded in his nervous system, and wounded. </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke has an aesthetic, it is most clearly articulated in a section in WALK ABOUT THE VILLAGE, but that does not make him what is ordinarily known as an esthete. Handke is still I imagine under the mistaken belief that aesthetically presented texts have an easier way of accessing the minds of reader than the humdrum of every day prose and of newspapers. J.S. is living proof of the very futility of that. The J.S.es of this world might make one a nihilist – see anon for J.S.’s bullshit on that score.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">You might say that Handke is as sensitive to words as a cat is to a drop of water; and having such a short fuse, to put a very complicated explosive matter in ordinary language, blows a fuse rather easily, or throttles the Prater movie house cashier – for whatever, the Goalie who <u>needs</u> to be trigger happy, no?<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Elsewhere I have said that Handke has the eyes of an eagle, the nose of your best hound, the skin of a porpoise… and that excess of pure sensory input itself at one time led to no end of his many nauseas; “threshold” was Freud’s understanding; he is extremely sensitive to ugliness, again that does not make one an esthete, he lacks the anal erotic component that you find in typical esthetes, in Germany Botho Straus comes to mind, Ernst J</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">ü</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">nger, Stefan George, and galore in ye olde u.s. of a.<o:p></o:p></span></div>
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<u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">an admirer of the refined prose of Austria's great Biedermeier novelist Adalbert Stifter</span></u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Thomas Mann, whose work Handke apparently now detests [not that that keeps him from accepting the Thomas Mann prize while giving the money back to the Bavarian Academy – the prize givers adorn themselves more with the names of those they bestow their prizes on! - now that he’s sold his note books to different institution for a cool million Euro, nor from beautifully simplifying down Mann’s famous Chinese Box style] Mann and Handke share admiration of the writing style of the equally dark lyrical epic writer Stifter, and the epic lyrical writer Hermann Lenz, who for once does not appear to have a dark side. I would say that Stifter, but more importantly Goethe and Flaubert are the two mountains that Handke really succeeds to improve on, or bring up to date, I would say he has succeeded, matters that neither J.S. nor the NYRB have the faintest of.</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">13] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">The book [<u>Justice for Serbia</u>] itself becomes<u> a kind of sustained, serious joke: </u>we never leave Handke's sight, as he produces his own <u>rigorously distorted account…”</u><span style="mso-spacerun: yes;"> </span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Well, no: Handke does three things in <u>Justice</u> [1] He describes his unhappiness with accounts he has read and seen; </span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">“It was principally because of the war,” </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke writes in <i>Justice for Serbia</i>, </span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">“that I wanted to go to Serbia, into the country of the so-called aggressors.. I felt the need to travel into the Serbia that became, with every article, every commentary, every analysis, less recognizable and more worthy of study, more worthy, simply, of being seen… Yes, with each sentence I too have asked myself whether such a writing isn’t obscene, ought even to be tabooed, forbidden – which made the writing journey adventurous in a different way, dangerous, often very depressing (believe me), and I learned what “between Scylla and Charybdis” means.<span style="mso-spacerun: yes;"> </span>Didn’t the one who described the small deprivations (gaps between teeth) help to water down, to suppress, to conceal the great ones? Finally, to be sure, I thought each time: but that’s not the point.<span style="mso-spacerun: yes;"> </span>My work is of a different sort. <span style="mso-spacerun: yes;"> </span>To record the evil facts, that’s good.<span style="mso-spacerun: yes;"> </span>But something else is needed for a peace, something not less important than the facts.</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">[2] he curses the media; and [3] he writes only what he has seen on a trip to his translator friend’s place… How that can </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">a kind of sustained, serious joke</span></u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">or joke of any other kind is beyond me. Handke for good reason is a “peace seeker”, in A SLOW HOMECOMING he looks for signs of peace in geological formations in Alaska! <span style="color: black;">If half aware, each of us knows that our experience, what we see, hear, is only our experience, and ours only… Scott Abbott who befriended Handke via friendship with Handke’s Serbian translator whom he met at T</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">ü</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">bingen, was along on one trip, the one that preceded <u>Imprecating, in Tears.</u> And perhaps he can tell us to what extent Handke’s description of that journey coincides with his own. A Princeton PH. D. who has been teaching and writing and translating will have something of his own version; of course this was Scott’s first time in Yugoslavia, although he and Zarko had traipsed along <i style="mso-bidi-font-style: normal;">Handke’s </i><u>Repetition</u> route to Slovenia at one time, Zarko probably following Handke’s advice that his translators ought to familiarize themselves with the <u>places</u> Handke describes in his books – there are essays on the subject of how well <u>rooted</u> in PLACE Handke’s books are, you idiot! What J.S. seems to call for is that Handke do exactly what he set out NOT to do: say the same thing again in the same language, become one with the unisono chorus. Why there was such a near entire unisono among the “innelectuals” really deserves a separate treatment, why “they” then were together, as they told themselves, as they had not been since the days of he Lincoln Brigade! Like every other sheep, they too would like to be at ease with their conscience and feel good… while priding themselves on having used their noggins. To paraphrase the end of J.S. piece which wonders when Handke will tell us what is was like to have been a Serbian nationalist, etc.: when will the uniform mindset about the disintegration of Yugoslavia and the simple minded blame game among Western intellectuals cease? </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">14]</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“In talking about his Slovenia essay, Handke characterized Slovenian nationalism as childishness: "…Every child probably wishes that his village was a kingdom." In <i>A Journey to the Rivers</i> (Handke likes to call it a "tale"), <u>the Serbia of late 1995—a country in the hands of mafias, with a collapsed economy, and overwhelmed by hundreds of thousands of refugees, a country in which acknowledged war criminals were greeted as heroes—is turned into a vast, rather bucolic village.</u> Handke alternates between <u>reverential</u> descriptions of the Serb people (in Serbia, he claims, he has discovered "for the first time a sense of something like a <i>Volk</i>") and muted pastoral descriptions of Serbian landscapes. He does let himself occasionally be distracted by the menacing detail. For instance, on the banks of the Drina—the border between Serbia and Bosnia, and just downstream from the killing fields of Srebrenica—he finds a <u>child's sandal</u>.”</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">.<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Ah here it is: Belgrade in the hands of the mafia, corrupt Belgrade as currently Kabul – whenever you read something along those lines – as you could endlessly at the time - you can be sure that c’ruption is especially severe in D.C. and New York, and that we need a bit of diversion from the fact that you might as well wall in Wall Street, say laterally across at Fulton Street in downtown Manhattan, and declare the entire area south of it a high class white collar federal prison. Ditto for sections of D.C. As to acknowledged or known war criminals, the U.S. has more of them who will never go to trial, except occasionally before their own court of conscience, than any in the word. </span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt;">"We are the market. We are the world. We are the power. We write the history… That’s the way it is. That’s the way it has to be. We are the language</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: yellow; mso-shading: lime;">." </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow; mso-shading: lime;">I would add to this: </span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime; mso-shading: lime;">“</span><span style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-highlight: olive; mso-shading: lime;">We are the Martians and we need to defeat ourselves.”</span><span style="background: olive; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: olive; mso-shading: lime;"> </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow; mso-shading: lime;">As <span style="mso-spacerun: yes;"> </span>to the</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> </span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">people or the parts of Serbia/ Yugoslavia he visits being turned into a </span><u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">rather bucolic village. reverential</span></u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> descriptions of the Serb</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> Handke is certainly capable of reverence, but <u>JUSTICE</u> is devoid of anything of what J.S. ascribes to his text; real feeling for the people as a whole comes through in MOURNING IN TEARS, when he encounters the older confused woman, who is bereft for an explanation about what has transpired.</span><span style="color: black; font-family: "courier new"; font-size: 14.0pt;"> <span style="background: yellow; mso-highlight: yellow;">Handke skips an angry stone across one river I recall, where some bodies are said to have washed down… it seems unacceptable, obviously not just to J.S. that Handke record his own observations and not pitch the same language. <span style="mso-spacerun: yes;"> </span></span><o:p></o:p></span></div>
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<span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“As a matter of course, almost of technique, he churlishly attacks other commentators, such as the French "new philosopher" Alain Finkielkraut ("an incomprehensible chatterer for a Croatian state"). He dismisses Joseph Brodsky — who, in an Op-Ed piece in <i>The New York Times</i>, <u>early and accurately</u> diagnosed the nature of Serbia's motives — as writing "with a rusty knife." He goes on to dismiss virtually all events reported on during the wars as unbelievable, for no other reason, it seems, than the fact that they have been reported. Here he is writing about the massacres at Srebrenica (the emphases are his):<o:p></o:p></span></div>
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<i><span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">Why</span></i><span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"> such a thousand fold slaughtering? What was the <i>motivation</i>? <i>For what purpose? </i>And why, instead of an investigation into the causes ("psychopaths" doesn't suffice), again nothing but the sale of the naked, lascivious, market-driven facts and supposed facts</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">?</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">For once I tend to agree: Handke also does the same thing in <u>Morawische Nacht</u><i style="mso-bidi-font-style: normal;">. </i>Madelain Allbright becomes <i style="mso-bidi-font-style: normal;">Ganzhell</i>, which has a certain humor in German, and might in English if you called her Maid Madelaine Oh-So-Bright? however if I were to pun on this lady and lover of the KCU, the not so long a Jew for breakfast lunch and dinner Kosovo Albanian rabbits, I would pun on the lady’s happening to forget her Jewish origins and original Jewish name. Korb, Koerbel, one giving such a one to herself, that joke works really well in German. I have the hunch that Handke dismisses these other well-known scribes not only for reasons of disagreement but because he hates the fact that there are others in the light, taking some of the lime away from him! They are what Handke calls “place displacers” of his place in the sun! However, he certainly was on the nose in calling Joseph Brodksy a “rusty nail” [see anon]. I have read what most of the others wrote, but can’t really speak to it myself. What I miss in Handke’s texts, except in VOYAGE [which twice acknowledges that both the first and the second Yugoslav federation were born under an ill star] is a certain respect for the nationalist ambitions of the other tribes: nationalist and ethnic and religious beasties, after all, had been growing world wide at least since the early 70s, and especially in Eastern Europe. If people want to make their own mistakes, let them…<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">15]</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“<u>We are meant to wonder if these</u> "massacres" are not just another of the "alienating rumors" Handke refers to at the beginning of the essay, similar, as he suggests later, to claims of Bosnian Serb culpability in the shelling of Sarajevo's marketplace</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">…” Handke certainly never denied anything he saw with his own two eyes, vide his visit to Srebrenice in <u>Summer Sequel</u> where he has a surrogate, in his metaphoric, theatrical fashion, scream over and over again: “I don’t want to be a Serb” at the sight of the slaughter; and where my reaction was and still is: Who told you to be a Serb fellow, you half Slovene half German with an Austrian passport? Who at one time advised for greater difficulties in getting from one principality to the other, for rough roads! With the media flooded with photos and tales of saleable [!] atrocities, Handke’s self-acknowledged tendency to deny, his wish to keep the Serbian/ Yugoslav self-image pure went, I would say on the defense attack. I wish Handke were not as all too human in that respect. But I think his overall notion that it itself is a kind of crime to exclusively blame “the Serbs” [whoever they really are?] or Milosevic is really true, at least he introduced some skepticism into the proceedings – blaming or assigning blame guarantees a failure of understanding. A few years ago Handke got into an argument in France when he pointed out that the Bosnian Muslims, too, had committed crimes, and the French journalist pointed out that the crimes of the Bosnian Serbs were far graver: and we are in the world of the “body count” and of endless revenge. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><span style="background: gray; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: gray;"><o:p></o:p></span></div>
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<span style="background: gray; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: gray;">16] Peter Handke <u>can be willfully obscure</u>. <o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I would entirely disagree, Handke is as lucid as they come, it is J.S. who is evidently unusually dense. Handke’s work does not become “obscure” unless you track down the ancient figures concealed in certain texts, such as in “The Day that went Well” – one of the<span style="mso-spacerun: yes;"> </span><u>Three Essays [1993, F.S.G.]</u>, or the allusions contained in the images that appear in succession in that play of images that is <u>The Hour that we knew of Each Other [1992 Suhrkamp/95 Yale U.P.]</u>, matters of that kind. A number of first rate scholars have done that. But, say, a sentence such as “children run under the wind” in VILLAGES is anything but obscure even if it derives from Kafka and that nearly every sentence of <u>Villages</u> has that kind of weight of culture standing behind it: and that in a certain sense it subscribes to Handke’s wish to write a play consisting entirely of haikus. Handke revives and revivifies these old or not so old perfect chestnuts, and either they hit home in the here and now, they pop in the mind or stay clammy and cold, or they don’t. His work poses none of the problems of a Pound or Joyce in that respect. The aforementioned “Daimiel” title is an obscure allusion, the text itself is anything but.<o:p></o:p></span></div>
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<span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">17</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">] </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">His books are mildly hallucinatory</span></u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">; </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Again<span style="color: navy;">, if J.S. were a reader and able to analyze what he experiences as he reads and learn to be articulate, he might have realized “I am on the verge”. Of course I have no idea whether by “mild hallucinations” J.S. means the same thing, experiences these texts as I do, however, it becomes clear from his dismissive descriptions of Handke’s texts, especially of ONE DARK NIGHT, that Handke’s ability to write in dream syntax – yes, folks, dreams have a syntax, too – is of no consequence to him. Just some Ivory Tower activity! As written - <u>mildly hallucinatory</u> – is just another assertion… meaning precisely what? That they induce states of mind? Are intense? Evocative of unexpected mental phenomena? <span style="mso-spacerun: yes;"> </span>Handke writes on what is called the dream screen, in an inbetween state of mind, where he has access to the ability to formulate syntactically to turn prose into a film experience for the sensitive reader [as of the 1987 ABSENCE] and in that sense is a modernist, in absorbing a new medium into prose writing. The experience of the real reader who allows himself, who is absorbed by this experience, say in DEL GREDOS or the 2007 filmed opera as his text made me read KALI, is astonishing, for the power and beauty prose acquires in this manner, quite a trip quite an opera, and I myself feel, much as I admire the immense technical brilliance of the performance, that my man is becoming a Wagnerian. Handke can do anything in prose, he is capable of any effect, vague and precise, as the case calls for. So far I have not seen him use cheap rhetorical flourishes.<o:p></o:p></span></span></div>
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<span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">18]</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">West German writers' movement(associated with realistic, or morally minded, writers like Heinrich Böll and Günter Grass), for treating language as a means rather than as a kind of end, a trait which he characterized as "the impotence of description."<span style="color: black;"> </span></span><span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke, at Princeton in 1966, did not attack Böll [who I don’t think was there? And some, like his translator Leila Vennewitz thought Böll wrote as a Mozart would] nor Grass who was and slapped the upstart on the back as did Peter Weiss, for bringing a bit of life into the proceedings, the “impotence of description” referred to the there read texts, including Handke’s own. Later he also, in <u>I am an Inhabitant of the Ivory Tower, </u>attacked works that made it their business to be only socially engaged. He was not only of a different literary background and generation, he <u>needed</u> to differentiate himself.<o:p></o:p></span></div>
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<span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">As Handke began to speak, somewhat tentatively, I was sitting to the left of the formidable German Journalist Erich Kuby that day at Princeton whom I had met a few years before in Hamburg; not yet as shrilly as he can now be, in public. Kuby knew who that was who was making his first public happening and was quickly shushed by the master sergeant in charge of the Gruppe 47, Hans Werner Richter, for disregarding the rule that only comments on specific texts were permitted, not general attacks; certainly a sensible rule among such a wild and wooly grouping which<span style="mso-spacerun: yes;"> </span>basically amounted to a kind of national creative writing class, that now went public in a big way. <o:p></o:p></span></div>
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<span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I noticed a number of other matters about Handke at Princeton and at a party that Jakov Lind and I and Pannah Grady gave for the <u>Gruppe</u> at Pannah Grady’s apartment in the Dakota for German and American writers to meet. 1] At Princeton a <i style="mso-bidi-font-style: normal;">l</i></span><i style="mso-bidi-font-style: normal;"><span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">ü</span></i><i style="mso-bidi-font-style: normal;"><span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">sternden </span></i><span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">/ -unloosed envious animalistic ambition - look passed over Handke’s face at the sight of Max Frisch, the dean of German writers you might call him, since he was not involved in the social controversies, an exceedingly vain man as I came to know him, I had seen that look on someone’s face only once before, late on a snowy night at <u>Elaine’s</u> restaurant, dump at the time, as Jackie O and a troupe of stars from the world of arts entered the establishment, which, as they walked out, Elaine Kaufmann said, “what do you know, I got it made” [and probably got on the phone to “Suzy”] and that look did not pass over Elaine’s face, and once more in my life, <span style="mso-spacerun: yes;"> </span>on someone’s heavily bearded visage, which however could not conceal his lips, and who unfortunately became the partner in a publishing venture; these are very animalistic expressions of a certain kind of hunger, and you remember them…. And they spell a certain kind of danger for anyone who comes too close or involved with anyone like it, or stands in their way. <o:p></o:p></span></div>
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<span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">2] Ted Ziolkowski, a Princeton Professor of German and Hesse expert, after lunch with Handke, told me that Handke had proclaimed himself as “the new Kafka,” as Handke did also to West German T.V. on the top of the Empire State building! <o:p></o:p></span></div>
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<span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">3] At the party I asked Handke why he was wearing dark glasses in such eminently well modulated lighting conditions and he indicated that he had eye problems [the fellow who would later write the forever memorable line: “nausea of the eyeballs”] and this observation became then one of the pillars, or sluice gates leading me to Handke’s autism and his very special sensitivities and woundedness; and <o:p></o:p></span></div>
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<span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">4] as Alan Ginsberg approached us as I was about to engage Handke in a second conversation and as Ginsberg asked me to translate that he wanted to fuck Handke I noticed a villager’s sadistic grin pass over Handke’s face: it turned out that he thought Ginsburg was propositioning me, whereas, after G. repeated his request, he was treated to my blue eyed Prussian stare, and backed off. I protect my guests. Ginsburg and Co, Pannah had a predilection for the Beats who then wrecked some expensive vases. Later I would read Handke’s texts, notice that the s.o.b. was a genius when I translated and directed his early plays, in some odd way he was in touch with the music of the spheres; that his first novel was too difficult to do in the U.S. and only decided not to translate DER HAUSIERER when Handke revealed to me that it was chockfull of quotes from U.S. detective story type novels, moreover from their German translation. In retrospect, I ought not to have been that quickly daunted at the prospect of locating them in the German texts [I was not going to take the chance of retranslating them back into American – that would have been like diving into that “empty swimming pool”] but at least asked if he could point out whence they came from in the German editions.<o:p></o:p></span></div>
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<span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Phenomena… and then you track down their why and whence. Two phenomenologists encountered each other back in 1966</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">.<o:p></o:p></span></div>
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<span style="background: yellow; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-style: italic; mso-highlight: yellow;">19]</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">When a questioner, apparently a journalist who had been to Sarajevo during the siege, <u>testified to the "shock" he had felt there, Handke shouted, "Go home with your 'shock' and shove it up your ass." </u><span style="mso-spacerun: yes;"> </span></span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">The word used was “Betroffenheit” which is not really shock but means deep concern, being profoundly touched. Handke’s violence of speech in that instance was part and parcel of his violence towards all those who disagreed with him, Enzensberger, Habermas. Not a pretty sight, memorably ugly to the ears. Habermas for his gruesome bureaucratic endorsement of the airstrikes on Belgrade had his status as philosopher forever disallowed; Enzensberger whom Handke appears to have enviously detested from the start, was treated to an ad hominem insult that applied far more to Handke himself who project endlessly. If Handke was going to convince people that they had reached the wrong conclusion based on the information available to them, that I don’t think was the best way of going about it. He was having a fit, my Mama’s boy was! No end of things are not mutually exclusive, the world can end at any moment, as it began, a single pebble and the whole moraine goes on the move. Each detail is separate from the other.</span><span style="background: silver; color: navy; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">20</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“I had the impression that his grasp of events was confined to a radical skepticism of published reports, and that he no longer seemed especially interested in the wars, or even in Serbia itself. Handke's interest—or, rather, his obsession—seemed confined to defending, by any means, the dignity of his "text," in presenting his stylized unreliability as a kind of higher reliability.”…<span style="color: black;"> </span></span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span></span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke’s interest in the fate of the Serbians, especially the enclaved, poverty-stricken minority in Kosovo persists to this day, and I can’t argue with anyone’s impressions, nor with my own, which are sometimes mistaken as I then acknowledge to myself. Here a fine quote from <u>Justice for Serbia</u><i style="mso-bidi-font-style: normal;"> </i>that might allay the second part of the above paragraph:<o:p></o:p></span></div>
<pre style="margin-right: -81.0pt; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-size: 14.0pt; mso-highlight: yellow;">„</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-size: 14.0pt; mso-highlight: lime;">Nothing against those - more than uncovering - discovering reporters on the scene (or better yet: involved in the scene and with the people there), praise for these other researchers in the field!<span style="mso-spacerun: yes;"> </span>But something against the packs of long-distance dispatchers who confuse their profession as writers with that of a judge or even with the role of a demagogue, and, working year after year in the same word and picture ruts, are, from their foreign thrones, in their way just as terrible dogs of</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"> war as those on the battleground.” <span style="background: yellow; mso-highlight: yellow;">[Scott Abbot translation]<span style="color: red;"><o:p></o:p></span></span></span></b></pre>
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<u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Voyage</span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> is dedicated to the memory of the Catalan journalist Josep Palau Balletbó – [the author of </span><span style="font-family: "courier new"; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>EL <span style="background: yellow; mso-highlight: yellow;">ESPEJISMO YUGOSLAVO , a book I have not read] and to the theater as a free medium. J.S. would appear to be a “long distance dispatcher” par excellence! Scott Abbott who is the only person to have seen this letter, added the following comment:</span><o:p></o:p></span></div>
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<pre style="margin-right: -81.0pt; text-align: justify;"><b><span style="background: fuchsia; font-size: 14.0pt; mso-highlight: fuchsia;">Your discussion of shock/Betroffenheit on page 70 in the context of Marcus' claim that Peter is only worried about the “dignity of his text” is a good beginning. I guess I'd add the sense Peter has, that all good writers have, that words matter (thus "the first casualty of war is language").
Doesn't Peter mean this in the way the poet cited in Rilke's "Malte Laurids Brigge" does? On his deathbed he hears someone in the hall misuse a word. He gets up, goes out and corrects the word, and comes back and dies. This has nothing to do with the dignity of his text, but with seeing and tasting and describing as well as possible. Peter believes in language. Only in language. That can make him laughable to someone who doesn't believe in words</span></b><b><span style="background: fuchsia; font-size: 12.0pt; mso-highlight: fuchsia;">.</span></b><b><span style="font-size: 12.0pt;"> [</span></b><b><span style="background: yellow; font-size: 14.0pt; mso-highlight: yellow;">Great for the world of words, not that of wives I call out from the sidelines!]</span></b><b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></pre>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">21]</span><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">That summer he returned to Serbia, and this time he crossed the Drina and, after traveling in Bosnia, wrote another travel piece, <i>A Summer Afterword to a Winter Journey</i>, <u>asking that his readers—once again—question the fact of the Srebrenica massacres</u>..</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">.<span style="color: blue;">I repeat what I said above. Handke may be unreliable, J.S. as a reader does not exist: Handke certainly never denied anything he saw with his own two eyes, vide his visit to Srebrenice in <u>Summer Sequel,</u> as which I would render the title of that book, where he has a surrogate, in his metaphoric, theatrical fashion, scream over and over again: “I don’t want to be a Serb” at the sight of the slaughter. J.S. is able to impugn denial to Handke without having read the text, and thus joins the chorus of non-reading impugning idiots. Handke is certainly as capable of wishful denial as the next person, but not in such an instance and a half dozen visits. J.S. either needs a new set of eyes, or maybe ought never be allowed near a keyboard again, not to mention certain Arabian practices, lying being the theft of truth.<span style="mso-spacerun: yes;"> </span></span></span><span style="background: silver; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">22]”</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">If Handke sought to <u>impugn the facts</u> in <i>A Journey to the Rivers</i> and its "afterword," in his recent play, <i>The Journey in the Dugout Canoe</i>, he does away with facts altogether…”<o:p></o:p></span></div>
<pre style="margin-right: -72.0pt; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; color: blue; font-size: 14.0pt; mso-highlight: yellow;">The implication, admission here is that J.S., and his editors, are in full knowledge and understanding of the fact that the world is flat and that the sun revolves around the moon, and that we are all utterly brilliant moon calves. On a more serious note: that it’s the goddamned Serbians did it, chiefly the big bad Wolf form Pogarevic, he started four wars, and he lost them all, and by god we’ll put him on trial and hang him, and….”<u>we have all seen it on T.V</u>. We’ve read it a thousand times and so it must be true, and we all want to be known as good and righteous Amurricans and so we get Ambassador Galbraith to arm to Croatian Goats, defend the Serb Muslisms [what a propaganda tool that will be down the road] import some of our left-over Mujahadeem to help them fight Kardzic] and arm the Kosovo Albanian rabbits to the teeth…</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-size: 14.0pt;"><o:p></o:p></span></b></pre>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I ask J.S. to impugn <i style="mso-bidi-font-style: normal;"><u>my</u> </i>facts, nothing but the fact Ma’am, slam bang thank you Ma’am, for your facts, you are the best laid fact yet:<o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">1] National Security directives under Reagan declaring economic warfare on Comecon including Yugoslav Socialism; [very much on the order of the destabilization of Afghanistan under future Nobel Peace Prize winner Jimmee “The Peanut” Carter and Ziggy “Our Polish Princess” Brzezinski. <o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">2] A Socialism that indeed started to wither, and where the center does not hold, a fragile center holding various ethnic though also related tribes, with a variety of religious affiliations, Roman Catholic Croatia, Orthodox Serbians, Muslim Serbians and Kosovo Albanians, the closest we get to the Mr. Disney’s once indigenous 1000 Dalmatians, and with no end of fairly recent mass killings during and subsequent to World War Two – hell, Bill Clinton’s instinct was right on; and Sec Baker as I could read in the NYRB saying he didn’t have a Texas hound dog among those Dalmatians once the cold war was over and no longer needed our Commie S.O.B.… and politicians among all those groups exploiting the nationalist and other magnetic fields, and the Kraut Foreign Minister recognizing the independence of the successor regime to the Fascist Ustacha state… what do you expect in such a wonderful brew, J.S., </span><span style="background: red; color: white; font-family: "courier new"; font-size: 14.0pt; mso-highlight: red;">Bob Silvers...</span><span style="background: red; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: red;"> </span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">And then, given such one-sided press coverage, such a witch hunt among the frogs as you had in France, the one devil theory taking over, what do you expect a great newspaper reading rabbit-stew consuming exhibitionist, seeker for justice, like Peter Handke, what do you expect him to do and what with other exhibitionists like Susan Sontag in Sarajevo… And I am leaving out several other currents that started to flow, and the world wide neo-liberal that exhibited itself in Yugoslavia in the form of independent operators with private armies… the chief problem in the coverage, as best as I can tell, is the near exclusive focus on Sarajevo and what transpired there. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke could be absolutely righteous for once and in good conscience, no denial, no hypocrisy! And of course the miserable Salmon Rushdie had his reading tour not only interrupted by the bloody war but by all the Handke publicity and without knowing zilch about Yugoslavia had to call Handke “idiot of the year.” That’s what you get if you look at the way the cookie crumbles and the tea leaves read. You other-directed ignoramus. No, with the respect of objecting to French coverage Handke happened to be even more correct than he imagined! It would of course be nice if the disintegration had called a time-out and allowed Handke to do finely detailed analysis of the intricacies of the media coverage and how that daisy chain perpetuates itself, it would have been nice to have a Habermas run conference where the “best argument won” [however that is decided, perhaps General Sturm von Bordwehr will tell us how?], and that is an idea, that kind of time-out conference amidst war is certainly on that will be endorsed in the academy, a lot of fund to be had at these conferences, but since not of that was about to happen <span style="mso-spacerun: yes;"> </span>Handke basically made a mish-mash of it, as he did in the play, where I wish he had resorted exclusively to the coverage of Roger Cohen who, if you look under “Roger Cohen – Milosevic” in the New York Times you come up with 1060 results,<span style="mso-spacerun: yes;"> </span>and if you do Cohen-Yugoslavia many more thousands. Cohen’s photo essay in the NY Times Magazine, where you could find photos of the war next to the Benetton ads, and where he blamed Milosevic personally for the burning of each and every farmstead showed the direction of his “reporting.”<o:p></o:p></span></div>
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<span style="background: aqua; font-family: "courier new"; font-size: 14.0pt; mso-highlight: aqua;">http://query.nytimes.com/search/sitesearch?query=roger+cohen+milosevic&more=date_all&n=10&prev=93&frow=103&page=11</span><span style="font-family: "courier new"; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">To be fair to<span style="mso-spacerun: yes;"> </span>Mr. Cohen, once he wrote his book on the subject he became a more differentiated writer, yet in his hatred of Serb nationalism he never explains why with the other ethnicities going in that direction, the Serbs might not be equally beastly. So I would have just made a mish-mash of Cohen’s stuff, and left Danner and Wechsler alone who look to me to be the better reporters and bright enough to unravel what really went down; that is, to become historians. <o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">As astonishing as Handke’s single-handed action [but accompanied by translator and painter friends and others] was the reaction to it: we have, or had a kind war of iconic images. With respect of his coverage of the disintegration of a county he claims to love, Roger Cohen played, within the precincts of the New York Times, pretty much the same role as Herbert Mathews did for Fidel Castro in the Sierra Madres and the fall of Batista in 1959; except of course that there were no end of other reporters, Steve Erlanger being the only NY Times reporter who, as Belgrade Bureau chief, then struck me, as he has in all his work, as having an even-handed approach. It is of course a story of the media playing a hugely influential role in persuading Clinton to intervene as he did. But I imagine that these are “the facts” that Mr. J.S. refers to as being so well known and understood by the medianized as not being in need of elaboration. So this is a lesson of being <i style="mso-bidi-font-style: normal;">willingly </i>propagandized, as compared to the war of aggression on Iraq which had to be propagandized via paranoia and lies. Both wars involved a demonstration of U.S. air power and of shock and awe; that is, of the exercise of state terrorism on the most grandiose scale. Even the “innelectuals” in this country could all watch T.V. and all the human rights hyenas could sing “bombs away” – the general psychosis had a field day. And then compare the uniformity of their opinions with the uniformity of opinion during the Spanish civil war. There were many wars, lots of separate wars in the disintegrating Yugoslavia; there were lot of independent operators; a one sided media war; and the parallel Handke controversy. Handke managed to introduce the only humor into the proceedings, often inadvertently of course. A kind of <u>Kaspar</u> having a fit as his mother is grandfather is killed and his mother being raped and torn apart.<o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">One matter that Handke continues to be charged with, but that J.S. does not make in so many words, is that of denial. Presently Handke denies ever denying anything! And I can only laugh out loud! I myself think that if his strong brain could get a grasp of the common psychological phenomenon of denial, that can go so deep, is so deeply attached, profoundly cathected but has become so trivialized meanwhile, he would understand himself; </span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;">and</span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> over the course of time have written a series of long calm papers on his involvement in all of that, chiefly to explain it to myself. <o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;">Denial is a common and even essential human psychological capacity, <span style="background: yellow; mso-highlight: yellow;">necessity.</span></span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: yellow;"> </span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;">In</span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> Handke's case it became emphatically necessary during his childhood trauma, you read in <u>SORROW BEYOND DREAMS</u> of his pulling the blanket over his head during his exposure to violent drunken primal scenes, ten years of that, later in life Handke will manifest all the symptom characteristic of that exposure, nauseas, angers galore [see his <u>Essay on Tiredness]</u>, however, Handke is a true love child, if ever there was one, at least he was during the first two years of his life when he and his mother was all they had was each other, and even intra-uterine since she married the sur-name-providing Bruno Handke while still in love with the love of her life, a Herr Schoenherr, from the Hartz region in Thuringia; thus the title of my psychoanalytic monograph: <o:p></o:p></span></div>
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<u><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;">PETER HANDKE: WOUNDED LOVE CHILD.<o:p></o:p></span></u></div>
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<span style="color: red; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><a href="http://handke-discussion.blogspot.com/" target="_blank"><span style="background: #00CCCC; color: red; text-decoration: none; text-underline: none;">http://handke-discussion.blogspot.com/</span></a> and in the my<u> </u>Psychoanalytic Monograph, ”<u>Peter Handke: Wounded Love Child </u>at:<u> </u><span style="background: aqua; mso-highlight: aqua; mso-shading: #FFCC00;"><a href="http://analytic-comments.blogspot.com/" target="_blank"><span style="color: red;">http://analytic-comments.blogspot.com/</span></a></span></span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><span style="background: #FFCC00; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><span style="mso-spacerun: yes;"> </span></span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">Denial, of course, comes in more “flavors” than do the constituents of sub-atomic particles, those famous quarks; what is the Higgs boson of denial? as I myself know only too well. It was Loser’s denial, instances where he ought to have said yes, but said no in Handke’s 1984 novel ACROSS that actually led, in 1989, to the Handke project, I had never thought, initially, that I would ever do more than maybe write a little book about what became involved in translating his work, especially his richest, WALK ABOUT THE VILLAGES, and at a crucial time during my own analysis, in 1982. That play shows every aspect, every facet of Handke’s, it is immensely rich, both his generous and his darkest most murderous impulses; that is, it is rich in contradictions, as you would expect someone with his wound to have them, and as you can find it in violent irruptions not just in his work, but in public outbursts and in hideous actions. But the murders have been only</span><span style="color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> <span style="background: yellow; mso-highlight: yellow;">committed on paper, and acknowledged as impulses, especially in his most recent novel, DIE MORAWISCHE NACHT<span style="mso-shading: yellow;">.</span></span></span><span style="color: blue; font-family: "courier new"; font-size: 14.0pt; font-weight: normal;"><o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;">Denial, however, is also one of the sources of the creation <span style="background: yellow; mso-highlight: yellow;">for his "other-worldly" yet so physically concrete art, texts. [“Close your eyes, and another world will arise” are approximately the opening lines of ACROSS] On the other, I have never known someone who sees so much, is such a great phenomenologist. If you read his JUSTICE FOR SERBIA carefully you notice that he refuses to report anything he has not seen, and when, e.g. he sees corpses floating down one of those rivers, he angrily skips a stone across it, instead of falling into the standard – say Roger Cohen - language; he reports his wife Sophie Semin saying to him, about Srebrenice, "and so you are going to deny that too?" - which means that he himself is aware of his tendency to deny. And not so long ago he denied the shelling of Dubrovnik, to some visiting Croatian magazine and t.v. reporters in Chaville, for whom he cooked up a feast whereas our nausea prone lord <span style="mso-spacerun: yes;"> </span>even takes the closest friends these days immediately for a march through the woods on a mushroom hunting expedition - our Media-<i style="mso-bidi-font-style: normal;">hoerige </i>great writer. You can see the shelling of Dubrovnik on YouTube. Handke would probably say that it’s a fake, indeed it is weird to see a medieval town being shelled from across the bay! Looks like a movie set, cute, harmless, puff goes the weasel! Not at all like the Siege of Berlin. But would anyone stage all those different filmed records, and there are more than these:<o:p></o:p></span></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;"> Very funny, and then tried to suppress that he had said so once again! Even more touching! Handke is running a little scared these days now that he has woken up to some of the consequences of his actions [see anon].<o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;">Denial occurs for two main reasons, one because acknowledgment creates unbearable pain, the other for reasons of self image, which can be just as painful, and also as in the foolish case of Ahmanijibad of Persia because he wants to eliminate the raison d</span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;">’</span><span style="color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;">ê<span style="background: yellow; mso-highlight: yellow; mso-shading: yellow;">tre of Israel, that is for propaganda purposes, and thus Ahmanijibad if he ever goes to Germany or Austria faces some serious prison time! The fourth, in Handke’s case, that I imagine he can’t imagine anything that beautiful and harmless being shelled. Denial, scotomization, has been criminalized meanwhile, it derives from the field of psychoanalysis, my analytic caste, and it is a monstrosity to criminalize denial, in France I gather denial of the Turkish genocide of Armenians has meanwhile been criminalized… once you go down that road you end up at the very heart of hypocrisy and have people as in the middle ages going around with death heads in their hands, saying that they will not deny death. I well know the origin of the prohibition of denial as an aftermath of the Shoah, but it is a mistake. The miseries of the German “Historiker Streit” also played a role. <o:p></o:p></span></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;">Handke in his play EINBAUM / VOYAGE BY DUGOUT has the case of the Serbian bystander of an atrocity who was arrested in German for not intervening back in Serbia and who was then condemned to five years in a German prison for that inaction - <span style="display: none; mso-hide: all;">Handke</span> represent this case, which really happened [and he befriended the man, visited him in prison, and was witness at his wedding], through a character called "the Forest madman" and “the utter madman”, splitting him up, because the fellow, when the Germans finally saw the error of their ways and sent him back to Serbia, he was despised: what had he done - he had watched, witnessed an atrocity, about which he could do nothing, he had not denied it even, but he was condemned for having seen! And remaining inactive – by the now conscience of the world, Germany! If you see where this insanity of prohibition of denial then leads to. Insanity! Suicide. I am also appalled at French denial of their 90% collaboration and passivity under German occupation, and then seizing DeGaulle's statement about "heroic la France" as a cover, who are some strange mongrels of Celts and Franken and Normans and Roman and who knows what else, just the way the Austrians seized on the opportunity to regard themselves as victims of Hitler, whereas 83 % of them were only victims of their hopes and wishes and hatred of Jews, and the way the French then treated the women who had slept with German soldiers, and that the Comedie Francaise canceled the production of a great play, Handke's THE ART OF ASKING. Handke has his monstrous sides in some ways, but I would say that denial in the instance of Yugoslavia is the least of it, and the French news media exclusively making Serbians and Milosevic's responsible is also an act of total idiocy. You might say, that all the tribes became murderous, for reasons that they scarcely know.<o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;">J.S. then distorts Handke’s text by calling what Handke sees</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;"> a </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: silver; mso-shading: yellow;">distortion</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;"> <span style="color: blue;">or in accusing him of pastoral idyllicism – the formulation </span></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: yellow;">“egg yolk yellow noodles”<span style="color: blue;"> </span></span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;">in particular appear to have upset the shit out of the German media. I well recall stretches of utter lyricism during my bomber plagued and traumatized childhood. <o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;"><span style="mso-tab-count: 1;"> </span>What J.S. and so many French and German critics of these travel pieces want from Handke is, say, Roger Cohen, poor Roger [$ 200,000 k a year Mr. Sulzberger could save himself by letting you go?] type vivid reports of atrocities in vivid language – not in Handke’s allegedly grey noodle prose: without really being too aware, the masses with that mish-mash of the pornography of violence in their noggins ask for more of it, and the media delivers it, if not from one gruesome scene than the other, while the pornography of sex is prohibited, the pornography of violence really sells, and mish-mashes the brains that anesthetize themselves with hope, that they fasten on whatever piper comes down the road. Norman Mailer made some fine observations about that kind of pornography at one time, Handke happens to be the writer that Mailer could never be: he really can change consciousness while you experience his plays and his texts; doesn’t blow minds either, although the slightly demented like Lothar Struck start to swoon.<o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;">What is odd about Handke is that someone with the super-charged senses of an autist, who is the ultimate phenomenologist, registrar, as I noticed on our second meeting in NY in 1971, not only in his writing, could then be capable of denial. But it is of course a leap from the phenomenon to its explanation; how it came to be; and it is there that Handke is wanting. The man who wrote the great play THE ART OF ASKING which wants to do without “why and when and wherefore”!!! Handke, as pure phenomenologist, can be a medium. The first, the Alaska chapter of A SLOW HOMECOMING was so for me, because I had once spent nine months traipsing all of the interior of the state, I had a book’s worth of the most wonderful anecdotes, but the experience of THE WHOLE… I sort of knew it had been a major experience in my life, that encounter, but I would never have known how to articulate THAT EXPERIENCE WHOLE… somehow what Handke noted in that chapter, however, then did, <span style="mso-spacerun: yes;"> </span>and did so by means of “namelessness” that’s what I mean with “medium”. He became it via thousands upon thousands of his sense impressions that he articulated in his phenomenological way, and that I – reading – a most complicated process of deciphering and immediate processing and reaction of my entire being, isn’t it? another instance of translating thousands upon thousands of signals… into an experience of re-experiencing. Thus when J.S. writes that Handke“</span><span style="background: silver; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">produces his own <u>rigorously distorted account…”</u><span style="color: red;"> </span></span><span style="background: yellow; color: red; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;"><span style="mso-spacerun: yes;"> </span></span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;">he is far more presumptive than Handke ever is or that I would be in presuming what J.S.’s eyes see [or don’t see], ears hear [or don’t hear], etc. Moreover, in feeling that the Serbs ultimately were the greatest victims Handke actually then finds himself in agreement with the likes of Roger Cohen although they arrive at the conclusion in rather different ways and for different reasons. And Handke expresses no ethnic preferences in reaching that conclusion. I know <span style="mso-spacerun: yes;"> </span>because I had a close friend and expert in autism send him a copy of my first long piece which merely sought to understand, for my own sake, his involvement, and I put in an intentional misreading along those ethnic lines: Handke picked up my distortion, otherwise seemed to be pleased. <o:p></o:p></span></div>
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<u><span style="background: aqua; color: red; font-family: "courier new"; font-size: 16.0pt; mso-bidi-font-weight: bold; mso-highlight: aqua; mso-shading: yellow;">Now back to VOYAGE/ EINBAUM: <o:p></o:p></span></u></div>
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<u><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 16.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">Dugout</span></u><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 16.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;"> [for short] fits nicely within the history of the several concepts of this kind by a variety of 20th century playwrights, it is within the by now more than half a century old honorable tradition of investigative, socially relevant morality plays as they come to us via Brecht, via Hochhut, Peter Weiss, Heinar Kipphardt, Heiner Mueller; and also certain British writers; of these, Grass’s <u>The Plebeians are Rehearsing the Uprising</u><i style="mso-bidi-font-style: normal;">,</i> might be the most pertinent antecedent to Handke’s dramatic procedure</span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 16.0pt; font-weight: normal; mso-bidi-font-weight: bold; mso-highlight: yellow;"> </span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 16.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">here. Although J.S. J.S. makes the bald claim that Thomas Bernhard is the most important postwar Austrian dramatist it appears that he knows absolutely nothing about the tradition within which Handke is working here, nor does he understand the screenplay kaleidoscopic form, as J.S. calls for “action” about the same way one of the two hokey directors might! Handke has revolutionized theater, the way Brecht did, by inverting it, by bringing Brecht’s epic theater to a conclusion, by returning it to its Euripedean and Goethean origins in a modern way, and - especially in plays such as <u>Lake Constance</u> and <u>Hour</u> - creating rational catharses, estrangement, perhaps even inadvertently, considering how much of his being is projected into his text. Let me avoid intentional fallacies, difficult as that is.<o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 16.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">J.S. is an ignorant prattler and bullshit artist, and of a very low order at that, who knows zilch about theater and proves his ignorance so self-devastatingly in this piece in the NYRB. He might have at least consulted the NYRB archives! J.S. [there has to be one idiot among the profusion of brilliant Marcuses in this world] and the Michael McDonalds and Neil Gordons will be as the detritus by the beach as the Handke whale passes by to become an Austrian postage stamp and statue and as scholar mice chew through his notebooks and drafts at the archives, and as the influence of his great dramas and what he has accomplished in prose writing is absorbed by the few. <span style="mso-spacerun: yes;"> </span>And I have no compunctions in criticizing VOYAGE at the one section I think is badly done, as you can read in my own long expository note on that play posted at the handkedrama2 site and the handkedrama blogspot<o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 16.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">I grant J.S. that Handke could have done a lot better in that great mish-mash if he had not used the Danner-Wechsler texts: the mish-mash as such is great of the stuff that most such texts make of the brains that expose themselves to them, but Roger Cohen’s stuff would have been more useful. And also, Handke must have been in a rush for re-using an attack area which he had used once before in THEY ARE DYING OUT. New wine in an old bottle, perhaps Handke is a one note pony when it comes to attack arias; after all, he uses a version of it once more in MORAWIAN NIGHT.<o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 16.0pt; mso-highlight: yellow;">The only facts you can have on a stage is a PLAY, and the only reality a play has is as a play! And it’s relationship to the reality outside the theater, to place, to time, to history is invariably ambiguous, the suggestions it propositions send out. <span style="mso-spacerun: yes;"> </span>Even the bloody Greeks knew that, and the only ones who don’t are American naturalists, who ask for “reality TV” because of their vanishing sense of reality, not enough of it around to consume for the factually industrialized and disneyied sheeples. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 16.0pt; mso-highlight: yellow;">23</span><span style="background: yellow; font-family: "courier new"; font-size: 16.0pt; mso-highlight: yellow;">]</span><span style="background: silver; font-family: "courier new"; font-size: 16.0pt; mso-highlight: silver;">“They shout violent, obscene threats, but somehow benignly—by the standards of the play, <u>almost comically: </u>"Say the word 'neighbor' one more time, and I'll cut your throat, or mine," one says.<span style="color: black;"> </span></span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 16.0pt; mso-highlight: yellow;">So Handke has a se</span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">nse of mordant humor at least, J.S.?<o:p></o:p></span></div>
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<span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">24] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“Three Western journalists appear, <u>preposterously,</u> as "mountain bikers," and harass everyone with their gruesome and self-important accounts of atrocities. The centerpiece of the play is an inconclusive debate between the mountain bikers (who, in chorus, say things like<span style="color: black;"> </span><u><span style="color: white;">"</span></u></span><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">We are the market. We are the world. We are the power. We write the history."</span></u><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">)</span></u><span style="background: silver; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">and a former journalist, called "the Greek," now a disgraced, clownish figure, who advocates a new language for talking about the war, as opposed to the distortions of the journalists, whom he calls "common-sense dolls." Eventually the mountain bikers — officiously referred to in the text as "the international ones" — collapse and are transformed into mere locals.”</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">In what way can that be said to be </span><span style="background: silver; color: red; font-family: "courier new"; font-size: 14.0pt; font-weight: normal; mso-highlight: silver;">“preposterous”</span><span style="background: silver; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> </span><span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">except by J.S. saying so? Meanwhile U.S. news folk are embedded with the troops, and who knows how far some of them take the “bed” part of that designation? I really wish them well at least in that respect. The reporters and media folk are as interchangeable as the lobbyists are with the various administrators of the fiefs.<o:p></o:p></span></div>
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<span style="background: yellow; color: blue; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke’s</span><span style="background: yellow; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> </span><u><span style="background: lime; color: black; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">"</span></u><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">We are the market. We are the world. We are the power. We write the history.. we are the language ,<span style="color: black;"> </span></span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">precedes the Bush administration’s saying - “we decide what reality is” - if you recall that from about eight years ago! And millions of fascists in this country still cheer Bush! Handke has good antennae! The whole section of the Greek reporter fits the western, particularly the U.S. media to a T: Here a real excerpt so you can make up your own minds whether this is preposterous or not:<o:p></o:p></span></div>
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<span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">THE GREEK REPORTER:<o:p></o:p></span></div>
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<span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;"><span style="mso-spacerun: yes;"> </span>“You appear in the name of goodness, yet you have never left behind the least goodness in this country. Helpers? You’ve never helped yet. There is a kind of indifference more helpful than your humanitarian gesticulating. Your right hand caresses some like Mother Teresa while your left hand raises the sword of a criminal court against the others. Puny devils of goodness. Humanitarian hyenas. Aloof and formal in the face of suffering – you officious and public humanitarians. Mars corporations masquerading as guardians of human rights. You claim to be humanitarian sheriffs – and the humanitarian sheriffs in the westerns, isn’t it true, Mr. O’Hara, were usually incompetent or secretly corrupt. They were the villains.</span></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></div>
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<span class="apple-style-span"><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">O’HARA</span></u></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">: </span><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">Aren’t those prejudices, my son?<o:p></o:p></span></span></div>
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<span class="apple-style-span"><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">MACHADO</span></u></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">: </span><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">Let him express his prejudices, John. Prejudices make good film plots.<o:p></o:p></span></span></div>
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<span class="apple-style-span"><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">GREEK:</span></u></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"> </span><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">The war has made the people from here bad, worse than they are. You carpetbaggers have become bad with the war, like you really are. Deaf and blind – unfortunately, not speechless, not speechless at all.<o:p></o:p></span></span></div>
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<span class="apple-style-span"><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">THIRD INTERNATIONAL</span></u></span><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">:</span></u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;"> <span class="apple-style-span">Medieval rhetoric.<o:p></o:p></span></span></div>
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<span class="apple-style-span"><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">GREEK:</span></u></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"> </span><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">Those who wield sentences as bludgeons have the power. In earlier despotic regimes, that was the politicians. Now it is you. And while the small peoples here fought for scraps of earth, you conquered the whole world. In word and image the despotic lords over reality, you power rangers. Internationals? Extra-terrestrials. International court? Universal stingrays.</span></span><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></u></div>
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<span class="apple-style-span"><u><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">FIRST INTERNATIONAL:</span></u></span><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;"> You’re not imagining an about face? We have to continue the way we began. We are now prisoners of our initial opinion. We must continue more vigorously, more shrilly, and above all in a monotone – monotone – monotone. That’s the way it is. That’s the state of affairs. It’s true: We’re sick of what we do, so sick of it. And we’re sick of each other. But what can we do? Should we suddenly say: The other ones, the ones not from here, are also guilty? Guilty in a different way? Impossible! That’s not the point. We must continue as we began, in full voice and if necessary with empty hearts. That’s the way it is. That’s the way it has to be. We are the language.</span></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">25</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">]<i style="mso-bidi-font-style: normal;">“The final scene—both flat and bracing, like the moments after waking from a dream — </i>construes the play as an apocalyptic fantasy: the stage is emptied; the destruction, total. [</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Please: spare us your descriptive prose of what it feels like when you wake from <u>your</u> dreams, J.S., though you do require some kind of serious bracing, you assume that we share your experience! The world goes awry with assumptions.] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Handke’s "Balkan war" cannot be explained or described, or even named; it will not be remembered as history, only as legend, as a ghost story. The rambling action (or lack of action; on stage, the play lasts well over three hours and, except for the suicide and the entrances and exits, very little happens) <i style="mso-bidi-font-style: normal;"><u>would</u></i> seem to dramatize the act of forgetting, the way the present eats away at the past.” </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span>Action action action. No, I would say rather a great deal happens, as every spoken sentence is a happening. However, since I did not see the production I do not know whether Peymann put on the text as it is published in its entirety. Handke, the realist, now writes what are called “Lese Dramen” – plays to be read, and thus some speeches that make their point when they are spoken and acted out can easily be cut and telescoped for performance. Scott Abbott saw the production and since he has meanwhile also translated the play will perhaps add something to my expository note on the play, or in some other fashion.<o:p></o:p></span></div>
<pre style="margin-right: -81.0pt; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-size: 14.0pt; mso-highlight: yellow;">Here a note from Scott’s diary</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: fuchsia; font-size: 14.0pt; mso-highlight: fuchsia;">:Several hours ago NATO and the Yugoslav Parliament came to some kind of agreement ending the bombing after 78 days. And, I'm just back from the world premiere of Peter's "<u>The Play of the Film of the War,"</u> directed by Claus Peymann. I’ve never attended the world premiere of a play of this magnitude; and I’ve seldom been this moved, this challenged, by a work of art. Peter has filmmakers John Ford and Luis Buñuel in a Serbian town ten years after the war trying to decide how to make a film of the war. Characters who appear before the directors tell conflicting and complex stories as the play feels its way to questions about war and its aftermath. The really bad guys of the play, three "Internationals" who know all the answers, who dictate all the terms, who can think only in absolutes, appear on the stage as follows: "Three mountain bike riders, preceded by the sound of squealing brakes, burst through the swinging door, covered with mud clear up to their helmets. They race through the hall, between tables and chairs, perilously close to the people sitting there. 'Where are we?' the First International asks. 'Don't know,' the second answers. 'Not a clue,' the third says."American and European moralists, functionaries with no hint of self-irony or humor, absolutists who run the world because of their economic power – these sorry excuses for human beings were depicted this evening as mountainbike riders. Žarko, I said, Don’t you ever tell Peter I ride a mountain bike. No, he whispered, I’d never do that. Rich with thoughts, savory with sentences, the voyage by dugout was also a riot of comic action in Peymann’s staging. It was over before I even realized it was underway. The play drew on several incidents from our trip, including when Peter put his coat around the shoulders of the OSCE woman in Višegrad. The long sentences and long speeches of the play felt like well structured seriousness. The play trusted the audience to pay attention, and rewarded those who did with intellectual and aesthetic depth. But the play is playful too, and Peymann's direction brought that out impishly. The juxtaposition reminded me of the scene near the end of "Wings of Desire" where Peter's long and reflective sentences are being spoken against the sounds and rock staging of Nick Cave and his Bad Seeds.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></b></pre>
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<span style="background: fuchsia; font-family: "courier new"; font-size: 14.0pt; mso-highlight: fuchsia;">After the performance, flushed with enthusiasm and insight, I told Peter how well he had integrated that real event into an imaginative play.</span><span style="background: fuchsia; font-family: "courier new"; font-size: 16.0pt; mso-highlight: fuchsia;"> </span><span style="background: fuchsia; font-family: "courier new"; font-size: 14.0pt; mso-highlight: fuchsia;">“Dr. Scott,” he chided. “Always the professor.”</span><span style="background: fuchsia; font-family: "courier new"; font-size: 16.0pt; mso-highlight: fuchsia;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">26] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Before 1996, Handke had a reputation as an <u>aesthete,</u> but also as <u>something of a nihilist.</u> In his new play, he has <u>aestheticized</u> the Yugoslav conflict and, with a <u>nihilist's diligence,</u> turned it into, literally, nothing; what remains are his words to that effect. ("What war?" asks the Fellfrau, the conscience of Handke's play, just before her dugout speech. "I don't know anything about a war.")<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I address the matter of Handke’s aesthetics above. I imagine if this play in any way aestheticizes this war out of existence, you can say that of any historical drama. Here J.S., the idiot, appears not to comprehend the “as if”: the play is set ten years in the future, Handke’s plus-quam-perfect procedure as he practices it also in his novels, it’s the screenplay for the 28<sup>th</sup> film! And in a play set ten years in the future, you, or rather one character in the play, can also wish the war away, and a lot of all this damned healing that never leaves enough wounded scar tissue, will have occurred.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I have never heard of Handke’s reputation as a </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">nihilist, </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">he was haunted by the thought of suicide as a young man, I suspect because of the angers and nauseas that came with him out of his childhood, until that “moment of true” feeling, ever since he’s become nearly American positivist for me, a Dale Carnegie who sees beauty everywhere. Moron Marcus! The very DUGOUT [a bit heavy mode for this birch bark canoe man but fitting for the original Hawaiins] is some kind of symbol of undying spirit, Handke is a very earthy fellow, a gardener, mushroom picker, he enjoys his fame and power, has become an excellent dad to his second daughter where he makes up the miseries he inflicted on his first young girl, he scarcely ever comes even close to repeating himself! And that is a nihilist, what loose use of language! The fact that the war “on stage” is negated is only a form of artistic license, of the power of negative thinking. The “war” on stage is made “as if it never happened” – analogous to the King riding to the rescue of Mecky Messer at the end of <u>The Three Penny Opera</u>, analogous to no end of play endings, at least the play can have a happy ending, reality obviously does not. J.S. really is so entirely ignorant of drama and dramatic conventions….Nothing happens? No, no real tanks, just a lot of stage acting and playing. That’s all you get on stage. Suggestions, powerful images, playfully presented, strong language, dialectical arguments, humor – that the audience can then discuss, absorb, that rattles some of the set patterns in the mind. The play is a proposition to be entertained, as the two directors do the screenplay – if, say, I would hold J.S.’s firm view of the “facts” and were asked to direct this play, I would even be able to sway an<span style="mso-spacerun: yes;"> </span>interpretation in J.S.’s direction. J.S. claims that the “bearskin woman” is Handke’s megaphone.<span style="mso-spacerun: yes;"> </span>I would say: all the characters are his megaphone, and in that he is like Shakespeare. There is much ambiguity here, although by no means as much as in WALK ABOUT THE VILLAGES or THE HOUR WE KNEW NOTHING OF EACH OTHER or in THE ART OF ASKING. The play is more narrowly focused, it is a model for plays about war.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Subsequent to the premiere in Vienna, Handke had himself interviewed by his older daughter Amina Schwartz-Handke, and the interview used to be online but is not any more. There Handke states something to the effect that no matter an artist’s personal political opinion, in a play such as <u>Voyage</u> artistic objectivity rules. I thought he was being just a touch cute in this instance since a variety of his own opinions do in fact enter the mouths of various character, no matter that also the opposite takes and opinions do. But VOYAGE is neither a propaganda piece nor is it nihilistic, nor is it <u>parti pris</u> – but he sure seems to hate mountain bikers. Here in Seattle all of them are young upwardly mobile brokers and the like. Gangs of them on Sunday! </span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">"We are the market. We are the world. We are the power. We write the history…</span><span class="apple-converted-space"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;"> </span></span><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">That’s the way it is. That’s the way it has to be. We are the language.</span></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">" </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Indeed! </span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></div>
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<span style="background: silver; font-family: "courier new"; font-size: 16.0pt; mso-highlight: silver;">“</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Handke <u>kills off reality</u> to tell his ghost story, and he has a purpose: he wants to turn the Bosnian Serb war criminal into a Balkan everyman. <u>He is so insistent on the higher, eternal (ahistorical) innocence of his war criminals (whose outbursts begin to seem bratty, childlike),</u> and on the specific evils of his journalists, that we have the impression the Yugoslav tragedy occurred <u>because the West sent journalists there to cover it</u>”. </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I recall Handke, rather foolishly, asking whether there had not been a von Stauffenberg to eliminate Karadzic. I can’t tell who J.S. has in mind with “Bosnian Serb war criminal”… if he means the forest madman,” I have addressed that story above, and he was not a Bosnian Serb. I don’t know if Handke suggests that the war would never have taken on these dimensions if there had been no Western exploitive news coverage: but it sure is a thought isn’t it, especially when I read the likes of J.S. and Roger Cohen and a lot of other newspapers and TV. reporters. They are ambulance chasers all, and the New York Times sends more than any other! As to Handke </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">killing off reality</span></u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I am sure he has a wish to that effect, but all he does is write prose in which you can dwell more happily, at least for a while, sorry folks, that’s all there is, but how did this sentence pass Bob Silver’s editing pen knife I ask meself! J.S. evidently sleeps with reality, all of it! Congrats! Happy New Year and Happy New Reality to you!<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I have meanwhile taken another look at Joseph Brodsky’s piece in the NY Times</span><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><a href="http://www.nytimes.com/books/00/09/17/specials/brodsky-edit93.html?scp=2&sq=joseph%20brodsky%20milosevic&st=cse"><span style="color: windowtext;">http://www.nytimes.com/books/00/09/17/specials/brodsky-edit93.html?scp=2&sq=joseph%20brodsky%20milosevic&st=cse</span></a></span><span style="font-family: "courier new"; font-weight: normal; mso-bidi-font-size: 12.0pt;"> <o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">and it strikes me as a thoroughly confused and twisted piece of writing, and so Handke’s “</span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">rusty nail</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">” looks like a very apt and succinct description, or you would need to take Brodksy apart and show up all its fallacies as I do here with “dear old flame of reason burning bright”, J.S. Marcus, and only because of the pages in which his shit appeared and because the damage it therefore caused. An entirely remedial effort, Brodsky is dead and fortunately was a somewhat better poet than editorialist.</span><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Thinking of the kind of play I would write on the subject of the disintegration of Yugoslavia now<i style="mso-bidi-font-style: normal;">: <span style="color: red;">For a stage image platform:<span style="mso-spacerun: yes;"> </span>J.S Marcus’s body and that of his ilk – big wide stage – and t’is<span style="mso-spacerun: yes;"> </span>bombarded with facts upon facts, say starting with the end of WW II, Tito’s Partisans, Croatian Ustacha killing each other, Tito becomes the US’s commie SOB after Dimitroff is killed in Bulgaria, Tito receiving barrels full of dancing dollars that are transformed into tanks facing east; Tito playing his clever game of ethnic bridge, or is it pinochle [?]; the German foreign minister Genscher “recognizing” an independent Croatia, Tjudman making the Serbs in Croatia 2<sup>nd</sup> Class citizens, U.S. ambassador Peter Galbraith arming the Croatians … this onslaught of facts is in the form of arrows that stick on that stage body… it all ends with the stage body transformed into Camp Bondsteel in Kosovo. </span></i></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">"We are the market. We are the world. We are the power. We write the history…</span><span class="apple-converted-space"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;"> </span></span><span class="apple-style-span"><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: lime; mso-shading: silver;">That’s the way it is. That’s the way it has to be. We are the language.</span></span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"> We are tougher than Krupp steel, we bond and kill better,” </span><span style="background: yellow; color: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">is how Handke’s ditty is improved upon by a visiting Mormon chorus from West Point.</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">27]</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“Handke's journalists require a closer look….Handke, simply running the two together, comes up with changes of a sort that are reminiscent <u>of what high school students do with encyclopedia entries</u>. An example: referring to the Bosnian militia leader Naser Oric and his attacks on Serb civilians, Danner writes, "The climactic battle in Oric's campaign came on January 7, 1993…." Handke has Winner say, "The climax of the commander's success came on the day that the people from here celebrate two weeks later than we do, their special Christmas." Handke's second declamatory journalist is a woman called Lauren Wexler, who writes for <i>The New Yorker</i>, and whose article is a version of Lawrence Weschler's <i>New Yorker</i> piece about his visit to The Hague during the preliminary hearings of the first war crimes trial, which is remade into a triumphant partisan boast, with Weschler's references to "the Tribunal" turned into Wexler's "our tribunal."<a href="https://draft.blogger.com/blogger.g?blogID=36070900" name="fnr2"></a> </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Handke's manipulations attest, perhaps, to his sense of his own limitations as a writer: <u>Handke's style is hermetic; he has no ear for the way people actually talk or write, and, even by German standards, is remarkably humorless. He needed</u> satire for this play, however, and he achieves it primitively, through defacement…<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: #66CCCC;">I have already mentioned why I think the mish-mashing is terrific and why I think he would have been better off using the New York Times Sunday Magazine as his source, if American it had to be. As to the way</span><span style="background: #66CCCC; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">people actually talk or write</span></u><u><span style="font-family: "courier new"; font-size: 14.0pt;">,</span></u><span style="font-family: "courier new"; font-size: 14.0pt;"> <span style="background: yellow; mso-highlight: yellow;">Handke PRIDES himself on NOT writing naturalistic dialogue, </span></span><span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; mso-highlight: yellow;">you total idiot,</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> if you haven’t figured that out after claiming to have read all the books cited in this review. In real life, and in his many many interviews he obviously talks as earthily but not in quite as stylized lingo a the character in the play. </span><span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; mso-highlight: yellow;">Utterly hopeless, J.S.!</span><span style="font-family: "courier new"; font-size: 18.0pt;"> </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">As to the canard “humorless”, I have addressed it already, and that indeed there are moments when Handke is not “laughing” as no end of news stories have it, and often at the most inappropriate moment, as only that kind of gauche idiot will, you can also look at all the photos I have of my exhibitionist, he is laughing on no end of them, but also has a lot of other expressions. Of course, there are matters, as already cited, when Handke can be as “humorless as death” – but that has nothing to do with any of his mixed national heritage where Marcus shows how awash he himself must be, or have been in Germany and Austria to hold that opinion.</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">In <i>A Journey to the Rivers</i> and in his later remarks, Handke seems to have been setting himself up as a latter-day Kraus, whose pioneering critique of language often took the form of attacks on the press; indeed Handke alludes directly to Kraus in his new play. But the difference between them is telling: Kraus only needed to quote to make a point; Handke, in search of the same effect, misquotes. </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I won’t repeat what I said above about mish-mashing and the need for it. Handke early on went way beyond Kraus. It appears he experienced the bombing of Belgrade as a kind of end of the world, well certainly a good hint of who will bring the world to an end anyway, Uncle Sam and his cohorts.<o:p></o:p></span></div>
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<i><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">28</span></i><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">. </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">It was directed by Claus Peymann, a longtime friend and collaborator of both Handke and postwar Austria's <u>greatest playwright,</u> Thomas Bernhard. </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I have elaborated above what Handke has accomplished in the theater, it is of importance to <u>world</u> literature, Bernhard’s plays are local affairs; not in the same league. You can make a culture with Handke, Bernhard buries it in brown-green sauce as far as I am concerned.</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span>29] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Eventually he went to a besieged Serbia, writing yet another travel piece—the basis of his new book—for the <i>Süddeutsche Zeitung</i>. He gave a long, <u>preposterous </u>interview to an Austrian tabloid, casting doubts on the accounts of expelled Kosovar Albanians. ("The refugees, the ones who have been driven out, all say the same thing word for word. Is that therefore believable?") </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Not having seen these T.V. casts with Kosovo refugees, I obviously cannot speak to that. But I can speak to the practice of “looping” for TV. broadcasts. In 1992 I was in Mulege, Baja California, Sur when Ballard of Woods Hole came with the Jason expedition to film the vents of the volcanoes that lie between Mulege/ St. Rosalia in Baja Sur and Guyamas on the eastern side of the Sea of Cortez/ Bahia California. The animals – sulfur based life, and sea life feeding on sulfur based creatures were supposedly being filmed <u>live</u> by the underwater sled or a camera on the bathysphere. Nonsense: all that was on a loop and broadcast for a week to kids all over North America – however, the voices that you heard were from live Scientists aboard ship who had to describe the same damn critters over and over! Imagine how exhausted they were! Their authenticity would have been in doubt, not that of the silent beings from the depths + Thus Handke’s suspicion might be well founded. If that really was the case that they said all the same thing, mine would have been too.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">31] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">in May Handke's former girlfriend published an open letter to him in an Austrian magazine in which she accused him of beating her up, and Germany's tabloid press ran the story. </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">In his 2007 novel DIE MORAWISCHE NACHT [see </span><u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: #FFCC00;"><span style="mso-spacerun: yes;"> </span></span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: aqua; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: aqua;"><a href="http://handke-discussion.blogspot.com/" target="_blank"><span style="color: windowtext;">http://handke-discussion.blogspot.com/</span></a> <o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">for a very detailed piece on this great grab bag, <span style="mso-shading: yellow;">Handke introduces his admission to having beaten a woman, tactical</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> concession defense, as a belated <span style="background: yellow; mso-highlight: yellow;">response to former lover and</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;"> <i><span style="mso-shading: yellow;">Lebensgefährte,</span></i> <span style="mso-shading: yellow;">collaborator</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> on a film now Erinye Marie Colbin’s going public, during the Handke/ Yugoslavia publicity wars in the 90s, first <span style="background: yellow; mso-highlight: yellow;">in</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;"> <i><span style="mso-shading: yellow;">Der Falter,</span> </i><span style="mso-shading: yellow;">which was</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> picked up by:</span><span style="font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><o:p></o:p></span></div>
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<span lang="DE" style="font-family: "arial"; font-size: 14.0pt; font-weight: normal; mso-ansi-language: DE;"><a href="http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html" target="_blank"><b><span lang="EN-US" style="color: windowtext; font-family: "courier new"; mso-ansi-language: EN-US;">http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html</span></b></a></span><span style="font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> <span style="background: yellow;"> </span></span><span style="font-family: "arial"; font-size: 14.0pt; font-weight: normal;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;">with a description of how Handke had nearly killed her. </span><span lang="DE" style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-bidi-font-weight: bold;">["</span><i><span lang="DE" style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-bidi-font-weight: bold; mso-highlight: olive; mso-shading: fuchsia;">Ich höre noch meinen Kopf auf den Steinboden knallen. Ich spüre noch den Bergschuh im Unterleib und auch die Faust im Gesicht... Solange es Männer gibt auf dieser Welt - Männer wie Dich - einäugig, unnachgiebig, machthungrig und Ego-breit - wird es auch Waffen geben und somit Kriege... Wer bist Du denn, daß Du Dich so wichtig nimmst? Bist weder groß, noch edel oder gar bescheiden und aufrichtig. Ein eitler Schreiber bist Du, der sich sonnt in der Rolle des 'einsamen Rufers.'... Irgendwie wirst Du diesem Krieg dankbar sein, denn er befriedigt auf perverse Weise Dein unstillbares Verlangen nach öffentlicher Anerkennung</span></i><span lang="DE" style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-bidi-font-weight: bold; mso-highlight: olive; mso-shading: fuchsia;">."</span><span lang="DE" style="font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-bidi-font-weight: bold;"> </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;">A translation of her statement reads: „<i>I can still feel my head bang on the stone floor. I can still feel the mountain hiker boots hit my stomach and your fist in my face… As long as there are men in the world – men like you – one-eyed, unyielding, power-hungry and egomaniacal – there will be weapons and therefore war… Who are you, to think of yourself as so important. You are neither great, nor noble nor modest nor honest. A vain writer is what you are, who suns himself in the role of the solitary prophet… In some way you will be thankful for this war [The Yugoslav wars of 1994] because it will satisfy your insatiable longing for public acclaim</i>.” - I myself would have to say that while I have found Handke at other moments to be the most empathic, generous and sensitive friend… albeit at a remove, unless it become a matter of his precious self-image even if you were supporting his work, that ever so unfortunately I have to agree with each and every item that Ms. Colbin lists and was only surprised that it took so long for one of these women to speak up, in this instance an exquisite actress whom my man exploited in the film they made of a Margaret Duras book who, however, as the now Erinye who haunts Handke’s books as of the 198<span style="background: yellow; mso-highlight: yellow;">4</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;"> <u><span style="mso-shading: yellow;">Across</span></u><span style="mso-shading: yellow;">, and, after the beating, haunted him all over Salzburg so that he had to go to a pub at its edges with his friends, and who still haunts him</span> <u><span style="mso-shading: yellow;">Moravian Night</span></u><span style="mso-shading: yellow;">, a Fury who evidently has little appreciation at the moment [the usual forgetfulness at moments of such irruptions of the good times once shared] she made her statement, initially to the Austrian Magazin</span><i> <span style="mso-shading: yellow;">Der Falter</span></i><span style="mso-shading: yellow;">, that a certain kind of extreme narcissism - is required to do work at Handke’s genius – after all, he lacks the modesty of a Bruckner - level, and that his [in this instance insatiable compensatory need to exhibit his wound – and have a response, to make contact] is one of the major drives that produces the books. He describes his egomaniacal behavior toward the end of <u>Moravian</u></span> <span style="mso-shading: yellow;">where</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> we find the “ex-author” with his half-brother in Griffen, and the brother describes what a holy terror Handke had been already as an adolescent when he wrote, <span style="background: yellow; mso-highlight: yellow;">terrorizing the entire family. I once outplayed Handke at Tarok,</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;"> <span style="mso-shading: yellow;">a</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"> full account of that can be found at<o:p></o:p></span></div>
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<span lang="DE" style="font-family: "arial"; font-size: 14.0pt; font-weight: normal; mso-ansi-language: DE;"><a href="http://www.van.at/see/mike/index.htm" target="_blank"><b><span lang="EN-US" style="color: windowtext; font-family: "courier new"; mso-ansi-language: EN-US;">http://www.van.at/see/mike/index.htm</span></b></a><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">and so discovered how he couldn’t handle losing, couldn’t handle being kept waiting, and a lot of other matters.</span><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">Unfortunately, after making this tactical concession in <u>Morawische Nacht</u> [that he had wanted to kill her, not just beat her up] to his accuser Marie Colbin, Handke goes into one of his formalistically utterly compleat explanations why he beat her in the first place – not leaving him alone any moment of the day that leaves the reader gasping and with no imagination, and thus has the hollowest of rings, the more so since Colbin is by no means the only woman Handke has beaten, certainly a surprise to those who have read SORROW BEYOND DREAMS, superficially, not to those who appreciate what it means to witness the father figure beat up the mother for a decade, and what this will do to a love-child intra-psychically. Don’t let what I say here keep you from reading MORAWIAN, one of his greatest beginnings, greatest endings, it was initially called SAMARRA, but Handke kept writing – and he ought to have kept writing until he got the whole of it as right as many of its parts are.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt;">I myself, as of about 1977 sought to be alone with Handke as little as possible, I found him to be sinister, although if anyone knew his genius his translators did, and also that he could be an angel, in the good sense, a matter I suspect that Ms. Colbin, the fury of furies of his in Salzburg who haunts his work as of ACROSS [1984] and also MORAVIAN [paranoid he is by now!], the guilt that is always part of paranoia, imagined or real, there are women like that, forever unforgiving, she shows up at the premieres of all his plays, and since she is yet another of those fairly well known actresses that Handke keeps hooking up with still reads Handke texts in public! And when she was younger she was exquisite, Handke met her on a bridge across the Salzach, the river that runs through Salzburg, which has been sort of mythified in <u>No-Man’s-Bay<i> </i></u>into the Rio Grande as that now elephant piss stream flows beneath the bridge to Ciduad Juarez in <u>A Touch of Evil</u> – a truly nice touch that. I had a girlfriend who looked to be Colbin’s younger sister in Paris in the late 70s, and made it a point not to introduce her to Handke. Thus Mr. </span><span style="background: yellow; font-family: "courier new"; font-size: 18.0pt;">J.S. gets one point</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt;"> for having found Handke sinister on a televisions show. I keep thinking what luck Handke and I both had that his first wife and I didn’t run away with each other in 1971 when he seemed to be a couple with the “Austrian dramaturg” of SHORT LETTER LONG FAREWELL. He would have had his break down even earlier and I would never have got the chance to translate WALK ABOUT THE VILLAGES! For, I used to have my problems, too: drag the beautiful wench home by her goldilocks and soon enough she will turn into the hated governess who bring out murderous impulses in me. However, my signifying grandfather had a far better sense of humor than old man Sivec, he was still making fun of the guards in his fourth concentration camp, although he then would not show his back either to his wife or his daughters after WW II, yet otherwise his sense of humor was intact. </span><span style="font-family: "times new roman"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span>32] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">The Burgtheater production turned out to be an anticlimax — pompous. The performance dramatized the failure of the play: Handke, and now Peymann, <u>cannot compete with the mere facts;</u> they try, and fail, to extinguish the actual images of the Yugoslav wars and replace them with their own. <u>C</u></span><u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">annot compete with the mere facts</span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> I have addressed this already by pointing out that [1] the only facts you have on stage are a play;[2] that the play is presented as a screenplay, that is doubly removed, for the 28<sup>th</sup> film ten years after the war – perhaps the director who says that it is still too early is right: after all, all you get is a proposition, an “as if” and it exists in that realm. I wish <span style="mso-spacerun: yes;"> </span>J.S. a rich, fact-filled naturalistic existence! We have Scott Abbott’s response above, I have collected a lot of German reviews at the CANOE page of the drama2.site</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">33] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">He does not mention [in WITH TEARS] that the party is part of Milosevic's regime. He describes the "strange homelessness that comes from [Risti´c] on this war-night." </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">The fine Serbian director Zeljko Djukic who runs the Tutato Theater in Chicago tells me that Risti’c is / or at least was a kind of Serbian Riefenstahl! And that he remained loyal to Milosevic to the end. I can’t imagine why Handke ought to record the man’s party affiliation. As though he were suppressing something! This is either an accurate observation, or Handke is projecting his own feeling into Risti’c, or both.</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;"> At any event: it is an impression he had: and he conveys it to us laconically. With reading all those Handke books, J.S. might have got at least a inkling of Handke’s “innerworl[d]-of the outerworl[d]-innerworld procedure, and of his working on that interstice! Nor does he appear to have noticed that Handke is a formalist – not that you need even know this word, as you don’t need to know the word rhythm to notice what rhythm is.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: silver;">Trivial but globally telling of Marcus’ failure as a reader is his then having seen what no human eye has beheld, that is Risti’c’s Belgrade performance of <i><u>Canoe</u>, </i>cancelled so I was given to understand because the director had “packed his bags’”.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">It occurred to me to wonder as what J.S. might be employed as, to walk the dog, take out the garbage?<o:p></o:p></span></div>
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<span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">34] The second piece is filled with <u>turgid prattle.</u> Handke writes about a deserter he sees near the Kosovo border:</span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">“He comes from the adjacent (?) Kosovo, for a short (?) vacation (?) here at home (?), but it's as if he became scattered on the way, in search of his troop—not only through his running does he seem this way, also through his gaze, his stare, between consternation, dismay, endurance—and at the same time rejuvenescence adding to his youthfulness.” </span><u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">turgid prattle?</span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> It appears that J.S. who claims to have read a few texts has not caught on to Handke’s way of questioning his own text.</span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">35]</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">In a short preface Handke tells us that the book "is in almost direct correspondence with my notes…." <u>The effect, apparently, is meant to provide the reader with an eyewitness account of literature-in-the-making.</u> </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span>The only “claim” I see Handke making is one of close correspondence to his impressions as noted down at the time.<span style="mso-spacerun: yes;"> </span>Handke may be guilty of a lot of matters: pretentiousness is not one of them.<o:p></o:p></span></div>
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<i><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">36]</span></i><i><span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; mso-highlight: yellow;"> </span></i><i><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Questioning Through Tears</span></i><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> turns out to be a <u>highly selective</u> account of what Handke sees as an apocalypse, or pre-apocalypse, with pungent or lyrical descriptions of Serb suffering, or lyrical accounts of resilient Serbness. In Srebrenica</span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">—"I am here for the fifth or sixth time"— </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Handke attends a Serbian Orthodox service.- </span><span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">"Mass: the women stationed to the left of the wall of icons (or cabinets); the men (not at all less in number) to the right." </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Then the now familiar, and rather exhausted, invectives against the "Super-information" of the "Superpowers." As expected, Handke scarcely mentions the Kosovar refugees, whose accounts, he again complains, are all the same, "word for word, phrase for phrase."</span><span style="background: silver; font-family: "courier new"; font-size: 18.0pt; mso-highlight: silver;"> <span style="mso-spacerun: yes;"> </span></span><u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">highly selective</span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> ? Was Mr. J.S. with Handke during that trip? Everything is selective. E.G. I am selecting the most grievous idiocies that J.S. commits – I could go on even longer and be even more devastating. I address the matter of what the Kosovar Albanian refugees said above.</span><span style="background: silver; font-family: "courier new"; font-size: 18.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">38] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">The first victim of the war, Handke argues, is language itself — the capital letters stand for a kind of interchangeable wordlessness. But Handke's own believability is another victim. <u>By now he is so discredited</u> that we have no more reason to believe in, say, the bombed auto plant in the southern town of Kragujevac and its innocent victims than we do in the existence of Svetlana Vrbaski. <u>We are imprisoned in Handke's imagination, and the only reality is the sound of Handke talking, narrating his own dream sequence</u></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">. I would disagree with this facile syllogism: I approached the controversy knowing of Handke’s genius as a writer but also of his exhibitionism, thus he was suspect, and since I was engaged in a Handke project took my time to understand him, or as someone whom Handke and I both know, the first rate writer, Erich Wolfgang Skwara once put it to me: “One always wonders what he is up to now.” [Handke had just walked arm in arm with Umberto Eco through the halls of the Frankfurt Bookfair, at the publication of <u>No-Man’s Bay,</u> and if I had not known Handke and been well along on my Handke project,<span style="mso-spacerun: yes;"> </span>I would no doubt have pretty much bought into whatever I read in the organs where I get my news, and put the matter aside as something I could do as little about as the slaughters in other parts of the world. If we merely do a depth probe of the coverage in the NY Times Magazine or of specialist Roger Cohen, you would have to conclude that language suffered grievously… and always does, especially during war time. Handke at least provides with matters that are believably Handke, authentic Handke. Handke’s impressions, his immediate observations have always been extraordinarily reliable, what is beyond his horizon of that he refuses to report. He makes far fewer truth claims than J.S. impugns him with!<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">39]</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">In 1994, Handke published a much-awaited novel called <i><u>My Year in the No-Man's-Bay</u></i>, his longest book to date — over 1,000 pages in the German edition. The book is narrated by another autobiographical character, an Austro-Slovenian novelist, called Gregor (a favored name in the Handke <i>oeuvre</i>, recalling both Kafka's Gregor Samsa and Handke's uncle), who has a failed marriage and other failed relationships. The book turns out to be a <u>predictable,</u> if highly elaborate, Handke meditation on his tendency to live in language rather than in the world, not to mention in his own life; it is a sustained description of estrangement and, again, of the necessity and futility of writing. <span style="mso-spacerun: yes;"> </span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">predictable,/ <i>My Year in the No-Man's-Bay</i></span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">? I can’t imagine what is “predictable” about <i><u>No-Man's-Bay</u></i> but that it consists of words. If further proof is needed what a <i style="mso-bidi-font-style: normal;"><u>predictable</u></i> non-reader J.S. is, his comments here are it. N.B. for short is Handke’s portrait of his six artistic sides, ex-cultural attaché Gregor Keuschnig [Hoveler] out of <u>A Moment of True Feeling</u> still somewhat <u>Left-Handed-Woman</u>, painter-film maker, reader, writer, priest – the only actual of the friends that Keuschnig has, and who is also an actual friend of Handke since his Seminary days, and of course represents Handke’s toughie country priest side. Those six sides are stitched together on the ground of this <i style="mso-bidi-font-style: normal;">bight </i>outside Paris in the Chaville Forest where Handke has lived since the later 80s, talking about not being LOCATED! It also incorporates some long sections about Yugoslavia and walking there. I myself read the book about five times, a couple of times in German and then thrice in English, at a 24/7 Hmong-run donut place on NE 45th Street in the evening among not just our donut maker Hmong “Lola” but as authentic a no-man’s place as you could find with Gogol’s lost souls, and various Dostoyevsky refuse, Smerdiakov, a Persian ex-computer programmer who had had a breakdown and who brought his gold fish in his goldfish bowl, the toothless cabbie, etc; in other words, in sacred company, and felt as good as I have only one other time in these fifteen years in Seattle and that was spending the summer of 2009 reading <u>Crossing the Sierra del Gredos</u> several more times, and then also writing about that, and so I know now what Peter Strasser meant when he wrote his book <u>Peter Handke: Der Freudenstoff</u>. Handke may be fairly impossible in person at times, a near criminal, all his love goes into writing and a real reader absorbs it through his texts, and responds in kind. Here and there I quibbled of course, this business about the book being set 7 years in the future and the German tribes being at war with each other, his making light of one of his worst period when he couldn’t get beyond the first sentence, rehearsed for years, of A SLOW HOMECOMING, in the Hotel Adams in New York in the late 70s - that showed disrespect towards his own suffering; as I also quibbled here and there with <u>Del Gredos</u> when my man seemed to have had a bad hair day and had to fake it a bit, and I haven’t made up my mind yet about the three “topes”, as I call them, those speed bump enclaves that hold up the heroine’s progress. But let us all celebrate that Maria Sivec loved her little bastard and didn’t abort him as she then did so many other pregnancies! J.S., you couldn’t predict anything, and are as responsive as worn out sandpaper.</span><span style="font-family: "courier new"; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span><span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">40]</span><span style="background: silver; font-family: "courier new"; mso-bidi-font-size: 12.0pt; mso-highlight: silver;"> </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">In a 1992 interview, Handke dismissed <u>Hölderlin</u> as "ill with Germanness"; in his novel, Hölderlin becomes instead a source of regeneration: reading his poems fills Gregor's "veins with new blood." The novel contains a few strange exaltations of violence, and tries to make connections between the mythical, the irrational, and the natu<u>ral. </u></span><u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I will check my interview collection for the </span></u><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Hölderlin</span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> opinion. Sounds like the sort of thing my man might say to put an interviewer on, or to be controversial, because Nova’s long aria at the end of <u>Walk about the Villages</u> is infused with the pathos of Hölderlin and the high thin air of his idealism – not a one note pony that </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Hölderlin</span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">! Around 1980 Handke wrote that he now understood Hyperion completely! And that was meant in sympathy. However, Handke, who has a German father and stepfather, and publisher in Siegfried Unseld, was tiresomely anti-German to an extent that you might doubt the slightest intelligence – all because of the hated stepfather Bruno Handke, whose last name is actually a mishmash of Polish.</span><span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; font-weight: normal; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">40]</span><span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; mso-highlight: yellow;"> </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">There had previously been a connection between Handke's dissociative style and his willful irrationality</span></u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> (he published a manifesto with his first collected plays, saying as much), but in the novel we glimpse something beyond that. "I wished I would get sick," <u>Gregor thinks, reflecting back on a spiritual crisis that some readers might describe as writer's block,</u> "or that the Third World War would break out, so that I would at least not be so alone with my very own war….</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> What, pray, is “the connection?” now that J.S. mentions Handke’s </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">dissociative </span></u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">style </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">as<span style="mso-spacerun: yes;"> </span>though this were a well-known feature [not a style anyhow, method perhaps and rational, too, when the ego has part in it] in </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">There had previously been a connection between Handke's dissociative style and his willful irrationality</span></u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"> </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">you willfully rational being, J.S.? AS to “dissociative” style might J.S. have this in mind, the “Handke effect”:<o:p></o:p></span></div>
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<span style="background: aqua; font-family: "courier new"; font-size: 14.0pt; mso-highlight: aqua;">http://thechagallposition.blogspot.com/2008/10/viewer-is-diverted-or-handke-effekt.html<o:p></o:p></span></div>
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<span style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: olive;"><a href="http://thechagallposition.blogspot.com/2008/10/viewer-is-diverted-or-handke-effekt.html"><span style="color: windowtext;">“The Viewer is Diverted,” or, The Handke-Effekt</span></a> <o:p></o:p></span></div>
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<span style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-highlight: olive;">I’ve been spending some time trying to figure out what makes reading Peter Handke’s fiction such an unsettling literary experience, and I think I’ve isolated one of the formal techniques he uses to achieve his peculiar ambience. I haven’t given the secondary literature on Handke more than a passing glance, so forgive me (and maybe even gently inform me) if I’m retailing what turn out to be critical commonplaces about his work.<o:p></o:p></span></div>
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<span style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-highlight: olive;">First, an example, from Handke’s 1997 novel, <i>On A Dark Night I Left My Silent House</i>. I’ve chosen this one because the effect is fairly obvious here. The protagonist, a pharmacist from a Salzburg suburb whose wife has left him, has gone for an evening drive and now sits on a stump in a roadside clearing near his car. The novel is narrated in the third person, and seemingly a very “close” third, sliding at times into second person, as here: <o:p></o:p></span></div>
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<span style="background: lime; font-family: "courier new"; font-size: 14.0pt; mso-highlight: lime;">“Crouching down to see what was happening from close up; and besides, crouching you were closest to yourself. Yet the field of vision remained as broad as possible: the parked car, in which, with the increasing dusk all around, a curious brightness seemed to have been trapped, the seats very obviously empty, and as if there were more of them than usual, whole rows of them; beyond it the airfield with the last plane rising into the air, at one window that passenger who thought he could rub off the haze on the outside on the inside; to the right, on the highway, an almost endless convoy of trucks, white on white, United Nations troops deployed against a new war, or rather returning from there (a few trucks were also being towed, half burned out); to the left, the training place for police dogs, at the edge of the forest, where one of the dogs seemed to have just got caught in a culvert and was howling piteously, while another, growling almost as piercingly, kept leaping at a man hidden behind a wall, burying its teeth in the ball of cloth in which the ‘fleeing criminal’ had wrapped his lower arm, then refusing to let go and hanging on stubbornly as the man ran in a circle with him, swinging the animal through the air.”<o:p></o:p></span></div>
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<span style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-highlight: olive;">Even though the passage seems to be focalized through the protagonist’s perspective, it defies basic physics for many or even most of the specific details to be available to his point of view. Most obviously, of course, the pharmacist wouldn’t be able to see the airplane passenger futilely wiping his window (and still less would he see the haze), but there are other distortions as well. The crouching position described in the first line (after which no change in posture is given to us) makes it highly problematic that the protagonist could take in the convoy of UN trucks on the one hand and the policeman training his dog on the other, especially considering that the convoy is described as “almost endless” (i.e., seen disappearing into the horizon) and the dog trainer is at first “hidden” behind a wall. Such a vista might be available to the pharmacist were he crouched on top of a hill, but he’s not.<o:p></o:p></span></div>
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<span style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-highlight: olive;">In the Newtonian physics of conventional realism, what you see from a crouch is your shoelaces, yet we are assured that “the field of vision remained as broad as possible” (but not “<i>his</i> field of vision” or “the field of <i>his</i> vision”). Could it be that when the pharmacist crouches to draw “closest to himself,” some other physics takes over, a kind of Handkean quantum mechanics? It’s a strange new self-communion that has the result of seeming to evaporate its subjectivity into the evening air.<o:p></o:p></span></div>
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<span style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-highlight: olive;">Even the switch to second person contributes to this evaporation, paradoxically suggesting at once a greater intimacy than the third-person – as if the pharmacist were now recounting his own impressions to himself – and a greater distance, in that the invitation to the reader to closer identification with the protagonist simultaneously dissolves his specificity as a particular, situation-bound pharmacist from a Salzburg suburb. This move ‘closer to oneself’ is therefore ambiguous, and could include a swerve away from oneself or the discovery – even the in-habitation, so to speak – of the realization that one might not be <u>one</u> at all.<o:p></o:p></span></div>
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<span style="background: olive; font-family: "courier new"; font-size: 14.0pt; mso-highlight: olive;">There are other things of note in the passage – the suggestive locution “on the outside on the inside”; the “white on white” of the trucks; the lurking savagery in the possible faraway war (Serbia?) and the police dogs in the middle distance – but the main effect, and what I’m calling (just for fun) the Handke-Effekt, is this <u>destabilizing of conventional novelistic focalization</u>, at least in its “close” variants (third-person limited, first person, and second person, leaving out for the moment third-person omniscient). Like Brecht’s <i>Verfremdungseffekt</i> or ‘alienation effect’, it’s a species of defamiliarization, but what it defamiliarizes most of all is the depiction of consciousness in traditional realism. Conventional focalization overlaps with the sensorium of the character, so that the reader sees what the character can plausibly see, hears what the character plausibly hears, etc.; Handke subtly violates this. Think of a sort of bathyspheric bubble around the character’s head, start moving the bubble to the left or right, or up and down, outside the range of physical plausibility, and there’s your Handke-Effekt.</span><span style="font-family: "courier new"; font-size: 14.0pt;"> <o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Part II of Edmond Caldwell’s piece ctd. at</span><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: aqua; font-family: "courier new"; font-size: 14.0pt; mso-highlight: aqua;"><a href="http://thechagallposition.blogspot.com/search?q=handke"><span style="color: windowtext;">http://thechagallposition.blogspot.com/search?q=handke</span></a><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">What might be “irrational” about such a procedure, or connection with irrationality, as ordinary language understands that word?<span style="mso-spacerun: yes;"> </span>You wilted flower, you last rotten petal of the enlightenment, J.S. Marcus?<o:p></o:p></span></div>
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<span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">In Handke's essays and interviews and outbursts, and in <i>The Journey in the Dugout Canoe </i>— which all seem of a piece, a <i>Serbenwerk </i>— there is a strong element of exaggeration, <u>but with this new book </u>his identification with the Serbs has become simply genuine. It would seem that he has never come back from Serbia, that he has disappeared into some colorful, bloody Balkan wonderland. <o:p></o:p></span></div>
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<u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">First:</span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> Let me bring the readers up to date on what Handke has published on the topic of Yugoslavia since Marcus had a go at him. We all know I think about his appearance at the Milosevic funeral and yet another Handke controversy, the third time around as it were, the guy certainly “stays in the picture” as he advises us to imagine to be once a day [!], as a refresher: the eyes of God the eyes of the media! That affront ended with the dismounting of his great play THE ART OF ASKING at the Comedie Francaise, the refusal of the city council of Düsseldorf to provide the money that went with that city’s Heine Prize, Klaus Peymann raising the money for the equivalent 50,000 Euro Berlin Heine Preis and their highly medianized trip to an enclave in Kosovo to which Handke gave the money, in 2007 I think this was. Look at the many photos of Handke taken with his Kosovo hosts: indeed he looks extremely happy and I am happy for him and his hosts! Everyone has their Yugoslav tribal pet, the German writer H.C. Buch has even adopted some original Dalmatian rabbitts in Kosovo! Handke has stuck to his guns and affects my reading experience of his texts neither one way or the other.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke also won a suit for libelous defamation against I think it was <i style="mso-bidi-font-style: normal;">Le Nouvelle Observateur or Liberation.<o:p></o:p></i></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">There are two pieces on the de Hague tribunal, the <u>Daimiel</u> piece which I mentioned above, here the link once again, where Handke so nicely criticized himself for being a “hanging judge” prior to being one again in no time, this once of Günter Grass:<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; mso-bidi-font-size: 12.0pt; mso-highlight: yellow;"><a href="http://begleitschreiben.twoday.net/files/Die-Tablas-von-Daimiel/" target="_blank"><span style="color: windowtext;">http://begleitschreiben.twoday.net/files/Die-Tablas-von-Daimiel/</span></a></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">And a little book <u>Rund um das Tribunal</u>, where Handke is in DeHague but actually does not attend a single session… Perhaps he didn’t want to see that Milo the Bad Bad Wolf had at least one bloody fang? No, he doesn’t seem to want to honor a tribunal whose legitimacy he does not want to honor with his presence? I can’t say that such a tribunal that fails to bring no end of US war criminals to trial is anything but a farce. If Nuremberg is one of the highpoints and sets the bar for international justice – a treaty the U.S. for good selfish reasons refuses to sign – every president and national security adviser and sec def and many more would have been hanged since the United States became the inheritor of European imperialism.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">There is the 2008 <u>Die Kuckucke von Velica Hoca</u>, mentioned initially, a magnificent piece of reportage of a week’s stay in that enclave, Handke takes a walk to an adjacent Albanian village, but that is all; his observation overall appears to be that there exists irremediable hatred between the two peoples; his chagrin is kept tightly in check as he only reports of the there and then. <o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">H</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">andke's work as writer of ever more accomplished prose cannot be said to have suffered, nay it flourished during his engagement, as Guenter Grass continued his elephant dance [as which Irving Howe these many years described it to me.] There is not only the 1995 DARK NIGHT, but the extraordinary 2002 CROSSING SIERRA DEL GREDOS, the 2004 DON JUAN, the 2007 KALI and 2008 MORAWIAN NICHT, the 2009 VELICE HOCA. His work as a playwright, too, continues, thought not on the same high order as before, a delicious play conceived with a Serbian director, LA CUISINE celebrates, wouldn’t you know it, Serbian hams! The 2004 SUBDAY BLUES [see the handkedrama2. site for an extensive discussion] formalizes what I call road rage, a subject where formalization, no matter how well done, struck me as the wrong approach. A section in MORAWIAN, the APACHE part of a trip to the Kosovo, would seem to do a better, more immediate job of that. In 2006 Handke premiered <u>Spuren der Verirrten</u> [Traces of the Lost] at the Berliner Ensemble which struck me on reading to be an off-shoot from HOUR THAT WE KNEW NOTHING OF EACH OTHER – but I would have to see it to be able to judge whether the twist that Handke gave HOUR in making the author a member, a participant in the play, lends it that desired different twist.<o:p></o:p></span></div>
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<span lang="DE" style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-bidi-font-weight: bold; mso-highlight: yellow;">In 2008/9 Handke wrote a kind of rejoinder to Beckett’s KRAPP’S LAST TAPE, called </span><span class="apple-style-span"><u><span lang="DE" style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: yellow;">"Bis daß der Tag Euch scheidet oder Eine Frage des Lichts".</span></u></span><span class="apple-style-span"><span lang="DE" style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: yellow;"> </span></span><span class="apple-style-span"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I have not read it, the book <span style="mso-spacerun: yes;"> </span>was stolen, but it has received most interesting reviews from its performances at the Berliner Ensemble and at the Salzburg Festival. A translation of Euripedes HELENA is in the offing, as well as a big play </span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: #999999;"><span style="mso-spacerun: yes;"> </span>"<u>Storm Still"</u> [about a Slovenian partisan uprising in Spring 1945] for the Burgtheater in Vienna which its director Klaus Peymann describes as the counterplay to Bernhard’s HELDENSCHLACHT. We shall see.</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">MORAVIAN, drenched in Balkan, contains what could be called a “take out” from the subsequent <u>Velica Hoca</u>, a trip with Kosovo Serbian mourners to and back to their cemetery of their murdered brethren in Kosovo: it is one of several, of many utterly brilliant tours de force, where I wish the entire book had been one, and not turned into a grab bag, that trip is as powerful as anything that Faulkner or anyone I ever read ever wrote along that line, especially the sequence of a furious bus driver who keeps muttering Apache Apache to the song: it might be for what the Serbians suffered, but it could be the melody and the mettalica song [?] that accompanies human existence; an absolutely amazing piece of writing. As J.S. notes already in the year 2000, the German reviewers want to welcome the bastard back into their ranks: after all, they sort of know as a writer he is a kind of a Goethe or Stifter, a once every 100 years event, want to welcome the now even more bemedaled writer back in their ranks, and so seize on the one paragraph in the book where he expresses his own disgust with Balkan miseries and wishes to be back in the West with the kind of 5 star hotel that Handke prides himself on staying in; except for one reviewer with the wonderful name Rutchky who, I would say, correctly smells a big fat very much alive inextinguishable Balkan rat. Toward the end of the book, that contains a number of fantasies, the now [ten years hence, as in VOYAGE] ex-writer is in a big big limestone pit “Dolmine in the so “</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">abstract gray J.S/” Slovenia </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">with a weird Japanese girl reporter who appears to have been stranded in Yugoslavia during the war [Mr. Handke when did you have THAT affair?] and… Hey it’s Ramsey Clark … whom Handke must have encountered in deHague… the last three hold outs, ten year’s hence… for <u>Justice for Serbia</u>!<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">As to actions: there are those frequent trips to the Kosovo, especially the one when he and his director Peymann gave the Berlin Heine Prize $ 50,000 to the enclave – look how happy the guy looks on the photos [LINKS once more at the very end here] Handke received a piece of Serbian land; and was awarded the Cross of St. Lazarus awarded by the Kosovo Serbs in honor of their defeat at the hands of the Turks in 1384 is it? But didn’t have time, he said, to receive it in person: or suddenly shy of the photo op?… Well, you can see him shaking hands with the Serbian nationalist candidate <o:p></o:p></span></div>
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<a href="http://de-construct.net/?p=8654"><span style="color: windowtext;">http://de-construct.net/?p=8654</span></a></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">an interesting site that goes entirely overboard in its defense of the Serbians,</span><span style="font-family: "courier new"; font-size: 14.0pt;"> <o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span><span style="background: silver; mso-highlight: silver;">“<span class="apple-style-span">“Austrian writer Peter Handke yesterday visited the SRS presidential candidate Tomislav Nikolic. On that occasion Handke said: ‘Never in my life have I voted in Austria, never in my life have I voted in France, either. But, if I had the Serbian citizenship, today I would vote for Tomislav Nikolic’,” reads the caption underneath photo on the left, published in January 23, 2008 edition of Serbian daily</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Politika</i>.</span></span><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Handke himself appears to be playing along with the German media make believe that he is now reformed and talks in Kasperfied language that Srebrenice and the whole damned business was the worst that happened in Europe since WW II, compliments the German reviewers how well they did by him whom until a short while back was calling riff-raff, which in fact quite a few are, though to a far lesser degree than… you guessed it: the dear olde u.s. of a. which indeed takes the cake once again! My guess, his publisher [s] have assigned him a handler! After all, his work, which is what counts… threatened to disappear in the controversy… book sellers refused to stock him, etc. etc. He has the kind of fanatical backers in one Byzantine lady who runs [de] construct<o:p></o:p></span></div>
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http://de-construct.net/</div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span>and some otherwise half intelligent folks who are too befuddled by him to be willing to criticize him and just go <o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">“beautiful” beautiful beautiful” as a demented bus passenger here in Seattle does, e.g. Lothar Struck at <u>Glanz and Elend</u><o:p></o:p></span></div>
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<span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><a href="http://www.glanzundelend.de/Artikel/handkenacht.htm"><span style="color: windowtext;">http://www.glanzundelend.de/Artikel/handkenacht.htm</span></a></span><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 14.0pt;">goes soft in the head,<span style="background: yellow; mso-highlight: yellow;"> w</span></span><span lang="DE" style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-ansi-language: DE; mso-highlight: yellow;">ho runs the otherwise intelligent and interesting begleitschreiben blog:<o:p></o:p></span></div>
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<span class="apple-style-span"><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: silver; mso-shading: #FF6666;"><a href="http://begleitschreiben.twoday.net/"><span style="color: windowtext;">http://begleitschreiben.twoday.net/</span></a><o:p></o:p></span></span></div>
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<span class="apple-style-span"><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: #FF6666;">well, it’s all right to have your mind go soft over a woman I guess, Handke’s books mean to waken it!</span></span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">Handke, himself, in <u>No-Man’s-Bay</u>, makes it very clear that “he is not the one” – but whenever has that stopped those in need of idols!</span><span style="font-family: "courier new"; font-size: 14.0pt; mso-bidi-font-weight: bold;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">41 </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Many German cultural figures have vigorously attacked Handke, notably Günter Grass and Jürgen Habermas, but he has his loyalists</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">. I would add future minister of culture, publisher of <u>Die Zeit</u> and now of Cicero, Michael Naumann, to this list who, in the mid 90s when he was the publisher of Holt, Rinehardt in the U.S., didn’t even want to hear the name of Handke, he was so much part of the New York, <i style="mso-bidi-font-style: normal;">bien pensant</i> crowd.</span><span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; mso-highlight: yellow;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">42] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">and Peter Turrinni, Austria's leading resident playwrights, have publicly defended him. (Jelinek called <i>The Journey in the Dugout Canoe</i> "partly infuriating, partly magnificent"). </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I have put a collection of German reviews at the CANOE page of</span><span style="font-family: "courier new"; font-size: 14.0pt;">:<o:p></o:p></span></div>
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<span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><a href="http://www.handkedrama2.scriptmania.com/"><span style="color: windowtext;">http://www.handkedrama2.scriptmania.com/</span></a></span><span style="font-family: "courier new"; font-size: 14.0pt;"> <o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">I might agree with the brilliant truly original Jellinek if I had to put my estimate into one sentence – but when have you caught me doing anything of the kind?</span><span style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">43] Then J.S. prattles on… <o:p></o:p></span></div>
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<span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">“The Romantic sensibility changed, as the nineteenth century passed, from an idea about art and the artist to an idea about society and how it should be ruled—the "inner ideal," as Isaiah Berlin calls it, turned outward …</span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">and b-ses a bit about Isaiah Berlin, Gottfried Benn, Klaus Mann and insinuates: hey, that Handke is really some kind of reborn romantic fascist!</span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">44] </span><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">In 1997, between <i>A Journey to the Rivers</i> and <i>The Journey in the Dugout Canoe</i>, Handke published a short novel called <i>On a Dark Night I Left My Silent House</i>, which will appear in the US this fall. (<u>Interestingly,</u> Handke's American publisher neglects to include <i>A Journey to the Rivers</i> in the list of his translated work.) The book is a fairy tale, once removed. An unnamed pharmacist, from an anonymous postwar suburb of Salzburg, recounts a story to an unnamed, impassive narrator. One night, while wandering through a forest, the pharmacist was hit over the head and rendered mute; he soon found himself magically driving across an imaginary Europe with an unnamed poet and an unnamed Olympic ski champion. <u>They had hallucinatory, near-murderous adventures in a Balkan-like village, improbably called Santa Fe. After</u>ward, the pharmacist returned home an unchanged man, except, he tells the narrator, now "my feet are bigger; I had to buy new shoes." </span><u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">Interestingly:</span></u><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;"> I expect one of the ten editors Handke has had at his mediocre U.S. publisher since 1966 simply forgot or didn’t even know. As though they were trying to dissociate themselves being the nasty suggestion; truth of which could easily have been verified by one phone call.<o:p></o:p></span></div>
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<span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">There are many allusions to Yugoslavia in the novel, and it is tempting to think of the pharmacist's story as Handke's reflection on his own "journey." Yet the book does not accommodate such speculation; its <u>blank reverie</u> is a mere track record of the imagination at work, <u>another dream sequence, framed, this time inside Handke's familiar, gray fantasy of detachment.</u> </span><span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">As suggested above: an eye examination for J.S.; gladly foutre the bill! If only he could do a single paragraph in dream syntax! That poor fellow who is apparently haunted by the color “gray.” A blank? Only he. Large parts of the book transpire in Spain, I, however, love Handke’s nasty introduction of some damaged NATO trucks being hauled north on the Autobahn near Taxham/ Salzburg! See Edmond Caldwell comments above and excerpt. <o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">45] </span><u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">Perhaps one day Peter Handke will explain himself in, say, a novel about an Austro-Slovenian writer who masquerades as a Serb nationalist</span></u><span style="background: silver; font-family: "courier new"; font-size: 14.0pt; mso-highlight: silver;">. Until then his <i>Serbenwerk</i> endures as a celebration of irrationality. The reader retreats from it, from the tyranny of its impressions, its raving subjectivity. <u>Handke has let himself become an instrument of the Milosevic regime, a state writer.</u> If we resist Milosevic, then we resist this Handke and reapproach even the best of his previous work with that resistance in mind.<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 14.0pt; mso-highlight: yellow;">It is truly wondrous to see a complete ignoramus in literary matters, someone neither able to read nor describe, someone as blind as J.S. Marcus, calling, essentially, for a McCarthyite prohibition of Handke’s works and to have done so under the aegis of the bloody NYRB; and for that reason with hugely damaging effect in the United States. Handke was never the instrument of Milosevic or the Yugoslav state, he has nicely dissociated himself from demagogic ultra-nationalism, from Seheli; t’would that the NYRB did the same of the jingoist fascism so deeply ingrained in US. Marcus is proof of the <span style="mso-spacerun: yes;"> </span>pudding of thorough-going Serb hatred, and no matter that I wish that Handke had gone about his business in a more civilized manner, that as <i style="mso-bidi-font-style: normal;">Mensch </i>he were less flawed, am I ever glad that at least there was one person who extended himself in this fashion, even if exhibitionistically , not entirely altruistically, to even the balance between truly mad Serb and Milosevic hatred that is far more irrational, that belongs to the darkest of dark ages of the witch hunt, of the <u>one devil theory</u>, and proves, in ways that would have turned Adorno and Horkheimer to stone had they beheld it, the truth of the dialectic of the englightenment taking a J.S. Marcus twist and in your pages, </span><span style="background: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: red;">Bob Silvers!</span><span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;"> <o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;">Your “getreue Korreptitor” in Seattle<o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="mso-spacerun: yes;"> </span>Michael Roloff</span><span style="background: red; font-family: "courier new"; font-size: 14.0pt; mso-highlight: red;"><o:p></o:p></span></div>
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<span style="background: yellow; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: #999999;">===============================================</span><span style="background: #999999; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"> <br />
</span><u><span style="background: #FFCC00; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">LINK OF LYNXES TO MOST HANDKE MATERIAL</span></u><span style="background: #999999; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><o:p></o:p></span></div>
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<u><span style="background: #FFCC00; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"> AND BLOGS ON THE WEB:</span></u><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"> <a href="http://www.handke.scriptmania.com/favorite_links_1.html" target="_blank"><span style="color: windowtext;">http://www.handke.scriptmania.com/favorite_links_1.html</span></a> </span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<u><span style="background: #33CC00; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">HANDKE LINKS + BLOGS SCRIPTMANIA PROJECT MAIN SITE:</span></u><span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"> <br />
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<a href="http://www.handke.scriptmania.com/" target="_blank"><span style="color: windowtext;">http://www.handke.scriptmania.com</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">and 13 sub-sites</span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="background: #33CC00; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">e.g.</span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handkeromance.scriptmania.com/index.html" target="_blank"><span style="color: windowtext;">http://www.handkeromance.scriptmania.com/index.html</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handkelectures.freeservers.com/" target="_blank"><span style="color: windowtext;">http://www.handkelectures.freeservers.com/</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="background: #00CCCC; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handkedrama.scriptmania.com/" target="_blank"><span style="color: windowtext;">http://www.handkedrama.scriptmania.com/</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handkescholar.scriptmania.com/" target="_blank"><span style="color: windowtext;">http://www.handkescholar.scriptmania.com/</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handkebild.scriptmania.com/" target="_blank"><span style="color: windowtext;">http://www.handkebild.scriptmania.com/</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://handke-photo.scriptmania.com/" target="_blank"><span style="color: windowtext;">http://handke-photo.scriptmania.com/</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handke-nobel.scriptmania.com/" target="_blank"><span style="color: windowtext;">http://www.handke-nobel.scriptmania.com/</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handkeprose.scriptmania.com/" target="_blank"><span style="color: windowtext;">http://www.handkeprose.scriptmania.com/</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handkefilm.scriptmania.com/" target="_blank"><span style="color: windowtext;">http://www.handkefilm.scriptmania.com/</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<a href="http://handke-watch.blogspot.com/" target="_blank"><span style="color: windowtext;">http://handke-watch.blogspot.com/</span></a><br />
[<u>moravian nights</u> discussion]<o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">the newest:</span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://handke-photo.scriptmania.com/" target="_blank"><span style="color: windowtext;">http://handke-photo.scriptmania.com/</span></a><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">contains the psychoanalytic monograph<br />
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<span style="background: #FFCC00;"><a href="http://analytic-comments.blogspot.com/" target="_blank"><span style="color: windowtext;">http://analytic-comments.blogspot.com/</span></a></span><a href="http://handke-discussion.blogspot.com/" target="_blank"><span style="color: windowtext;"> <br />
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The Morawian Night Essay + Handke trivia<o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handkelectures.freeservers.com/" target="_blank"><span style="color: windowtext;">http://www.handkelectures.freeservers.com</span></a> <br />
[the drama lecture]</span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.kultur.at/see/roloff.htm" target="_blank"></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span><br /></div>
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<span style="background: #FF6666; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.van.at/see/mike/index.htm" target="_blank"><span style="color: windowtext;">http://www.van.at/see/mike/index.htm</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><br style="mso-special-character: line-break;" /> <br style="mso-special-character: line-break;" /> <o:p></o:p></span></div>
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<span lang="DE" style="background: #FFCC00; font-family: "courier new"; font-size: 18.0pt; mso-ansi-language: DE; mso-bidi-font-weight: bold;">[dem handke auf die schliche/besuch auf dem moenchsberg, a book of mine about Handke]</span><span lang="DE" style="font-family: "courier new"; font-size: 18.0pt; mso-ansi-language: DE;"><o:p></o:p></span></div>
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<span style="background: #FF6666; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://begleitschreiben.twoday.net/topics/Peter+Handke/" target="_blank"><span lang="DE" style="color: windowtext; mso-ansi-language: DE;">http://begleitschreiben.twoday.net/topics/Peter+Handke/</span></a></span><span lang="DE" style="font-family: "courier new"; font-size: 18.0pt; mso-ansi-language: DE;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://handke-discussion.blogspot.com/" target="_blank"><span lang="DE" style="color: windowtext; mso-ansi-language: DE;">http://handke-discussion.blogspot.com/</span></a></span><span lang="DE" style="font-family: "courier new"; font-size: 18.0pt; mso-ansi-language: DE; mso-bidi-font-weight: bold;"><o:p></o:p></span></div>
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<span style="background: #FFCC00; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">[the American Scholar caused controversy about Handke, reviews, detailed of Coury/ Pilipp's THE WORKS OF PETER HANDKE, the psycho-biological monograph/ a note on Velica Hoca/ ]</span><span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"> <o:p></o:p></span></div>
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<span style="background: #00CCCC; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">with three photo albums, to wit:</span><span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><br />
<br />
<a href="http://picasaweb.google.com/mikerol" target="_blank"><span style="color: windowtext;">http://picasaweb.google.com/</span></a><a href="http://picasaweb.google.com/mikerol" target="_blank"><span style="color: windowtext;">mikerol</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE" target="_blank"><span style="color: windowtext;">http://picasaweb.google.com/mikerol/HANDKE3ONLINE#</span></a> </span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://picasaweb.google.com/mikerol/HANDKE2ONLINE" target="_blank"><span style="color: windowtext;">http://picasaweb.google.com/mikerol/HANDKE2ONLINE#</span></a><span style="background: #00CCCC;"> </span></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js" target="_blank"><span style="color: windowtext;">http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.handke.scriptmania.com/favorite_links_1.html" target="_blank"><span style="color: windowtext;">http://www.handke-trivia.blogspot.com</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><br />
<a href="http://www.artscritic.blogspot.com/" target="_blank"><span style="color: windowtext;">http://www.artscritic.blogspot.com</span></a><span style="background: red;"><br style="mso-special-character: line-break;" /> <br style="mso-special-character: line-break;" /> <o:p></o:p></span></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">[some handke material, too, the Milosevic controversy summarized]</span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">MICHAEL ROLOFF </span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">Member Seattle Psychoanalytic Institute and Society</span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">this LYNX will LEAP you to all my HANDKE project sites and BLOGS:</span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="background: #FFCC00; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;"><a href="http://www.roloff.freehosting.net/index.html" target="_blank"><span style="color: windowtext;">http://www.roloff.freehosting.net/index.html</span></a></span><span style="font-family: "courier new"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="background: red; font-family: "courier new"; font-size: 18.0pt; mso-bidi-font-weight: bold;">"MAY THE FOGGY DEW BEDIAMONDIZE YOUR HOOSPRINGS!" + MAY THE FIREPLUG OF FILIALITY REINSURE YOUR BUNGHOLE!"" </span><span lang="DE" style="background: red; font-family: "courier new"; font-size: 18.0pt; mso-ansi-language: DE; mso-bidi-font-weight: bold;">{J. Joyce}</span><span lang="DE" style="font-family: "courier new"; font-size: 18.0pt; mso-ansi-language: DE;"><o:p></o:p></span></div>
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</span></b></big></big></span></b></span></b></big></big></span></b></span></b></big></big></span></b></span></b></big></big></span></b></span></b></big></big></span></b></span></b></big></big></span></b></big></span></span></b><div align="center" class="MsoNormal" style="background: #CCCCCC; text-align: center;">
<span class="Apple-style-span" style="background-color: yellow;"></span><span class="Apple-style-span" style="background-color: yellow;"><span lang="DE" style="background: #009900; font-family: "courier new"; font-size: 18.0pt; mso-ansi-language: DE; mso-bidi-font-weight: bold;">"Sryde Lyde Myde Vorworde Vorhorde Vorborde" [von Alvensleben]<span class="Apple-style-span" style="font-family: "arial"; font-size: small; font-weight: normal;"><b><span style="font-family: "courier new" , monospace;"><span class="Apple-style-span" style="background-color: yellow;"><big><big><b><span style="font-family: "courier new";"><b><span style="font-family: "courier new" , monospace;"><big><big><b><span style="font-family: "courier new";"><b><span style="font-family: "courier new" , monospace;"><big><big><b><span style="font-family: "courier new";"><b><span style="font-family: "courier new" , monospace;"><big><big><b><span style="font-family: "courier new";"><b><span style="font-family: "courier new" , monospace;"><big><big><b><span style="font-family: "courier new";"><b><span style="font-family: "courier new" , monospace;"><big><big><b><span style="font-family: "courier new";"></span></b></big></big></span></b></span></b></big></big></span></b></span></b></big></big></span></b></span></b></big></big></span></b></span></b></big></big></span></b></span></b></big></big></span></span></b></span></span></span></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-47983202752508414712009-12-22T13:00:00.000-08:002012-11-01T11:29:56.888-07:00MORAWIAN NIGHT/ TOUGH LOVE FOR PETER HANDKE/ MORAWISCHE NACHT<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"></span></span><br />
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>TRUTH POETRY AND LIES</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></u></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Tough Love for Peter Handke</b></span></span></u><u><span style="color: windowtext; font-size: 14pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></u></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>A RAMBLE THROUGH THE 2008 </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>MORAWIAN NIGHTS</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></u></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>“nuggets upon nuggets</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>&</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>a few poison mushrooms”</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span style="background: fuchsia; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: fuchsia; mso-shading: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>PRIOR TO PUBLICATION OF THE AMERICAN EDITION</b></span></span></i><i><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span></i><i><span style="background: fuchsia; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: fuchsia;"><span style="font-family: 'Courier New', Courier, monospace;"><b>that is being translated by</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span style="background: fuchsia; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: fuchsia;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span></i><i><u><span style="color: windowtext; font-size: 14pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span></u></i><i><span style="background: fuchsia; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: fuchsia;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Krishna Winston...</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span style="background: fuchsia; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: fuchsia;"><span style="font-family: 'Courier New', Courier, monospace;"><b>most quotes, thus, are in German</b></span></span></i><i><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span style="color: windowtext; font-size: 14pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b><br />
</b></span> </span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Nearly 20 year ago at the completion of his masterly portrayal of his six major sides [and quirks] </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>My Year in No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [Niemandsbuch/t], Peter Handke already thought of himself as on the level of Goethe. Even at that point, looking back, such self-estimate, typical and apparently necessary grandiosity, seemed close to the mark, especially if you consider works such </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Villages [1982], Absence [1987]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, the plays </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Art of Asking 1990</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Hour that we Knew Nothing of Each Other </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [the summa of all his early plays] 1992, not to speak of earlier manifestations of extra-ordinary formal genius and strength of mental grasp and inherent artistic logic such as </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Public Insult [1965], Self-Accusation [1966], Short Letter Long Farewell [1971], Kaspar [1968] </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Ride Across Lake Constance [1969].</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> I ought to add the 1967 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Der Hausierer</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>. Even longer ago than the early 90s, Handke mused about being able to find a way to do something analogous to Goethe’s </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Elective Affinities</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>. With his 2008 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian Night</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> it appears, initially, it’s opening, and the overall narrative mode, that he achieved something along that ironic knowing, calm, Olympian irony. </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Herewith some instant quotes to give an idea of the otherwise convincingly not describable, at least not by me:</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>p. 37</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Auch wenn der ehemahlige Autor es nicht</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> deutlich zu verstehen gab: die Reise hatte</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> als Flucht begonnen; zuallererst, und auch </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>danach noch, da zwar weniger eindeutig,</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> war sie eine Fluchtbewegung.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>p.72. </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Wie erwartete er doch von ihnen, dass auch sie trauerten. Dass auch sie sich untröstlich gebärdeten, heillos durcheinander. Warum warfen sie sich nicht zu Boden....</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>p.120</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Geraume Zeit musste vergehen auf seiner</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> Rundreise, bis es ihn nicht mehr heimzog </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>zu dem Boot an der Morawa.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>p.190</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Und auch sein Mitgeher in der Steppe hätte</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> diese Fragen – auf die Juan Laguna ohnedies </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>keine Antwort erwarte – nicht beantworten können.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>267</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><br /></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>In der Erzählung von der Zeit miteinander – wo? </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>wo auch immer – kamen die beiden and das,wa sie </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>gesagt, getan oder gelassen hatten, überhaupt nicht mehr vor, ein weiterer Gegensatz zu der Kreisblende im Film, in welcher nur noch ein Paar auftritt...</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>352</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Hier wendete sich der Zwischenerzähler ab von dem Gastgeber der Morawischen Nacht, welcher an dem ericht über sich offenbar nicht satt hoeren konnte, zurück zu den anderen auf dem Boot und erzählte den Schluss der Maultrommelepisode an uns gerichtet weiter:..</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>259</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Und wo begann sie endlich, die Geschichte mit der Frau? Genug hinausgezögert! Und der hätte sie womöglich noch weiter hinausgezögert und wieder mal den Moment verpasst, wäre in jener Nacht auf der Morawa nicht unversehehens die Fremde aus der Schwingtür zur Bootsküche getreten und für ihn eingesprungen...</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></i></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Let me merely comment that what ought to be instantly noticeable is the degree to what for short I call „naturalistic“ reality is held at abeyance, at arm’s length, allowing the reader to create his own semblance thereof, not only is the author in what he calls “epic mode”, so is the reader’s imagination.</b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>However, I would venture that aside the overall narrative mode it is on the level of different kinds of </b></span><i><u><span style="font-family: 'Courier New', Courier, monospace;"><b>sheer writing</b></span></u></i><span style="font-family: 'Courier New', Courier, monospace;"><b> that </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> calls itself to our attention, for as a unified work of art it falls far short of many things along that line that Handke is capable of. </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> exists chiefly, I would say, to complete Handke’s huge self-portrait, it fills a number of important gaps in that Chuck Close-like, jigsaw puzzle of his innerworld outerworld enterprise, and the invariably – no matter whether we start with sheer interiority such of the 1967 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Der Hausierer</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> or begin here, towards the end of the extraordinary career, with </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> - brings us back to the center of that self-portraiture enterprise, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>As the once distraught cultural attaché Keuschnig of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Moment of True Feeling </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>[1974] becomes the </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>ex-</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>cultural attaché of the 1992 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay’s</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> chief protagonist by way of the 1976 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Left-Handed Woman,</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> Handke’s brief chaste phase of “having no more woman adventures” [frequenting porno houses instead], and as his Yugoslav adventures, his love of that land are foretellable from the Yugoslav sections in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, other features of Handke as they manifest themselves in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Slow Homecoming</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [1978], the Salzburg novels </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Across</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Afternoon of a Writer</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Absence</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Repetition </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>all connect to </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> more or less directly - </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Left-Handed Woman</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>very</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> directly [as mentioned in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s Bay]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> in the sense that Handke while he lived in Meudon, Paris, where the novella as well as the film of the novella is set in the little </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Gründerzeit </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>castle he lived in, espied the rabbit hole that showed the path to the discovery of the Chaville Forest where he would move after his daughter had completed high school in Salzburg. The 1994 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>One Dark Night I left my Silent House,</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> set in part in the Salzburg suburb Taxham, is announced in the 1992 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>If </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> is the center of Handke’s </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>novelistic</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> self-portrayal, the 1981-2 dramatic poem </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> is a condensation of his every aspect in </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>poetic</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> form. Handke’s extreme autistic self-referentiality serves him well in his phenomenological virtuoso enterprise, especially when he formulates in such a way as to be the </b></span><i><u><span style="font-family: 'Courier New', Courier, monospace;"><b>surrogate</b></span></u></i><span style="font-family: 'Courier New', Courier, monospace;"><b> for each reader experiencer, individually, so that we can find ourselves in the projection screens that he creates. Thus Handke does not really need to write an auto-biography, the obsessively competitive exhibitionist that he is has exhibited himself and his psyche thoroughly from the very beginning with his largely autobiographical use of self as material for his novelistic purposes and has found wonderful masks and personae, lenses for them. The only period of his that is not well covered is Berlin 1965-1970, the fertile period of the wonderful early work. We have a few comments about it in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Child’s Story</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [1981] - the noise of the clashes between the 60s demonstrators and the Berlin police got on the writer and “nothing but a writer’s” nerves, and via the suburban Kronenburg, then a side street in the Marais in Paris and then Meudon, as we ascended to an overview of Paris, he proceeded to live higher and higher up and live and walk and explore out of the way preferably not overly peopled places, such as his No-Man’s Bay, “as a writer and nothing but a writer”. </b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>In Berlin he composed nearly all the early wonderful plays and novels, he was living on the Uhland Strasse, I believe it was, in the apartment of the kind of German prince who likes to connect with the artistically talented, an apartment filled with stacks of newspapers, rather dank. I was perfectly happy to leave it at once and go to an outdoor restaurant on the Ku-Damm, thought nothing about such an immediate departure and – loving babies - having baby Amina shown to me. Based on that experience you wouldn’t conclude that here is a man who needs to show off and can’t bear being alone in a room with anyone but a beautiful woman, and even such a prize, for very long! And not even that for more than one night most of the time. That Handke was autistic I only found out when I read his telling Herbert Gamper in their book length conversation </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Ich Lebe doch nur von den Zwischenräumen [</b></span></u><i><span style="font-family: 'Courier New', Courier, monospace;"><b>But I live nearly exclusively of the Inbetween Spaces</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>], the degree to which the love child Peter Handke was subjected to violent primal scenes for about a decade as from age two and the intra-psychic consequences I failed to appreciate until I myself did a complete analysis and re-read his </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow Beyond Dreams, </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>sentence by carefully weighed sentence.</b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> presents itself as the account of a retired author’s last round-about in Europe, the half dozen places he visits. It is told in the first person plural, a none too royal “we”, mostly by a friend [now and then for variety’s sake one of the other guests does the reporting, and occasionally a guest chimes in with a comment or a Socratic question, and some of the time this friend in his narration let’s the ex-author do the talking narrating], a friend who thus voices what the ex-author’s half dozen guests hear from him at the one night of the ex-authors telling of his adventures during his last round-about in Europe, at the ex-authors boat, the “Moravian Night” that is tied up at the shore of the Morava River, a tributary of the Danube, it runs in a north-easterly direction, in south-eastern Serbia, near the town of Porodin [the same locale Handke visited in his debacular </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Journey to the Rivers Morawa, Justice for Serbia]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, near the border with Macedonia.</b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><a href="http://www.maplandia.com/macedonia/bitola/bistrica/porodin/"><span lang="EN-US"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.maplandia.com/macedonia/bitola/bistrica/porodin/</b></span></span></a></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The narrator friend [who might just be someone like Handke’s Serbian translator friend Zlatko, Zarko, Vladko or is it Darko who hails from nearby Porodin, where the sheep graze on the hills like little clouds and the little clouds that cry are sheep and the noodles are as yellow as egg yolk and the wine pours right out of the grape, and who transports the ex-author from and to Porodin by tractor] occasionally also speaks in the first person, as “I”, as he reports what the ex-author reports. That is, we have a filter and, dramatically, the classical unities of time and place and space are intact at the place of narration; which place, for my taste, is not quite enough present or explored as it easily might have been and no doubt would have been if Handke had gone whole hog with this book. Handke also employs some of his capabilities as a dramatist in arranging these speeches, although these speeches do not have a distinct </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>ductus</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> of their own as he is quite capable of providing, vide the different speech rhythms of the long speeches, the alternating discourse, in which the character in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>Villages are cast and communicate, exert themselves in the alternating discourse there. Otherwise, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> is a series of fragments tied together by the Ceram wrap of Handke the ultra pro writing great nuggetty nuggetty nuggetty transitions with no end of treasures of observations and formulations, it is worth reading just for the nuggets themselves.</b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The description of one of the small Kosovo Albanian children, who clobber the Serbian ex-pats’ bus with rocks, is observed as it responds to a wink from inside the bus:</b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>“Ein Zittern ist eines, das auf sein Inneres beschränkt bleibt und da aber um so gewaltiger umgeht, ein Tiefenbeben, bei dem eine Eruption unvermeidlich sein wird. Gleich wird sie geschehen. Und jetzt geschieht sie auch. Und diese Eruption, sie ist ein Zurückwinken, an dem so gar nichts Gewaltiges sichtbar wird. Fast unsichtbar winkt das fremde Kind, auch ganz und ganz unscheinbar, nein, das ist nicht das Wort, vielmehr? zage, ja, das ist das Wort. Es hebt an zum Winken, anders als die Frau im Bus, nicht den Arm. Es lässt diesen hängen, unten am Leib. Bis an die Knie hängt ihm der Arm, wie üblich bei einem Kind. Und das endliche Antwortwinken hat den Anschein eines blossen Fingerzuckens, eines kurzen, einmaligen, eines blossen Reflexes wie bei dem Test Hammer-aufs-Knie, Knie, das dann leicht wegschnellt.“ </b></span></span></i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>We expect a kind of summing up, a self-account in a final roundup, the last dogies are brought home in the autumn of one’s career; and since this is Handke and since Handke invariably used himself as the subject for his writing, his states of mind, his immense ability to experience as he reports it so phenomenologically, which is also always about writing, little but a variety of versions of autobiography [his own elaborated forever autistic position enforces this recourse to self] has been shown to us over and over the years, with the proviso that Handke’s great self also contains us via the allegorical procedure of his being our surrogate: for example, KASPAR, as which I noticed to some surprise my autistic author behave like in his early days. </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Todos idiotes, veridad. </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>Or the terrified consciousness that yet conquers fear of our “I am the new Kafka” author [as he announced his identity to German media on top of the Empire State Building in Spring 1966] of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Der Hausierer</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, the virtuoso conqueror of fear who eventually becomes the “anti-Kafka.”</b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>In </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> he, or rather, a </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>personae</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, a mask is once again his own subject, the person in the Handke skin, the one that he knows best, but not much of a surrogate this time around, the one who also likes to use his imagination to feel less trapped in this skin, who finds it extremely difficult to write Thucydidean historical accounts, chronicles even though he does a good job of that, too, in the likes of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow Beyond Dreams [1971, A Child’s Story [1981]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Lesson of Saint Victoire [1980]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> as well as in his latest prose effort, the account of his time spent with the cuckoos – dying out due to Global Warming being unable to find nests to be like Peter Handke they flock to the pleasantly cold heights in the Kosovo Serbian enclave </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Velica Hoca</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [2009], and in his own takes on his many other various trips through Yugoslavia. Handke breathes in his own epic way, can be exceedingly playful and as novelist of course has the license to fictionalize if that proves better at conveying the truths he wants us to see and feel, and to play, and to create a verbal world, re-magick the world as counterpart to our experiences of the everyday; but, here in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, when matters on occasion becomes strictly and direly autobiographical, when some smudges on the self-image need to be rubbed out, lies to ill effect and unconvincingly, the Handke, who prides himself on being such an alacritous liar! “Haustock”, “debil,” mama’s boy,” “cold as a cadaver,” “hanging judge” and what not as he also calls himself or has other’s calling him, here! – Although all this name calling, cussing, at formalizing of which Handke has been expert as of the salvoes at the end of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Public Insult</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, is really </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>extrinsic </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>to the book </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, since nowhere in it does the protagonist ex-author behave in any fashion to deserve the names he calls himself or has other call him: this name calling is a product of Handke’s self-consciousness about his personal reputation in the German language media [who are delighted that the controversial chap is now saying things about himself that they “Tollpatchig” [Reichs-Ranicki] have been saying for nearly fifty years, not that they remember that he’s done the same thing and far better in his 1981/2 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Village.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> But anyhow, it looks like the chap is getting off his high horse and joining the foot soldiers. - The various collections about Handke’s work published by his chief publisher, Suhrkamp, don’t contain a single critical piece about Handke – because he himself vets them. What’s weird is that the four volumes of diary entries that he has published, although, progressively more carefully selected, contain no end of matters that show our man in a most unattractive light; unawareness I suppose; or in the instance of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Weight of the World</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> subsequent to its first publication, then has matters redacted that reflect badly on the author. In the kind of self-portrait that his work in its entirety represents, too, the transfigurer prefers to transfigure himself a bit, the ordinary person who “scratches himself at all the same places” and be cleaned up. </b></span></span><u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> is another move in that direction, it fills out half a dozen or so empty spots in that kind of canvas. </b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian Nights</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> has a great concept, one of the most wonderful “fictions” - the kind that made some people fear [and some wish] that our man would never write another epic: during</b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> his final roundabout the ex-author [no mention incidentally what he might do now that he’s broken his pencils in half and tossed them overboard, is he just going to watch the pony tailed otters swim up and down the Morava?], 90 % of the time Peter Handke of the there and then, wanders through Europe, visiting places as far flung as the island of Cordula [where he wrote his first book, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Hornets</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, 1964], the Kosovo [a trip with Serbian expatriates who have come to pay their respects at a cemetery site where their brethren were killed, although it could be a trip with mourners anywhere], to Handke’s actual father’s region in Germany, the Hartz Mountain, central Germany, Thuringia, to several places in Spain, Numancia and Galicia [Handke’s surrogate Yugoslavia where has spent much time and located three previous books and part of a fourth], and then to Austria: the Danube plain near Vienna, much beloved of him, and the region and places of his origins in Carinthia, a lot of it by bus but most of it wandering on foot. </b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>As </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Elective Affinities</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><a href="http://www.archive.org/details/electiveaffiniti00goetuoft"><span lang="EN-US"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.archive.org/details/electiveaffiniti00goetuoft</b></span></span></a></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><a href="http://www.scribd.com/doc/2909355/Walter-Benjamin-Goethes-Elective-Affinities"><span lang="EN-US"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.scribd.com/doc/2909355/Walter-Benjamin-Goethes-Elective-Affinities</b></span></span></a></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>it may take just as long for the proper response [there is a Handke industry well underway and some fine responders among them] – especially to what Handke has accomplished over-all in the many matters of sheer writing - preferably by a Benjamin channeled through Adorno as Benjamin then was [not that hagiographers have caught on], and a Benjamin intertwined with a second coming of Wittgenstein who understood music the way Adorno did. I give it my best and fairest half-learned try and a final of these comments awaits the time that I read the translation that I expect will be as first rate as Krishna Winston’s Handke translations have been all along [one lucky s.o.b. in that respect he is], although this text will challenge her to the utmost, yet Handke makes it easier, his texts indeed “lift his translators by their elbow.” </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke and I are kindred in a number of ways, his playfulness, his musicality, in taking “nature as our measure,” though he so far lacks a kind of ultimate sense of humor, and his ultra-sensitivity, his narcissism, his threshold is a bit too thin, he also lacks, severely, any self-understanding, the author or </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Art of Asking</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> does, who refuses rational answers, and perhaps I thrive too much on them. However, as compared to me, he had a truly productive childhood trauma, my wounded love-child did, he had the right kinds of trauma, and his autism serves him well too, as does his exhibitionism, and his orientation towards film to make him the right </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>great</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> author for our time; whereas my trauma are of a debilitating nature but have been brought under control through answers, forgiveness and understanding, and my grandfather’s ability to laugh even after four concentrations camps. As to difference in talent, I mention it only to note that translating Handke and a few other German authors has elicited what few sparks of genius can be found pro domo. Trauma theory is in pretty good shape but that it fails to distinguish in this distinction between productive and debilitating, which accounts for what Freud called </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>furor sanandi</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, the compulsive need to heal, which healing - in Handke’s case - has been performed since adolescence by writing [there’s a great section towards the end of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> that recounts the holy terror that young Handke was already then who drove his family batty terrorizing it with his writing, the theme also appears telegraphically in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk about the Villages;</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Weight of the World</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [1975] contains the notation of his 6 year old daughter Amina saying “Daddy you’re already writing again!”], heal by means of the word, not just any word but with the romantic’s attempt to turn the word to music, and the word world into an alternative space, and that the only way he stays calm, not be terrified is to write. It's a question of finding the proper algorithm[s] to unlock the equation, of being a better astrologer. [I am going to give that aspect – in a focused as compared to generalizing manner, a try too, in about a year]</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>I have a handful, exactly a handful, of serious grievances with Handke, one is that he’s let is vanity get the better of him, another way of putting that would be to say that he is too power-hungry, yet another that he lacks the capacity for infinite jest that his so serious endeavor requires, that he is not infinitely playful, and, thirdly – I leave out two personal matters also because I have already addressed them – that he writes so well that in the past twenty years his standard has sort of disabled me from all sorts of things I would have read less critically without being, I don’t know how to put it, Handkefied! Handke has accomplished some amazing things, a couple of his plays, experiencing performances of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Ride Across Lake Constance</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Hour that We Knew of Each Other</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> cleans, as we say in Amurrican, cleans out our clocks, utterly refresh us, make us see the world anew. Edmond Caldwell, pointing to the prose, called it the Handke effect with an illustration of a passage from </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>One Dark Nite I Left My Silent House. </b></span><a href="http://thechagallposition.blogspot.com/"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://thechagallposition.blogspot.com/</b></span></a></u><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The single half-sensate review that </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>received in the U.S. of A., from a Canadian novelist, in the Washington Post, also noted that Handke makes us see the word anew. Easier said than done indeed!</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>To put this into more accustomed literary terms: Handke accomplishes, completes the task Brecht set himself, to produce anti-Aristotelian drama, strange and new, and in those instances he is utterly playful. “Play on” as it says at the end of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, his richest work; that is, we have Mr. Handke’s permission! </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke creates EXPERIENCES – on the stage in that hiss plays bear affinity to happenings, sleight of hand juggling acts, of necessity also of our culture so dominated by visual media, his earlier play more obviously than the later ones that accommodate themselves somewhat to usual but also employ more ancient stage practices, and so do his books whose initial reception ought to be a phenomenological description of the reader’s experience. E.g. doesn’t the very syntax of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Repetition</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> slow down your breathing, make you a “king of slowness”? Isn’t reading </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Absence</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> also like experiencing a film? And therefore disconcerting? In the instance of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> I can only report a series of different experiences, some marvelous, some not, but not an overall. I am swept away, differently in several instances by what, for short hand’s sake, I call “sheer writing,” or “splicing” as it might be called that you can see occur within, from one sentence to the next sentence in paragraph after paragraph. Here a quote that also shows Handke to be a great realist as he could be without trying for fable like telling, the death of the bumble bees. </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span lang="DE" style="background: yellow; color: windowtext; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>p.</b></span></span><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>334 </b></span></span></i><span lang="DE" style="background: yellow; color: windowtext; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Dann freilich, wenn die Spätwinterkälte gegend Abend zurückkehrt, verstummt das Gedröhn und die Sonorietät, oder es wird statt dessen da und dort, noch tiefer im Gras, ein jähes, auch jäh wider abbrechendes Sirren hörbar, ein Winseln, wie von, 1, Gefangenen, und einem Blick hinab liegen da auf Schritt und Tritt, wie, siehst du, seht ihr, jetzt auf dem Treidelpfad oben auf dem Stromdeich, Hummeln auf dem Rücken, die Beinchen noch zittern und strampelnd, oder schon verschränkt und reglos, und die zwei Flügelpaare an den Leib gezogen, gerade, dass vielleicht noch eins der durchsichtigen Flügelchen ein wenig absteht, wie verschrumpelt die vor einer Stunde so lebensvoll geplusterten Tiere, ein paar, so auf dem Rücken oder, häufiger, auf der Seite, gekantet, ein letztes Notsignal aussstossend, die meisten aber schon tot, hummeltot, was womöglich noch sinnfälliger „tot“ ist als mausetot, anschaulicher, and den geknickten Beinen, den starr ins Leere gestrecktem Fühlern, dem mitten im Saugen abgebrochenen Rüssel und vor allem dem wie Pelzbesetzten Hummerlhinterteil, der wie was wärmen sollte?</b></span></span></i><span lang="DE" style="background: yellow; color: windowtext; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke is a big weaver in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> he writes, twists a rope so long he nearly falls off, on a minute level he splices the way the your nerve ends, or certain telephone wires are tiny, fibrous, have a variety of connections, fuzzy too, and what he does in this respect in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> goes well beyond some things he has already done in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>; and then tops it off with a handful of absolutely extraordinary passages where he yet extends his refound classical mode beyond anything I dreamed of, and I am familiar with quite a few amazing things that Austrian litterateurs are capable of; but as to the various matters that Handke takes up, it’s a grab bag of all kinds of things; some matters elicit </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>excursi</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> on my part. </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> at the very least is Peter Handke's 65th book, and 20</b></span><sup><span style="font-family: 'Courier New', Courier, monospace;"><b>th</b></span></sup><span style="font-family: 'Courier New', Courier, monospace;"><b> “fiction” and was written during his 65th year extra-uterine [and who know what he might have to report from his mother’s bobirygima – bowel grumblings - intra-uterine, he most certainly was turned, anaclytically into a depressive as his mother’s depression suffused him] and, as compared to other recent and even more ambitious work such as the 2002 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [or the somewhat minor 2007 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Kali]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, received a by and large favorable reception in the German speaking</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></i></span><span class="apple-style-span"><i><span lang="DE" style="color: windowtext; font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><a href="http://dict.tu-chemnitz.de/deutsch-englisch/Feuilleton.html"><span lang="EN-US" style="color: windowtext; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Feuilleton</b></span></span></a></span></i></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> much of which I perused during my now second, and sometimes third, perusal of certain passages, reading of the Handke text, and which reviews I have put on the page devoted to </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> at: </b></span></span><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><a href="http://www.handkeprose2.scriptmania.com/catalog_1.html"><span lang="EN-US"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.handkeprose2.scriptmania.com/catalog_1.html</b></span></span></a></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The German press first of all welcomed what they read as Handke’s abandoning his dream of a federate Yugoslavia – indeed, the ex-author, at times expresses utter disgust with anything “Balkan” and longs for the noise and light and life of West European cities. The great majority welcome the strayed “central European” author home, they all do but a certain Rutchky, one of whose nostrils smells that maybe this change of heart may be a put on, and I award Rutchky the equivalent of a bull’s tail for having such a finely honed schnoz, a handful of rats tails. For if you read the tour de force of some Serbian ex-pats bus trip to their former village’s cemetery [by which point we abandon the great “Elective Affinity” B-minor mode of the opening, and with a vengeance, and the Serbian bus driver’s “Apache Apache Apache” cursing of their fate and the hatred that now rules Kosovo, a tour de force that follows the symphonically developed tour de force opening, if you consider Handke’s continued trips to the Kosovo and his more recent 2009 book on the subject, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Cuckoos of Velica Hoca,</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and that he recently received the Cross of the Order of St. Lazarus that commemorates the lost 14th century battle on the “Field of Blackbirds” [but hadn’t the time to receive it in person! Really?] or Handke and Peymann’s competitive media event trip to the same enclave to give the money from the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Berlin </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>Heine Preis [that replaced the Düsseldorf debacle that itself was elicited by Handke’s visit to the Milosevic funeral and his self-exhibition there in front of the blow up of Milosevic photo], near concurrent with the writing of the book in 2007, and Handke’s endorsement of the Serbian nationalist candidate during the 2008 election, and of his telling a Croatian TV news magazine that Dubrovnik could not possibly have been shelled, and his spending, in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian,</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> imaginary time in one of his beloved </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Dolinen, </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>limestone sinkholes,</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>in the company of two other holdouts against history, one of them Ramsey Clark [whom he must have met or observed while hanging around – but not though legally trained - actually watching the De Hague Tribunal/ </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Rund ums Tribunal</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, 2000], and in fact 3/4ters of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> set in the Balkans or Handke’s surrogate Yugoslavia, Spain, you might indeed give the Rutchky at least one rat tail for having at least half of a functioning nostril. And Handke certainly has a case when he kept pointing out that the Serbians, starting with the half million displaced out of Croatia, got a shaft, and have been victims as much as all the other tribes as of day one of the economic warfare and its consequences that destabilized the entire region, and what with everyone being allowed to be a hideous pathetic nationalist beast, why not they too?!</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Most reviewer’s note the book’s irony, they are disconcerted I suspect by the book’s shift in tone and approach, from passion, to ironic presentations, simple doodles that the ultra successful writer puts in at times. Most note the extraordinary writing, some object to it, others try to puzzle it out.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke himself has been making nice for the past several years, no doubt under advice from his interested publishers, he departed his individual way of seeing the disintegration in his own poetic, metaphoric way of putting matters [e.g. “I don’t want to be a Serbian” he has a surrogate exclaim over and over again in “Summer Sequel” </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sommerlicher Nachtrag</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, and I invariably add: but who asked you to be, fella!] and acknowledged, seemingly a good little medianized Kaspar now, “Yes, Srebrenica is the worst crime committed on European soil since WW II.” Everyone was satisfied with that except one French journalist who said that Handke was still equivocating when he pointed out some Bosnian atrocities whereas the Serbians crimes had been that much greater. Body count, body count! Among the humanity hysterics! And no pleasing the frogs I guess… who have criminalized the denial… of the Turkish genocide committed on the Armenians! Oh please, let’s go even further afield – how about prohibiting some French mass denials? That of course was one of the chief matters that were held against Handke: that he denied Serbian atrocities! All of which prohibition of denial – oh if only prohibitions of that kind, blanking out were truly exercised whole-sale and in the United States – plays on the background of the denial of the Shoah, in Germany more so than elsewhere. Not that Handke lacks the tendency to deny, even his second wife noticed and he reports her noticing in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Justice for Serbia</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, who after all thinks of his mother as a whore even if she is unless it’s a turn on! He is even more than usually human in that respect, the transfigurer is, who started putting covers over his eyes during early childhood horrors, and is more capable than most in the ability to dissociate. No, Handke put matters his own individual way, and expressed his distraught in his own manner. He threw a very major tantrum, wounded as he was, needing understanding instead of cudgels, and of course it would have been preferable if he had also been a political economist philosopher sociologist and had demonstrated his truths in that fashion, that might have quieted some of the humanity hyenas, who knows. For a long time he refused to play Kaspar to the chorus of Kaspars who had decided to make the Big Bad Wolf from Progarevic the devil, the voodoo doll of the day, and thus obviate the effort that might be entailed in getting a more complex picture of how and why the federated Yugoslavia disintegrated the way it did, why so many nasty ghosts came out of every closet. Modern as we may think of ourselves, the archaic is only always just one step away. Only humans are beastly, no beast ever is unless it has the rabies. The dialectic of enlightenment has come true with a vengeance… But why is it that Frog hypocrisy gets to me in a special way I ask meself. Nearly as much as when the papers and New York and Washington at that time kept writing about “corruption in Belgrade.”</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Read the stuff published on Yugoslavia especially in the New York Times Magazine during those days! Roger Cohen! Susan Sontag!</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The reviewers also welcomed how tough Handke was on himself, oh how we love a self-flagellating author, his own Dostoyevsky, reviewers always like that especially in the case of famous and famously refractory authors. Hey, he’s admitting that he’s been a bastard to women! Hey look at the names the great cusser is using to cuss himself. Don’t believe it, he has done the name calling, the self-evisceration, if only they would read or remember what they read they would see that he’s done the same thing and better and more thoroughly and complexly in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk about the Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>. Also told his family story both in its venal and transfigured version. When Handke admits that he beat one woman, he fails to mention the others he has beaten, and tries to weasel out of the one instance he admits to with the excuse that the woman in question was not leaving him alone any moment of the day; self-understanding certainly and ever so unfortunately and sometimes infuriatingly is not one of the features of this or any of his largely autobiographical books, which however can function as mediums for the involved reader. The bastard child that the bastard child Handke apparently fathered if I can believe what I read in his account in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> of what transpired while he wrote his first book on the island of Krk/ Cordula back in 1964, and now the mother, a crone beggar, accosts him, a fury; and there is no inquiry even what happened to the child that she “carried under her heart”??? Handke appears to have inherited, acquired, in his relationship to women the worst features both of his real and his fairly monstrous stepfather. In </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> Handke claims not to have known his real father… whereas in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow Beyond</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> Dreams we read him taking his graduation trip with Herr Schoenherr who worried that innkeepers might think of them as a gay couple, of course there is knowing and then there is knowing, Handke most certainly knew his stepfather who entered the love-child’s life as of age two in Berlin, in 1944; and who is not mentioned towards the end of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> when Handke meets up with his transfigured half-brother back in Griffen. Matters of that kind remind me that even though Handke made it a big point to show up at Milosevic’s funeral and visited him in jail, he refused to be a witness for the defense, that at that point he took a powder, that the “sly and cunning” as he thinks of himself blinked, copped out, even though evidently he had known the family quite well in olden days, for why otherwise the funeral invitation [and I happen to agree with Handke that Milosevic, certainly no angel, but not the devil of the day that he became, got the shaft at the trial in De Hague and as one could read of his dying in prison I made a side bet with myself that the great compleat exhibitionist would show at the funeral], but taking the witness stand I think would have been a little too much of the good of self-exposure and life-long exhibitionism that Handke otherwise delights in… and that is one of the great forces that drive his work. Gotta take the good with the bad! However, the self-portrait has to be that of a Count. A kind of self-enoblement has been going on since nearly the beginning of the enterprise, and we have one great section to that effect here where the nobleman meets his co-equal noble woman, and it is done in exemplary fashion, I don’t see Goethe doing a better job of it, and it is not too Hoelderlineque either. Handke is the ultimate upwardly mobile, our paths crossed as I was working my way down to the demos. We are in the realm of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Tristan and Iseult</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, a bit of a heavy potato pancake, but I think we bring it off, the woman turns out to be a Guinevere, fortunately. </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span lang="DE"><span style="font-family: 'Courier New', Courier, monospace;"><b>„Ein anderes Maß trat in Kraft in dem Moment, da sie Augen für einander bekamen, gleichzeitig. Und nit dieser Gleichzeitigkeit wurde ihnen beiden der Auftakt gegeben für die Folgezeit. Es war von diesem Maß kein entkommen, und sie wollten das auch nicht, obwohl er, der Mann, anfangs noch seine eingefleischen Ausweichreflexe zeigte, etwa in dem er, von der Frau erblickt, versucht war, hinter sich zu schauen, als sie jemand anderer gemeint, oder wegzuschauen, als sei nichts, worauf das Maß wieder außer Kraft getreten wäre.“ </b></span></span><span style="background: yellow; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Just about everyone is trying to make nice: after all, Handke is one of the few German language claims to Olympian literary culture, and Handke is trying to make nice, even compliments the German reviewers on how they have treated him over the years [give me a break, fella! not that long ago you called them “a rabble” and overall right you were, since fairness is something that he didn’t seem to have imbibed with his mother’s milk, and a few inhibitions or maybe screws are missing] while continuing to curse [and rightly] the vast majority of their US counterparts [see </b></span></span><span style="background: #FFCC66; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><a href="http://handke-trivia.blogspot.com/2009/01/brief-account-of-us-handke-reception.html"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://handke-trivia.blogspot.com/2009/01/brief-account-of-us-handke-reception.html</b></span></a><span style="font-family: 'Courier New', Courier, monospace;"><b> for a piece on the U.S. reception and it will convince you, unless you already are, that we live in very dark ages indeed, and to perhaps always have.]</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>and the German reviewers are being nice, no one reads too closely, or perhaps people no longer really read at the moment an author comes along who brings literary culture to one final high point, before it entirely collapses, where the </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>experience of reading</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and what happens during it is made part of the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>instrumentorium</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, the introduction of a filmic element for example, induction of states of mind, not even fans like the estimable Lothar Struck [or especially the fans because they want to continue to cherish the beast, whose only worth really lies in his works, so what if he is the frog king!]; besides, he’s a truly great writer, also and particularly on the level of sheer writing, and is yet in an even higher premiere league with the sheer versatility of an re-invented classical syntax; and he might yet win the Nobel prize, and certainly should, if only for that prize’s sake, despite the ruckus a few years back, and we don’t have anything like him, and we try to give him every prize we have to ennoble our shitty prizes by giving them to him.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>One reviewer states that he could easily read a 1000 pages of this prose, and there I entirely agree, and we might have if Handke had in fact gone whole hog as he has in two prior </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>real</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> monstrums [of the kind he once said he would never write!], the 1993 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and the 2002 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, and not copped out on truthfulness, when it really counts, and had covered each and every of the main sites of the “ex-authors” life as a writer, and addressed how and why his writing changed and grew [sparing me an essay on that subject - not that the well read Handke reader cannot reconstruct some of that for her or himself by perusing </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>L’histoire de Crayon </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>as </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Geschichte des Bleistift</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> is called in French, and the other notebook volumes] the now supposed “ex-author” not just visit a select few of the places that he had not yet covered elsewhere; perhaps done a kind of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Truth and Poetry</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> of the stages of his development; that is, not leave out major way stations Berlin and Salzburg and his two long stays in and outside Paris during this supposedly his last roundabout. Berlin is the only real lacuna, after all it was the period during which he produced work that connected directly with his generation and that still connects better than anything he has done since. </b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke can be cute and he has mentioned that he is the kind of writer who always keeps something in reserve, that he does not shoot his whole wad, though he seemed to have with </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, thus seems to regenerate, each book usually contains an announcement of what’s next; besides: a formal problem, a musical idea – e.g. his </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Don Juan</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [the next book to come out in English] - can make him hot all by itself, our lay-abroad – who has the mad notion in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> that all this womanizing come from the urge to save them! - hopping about from woman to woman, one reason aside the formal problem it posed, and to show how many women he had laid, was in competition with Erich Wolfgang Skwara, the author of the wonderful Don Juan novel, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Plague of Siena</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> who appears in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> as “Don Juan came by and with the same woman” – another misogynist whose approach is “Oh if only someone will love me once in my life” [so you see, I can be just as ‘in’ and self-referential, however my escutcheon reads that one of my tasks is to protect the hussies, who it the turns out are not made of porcelain and don’t want paternalistic protecting by a cavalier!] so until Handke runs out of ideas of that kind… </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Truth and Poetry</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>… at least </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>we</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> are dreaming of it and he is making notes…</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Here, within </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian’s</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> by no means overly complex narrative to and fro between the various sections and the night on the house boat, Handke yet finds time and space for some of his now customary </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>recits</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, the one on “noise” being especially spectacular and spectacularly virtuoso-like – if Handke were merely a juggler of Oranges you would be dizzied at the sleight of hands the cunning one commands with words. </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>p.167</b></span></span></i><span lang="DE" style="background: yellow; color: windowtext; font-size: 12.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>“Nicht bloss zeitweise lärmkrank waren sie, die von der Tafelrunde, sondern beständig; endgültig. Und wie äusserte sich des weiteren ihre Krankheit? Einer zum Beispiel empfand schon die zarteste Musik als boeswillen Lärm und hielt sich bei den ersten Mozart und Schubert Takten die Ohren zu, was er damit erklärte, dass gerade diese Toene vor noch nicht gar langem Teil einer Angriffsstategie gegen sein Stammland gewesen seien: alle die innigen Sonaten und Lieder seien eingesetz worden nicht etwa für den Nachklang der Stille – wa mehr vermoege Musik zu bewirken? – sondern um...“</b></span></span></i><span lang="DE" style="background: yellow; color: windowtext; font-size: 12.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>I put parentheses around fiction a while back because, after all, Handke solely projects his huge self – in a variety of changing “personae,” aspects of himself – Josef Bloch, German Writer, Keuschnig, Left-Handed Woman, Sorger, Loser, Writer’s Afternoon, Keuschnig [now </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>“ex</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>-cultural attaché”] again, Pharmacist of Taxham, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>ex-</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>Bankieress in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> - when he doesn’t write directly as an “I” as he does in the </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Three Essays</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> on Tiredness, The Jukebox, and the Day that Went Well, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Don Juan</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, and now “</b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>ex-</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>author - so that we can find ourselves there, his states of mind, or rather 9/10th of it - its protean anxiety, conquest of fear, ultra-hyper-sensitivity, acute observations [microscopically enlarged as by falcon eyes –“the day of the falcon” indeed, every day] of all his senses to the world and the world of language in the near unending and ever more supernal procedure of his ever-growing ability to demonstrate the world of the </b></span><i><u><span style="font-family: 'Courier New', Courier, monospace;"><b>innerwor[l]d</b></span></u></i><span style="font-family: 'Courier New', Courier, monospace;"><b> of the </b></span><i><u><span style="font-family: 'Courier New', Courier, monospace;"><b>outerwor[l]d</b></span></u></i><span style="font-family: 'Courier New', Courier, monospace;"><b> of the innerworld procedures, equivalences… and how all this is to be linguistically never entirely communicated in his life-long letter in the bottle, an endeavor that now seeks to turn, to narrate the world into artful fairy tales, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>projection screens</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> in which we can find ourselves, he the surrogate in creating it, the hero artist! And now as someone who has re-acquired the art of narrative and invented a stride piano style of writing in the classical manner, whole new sets of them, yes how easy but not too easy, how natural his narrative becomes towards the end in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, loose but not too loose, it might set a kind of standard that is not too high, too formal or too noble that would do the language some real good if it tried to match it, for this is within a lot of writers and reporters reach. How to hoe the line of that narrative, that fable telling!</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Weiter zu Fuss ging er, flussab und stromab, suedostwärts querfeldein, querwaldein, über Stock und Stein, durch die pannonische Tiefebene, über den einen in ihr augebuckelten, zweitagesweg-langen Hügelrücken namens Fruska Gora und von dort hinab im Zickzack zwischen Klöstern des Südhangs und auf die Weisse Stadt zu, oder eher af den zentralbalkanischen Busbahnhof im Zwickel der Savemündung in die Donau, von wo die Busse in jede gewünschte Richung fuhren, immer noch, und so auch heim in die Enklave von Porodin, an die Morawa.</b></span></span></i><span lang="DE" style="background: yellow; color: windowtext; font-size: 12.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>In a book length conversation with Herbert Gamper in the late 80s “</b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Ich lebe doch nur von den Zwischenräumen</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>” {I live exclusively from the Thresholds}, Handke mentioned that his work could be understood in auto-biographical terms [aufrollen], and there, that is where the difficulty sets in: in some instances, such as the murderous impulses towards women, as expressed, acted out in writing, in GOALIE [1969] this turns out to be more than just a pure act of the imagination – if there is even such a thing, every impulse is realizable, is you in potenzia at the very least - as we find out later when Handke has nearly killed a girl friend and beaten many other women [authentic as hell in other words], or if we read the 1967 HAUSIERER and participate in a consciousness witnessing, a formalized, horrified, bloody terrifying events, we delve into the traumas of his childhood during which he suffered a decade long exposure to violent primal scenes. Blood and savagery indeed. But here distanced! Wrapped up in a literary shawl. In the case, say, of the 1968 play </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Quodlibet</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [As You Like It], it demonstrates Handke’s highly developed conscience and the wish that, as of old, the audience now king, find itself, its image of itself, in the verbal Rorschach test that the auditory hallucinatory text – the great people of this world’s mouthings - presents to it; and himself, meanwhile, walking about on the world stage, uttering the occasional oracular pronouncement… The effect on the audience as it undergoes his </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Public Insult</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [as I now call </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Publikums-Beschimpfung/ Offending the Audience</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>] is to make it as self-conscious as Handke himself can be about language, that weird material that the babbling stream that comes out of a babies mouth is then turned into, that then shapes the interiority, the soul, is self-conscious in so very many ways entirely about his traumatized self – induced a state of mind via a regulated onslaught of syntactified language of a particular kind, it turns the tables, and has a joke of insults tacked on at the end… So if you want to find a connection to that imaginary, the autobiographical - that you presume will yield something more than prurient and trivial insight into the work that you have read - you need to find a fitting, fairly precise algorithm, equations and do so over and over in each instance… not that such micro-measurement is not made much much easier because Handke is such a self-referential [as this book, too, is in so many ways and minute “in” instances] exhibitionist… yet becomes progressively more difficult in the plays. A fair purchase on what is known as “projective identification”, however, will get you pretty far, see </b></span></span><span class="apple-style-span"><span lang="DE" style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: magenta; background-image: initial; background-position: initial initial; background-repeat: initial; font-size: 14pt;"><a href="http://soldzresearch.com/PsychoanalyticResourcesOnline.htm" target="_blank"><span lang="EN-US" style="color: black;"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://soldzresearch.com/PsychoanalyticResourcesOnline.htm</b></span></span></a></span></span><span class="apple-style-span"><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>It is a long story, a long long story of seven seven year phases… and the reason that Handke writes near constantly - be it novels, and unfictionalized, by and large truthful accounts that nonetheless scotomize, [</b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow Beyond Dreams</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>A Child’s Story, Justice for Serbia</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> are in English, so are the </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Three Essays</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Lesson of St. Victoire</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>], plays [another 20], translates [yes, another twenty just about, from the ancient Greek, Euripides, Aeschylus, Elizabethan, Shakespeare, French, Genet, Modiani, American, Walker Percy, Slovenian, Lipus - surprisingly nothing so far from Latin or Spanish] if not writing his own one or two thousand words a day [I recently read that he writes at nite, a wife’s delight I recall, perhaps because as he notes in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Tiredness</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> that he suffers from insomnia, one of the sequaelae of his childhood trauma, and there I had thought of him as a Goethe and a morning mouth marbling golden words], he is taking notes as he walks the earth – this need to clutch or flash his pencil has for a reason not only the wish and vigor and talent to be one of the greatest writers who ever lived, hey he just might be on the level of pure writing, he certainly is in the historical premier league, but is the case, is simply so, because he is, as it were condemned </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>and</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> obsessed to write, and the only time he is really well, as different as night and day, the writer with his pencil, also as a letter writer, and the writer without it, ready to run amok, and not just to scribble or type [his plays, with dialogue of his non-naturalistic kind, are apparently typed]: this is the chief way, as he has said, he can stay calm – a case of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>libidinaly</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> productive anxiety if ever there was, an inversion of Freud’s formula for hysteria, the nausea-prone, “nausea of the eyeballs”, hyper-sensitive author ordering, verbalizing, projecting the world in his fantasy into something aesthetically more pleasing, always writing along, writing along as you can note in the above quotes, that kind of naturalism is what occurs here, with his sense experiences, always apparently seeing himself on camera, addressing the world, the world being turned into words; as he said in a recent interview: “I am a different person when I write epically as compared to when I am not writing.” Very true, then his heart, his imagination is not as constricted. Yet even he is unable to modulate, transfigure the world’s current ruinous, excruciating noise: </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> contains a tour de force on these unsublimatable, never to be made sublime, unmodulatible screeches, that can drive you mad and make you run amok: the torture weapons of the CIA. All over the industrialized world. Thus Handke always carries a pencil [the ex-author has of course broken them in half and tossed them in the Morava and the mere rustling of paper makes him ill [as the smell of a cigarette makes the converted ex-smoker], to pin his fluttering moth thoughts in his notebooks, then making selections therefrom, wonderful documentations of the apercu’s of his mind, four fat volumes, progressively more selectively edited, have been published so far; only one, the first, in English, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Weight of the World</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [there is far more Handke in Spanish, French, Portuguese and Italian and I expect in Serbo-Croat.] A few years back Handke sold several valises filled with notebooks for hundred of thousands of Euros to two major collectors of great writers' leavings and so can continue to stay at the world’s best hotels [e.g. the </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Drake</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> in Chicago] as he dreamed he would become a 19</b></span><sup><span style="font-family: 'Courier New', Courier, monospace;"><b>th</b></span></sup><span style="font-family: 'Courier New', Courier, monospace;"><b> century author with a large body of work when he was raised in a hovel in the hamlet of Griffen, Carinthia: it really is a kind of log cabin story that would give Freud pause in thinking that Shakespeare could not possibly be the child of commoners; well, give the commoner an extra loving mother, a priest, a few good schools and the ambition and the talent, and voila!; which pride in living according to his own high estimate was threatened when booksellers [not only they of course, the murderous covey includes the likes of Michael Naumann future minister of culture to be in the early 90s, Susan Sontag of the pathos-drenched performance of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Endgame</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> in Sarajevo, whose utter ignorance then wrote, at the Kosovo War, “now the Serbs are the victims!” and later played being under fire for her friends back in the USSR] took idiot offense [instead of listening with understanding] at Handke’s childishly wounded, obstreperous behavior, his tantrum [that’s what it was] in justly defending the voodoo doll of the day, the exclusively condemned – from right to left everyone was watching T.V. - Serbians: yes, isn’t it all like one of those Breughel paintings where the village folk all beat each other up with scythes and sticks; or Hieronymus Bosch visions of hell; a defense of Serbia that stubbornly persists, which just goes to show that a German/ Slovenian hybrid, who assumed his authoritarian Slovenian grandfather’s identity in the late 80s [who already voted for the first Yugoslav federation in 1921], can be as stubborn as the proverbially stubborn Serbians… - to the point of being a crank, and not avail himself of his unique position to be conciliator, a peace seeker deeply as he longs for peace, too, often producing its opposite. UNFOR sure is not doing the trick. Kosovo, nothing but hate on both sides. They know not what they do, as they are but puppets. The Western Press’s near uniform – from left to right - anti-Serbian propaganda, traveling under the cover of “humanitarianism,” only points to the extraordinary perversion of humanitarian impulses - oh don’t we all want to show what good sheeples we are in condemning crimes in distant lands - guess where you might look for that perversion in fairly recent history: the inception of the cold war. Prior to WW II, those impulses look comparatively unsullied, not that WW I hadn’t done a lot of damage. I was actually in Berlin in 1949 and saw it happen, children make the best pure witnesses, they, the greatest pure phenomenologists especially of intimate transactions of that kind; and though I can live with danger and fall into adventures, one good reason not to become join the “company.” As publisher of Urizen Books I fell into doing </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The USSR versus Dr. Mickael Stern</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, done in France by no less than Gallimard. This account of the travails of a Jewish Ukranian physician who specialized in gonadal deficiencies looked too suspiciously clean to me, took just one goose and two ducks in recompense [?} but the co-publisher and our funky sales manager Howard Linzer wanted it. Then the author wanted the book even cleaner of any whiff of corruption on his part for the American edition and one of his sons came by and asked for a second payment directly from us, and fortunately I knew my way around peasants, if not city slickers, and soon enough Dr. Stern and sons were marching in the Ukrainian day parade – Ukrainian blood has been flowing in his veins for centuries [yup, for sure] and his second book, on sex in the Soviet Union, turned out had been handed to him by the CIA as he crossed the border from Hungary to Austria, clever man then started a sex help institute in Israel. And in New York he of course, at least initially, he had all the “human rights hyenas” working in his behalf, genuinely as it were. - One thing that is surprising, considering Handke’s huge output is how little crap there is amongst it.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke is, also, one of the last great walkers on an earth on which indeed it has become “hard to walk,” walking being yet another way of quelling his so productive anxiety, another quelling with benefits, and to observe, and sort thoughts… or by bus [the greatest observer of what happens on buses, Handke’s hysterically sensitive – occasionally color-blind - eyes have not allowed him a driver’s license], by rail and by plane[s]. But as a final roundup of Handke’s places in Europe, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> leaves out Berlin where he lived for nearly five years in the 60s and produced most of his early great stuff, and from 1944 as a two year old, experiencing some serious bombing and a major siege, to 1948; Salzburg where he lived from 1979 to 1987, as well as his “No-Man’s-Bay” outside Paris [there is also Handke’s first Paris Period 1973-79, Rue Montmorency and Meudon] where he has resided ever since but for a trip around the world and for frequent expeditions to Yugoslavia and Spain a kind of surrogate Yugoslavia, where he seems to have picked up a serious interest in Arab literature and language. Since the places where his books are set are the main characters of his books, he does not really need to go back to Salzburg, since he described its surround in such a magnificent – Ruysdaelesque – manner in the novel [1984] </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Across</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Chinese des Schmerzens</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, called </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Across</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> by his American publisher because an old Nazi gets tossed, and because that might give the publisher a handle in selling the book in the U.S. of A.! Alas!], but there are other reasons to avoid Salzburg, though an invariably productive but not a happy period otherwise, for in Salzburg resides the Erinye who still haunts and haunt him in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and even in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, about 25 years later, because she has meanwhile gone public with her tale of woe and sullied that great self-image that we have tried to cultivate wherever and however we could! [see anon] And he might have to account for her who knew his daily itinerary, haunting him so that he had to go out of town pubs to have a drink. The Berlin of post 1989 affords better walking spaces for sure than it did in the mid-to-late 60s. Handke, I believe, was writing </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Essay on the Jukebox</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> in Numancia at the time of re-unification in 1989 and the end of the wall whereupon the East German sure got their banana both up front and from behind. I was living in idyllic circumstances in the chaparral of the St. Monica Mts., the County Line area, at 1500 feet, overlooking the Pacific, a Juniper tree drippings its sap and a Pepper tree shedding its corns and starting, among other things, to be seriously studiously puzzled by Peter Handke as I was walking slowly in the dusty paths there, and I recall someone offering me a piece of Berlin Wall cement at “Neptune’s Nest”, a surfer’s outdoor restaurant at P.C.H. and Yerba Buena. I am not sure what if anything Handke might add to what he has already set down in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and its additional chapter </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Lucie in dem Wald mit den Dingsbums</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [Lucie in the Woods with the Thingamajigs] and in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> about the Chaville Forest region outside Paris where he lives… except perhaps an imagined leave-taking from it??? The ex-author is left on his house-boat [it exists, it is called “Luna” and Handke once thought of buying it!] at the end of the imaginary night of the telling of stories, and then some, of his roundabout, to do what precisely, “gone fishing?”</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Talking about moving around: The eponymous hotel ship “Moravian Night,” where tales of these wanderings are told, moves only once, is moved at an apparent moment of danger, briefly, within its tie-up in the rustling reeds on the river Morava near Porodin, at the very asshole of deepest darkest Serbia where even B-52s dread to fly for fear of spear-throwing and head-hunting natives; that is, awfully close to the poisonous blackbirds of the Kosovo. It is there, on the hotel houseboat that the accounts of the ex-author’s excursions are told… but not, I regret to have to find, woven together into something that approximates a unit, nor really in a, in Handke’s so varied uniform style, at least the first six of the approximately 12 sections [each nearly a tour de force worth reading all by itself] is in a different mode, making for a quilt of very different patches – a matter that came as a real surprise after the book’s great hands-on opening that situates the reader in the ship and the company the ex-author has invited and seated, and where the narrator, that nameless “we”, then proceeds to recount the ex-author’s last roundabout adventures as the guest have heard them. Nor does the book put me into what I can only call “Handke mode,” especially the first half of it, then only periodically, too many different things are going on, it jumps around, no matter that Handke writes first rate transitions. That, Handke mode, is one of my few long term addictions, aside little cigars, and good coffee in the morning. Beautiful and intelligent women and the madness of needing to be in love with them lies in the past, or at least under control, the amour fous far briefer.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>To give an indication of what I mean by “Handke Mode”: in 2008 I spent three months reading his 350 K epic </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> at the pace at which it was written, one or two pages a day, and this third reading, now in a truly great translation, disposed me better than any drug might [only a delicious lover could have diverted me], so if the world is too much with you, there at least are Handke texts working their magic, and you forgive him for having an off day and being, then, only a pro. So were Bach and Mozart.See</b></span></span><span class="apple-style-span"><span style="background: #FFCCFF; color: #222222; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><a href="http://handkediscussion.blogspot.com/"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://handkediscussion.blogspot.com/</b></span></a></span></span><span class="apple-style-span"><span style="color: #222222; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>and</b></span></span></span><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><a href="http://www.handkeprose2.scriptmania.com/custom.html"><span lang="EN-US"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.handkeprose2.scriptmania.com/custom.html</b></span></span></a></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>for an extensive discussion of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>When I first heard of the coming of this </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>epic and it being a kind of weaving together I, a close reader of my man's work, who has appreciated the genius [speed at absorption of experience] of his immense formal abilities for half a life-time, since translating the early texts and conducting some performances, yes I had imagined something along the line of the great carpet that he wove of his many sides, personae, lenses that he assumes and uses for his focus and delimitations – ex-cultural attaché Keuschnig [our already familiar from </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>A Moment of True Feeling</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> as of 1974] and again in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>; a writer; a reader [an engrossed reader here, a young woman on a train, marvelously described during his round-a-about, the most immediately human contact in the entire book]; being trained for the priesthood a country priest that Handke might as easily have become, which priestlyness here leaves its mark as transforming the world of words into something less profane, and occasionally, for stretches, performing feats of verbal magic, as he already does in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos; </b></span></u></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><i><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>“While the child was speaking, sentence after sentence, a strip of light traveled beneath the plane which was flying at a perceptively lower altitude now, moved across the plateau, and caused a band of asphalt to shimmer, a reservoir to glitter, an irrigation canal to flash. A topsy-turvy new world on the first day of the journey [but hadn’t several days passed already?]: the sky above the glass roof nearly as black as night, with a hint of the first stars, and down below the sunlit earth. In similar fashion, on the way to the airport, an ancient crone, without her dentures, had come towards her </b></span></span></i><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>[the Banki</b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>é</b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>ress]</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>, driving a factory-new race car, as if trying to set a new record, the car’s number emblazoned from stem to stern. And similarly, the outskirt’s troupe of drunks had been hauling cases of beverage from the super market to their lairs in the wood – without exception bottles of mineral water. And was that possible? a flock of wild geese, flying past the plane window in a long, jagged V formation from right to left: “Arabic writing,” the boy commented. And could there be such a thing: in the same fashion a swarm of leaves swept past the window, holm oak leaves typical of the plateau? And where and since when did this exist?: and next a pale-pink of snowflake like blossoms, as if the almonds were abloom and had almost finished blooming, now in February early March.” [page: 77-79]</b></span></i></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>as he might as well have become a cultural attaché, although what a joke that would have been on the Austrian cultural service what with Handke’s social ineptitude and bouts of mis-anthropism – little if any evidence of that in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> except that as the “ex-author” nears his home village of Griffen he comes on “Keuschnig”, picking mushrooms, of course!; a film-maker painter as he is too, in the great 1993 novel </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>My Year in the No-Man's Bay</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> – film is mentioned frequently, more subtly than in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, to indicate that on this wandering too, the exhibitionist’s longing to be noticed in the darkness of the night sees himself being filmed at all moments of his life [the eyes of God, the camera is upon him!]; or the long long and strongly stranded rope on which he nearly hangs himself in his 2002 </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> epic. </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Gredos </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>has as big a payoff if not bigger than </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Ulysses</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>: instead of neglected Molly poly-morphously longing of all people for Stephen Deadalus, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> has for its ending a manifestation of Handke's love to write: his heroine the retired bankiéress [a predecessor to the “ex-author”] arrives at Cervantes' out of the way – Handke’s places are all out-of the-ways - La Mancha abode where her biographer resides who has – amazingly! – monitored each of her, his subject’s, feelings and thoughts during her trek from northern Europe to the south of Spain, as consciously or as self-consciously if you like, as only a film maker documentarian or someone analyzed and trained to be self-monitoring might, who, in Handke’s and his heroine’s case, always see themselves being filmed!… and then, at the arrival, after mountains climbed, no end of adventures several enclaves survived, and a most extraordinary descent, the subject of the biography and her biographer embrace… and never has self-love meshed as powerfully, been manifested as openly as I have found only once before, at the end, the last 50 pages or so of Frank Conroy’s otherwise and so unexpectedly [by compare with his other work] and in and of itself dreadful </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Body and Soul</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> [Conroy, a wonderful musician, and fear-ridden love child, was also autistically hyper-sensitive] - and then Cervantes wept for joy in his grave that anyone could love to write so much and so supremely well!</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>However, with respect to weaving that the powerful, hands-on, orchestrated opening of </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> makes you anticipate, the way the first movement of the unfinished symphony fills you with anticipation - on the order of what Handke himself is capable of – think of his shorter brilliant books such as </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Left-Handed Woman, Absence, Short Letter Long Farewell, Der Hausierer, Goalie, The Essays on the Jukebox</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> and </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The Day that Went Well </b></span></span></u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>and of his </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Don Juan</b></span></u><span style="background: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> [and the cited major epics], or capable of instilling an overall uniform atmosphere, feel, and state of mind – if anyone can induce states of mind, of joy, or relief through reading [not speed-reading, riffling the way that abomination Neil Gordon did in his attempt to ruin Handke, on whose orders?, in the New York Times Book Review] there have never been texts like Handke’s - in that respect, too, but only in those respects, is </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> something of a come-down subsequent to what is one of the greatest opening by someone who knows more and does better at opening salvoes than anyone since Beethoven. Just look at the opening of the play </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Zurüstungen für die Unsterblichkeit [</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>Preparations for Immortality, Handke’s contemporary answer to Grillparzer’s </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Der Bruderzwist in Habsburg</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>] or </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Kaspar</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> for that matter, or </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Ride Across Lake Constance, Goalie’s Anxiety at the Penalty Kick.</b></span></u></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Someone like the impossibly perfectionist restaurateur of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [the side of perfectionist dictator Handke that is the biggest pain, the restaurateur who keeps going broke cooking the best meals but only seats guests that are as good as the pearls he serves, there are just too many swine*. The reader here, like the guests at the night of tales, are taken by the scruff of their syntax and have their seats assigned, but more graciously here, as Handke has done only once before, in the great </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>text</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> that is </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The Hour We Knew Nothing</b></span><span style="background: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> of each Other</b></span></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>… and then is let off the hook! [Performance of which wordless text achieves, through subliminal means, the kind of non-Aristotelian catharsis that Brecht had sought, not that a single US reviewer, although some feel freshened, but not as though by me Billy goat, have at least noted that they come out seeing more clearly, seeing the word anew… so much for literary art accomplishing something, Mr. Auden. Moreover, so far I have only run into one other person who realized that </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Hour</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> comprises all the early plays from </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Public Insult, Prophecy, Self-Accusation, Quodlibet, My Foot My Tutor</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> to </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Ride Across Lake Constance</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, the way a composer than grasps his earlier themes and raises them to a higher level… talking about genius!]</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>That tour de force opening of </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>… that symphonic move… is followed by yet another tour de force, one that brings to mind Faulkner’s </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>As I Lay Dying</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, an extraordinarily well observed, unrelenting, unrelenting detailed description of bus tour, it happens to be but is not so named by ex-Kosovo Serbians to, and back, from a burial site of their murdered brethren at their once enclave, with a bus driver intoning “Apache” over and over, and a night spent as the solitary hotel guest at a border crossing town… a subject which, then, </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>surpris surpris</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, does not crop up again, at least not directly, but is a subject very much of Handke’s concern and corresponds to Handke’s frequent visits to that unhappy part of the world – none to the U.S. Camp Bondsteel, a U.S. dark site, a black hole for </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>disparu </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>the reward for doing some humanitarian “shock and awe” bombing and supporting the independence of a rump state - to one of which Serbian enclaves he not only bestowed the 50,000 Euro Berlin Heine Preis - the publicity garnering replacement for the Düsseldorf Heine Preis fiasco on the occasion of Handke’s exhibition of his great self at the Big Bad Wolf of Pogarevic’s funeral - and which Kosovo enclaves he has re-visited at least once subsequent to the writing of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and memorialized in his </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Cuckoos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Velica Hoca</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><a href="http://www.yuheritage.com/vhoca.htm"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.yuheritage.com/vhoca.htm</b></span></a></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>[2009] as quite a dispassionate observer, I am reading that book just now, and it’s quite different in tone and style from </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, at one moment it reminds me of the kind of dry dispassionateness that an Uwe Johnson manifested at border crossings, and so Handke could become a first rate journalist and reporter, of course not of the kind that he dismisses in a surprisingly – for such a fine differentiator - somewhat too wholesale a fashion. He has not only written that book, but several plays since completing </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, thus fear not, “ex-author” is only yet one other mask, and exceedingly similar to that of the “retired bankiéress” of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and lots of other previous “ex”s. The real living and breathing Peter Handke has at least another fifteen years in him and will expire pencil in hand; the other reaching under the skirt of a kitchen maid, and uttering a curse that will be heard around the world, just as his “Ote”, his grandfather did!</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Indeed, after or within each of its dozen sections, the narrator of the night in which the ex-writer's tales are told, a “we” {!}[not identical with the ex-author but resembling in its monitoring of the ex-author’s actions and thoughts that of the La Mancha scribe, indicating Handke’s powerful ability to dissociate, unusually strongly if not dangerously over-developed during nightmarish times], we are taken shipboard again, a weaving which however amounts to very little in most but not all instances, and nothing cumulatively; taken back to the shipboard ground… which does not become, does not constitute the kind of carpet backing, the kind of location of a </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> where each of that book’s six sides are stitched into, integrated, explored, and which itself in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> - surprise considering the assembled guests there - remains static… after all: during the course of an Arabian night as you dine and recline, and hear lots of stories and… well, yes, occasionally a question is posed and resolved, or not, and since a surrogate “we” reports he might also tell us who these so assembled are: no “we” the kibitzer listener readers voyeurs do not find out, only that there is a mystery woman aboard who does the cooking and who serves the guest and who makes the occasional comment and who seems to be THE ONE, the one he encountered in Galicia, and appears to signify that our man and his second actual wife, Sophie Semin, who found him cold as a cadaver [something I well believe!] as he recently stated, may have found a modus vivendi after some years of being apart and everybody having yet another set of affairs, where I thought no one but a French saint could bear to live with the guy, perhaps she has become French saint and cook, we will know someday, in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></i></u><span style="font-family: 'Courier New', Courier, monospace;"><b>it is said that when he encounters her in Galicia, northwest Spain, that they are each other’s “equal.” In </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> “the one” also seems to have “the touch” of putting the “ex-author” in his place, and he seems to be able to take a bit of derision and laughter! That is a nice feeling indeed, to come upon one’s “co-equal”! Although I have been with quite a few highly intelligent and invariably beautiful women, most of them far more accomplished than I, all of them artists, I know what Handke means by “ebenbürtig” [co-equal] and if it didn’t happen to be a woman with whom my lay-abroad had an affair while just married in Berlin but couldn’t handle her having more than one lover: a “mama’s boy” indeed as he has his inamorata call him in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>! [Not that we as reader’s have the faintest why this ex-author might want to call himself all those names, his behavior during the roundabout is perfectly civilized, i.e. this name calling is entirely an “in joke” and spurious at the same time, self-conscious about his reputation in Austria and Krautland] A pasha! ”There comes the Walrus.” And I regret that the aftermath, the entrails of the publishing business then made me have to wait too long… to find out what might have happened. We, the “Handke Watch”</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><a href="http://handke-watch.blogspot.com/"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://handke-watch.blogspot.com/</b></span></a><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>shall see what develops on that score… Without seeking them out, it happens that I’ve run into at least half a dozen hussies who have been with my man, none of them reluctant, nay some pride themselves of having been groupies, to fill you in on our mountain goat’s behavior in the bed room or wherever… At the book fair, “oh didn’t you translate/ publish some Handke? Well let me tell you…” Or a German editor appears at your office and tattle tales. Handke of course was still distraught at being left by his wife, and that’s what you do, as man or woman, when you are left, as I observed in my downtown bohemian zoo in Tribeca, it’s called ricochet romance, often of a serial kind, and thus visited his own childhood trauma of witnessing the primal scene repeatedly on his daughter; that is, until during the period of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Left Handed Woman</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> we foreswear sexus for a while and only visit the porno houses, which eventually provides a fine line in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>. And now we are haunted, feel paranoid, women are a danger… Really now!… The assembled are reported to be a bit puzzled, too, by the woman on the boat.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The ex-author is represented, represents himself, as not especially well disposed to the distaff side, and if you read his comments in letters and diaries and interviews, if you go back as far as </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Long Letter Short Farewell [1971]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> indeed he has not been, and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> is drenched in misogyny and paranoia; on the subject of women Handke seems to take leave of his intelligence: Women “talk too much,” [he must have been spending time with American teen age girls]; the published correspondence with his life-long friend and literary responder Fredi Kolleritch contains the sentence “Die Frauen die Frauen, die Frauen” [uppity, aren’t they these days! ah what the pasha missed!], in the diary novel </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Weight of the World</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> we find him bothered by his wife Libgart Schwartz’s little lyricisms, in the fantasy section in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> where ex-author Handke converses in the imaginary with is equal and predecessor Raimund they agree that women present a danger, women are trouble, and of course men can be a danger to women artists, sometimes it works, frequently it doesn’t, and all societies have devised complicated regulations to insure the generational regeneration, sex and love are invariably fraught with all the dangers of oedipal and property relations, are archaic, each man or woman taken constitutes an act of theft… When “love” comes into play that much more dangerous. In Handke’s case, if you don’t talk like a first rate novel… you are in trouble as a woman. Thus unlike Goethe, whose life-stages can be sorted by his muses, Handke’s life stages can probably by counted by the women he has abused. Domage. </b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The output makes you wonder how my man had time to be such a </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Don Juan</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [2004], well he works </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>muy rapido</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> once he has done his research and has the book in his noggin, and in-between, he has said, he loiters about [“</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>lungere ich herum”</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>], besides you don’t or didn’t for a long time in certain parts of the world need to expend much effort as a man to find a woman, they started grabbing you by the crotch around the late sixties, crawled into your bed, climbed up the fire escape, popped out of manholes [I kid you not! a really great story of a JAP who had been on the Columbia University barricades] followed you home, I found it a lot easier to let myself to be seduced in the great sexual zoo that was downtown Manhattan as of 1975 until the AIDS epidemic set in, Handke mentions drily in one of his published note book collections that as of a certain time in the 60 everyone started to fuck like bunny rabbits, especially since I was no good at picking anyone up. And I wasn’t any kind of star and usually worked until midnight before I went out and played, hard at times, Handke had the benefits of stardom from early on, and being married certainly never stopped him, nor even in front of the wife. Excess of libido for sure, and his so libidinously based writing. What will come as a surprise in reading </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, therefore, is that women are portrayed as such a threat to him as a writer! Well, they are once you substitute your pencil for your cock and they have been primed! For sure, they can be a lead ball, you can’t get them out of your loft because they are poor little rich girls, who have wanted to sleep with daddy since early on, etc.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke has said the reason why he keeps affiancing himself to actresses is because they are “light,” or “lighter.” Thinking on what that might mean in the case of someone who is both so beauty-oriented and of a depressive nature and so media-oriented, I connect it with the title of his first published diary, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Weight of the World</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>: indeed a beautiful woman helps defray depression I suppose; makes you feel better about yourself not only that, a man himself will look better in the company of a pretty woman, she reflects on to him; it makes him look better, lighter; and actresses can be considered to be play-acting, i.e. not completely real, perhaps “as if”… are also in that respect less “weighty”… and of course more graceful than… one quality that no Amurrican reviewer appears to have noticed how graceful a writer Handke is, how graceful the forms of his works… Spain has helped him there as it did Grillparzer… and thought of their womanly neediness and materialism might just disappear! However, actresses will invariably prove competitors for the limelight. Then I think of the moment when Handke wouldn’t SHOW me the re-imported first wife, Libgart Schwartz, as punishment for having beaten him at Tarot on the Mönchsberg, I realize how profoundly “for show” the wives were/ are [and how awful that must be at least for those who want to be more than showroom models to make the unfortunately compulsively badly self-imaged look better], but also realize that all of Handke’s beautiful things are acts of generosity that are offered, shown to us as gifts… performances… but also to be admired, ask for a requisite response; and since he so closely identifies with them… within those transactions between author and audience, where the author might withdraw and sulk if he is not sufficiently appreciated…- However, an actress, unless doubling as a French saint while with Peter Handke, will be more demanding and needy than an “as if,” and so the reasons why he as a writer who works at such a high level of concentration is not to be recommended as a mate… are, let me put it matter-of-factly… over-determined. Handke’s second wife, Sophie Semin, was a model when he met her in Paris, who instantly wanted to become an actress and left him when he had foisted this French actress onto Peymann for his production of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Play about the Film about the War</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, shades of Citizen Kane I suppose, or maybe she begged him, and maybe she’s even talented; and Peymann is not someone who can say no to Handke. Handke did not go into a major fugueing cataclysm as he had when his first wife split, as usual he was already having an affair, while the wife, Sophie – the so talkative Don Juan told me around 1993 that he was emotionally withdrawing – thought him cadaverously cold, “quelle horreur!” Indeed!</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke’s last publically known major relationship was with the highly intelligent German T.V. and film star Katja Flint. Handke said at the time – it was a commuting relationship – that maybe not living together it might work. It did for a few years, and Ms. Flint, not having had to suffer living with our man, continues to express fondness for him. So presumably she was not beaten up and did not suffer the misery of having to live as a cave dweller for any length in the aboriginal Forêt de Chaville outside Paris where even the closest friends, currently, are taken for instant walks, and only the media are permitted access to the author pro domo and he will cook up a feast for a TV crew. Note our author displaying himself in the two photos of </b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>him in his door way.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>As he has written many a time: “Stay in the picture.” The only bad news for a model is no photo-op. Handke invariably asked for trouble and got it, and the question is why someone who knows that women prove a danger, if only to his all important work, has then tangled with such a profusion of them? And lost male friends over tangling with their girlfriends. Gratuitously as it were. And be totally unaware. And then thought they were still his friend. Daft. What if he had lived in Italy? </b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow; mso-shading: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>But</b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> at least the author can make fun of himself now that the libido is waning… it seems we need someone to help with the cooking, besides, they have a child to whom is made up what the first child had to suffer at the father caretaker’s hand, the training child as it were, pauvre Amina.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>T</b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>he individual stories, sections - as they are collected in </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> - no matter how great - and some I would say are the greatest prose writing ever done in Western lit, fit, if at all, rather creakily together, are stylistically and in tone quite different as well, and in one instance - an expedition to a “Congress on Noise” in the ancient city of Numancia, there the Celts made their last stand against the Romans [two different tours de force, one about “Noise”, the other a walk over the plains with a local poet] our pipe fitter carpenter, writer of “recits”, could as easily have fit into either </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man's Bay</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> or </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>. And if anyone knows what I am talking about it will be the author, his own best critic, who might just have dreamed of his book as being as well interlaced and homogeneous as a beehive! And then stopped short? </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> lacks an inherent artistic logic of its own, it’s a kind of bastard hybrid of a book. Well, at least the transitions within the individual sections come Ceram-wrapped in great prose. Or he will re-use the brilliant opening for some really integrated weaving in the future. Handke is also your ultimate pro and carpenter, say, the way Bach was, a “Melchior” if need be! [see anon and towards the end of the book for this.] Nor do these individually great sections, nor even the second half, which sort of can stand by itself, if stacked up, as a whole amount to more than the individual parts.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>First comes the wonderful intro, then the Kosovo trip and back; then we are in Cordula/ Krk the old girlfriend has turned vengeful crone; then on to Numancia to its “conference on noise” and write a great set piece on that subject and wander around the plain with real outcast poet Juan; then in Galicia and the Diotima figure and that is the only one of these section which, via the woman, actually relates back to what is transpiring on the boat at the night of the telling and that itself, if developed might turn into an exemplary novella on co-equal lovers, where Mr. Handke, presumably, had learned to be attentive to a wife???; then the great section, the adventure in the tunnel as we leave Galicia; then we are in the Hartz, the real father’s region; then we wander around the Danube plains outside Vienna, come on a Jews harp competition, have an imaginary commune with our ancestor equal Raimund; then we proceed by rail to Graz where we studied law and hooked up with the Stadtpark Forum literary group, but we make it a point to avoid all old acquaintances; we take a commuter plane to Klagenfurt where we attended the last four years of Gymnasium [we do not visit the Tanzenberg seminary for priest training that we attended the first four year of high school or its great German language teacher who foretold the coming of the great author, nor the one real friend from </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, the country priest that is more than just a side of Peter Handke]; and start to wander homeward towards Griffen, first on the Old Road, which is peopled with fantasy figures – Handke the successful author with time on his hands indulges in a bit of major fantasy doodling; a marvelous estrangement is produced when he comes on what he thinks what is his old village, but are just its outskirts, now settled by Arab immigrants [as usual Handke sets his novels in a future, allegedly that is the only way he can then also write realism and breathe]; in Griffen there are splendid pieces at his visit to the cemetery and his mother’s grave, to his grandfather’s house now occupied by a somewhat fabulated brother; a petty criminal, as who wouldn’t be with Bruno Handke for a father, he is made not just into an all around man construction worker but one that has worked all over the world; in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> he is turned into a major terrorist, as the dark counterpart to the Bankiéress, a theme that remains unresolved there, left dangling. Then there is a section in the Karst/ Carso that Handke readers will recall from his great </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Repetition</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, but this is an imaginary super </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Doline</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> [sink-hole] in the lime stone formation in Carinthia/ Slovenia and Handke-ex-author finds himself with two other holdouts against history, Ramsey Clark [!] and a Japanese doll of an ex-motorcycle race driver [boy am I ever speculating about her!]; then comes the trundling by foot and bus back to Borodin and the </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian Night.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> And a little bow-tie that makes it all a fable! What would you make of these various different stories if they had been told to you during the course of one night? It’s a kind of grab bag with some incredible treasures, a bouquet, most of it is magnificently written, and not in the same manner either, thus is something you might want to assign to a highly advanced writing class to study; and each of these sections contains no end of nuggets nuggets nuggets of Handke’s observational powers and his way to formulate these discoveries… and then there is some, a fair amount of minor doodling going on. As an old Joycean I am less than impressed by Handke’s punning on names, a whole series of enemies of his Serbian shtick: “Ganzhell” for Madeleine Albright should perhaps produce something along the lines of that lady “forgetting” her Czech-Jewish ancestry so she could put her money on the Kosovo fascists who, as compared to Serbs and Bulgarians, had been Jew killers during WW II, as had the Catholic Fascist Croatians. [Orthodox Christians seem not to be anti-Semitic, I don’t know about the Russians of course, the cursed Russians and their pogroms. And the dear old U.S. of A. has had one love affair with one authoritarian fascist government after the other since WW II, our S.O.B.s, excepting Tito.] “Korb” I think used to be the lady’s unmarried name, the woman who gave a “Korb” to her own name, her heritage then! What is </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> but: “Peter Handke sends you a dozen marvelous picture postcards from his life” – narrated in the most magnificent mode - and they fit nicely into rounding out the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>overall</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> autobiographical more and more self-celebratory undertaking; and a couple of them all by themselves are worth the price of admission. A “grosser Wurf” as the estimable Lothar Struck calls </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span lang="DE" style="font-size: 10.0pt; mso-bidi-font-family: "Courier New";"><a href="http://www.glanzundelend.de/startseite.htm"><span lang="EN-US"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.glanzundelend.de/startseite.htm</b></span></span></a></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>it certainly is not by any stretch of the imagination except for a series of demonstrations of what prose is capable of [see anon]. </b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>It’s parts could have been sold separately, the “Congress on Noise”, the Kosovo part might have been combined with this year’s </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Cuckoos of Velica Horca</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> as “Two Views of Kosovo”, the Cordula/Krk part into something what would need expansion into: “Revisiting the Locale of my First Book”, the second half, the second six of the twelve chapters, beginning with the Harz chapter where he visits the region of his real father, can stand on its own as “Wandering from my Father’s Region to the Place of my Birth.” The love story set in Galicia, the meeting the getting together of noble man and noble woman – told with marvelous restraint in a fine fashioning of noble tone, we really are proximate Goethe and his period here – might make for a salutary novella on how “co-equal” is the solution to the divorce rate, the real getting back together of Peter Handke and Sophie Semin, if for real, is probably a lot more ordinary, since they have a child in common who lives mostly with her mom in Paris, and he lives just outside. But perhaps the cadaver has warmed up and has become rudimentarily attentive, I recall that toward his first wife his behavior can only be called flagrantly inattentive and utterly insulting, and very much so in public, too!</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>But how do you fit this mélange, this potpourri into one bin? Handke is supposed to have liked Mussorgsky as a young man, thus from a writerly point of view one might to want to pay attention how he manages the transitions from picture to picture.</b></span></span><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><span style="background: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Who knows, the pathetic “post-menstrualists” as I call them, perhaps this kind of grab bag of this and that is just what the doctor ordered so that they can exercise the dried up tampaxes, their kind of memes that jangle around their minds. Do these formalist quarrels and lit-crit objections amount to anything: yes a certain regret, for I can envision a Handkean fleshing out of the night and the ship and its surround, etc. and weaving a real “Poetry and Truth” of his changing development as a writer around that. </b></span></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>In the instance of Numancia - </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> has a section of the ex-author wandering around the nearby plains with town poet, Juan - Handke fails to even place us, to really explore the ancient town, the kind of exploration that he does elsewhere in each other instance here and that has been Handke’s forte ever since his 1979 </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>A Slow Homecoming</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> [the title novel in the American edition which also contains </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Lesson of St. Victoire</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Child’s Story</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>] to whose first, the Alaska chapter, I responded as powerfully as I who once spent nine months all over Alaska as a firefighter and geological surveyor, did – feeling that Handke was a communer, a medium – for me of the entirety of my then about 20 year old experience - responded only to his 1982 dramatic poem </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Villages</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>]; and in the 1984 </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Across</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, Salzburg, especially its surround; the Dolinen [limestone caves] region of Carinthia/ Slovenia in the Handke’s most deeply felt book, the 1986 </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The Repetition</b></span></span></u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> with its Holden Caulfield-like Filip Kobal</b></span><span style="background: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>; Lineares, Spain in the </b></span></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Essay on Tiredness</b></span></u><span style="background: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> [1987] and Numancia itself which he has already put on my mind’s map in his </b></span></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Essay on the Jukebox</b></span></u><span style="background: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> in 1989, with more explorations to come – under the aegis of Handke’s saying “places are the locales of our last dramas.” </b></span></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The lack of physically evocative placing in the instance of the town Numancia will not be troublesome to his followers who long ago caught on that Handke is also writing a very special kind of huge book of his own life and that each book is another brick, or half brick, a half dozen here, of whatever kind, and a lesson in writing and on language. This band of Handke watchers don’t need to be filled in on Numancia since they will recall it or re-read its exploration in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Jukebox.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> Those who expect a book to stand on its own, without outside or internal references to an author’s other work - read as a literary work of art - and who have come to expect as much from our man, and been delighted by his ability to achieve – with few exceptions - this kind of thoroughly composed wholeness in matters small and large, and with that extra twist of the wrist and of the roof line, that surfeit, will be disconcerted. Either he’s getting sloppy, or he’s just too much of an arrivista capitalist bankiéress to bother!</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>But don’t get me wrong: both the section on noise, a subject that we can see preoccupying Handke when the leaf blowers in </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> start getting on his raw, hyper-sensitive nerves at the edge of his abode in the Forêt de Chaville outside Paris [where he has lived since 1989 and I doubt can imagine my rage at the dust these machines throw into my airways, machinery usually operated by a compadre – and I really mean compadre - from south of the border], and the ramble with odd poet Juan – one of several odd poets and painters and artists to blow through the book – are wonderful, delightfully written, entirely up to snuff: it’s just that they don’t really fit into the or any whole, unless this whole hole be a bin into which Handke can stuff what’s not been stuffed elsewhere, or taken out of and: I am only doing what Handke asks of his critics: that they judge his books within his own terms. Keeping the liar honest as it were! It is somewhat difficult to find </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian’s</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> terms. An exhibition of different ways of writing?</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>When Handke visits the Croatian island of Cordula/ Krk, where he wrote his first novel, </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Die Hornissen</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, in 1964, an editor might have said, what with so much being made in that chapter of what effort he put into writing this first book – as he indeed did, three drafts - and, here, nicely locating the reader in the details of that interesting island on the Adriatic, to give a hint what </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Die Hornissen</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> was about or what it is, or maybe how it relates to his later work, since few people have read </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Hornissen</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, and even I, a kind of expert on the guy's work, still have some real problems with the demands the book makes even after all these years. One thing that </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Hornets </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>[Handke means the bombers of our both childhoods] has in common with his subsequent work is a kind of neo-Platonic quality, the "as if"- the great dissociater alleviator in impossible circumstances, one of the founts of literature as defense, and that then enables you to write on that dream screen - that raises the world out of a naturalistic realm into that of literary art, via a variety of indirections in the instance of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Hornets</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, into that context. Otherwise, the two books share little in common, no matter that all important commonness, the “as told by” develops out of the subjunctive mode of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Hornets</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> I suppose, you would not think them written by the same author if the name Handke did not appear on their title pages, even then, after all it’s not that uncommon a name… but that both books consist of words, have sections set in Carinthia, and that </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Hornets</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> provides glimpses of the lyrical epic writer to come, but certainly not of a virtuoso lyrical epic writer on the order of Goethe or Stifter or Flaubert. Of course if would be nice if Handke said more than “my writing has changed a lot over the years.”</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Cordula of old and of the here and then of its revisit 40 some years later is wonderfully evoked, but the ex-author also is visited, and I mean visited as in visitation, by an old hag, the first flower he plucked, now turned vicious crone, the first woman, the first book - "no more women, no more books," the ex-author is to exclaim shortly thereafter – so how many has it been if each book was just one woman, one woman per short book, was </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> a brothel’s worth or a harem’s?, a threesome with two whores? what about the Walrus libido that requires release and demands conquest upon a translation? - on the occasion of claiming he nearly killed a girlfriend companion of some years because they – there are numerous instances of Handke the author beating women - she interfered: a tactical confession, the excuses he makes for his actions are a lying, a dreadful weaseling to defend his ever-important self-image, a matter that meanwhile with what his Yugoslav adventures have done to the image is so far beyond repair he might as well not bother, but this confession/ defense to a very public story that several German reviewers mention in this context without delving as deeply as I do here, is an instance of an exhibitionist’s tactical admission in the court of conscience and public opinion, a matter he had to face but tries to elude at the same time, bothered our author to the point of driving him bonkers every moment of the day in keeping him from his writing every moment of the day. At this point my man and I part company, and he might try the road of understanding, there are fine analysts who might open him up wider than even he can imagine. I even know of one fellow Suhrkamp author who has been wanting to help the alleged helper of women, him out of this quandary for about thirty years.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>As this battered girl is described – one of many whom Handke battled mano a mano, only Jeanne Moureau seems to have battled him to a draw if not actually beaten him up! – described as invading every moment of his conscious day, the paranoid quality in Handke – enemies pursue him in his books, Erinye, furies of course, nearly as paranoid as another great contemporary German writer, Uwe Johnson, who however feared various state security services, to some extent for reason. Handke, too, has good reason by now to evade the furies who start to appear in his books as of </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Across</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, hints galore prior to that.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>And if we are to believe what I read in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, the ex-author’s motive for tangling with the distaff side is to “save them” – whereas he is the one who appears to need saving and they from him! Really now!</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Think of his wife Libgart </b></span><span style="background: yellow; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Schwartz pursuing him in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Short Letter Long Farewell</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and with a gun! Whereas this must have been emotional longing to make contact with the cadaver </b></span></span></span><span class="apple-style-span"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>[John Rockwell noted how utterly cold the book was] as Handke recently described his second wife calling him; and probably had moments when he wanted to kill her.</b></span></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> The gun was probably a transposition from Handke’s own hatred into that wonderful fantasy wish fulfillment Godard film novel the opposite of which would shortly come true in real life. And when </b></span><span class="apple-style-span"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke's</b></span></span></span><span class="apple-style-span"><span style="background: yellow; color: #222222; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span></span><span class="apple-style-span"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>first wife Libgart Schwartz, a marvelous actress, utterly neglected and ignored and insulted by Handke when they all showed</b></span></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><span class="apple-style-span"><span style="font-family: 'Courier New', Courier, monospace;"><b>up in N.Y. in 1971, after Handke had insulted everyone at his visit of 28 cities in 21 days - Ah the days of wine and roses, and riding across the thin utterly refreshing ice of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Lake Constance.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>[I didn’t get an understanding of his socially inept Tourettish side until I ran into his comment to Gamper that he still suffered from autistic episodes and so entirely forgive his boorishness, there ought to have been a sign to that effect on his forehead: “Idiot Savant!”]</b></span></span></span><span class="apple-style-span"><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span class="apple-style-span"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>And when Libgart Schwartz predictably split, guess what: "It’s the worst thing that happened to me in my life," and the young lay-abroad nearly commits suicide, poor baby you feel like saying while forgetting that the psyche does not work that way, but then wrote some</b></span></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><span class="apple-style-span"><span style="font-family: 'Courier New', Courier, monospace;"><b>of his greatest things during the period, and started to show some feeling, became a bit warmer, he was so distraught. So go figure, can't keep a genius down no matter the monster he is. I nearly said “of course” -- the long poems in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Als das W</b></span></u></span></span><span class="apple-style-span"><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>ü</b></span><span style="background: yellow; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>nschen noch Geholfen hat</b></span></span></span></u></span><span class="apple-style-span"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> [Nonsense and Happiness, in the American edition] and the novel </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Moment of true Feeling</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> - don’t mention the cause for the upset: all Handke conveys is </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>his state of mind</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, beautifully; that is, successfully as far as I am concerned. If you introduce cause and effect you get quite another story, perhaps a Bergman film, as he knows only too well himself by the time of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, and if you look at the man/ woman “fight scenes” in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Dying Out</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [1973] already quite intimately then, except of course the standard assumption is that these fights are verbal, perhaps a few broken dishes, a ring tossed, Albee’s </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Virginia Woolf</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, not something along the lines of Kroetz’s </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Men’s Business.</b></span></u></span></span><span class="apple-style-span"><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span class="apple-style-span"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Ditto for </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Across [Chinese des Schmerzens]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>. Ditto also for </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Left-Handed Woman</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> written during a period that Handke sought to avoid the adventuresses but had to go to porno houses instead, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Left-Handed</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> being a kind of inversion of what really happened to him, and the one book of his that women readers like, a story of withdrawal from the married life into more monkish existence, during which he discovered translating, since that is the Left-Handed Woman’s profession and he wanted to see what that was like. Handke is a first rate researcher and preparer, after all, to write </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Repetition</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, he fashioned his very own Slovenian-German dictionary, as he firmed up his Slovenian identity, too</b></span></span></span><span class="apple-style-span"><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>. </b></span></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Beating up women because he feels or they actually keep him from his work unfortunately is not Handke's </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow Beyond Dreams</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, the sorrow is that he witnessed for a decade, as of age two, the love child that he knows himself to be, also very much in </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian Night</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, as you find out reading </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, his mother and his drunken and violent stepfather Bruno Handke beating each other up prior to copulating ["Beat me again you bastard."] and that Handke, a beaten child [?], and a bastard child, became a beater of women himself, the last thing you would expect of the person who wrote </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow Beyond Dreams</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, that his own furies would identify with those of his hated German stepfather and in bastardizing also follows that of his real father; and also be enraged as of an early age at the abandoning mother, our “Mama’s boy” tantrum thrower is. What makes Handke even more violence prone is his low threshold, that of his ultra-sensitivity, his irritability: in just such a fit when the basement of the rented house in Kronenberg, near Frankfurt is flooded in 1971 and he is writing </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow Beyond Dream</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>s he then smacks his screaming 2 year old daughter as he confesses in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Child’s Story</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [1981]. However, lacking this ultra-sensitivity we would not have his falcon eyed observation; what is lacking, evidently, is a modulator, a processor to modulate the amount of information that is conveyed [that is, one of the chief features of autism]. When women friends comment on his child raising methods, also in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Child’s Story</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, Handke then complains about the “dog language” of the therapeutic. That is on the same level as his wife’s “little lyricisms” bothering him. Well, a “little dog language” I guess is endurable and not have such a dumbfounded girl, as I, who had been camp counselor for some years with young children, could not but help notice. And then of course, as usual, the regrets set in: “the child” becomes a major theme! 12 years into having a child, Peter Handke discovers the theme of children! Vide </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> – talking about being daft! All that is quite wonderful primary material, which adds up to “The Weight of the World.”</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Thus: Sing sorrow, indeed I do, who has read the laconic writer’s carefully weighed sentences carefully, the obsessive fiendishly ambitious writer who has portrayed his every dark wart, every but every side of himself in </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk about the Villages</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, which it appears not a single of the singularly ignorant, lazy and sloppy American reviewers or many Germans either has troubled to read;* the Handke, who provides his light-filled bankiéress with the dark side of a criminal terrorist brother, Handke’s life-long amok-running theme, the irruptions of violence in his texts and life being remanded to that brother figure in the </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> instance; the dark, the Dostoijevskian side of the great lyric epic writers Stifter and Handke! The man who invariably - and gratuitously - hurts those closest to him, as his collaborator Wim Wenders once told me, and as Wenders and I, who both worked with him early on, know only too well to be the case and as the careful reader can see for himself in the diary </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Weight of the World </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>when Handke thinks to himself, when his five year old daughter comes up and wants to go potty, “let’s see what will happen now.” And don’t just put all this dark matter off to “every genius also has a demonic side” – we are a bit beyond “two souls reside in me chest cavity” and other Jekyll and Hyde simple-mindednesses. </b></span></span><span class="apple-style-span"><span style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: yellow; background-image: initial; background-position: initial initial; background-repeat: initial; font-size: 14pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke, the writer, may be “the one,” but he himself makes it very clear in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> that as a person he is anything but – not that that stops the confusions of idol worship based on artistry.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>As Handke calls Grass belated public admission [also to get in on that publicity storm!] to having let himself be drafted into the Waffen-SS at age 17 [a matter actually quite well known already during the 60s at least in Berlin] a </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>vergüenza</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> [Handke’s righteous explosion – he also calls them his “sacred rage” - his ugliest side - first appeared in Spanish], - in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> he has his woman call him a “hanging judge” [</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Dorf Richter</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>] - calls it a profound shame, that everyone knew at age 17 what the SS did [if Americans could only become as ashamed of their Special Forces and CIA crimes and their major war criminals, who all ought to undergo a Nuremberg tribunal and then be hanged, if need be posthumously and be similarly iconized; which no doubt would require a conquest by the Martians!] it certainly is a far greater </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>vergüenza</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> for someone aged 30 to nearly kill his own two year old baby girl in a fit of irritation and to keep beating up wives and girlfriends just because you saw your hated stepfather do so, for an entire decade, with no end of hideous sequaelae [just read, read dammit, his </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Essay on Tiredness</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and look at all the things that infuriated and tired Handke as an adolescent, he enumerates and describes them wonderfully, understanding = zero] which unfortunately is why you do it. And a lot of other matters along those dreadful lines with the ability of instant forgetfulness, dissociation, Handke’s forte, until dissociation crumbles about twenty years later and regrets start setting in. Great writer, fucked up guy! But it is useless to play the blame game, especially from an analytic perspective, where understanding can be acquired and resolve these debilitating so-called eternal returns.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke, as he mentions in his great play </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Art of Asking</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, “writes out of his wound” – it is a love-child’s wound, the wound made him an exhibitionist, competitively so, to which drive we also owe the work, the unceasing work, but also instances such as his fessing up to ugly things he has done. The most unfortunate aspect of traumas, after all, is that you become the wound that wounds over and over again and knows not what it is doing while trying to heal [it was nice to notice a few instances of the concept “the unconscious” cropping up in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos]</b></span></u></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>ä</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> – until the compulsion ceases, the eternal return that needs to be acted out over and over again, as it were, the compulsion to heal! What a dreadful conundrum! Handke might have the courage to face his wound, he would no longer be at its mercy, but that would require the kind of self-understanding that he so lacks, beyond phenomenology!</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>See my Psycho-Analytic Monograph if you wish more detailed elaboration:</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span lang="DE" style="font-size: 10.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><a href="http://handke-discussion.blogspot.com/" target="_blank"><span lang="EN-US" style="background: #FFCCFF; mso-ansi-language: EN-US;"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://handke-discussion.blogspot.com/</b></span></span></a></span><span style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke introduces his admission to having beaten a woman, tactical concession defense, as a belated response to former lover and </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Lebensgefährte,</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> collaborator on a film now Erinye Marie Colbin’s going public, during the Handke/ Yugoslavia publicity wars in the 90s, first in </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Der Falter, </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>which was picked up</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span lang="DE" style="font-size: 8.0pt; mso-bidi-font-family: "Courier New";"><a href="http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html" target="_blank"><span lang="EN-US"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html</b></span></span></a></span><span lang="DE" style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>with a description of how Handke had nearly killed her. </b></span></span><span lang="DE" style="background: yellow; color: windowtext; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>["</b></span><i><span style="background: fuchsia; mso-highlight: fuchsia;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Ich höre noch meinen Kopf auf den Steinboden knallen. Ich spüre noch den Bergschuh im Unterleib und auch die Faust im Gesicht... Solange es Männer gibt auf dieser Welt - Männer wie Dich - einäugig, unnachgiebig, machthungrig und Ego-breit - wird es auch Waffen geben und somit Kriege... Wer bist Du denn, daß Du Dich so wichtig nimmst? Bist weder groß, noch edel oder gar bescheiden und aufrichtig. Ein eitler Schreiber bist Du, der sich sonnt in der Rolle des 'einsamen Rufers.'... Irgendwie wirst Du diesem Krieg dankbar sein, denn er befriedigt auf perverse Weise Dein unstillbares Verlangen nach öffentlicher Anerkennung</b></span></span></i><span style="background: fuchsia; mso-highlight: fuchsia;"><span style="font-family: 'Courier New', Courier, monospace;"><b>."</b></span></span><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>A translation of her statement reads: „</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>I can still feel my head bang on the stone floor. I can still feel the mountain hiker boots hit my stomach and your fist in my face… As long as there are men in the world – men like you – one-eyed, unyielding, power-hungry and egomaniacal – there will be weapons and therefore war… Who are you, to think of yourself as so important. You are neither great, nor noble nor modest nor honest. A vain writer is what you are, who suns himself in the role of the solitary prophet… In some way you will be thankful for this war [The Yugoslav wars of 1994] because it will satisfy your insatiable longing for public acclaim</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>.” - I myself would have to say that while I have found Handke at other moments to be the most empathic, generous and sensitive friend… albeit at a remove, unless it become a matter of his precious self-image even if you were supporting his work, that ever so unfortunately I have to agree with each and every item that Ms. Colbin lists and was only surprised that it took so long for one of these women to speak up, in this instance an exquisite actress whom my man exploited in the film they made of a Margaret Duras book who, however, as the now Erinye who haunts Handke’s books as of the 1984 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Across</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, and, after the beating, haunted him all over Salzburg so that he had to go to a pub at its edges with his friends, and who still haunts him </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian Night</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, a Fury who evidently has little appreciation at the moment [the usual forgetfulness at moments of such irruptions] she made her statement, initially to the Austrian Magazin</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b> Der Falter</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, that a certain kind of extreme narcissism - is required to do work at Handke’s genius – after all, he lacks the modesty of a Bruckner - level, and that his [in this instance insatiable compensatory need to exhibit his wound – and have a response, to make contact] is one of the major drives that produces the books. He describes his egomaniacal behavior toward the end of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> where we find the “ex-author” with his half-brother in Griffen, and the brother describes what a holy terror Handke had been already as an adolescent when he wrote, terrorizing the entire family. I once outplayed Handke at Tarok,</b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> a full account of that can be found at </b></span></span><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><a href="http://www.van.at/see/mike/index.htm" target="_blank"><span lang="EN-US" style="color: #354258; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.van.at/see/mike/index.htm</b></span></span></a></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>I was being entirely playful, supremely so, the only time I win is when winning is not at stake,</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke absolutely could not handle it, and I realized how pathetic he was in many ways that evening, I imagine I was also testing him, and no longer trusted him because of something he had done, and was right not to trust him afterwards, no matter that translating his </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> then became a very important event in my life. </b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke is no </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>primus inter pares</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, he wants to be </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>the</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> ONE, you can see this, e.g. at his envious dislike of all contemporary greats, Thomas Mann, Brecht, and envy even of lesser stars in the contemporary German literary firmament, Grass, Enzensberger, his giving prizes to lots of nice non-competitive, non-threatening lessers! Even his recent</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><u><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Until Day Do You Part or A Question of Ligh</b></span></span></u><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>t, his a reply to Beckett’s </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Krapp’s LastTape:</b></span></u></span><u><span style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><a href="https://www.salzburgerfestspiele.at/dieinstitution/dienste/fotoservice/fotoservicedetail/collectionid/203/archivyear/2009/"><span style="font-family: 'Courier New', Courier, monospace;"><b>https://www.salzburgerfestspiele.at/dieinstitution/dienste/fotoservice/fotoservicedetail/collectionid/203/archivyear/2009/</b></span></a></span></u><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>is an act of competition, like his walking in front at the beginning of showing of an Anselm Kiefer film, so that the first thing you see is Peter Handke against the white screen, his hatred of anyone who might displace him - which produces the wonderful notion of the hated “space displacers” in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Art of Asking!</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> However, Handke as compared to other exhibitionist, though his cock, too, is reported to be merely “medium sized,” [I have Mailer’s “Prisoner of Sex” in mind] has really a lot to show, which is why we put up with him and don’t just ignore him as Norman Mailer ought to have been far more than he was. But if you are the producer, publisher, or head coach, there is nothing more you want than someone who wants to be a super novae like Peter Handke and has the talent to be one! I can live easily without Beckett, I had my Beckett period when I was about nineteen, and I think he ought to be banned for the baneful influence of his Christian metaphysics and all this “</b></span></span><span class="apple-style-span"><i><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>L'innommable</b></span></span></i></span><span class="apple-converted-space"><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>” that provides the masochists with cover, I’d have a hard time doing without Handke.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke left the socialist brotherhood of the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Verlag der Autoren</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> after a few years flirt during the Left years of the late sixties and early 70s, calling VDA, self-righteously, defensively, a bunch of fascists, for the man who could make you the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>primus. </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>After all, it takes a major publisher to make you made man of that kind at that level of power and fame… and that leaves some broken eggshells along the way. I was in the belly of the beast and am tattling after school! Call me Jonah! In some respect we are back at the status quo ante of what Lukacs called “machtgeschützte Innerlichkeit,” inwardness protected by the power of the state, for Stendhal’s “the few” of whom there are fewer by the year it seems.</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Later in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, as Handke has his “ex-author” approach his home village Griffen, at the approach to the “crossroads” or intersection between the “old” and the “new road,” another threshold, he appears to take away the weasely confession of a few hundred pages prior and, in an imaginary, a film imaginary, righteously kills the Erinye, seems to take off her head, who in that scene approaches him as an innocent ready for a reconciliation! The old self-righteousness springs forth like a rapist Alpine mountain goat, psychotically, and not elicited by hot water bubbles scurrying like ants on a hot plate, with vengeful malice aforethought for the Erinye as we can see it happening in no end of instances in Handke’s public and written statements over the years! As of a certain point in the mid-70s I realized his dark side, as I had realized it correctly only a few times before, and made sure to be in company when I was with him. Handke spooked me, and even more now.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>For example, young Tourettish Handke makes gratuitous, easy, delightful fun of the German reviewer Reichs-Ranicki, turns out that this schoolmasterly pope of reviewers, this poor man’s Georgy Lukacs, whose collections however proved useful when I tried to find my way in postwar German literature [and who is sufficiently knowledgeable and clever not to be dismissed out of hand], is as Germanically humorless as Handke can be and is just as pettily vengeful, too, and thus rather pathetically tries to destroy all of Handke’s books after initially having been quite impressed by </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Public Insult,</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> with the nastiest most moronic reviews imaginable, which elicits Handke’s attack [in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Lesson of St. </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>Victoire – 1980] on the Reichs-Kanickel as I call him [just what the Germans deserve for loosing their Walter Benjamins] as a bulldog who smears his shit all over an airstrip; in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> we see how infuriated Handke is with his publisher, the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Grossgauner</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> for </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Kultchur</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> as I think of him and know him to have been, the now deceased Dr. Siegfried Unseld for having truck with Reich-Ranicki, who thinks that Unseld is the greatest postwar publisher [true enough], and puts out some anthologies by the best selling Reichs-Rabbit. And Reichs-Ranicki then apparently sought to make up, but Handke returned the letters – but the ex-secret agent discovered that the letters had been opened and resealed! No reconciliation for Mr. Handke! – So, alas, exactly what village are we in at that point? Not the world of world literature I don’t think. Goethe, after all, is famous for the subtlety of his work! The Handke whose every narcissistically cathected hair, if one of them is or might put out of place becomes enragé? Take a look at how my man’s dress code changes from early Beatle</b></span></span><span lang="DE" style="font-size: 12.0pt; mso-bidi-font-family: "Courier New";"><a href="http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js&fgl=true&pli=1"><span lang="EN-US"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js&fgl=true&pli=1#</b></span></span></a></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>to the official photo of the Count von und zu Griffen at the Suhrkamp Site!</b></span></span><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>And yet he himself can go merrily on his way throwing horse apples where he feels like – and quite oblivious that someone might throw some of their own.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Once back in his home village in part II, chapter 9, Handke, the ex-author, has a dream [or maybe he wishes he had a dream] in which his mother absolves him for the guilt he feels for her suicide. Taking this literally, under the aegis of wish fulfillment, the dream might mean that he wishes that he felt no guilt. Less literal-minded it might still mean that he felt no guilt. However, if you read </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow Beyond Dreams</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, it is not at all clear why Handke ought to feel guilty. Perhaps he’s a masochist after all. Certainly, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> is an incomplete mourning, not a total incorporation of his mother into his self [later Handke would say something along the lines of “Ma mêre c’est moi.”]; that mourning proceeds much further in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow’s</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> second coming, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Repetition,</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> about fifteen years later. The quickly super-successful Handke who lived in Berlin appears to have lost some touch with his mother [perhaps the same way he lost touch with his first wife] whose life had actually picked up at that point, her successful son, her love child, was showering her with gifts, the dreadful husband, despised by the mother’s Sivec clan, was away at a TB sanatorium, she baby-sat Amina during Handke’s trip to the USA in Spring 1971, she appears to have been in stupendous pain which the doctors were unable to diagnose, perhaps elicited by her seeming life-long depression as of the time that Handke’s father would/ could not marry her, meno-pause [?], she was only 54 years old. I imagine Handke could have taken her to better doctors. Perhaps her suicide was felt as an attack on him for his emotional remove from her? On the subject of “guilt” Handke once noted in one of his notebooks [In </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Am Felsfenster Morgens</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>] that he could just switch it off, I expect someone with his facility for dissociation can do that, which does not mean that the sense of guilt is not ready to spring forth from the underground. The word “the unconscious” starts cropping up, tentatively, in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos.</b></span></u><i><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>At another entry, he mentions “that there is enough guilt to go around.” Quite true, one can also become guilty by not killing someone. But it is at those moments of injured narcissism that </b></span></span><span lang="DE" style="font-size: 14.0pt; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b><a href="http://peter-mclachlin.livejournal.com/110982.html"></a></b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke,</b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> as he says, can be as “humorless a death.” - The hag, the first girlfriend at age 24, the first Erinye to be, the oldest of Handke’s furies… appears in Cordula… it turns out that she may have born a child of his, she is represented as saying that she carried his “child under her heart” … we do not find out what happened to the child, it appears he didn’t even ask. Now there is something to feel guilty about! After all, Handke’s real father, Herr Schoenherr, stayed in touch with his mother, and took Handke on the customary graduation trip, during which, according to </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, Herr Schoenherr was worried that the innkeepers might think of them as a gay couple! [1963 about that must have been]. Here, in the Harz section, it is said that he didn’t know his father, well of course how well do you get to know your father during one long trip? He </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>did</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> know that he had been the love child of his mother’s love of her life. And do not make light of that!</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The “dark sister” alluded to as haunting poet “Gregor” in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>! The Erinye that is encountered on the mythified bridge across the Rio Grande in a “Touch of Evil” [</b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> however was initially encountered quite specifically and much more plainly and prosaically on a bridge across the River Salzach in Salzburg – which points to the ambiguous danger, the difficult line, of ambiguity, in creating projection screens for his audience, the poetic liar has to hoe, of the mytho-poeics of Handke’s literary procedures which we can see taking shape as far back as in the love of John Ford in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Short Letter Long Farewell</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and really taking over poetically with </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Left-Handed Woman.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> The threshold between truth and the honesty that only poetic fiction can convey, transfiguration, or not?</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Subsequent to the Numancia episode we find the ex-author in the ancient Roman province of Galicia, Spain and at meeting 'the one', the woman of his dreams, his co-equal, who - imported - stands behind him in the ship </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The Moravian Night</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, as a source, cook, occasional fellow narrator of his stories, and at least in the book has a laugh that can put my man into his place, has a touch that no one else has found so far: we enter a nearly accustomed high romantic German mode, but Handke handles this high wire act, which it certainly is at this point, with just the right touch, and bring it off, that entry into the other mode. Perhaps there is even a Handkean “Liebestod” in our future, the name Wagner fortunately I never heard on his lips or see in his writing. {I have a quote from this section at about page 25}</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>In this and the subsequent “tunnel” section [</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>251 through 280</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>]</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke does things with language that indeed come close to fitting the infamous “indescribable.” but which, nonetheless, I will it a try to. I would say the source for eventually being able to write in this temblor like manner, that questions every syntactical connect, that makes language wobble, dancingly, so that it shakes our language base and being as perhaps only those who have spent childhood years in bunkers being bombed and in earthquake zones, lies in the first of his </b></span><i><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Versuche</b></span></u></i><u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>[the one on </b></span></span><u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Tiredness</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-highlight: yellow;"><span style="font-family: 'Courier New', Courier, monospace;"><b> which also happens to enumerate the near innumerable matters that enraged and tired our author as a young man, including cat on a hot tin roof noises].</b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> There, Handke made the attempt to get fruitfully lost and began to question language as no one has since Wittgenstein, or St. Augustine, in a Socratic manner, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>as a questioner of his own texts as he writes them</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, one indication of which is a proliferation of question marks {?}[¿], the “hm”s that interrupt, query the narration, time and time again an interrogator of his language, and of its grammar, which is going one order, at least one, higher than matters that concerned him already as early a novel as </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The Goalie’s Anxiety at the Penalty Kick.</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> There Handke puts us – after reading the “dog language” of a tract on schizophrenia and language - by sheer grammatical sleight of hand in the </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>state of mind</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> of the murderous [of a woman] paranoid-schizophrenic Josef Bloch. </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Goalie</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> is an </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>acting out</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> in literature, in the form of fulfilled fantasy of an impulse that otherwise will land you in prison – as Handke knows only too well when he has ex-Goalie ex-construction worker Bloch re-appear in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, as an ex-inmate, as a still-sadistic clown construction worker. However, it appears that the literary acting out of these impulses does not suffice to rid the author of them, as I, the once ever-over-optimistic, assumed might be the case when translating and then seeing performances of Handke’s first play without words [but not without ever more ominous sounds] the 1969 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>My Foot My Tutor</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> which is the ultimate repetitive enactment of the master slave sado-masochistic relationship: “Ah, someone who writes that must have rid himself of the sadism,” which was the first thing my elephant trunk smelled on him, flitted through my mind, but, as Handke writes: “Hope is the wrong wing-beat.” Masochism, which fails to eventuate absent sadism, I don’t see in Handke. So I really don’t know what kind of Christian he is either, he left the Catholic Church for the Orthodox faith when the pope did not condemn the bombing in Yugoslavia strenuously enough, and has mentioned that he attends a chapel on a daily basis.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handling the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>materiel</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> of language in the fashion as he does in the Galicia section cited above – which goes beyond the amazing matters that his narrative accomplishes at the beginning and toward the end of the book - also means to have the capability for negative thinking as Freud called it. Your concentration needs to keep a host of matters in focused mind, and then invert it, so that the language does not so much tremble as wobble, boogie on the left and right foot… and Handke being the virtuoso show-off that he is, demonstrates this to a fare thee well. We may be locked in the prison house of language but we can have walls of rubber marble as we tell each other mysteries… occasionally warble, and bounce around. </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke's real father is a German, a Herr Schoenherr who fathered our author in 1942 when stationed in the Austrian province of Carinthia with his German army company. We meet him in </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow Beyond Dreams</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> taking Handke on the customary graduation trip, he found himself unable to marry Handke’s mother Maria Sivec because he was married and had other children – which might mean that Handke has another set of half brothers or sisters in Thuringia, no mention of them or what might have become of them, anyhow not so far. “Schoenherr”, a derisive name given to upwardly mobile gentlemen in the 18</b></span><sup><span style="font-family: 'Courier New', Courier, monospace;"><b>th</b></span></sup><span style="font-family: 'Courier New', Courier, monospace;"><b> century, however, is quite common. Lots of them emigrated also to the U.S.A., presumably from all corners of Germany.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke later confessed his chagrin at how arrogantly he had described this real father in </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Sorrow</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, the Handke of the many regrets, of the great “if only” section of </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Kaspar</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>. In </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>, Handke – the book’s second half is a fairly consecutive wandering in Germany and Austria to the village of his birth, and only rarely weaves back to the ship board night - which itself shows no development, none of the expected to and fro between participants and narrator [s] - and so this second half could as easily have been published under a title such as: “Wandering around Familial Places in Germany and Austria, with some fairy tale Phantasies” – in this Hartz section Handke rummages around his father’s province Thuringia, central Germany, quite wonderfully, all kinds of marvelously observed matters, but the father is deceased, ex-author looks up his grave that is already being readied for re-use [upkeep fees have not been paid] and really is more interested in the region, in what it might tell him about a father that now “ex-author” Handke claims never to have had, there are a couple of unconvincing transpositions from the actual biography, and then there is a long self-berating section that corresponds to Handke’s long ago diary notation that, like Kafka [the Kafka of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Letter to my Father</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>], he feels as an “eternal son,” an apprentice - we, who have followed the rake’s progress over the years, can see the juncture, that 10% gap, between Peter Handke [whom we can see making, </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>labora verimus</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>, as his personae Filip Kobal, his Slovenian grandfather Sivec in the 1986 </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The Repetition</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> completely into an internalized and guiding father figure who also cursed royally and was the first male to appear in “bebé” Peter’s life, while also seeking to extirpate the first internalized father figure, as of age two, the monstrous name-giving Bruno Handke stepfather]: here, in this instance, we can see the 10% difference between the Handke of the writing of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and the now supposed “ex-author” personae which here is the Handke of long-ago. The real author Peter Handke has his “ex-author” express wishes of twenty some years before, proving the “ex-author” of the here and now, fortunately in this case, yet another of Peter Handke’s “ficciones,” personae, lenses, an invention like its immediate predecessor, the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>retired</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> bankieress of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>… It is within that narrow gap between the now and then that the fairly strictly auto-biographical, as much of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> is, can spin its tales and fantasize and place </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>recits.</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> There will be more, it will be possible to make further micro-measurements later when, on the “old road” near his hometown Griffen, the “ex-author” encounters Filip Kobal of [1986] </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Repetition</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> fame and Gregor Keuschnig [initially suicidal of the 1974 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Moment of True Feeling</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> who reappears in the 1992 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> as an ex-cultural attaché, “Gregor” itself being the name of his uncle and favorite first name appellation throughout his literary name giving from the onset]… and we are in the realm of Nabokov’s </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Pnin</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> or Updike’s </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Bech</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> series, arriviste writers having easy fun while their motor is idling, but certainly not hoeing the line of the once self-prescription: ”Write only out of passion.” [We can see this sort of thing already happening in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> where Keuschnig makes easy – and I found unpleasant - fun of the “Sorger” of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>A Slow Homecoming</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, of his writing this book in the Hotel Adams in New York, the second time Handke nearly came a cropper, the planned book not coming and his having to take recourse, to resort to a becalming drug, utterly distraught, fleeing hideous New York into the presence of the exemplary father figure Siegfried Lenz, admiration of whom can be also found in Thomas Mann whose endorsement called my attention to Lenz way back in 1957]. Handke had sufficiently powerful influence in the 70s that an essay of his enabled the rediscovery of the still living Lenz for the forgetful German reading public.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Passionately Handke writes here, in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian,</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> occasionally: the opening demonstration of how to write an opening, the intense bus ride to and back from Kosovo, the tour de force “On Noise,” and the section in Galicia, Spain; the imaginary once again beating of the Erinye; and in chapter nine a stretch of writing where his classical mode suddenly takes off in a free form writing style that is veritably improv, stride piano, in jazz you would call it that, and which, as I read it, made me want to do nothing but write and assured me that my man, with regards to certain literal-minded fears, was perhaps only now hitting his stride… yes, stride piano is the word… </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The second half of the book, beginning with the visit to his father’s region in Thuringia, is by and large a pleasant ramble but for a typically Handkean self-imploding straw man, Melchior, the rekilling of the Erinye and, toward the end, its attempt to raise the entire book into the realm of a fairy tale. It’s wandering part is easy, it’s friendly, the kind of chap I don’t mind wandering around with, or my mule Durango and I and, as mentioned, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>’s second half can stand on its own, has some, but only some of the stylistic unity absent in the first. </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>From the Hartz mountains we are taken to a wandering around the Danube plain near to but skirting Vienna, marvelous marvelous writing, an angel of a writer… and I realize again that Handke stands as one of the very greatest writers in the realistic tradition, as I did when I came on the five thousand word section in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> where he describes the destruction wrought by the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>tormento tropical </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>that hit northern France around 2000, [I have a long piece on </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> at </b></span><a href="http://www.handkeprose2.scriptmania.com/"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.handkeprose2.scriptmania.com</b></span></a><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>on its </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> page, and at:</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="color: #500050; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><a href="http://handke-discussion.blogspot.com/" target="_blank"><span style="color: #354258;"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://handke-discussion.blogspot.com/</b></span></span></a><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>which I felt was probably the greatest five thousand words I had ever read in nearly 70s years worth of reading since age 4 [I started early with a magic writing tablet] – it is so great because Handke is so attached to his forest and sees microscopically, and a moron like Neil Gordon who allegedly teaches “realism” and of the Boston Review then is blind when he reviews the book in Mr. Tanenbaum’s NY Times Book Review…* I have quoted a brief section of his description of the death of the bumble bees earlier on that is just as great and better than many things along that line that Handke has done ever since </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Once Again for Thucydides</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>. Yup, I can see that while you write something like that you probably don’t want any living being near you except a cat, sleeping! - Rummaging around the Danube area the ex-author comes on a huge shed in which a kind of world congress of Jew harp players is in progress [the obverse of the “congress on noise” in Numancia?] and where Handke forces forces a kind of world wide togetherness idea… </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Ubi et Orbi… </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>that occurred with far greater ease in the play without words </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Hour</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>… where, he said, he had the hardest time writing himself out of such togetherness until it occurred to him that all it took was one person to sadistically kick one person in the back of the knee, as it sometimes took just one shot, from wherever, to set a village of ethnically and religiously diverse Yugoslavs to start killing each other, for the psychotic core at the heart of the world to erupt, that reservoir. Here, the fairy tale of togetherness is forced - perhaps Handke thought that going entirely over-the-top would solve the problem: it does not, at least not for me, as I don’t think Handke’s attempt to cast all of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> as a fairy tale comes off. He does his best at the very end, but fairy tales do not derive from the ego, as we know from Walter Benjamin’s great essay on the occasion of his writing on Leskov: “Patience is the dream bird that hatches the egg of experience”, and Benjamin even thought that the work of weavers at their spindles might suffice… We already notice the artificiality of these attempts at art fairy tales as far back as Handke’s realistically quite wonderful extra chapter for </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s-Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, “Lucie in dem Wald mit den Dingsbums” [</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Lucie in the Woods with the Thingamajigs</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>] a mushroom expedition in the Chaville Forest written for his second daughter, Laocadie Handke-Semin [mushrooms signify for Handke’s the harmless being that he would like to be, and I gather he indeed makes the world’s best mushroom stew!] </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The world probably cannot even be dreamt as one except as nightmare, certainly not back together as Handke would like, though his belief in the sacred and access to it seem to convince him to abandon all hope. Several of the enclave sections in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, too, make some fine ambiguous propositions about living together in other ways than the atomizing dog eat dog ways of capitalism. It is an idea, of some kind of less horrendous communalism that haunts Handke and I would locate this utopianism, literarily, in his affinity for some expressionist attempts in that direction in not only the German 20s. The combination of being a very great realist who then tries to cast the over-all in a forced fairy tale, it makes for an uneasy bed. Though I adore the pure verbal magicking he does! Now and then it breaks forth, like the cherubs’ trumpet calls. That certainly works: the mule that makes the sound of an owl and the owl… that hoots like a mule. - Let’s go Durango, gittee up!</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b> Subsequently to the “Jews Harp Congress” [an instrument much beloved of our author, he must play it well] we come on a wonderful section where the “ex-author” communes most playfully with the ghost of his 19th century Austrian equal as playwright, Ferdinand Raimund</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><a href="http://en.wikipedia.org/wiki/Ferdinand_Raimund" target="_blank"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://en.wikipedia.org/wiki/Ferdinand_Raimund</b></span></a><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>who famously committed suicide after being bitten by a rabid dog, fearing that he might become as rabid as one of his Austrian successors is on occasion; and who also seems to have found women to be a danger to his craft. I sort of agree, as the blues has it “The young women they make me weary…” But if I’d known in 1971 when Handke visited New York I could have traded him my ex who often used to work until 4 or 6 in the morning for </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Vogue</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> and </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Harper’s Bazaar</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> with the photographers Hiro and Richard Avedon, guaranteeing some great photo ops for him, was a </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Meisterschülerin </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>in art, dressed like the former model and designer she had been, taught daytimes, was as pretty as a combination of Audrey Hepburn and Anna Magnani, was sexually undemanding, a really good cook, for the utterly insulted and neglected </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>rasante </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>Libgart Schwarz, who certainly would not have minded, as my then socially so inept and vulnerable delicate wife did, heading out to spend some time with the indelicate guys, say, at Elaine’s, at midnight, </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>my</b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> quitting time, to get a feel for the demi-monde of New York.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>A trip now by train to his home village a beautifully … filmed I am tempted to say as about so many other moments in the book – section where Handke observes a young girl reader who is utterly engrossed, it is not his book, but she recognizes him; to Graz where the ex-author makes it a point to avoid old acquaintances [I’ve already mentioned other significances he avoids], he takes a plane from Graz to Klagenfurt, just a hop skip away and then walks the “Old Road” toward his home village Griffen…</b></span></span><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Filip Kobal, of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Repetition</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> fame, appears as another ex-author who now makes films on a path that, though initially described as nearly empty of walkers it is so impassible, suddenly becomes filled with more and more people, even at night, as the opportunity to fill it occurs to the real author’s imagination who has never minded contradicting himself… The Erinye has her head taken off. </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The kind of self-imploding reporter figure that we might be familiar with from a late section in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> [or even earlier, from the 1973 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>They Are Dying Out]</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> here named Melchior appears, and claims that it is his time now, the arranger’s, the universally syndicated asshole, think e.g. Tom Friedman of the NY Times! Talking about “arranging”, Melchior is a straw man who easily demolishes himself, not the real author whom he is attacking. “Melchior” is the counterpart to a real poet Juan from Numancia, and is a kind of super successful impostor; perhaps Handke also has Peter Schneider in mind, his antagonist from the </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Justice for Serbia</b></span></u><i><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>fracas, the sort of fellow who can deliver an instant “state of Germany” for the op-ed pages, I would nominate Joffe of die Zeit whom I heard here once in Seattle, a disgusting smoothie. It struck me as weird that Handke would hold his being an “arranger” against “Melchior” [who has his own stage part here] the ultimate “arranger” of pre-digested phrases and formulas, and Handke re-using the same attack aria once again, for the third time now, first in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Dying</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, then in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Play about the Film about the War</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, and now here; perhaps Handke has only one attack area in him! The figure of Melchior makes me uneasy in that Handke’s sense of the ridiculous has not sharpened since he wrote </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Dying Out</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> in 1973.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>When the “ex-author” finally manages to actually return to his home village of Griffen, Handke does the most amazing thing: a complete estrangement sets in, we are made to feel it, the home village is transformed into something exotic prior to being recognized! It is a wonderful moment that does not last very long, because it turns out that we are dealing with a time discrepancy between the past that exists in the ex-author’s mind and fairy tale future time, when the outskirts of Griffen might indeed be settled by authentic Samarkanders, and I am reminded again of Handke’s saying that he </b></span><i><u><span style="font-family: 'Courier New', Courier, monospace;"><b>makes believe</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>in most of his books that they are set in a future, so as to achieve the kind of feeling of epic openness in which he writes best. After we have done a formally perfect exploration of the possibly future Muslim outskirts of Griffen the author sees the grassy triangle whence he finally enters a modified Griffen, now with a paved street and he begin to feel at home a bit… a wonderful visit to the cemetery where his mother is buried, it appears his half brother is living in their grandfather’s house, another marvelous section, then a recounting of the kind of holy terror Handke was as an adolescent and the family had to stay completely silent while he was writing in his room above… first rate, very interesting, an elaboration of what we know already from </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk About the Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, close to the truth mixed in with some fine inventions.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Dolinen </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b> [sink-hole] section in Chapter 10, a reprieve of the </b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b>Dolinen </b></span></i><span style="font-family: 'Courier New', Courier, monospace;"><b>section of the 1987 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Repetition</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> features an odd threesome of outcasts that continue to believe in a federated Yugoslavia [hey, Rutchky, more fodder for your nose!], our ex-author, an odd tiny Japanese ex-motorcycle driver who had been married to a Yugoslav basketball player and an American I identify as Ramsey Clark [!] whom and his lonely pursuit of justice I suppose Handke must have encountered while hanging out at the De Hague wartime tribunal [</b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Rund um das Tribunal</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, 2000] and I once met at a PEN function in New York, and a lonely business it must be to be witness to the on-going injustices where the really big criminals never will be put in the docket until the Martians conquer the world.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Chapter 11 narrates a return bus trip cum wandering slithering through the “Balkans” back to Borodin, adjudicating his calendar by “day of the June bugs,” day of the Lemon Butterflies,” and like darling insects, where the ambiguous line of fairy tale and realism strikes me as most successful, utterly delightful except possibly our author ought not have let himself off the hook so easily when he composes what Melchior as a reviewer might say about his work – “removed from the world… inattentive to the pressing issues of the day” - I could add a few critiques that cut closer to the bone! Again: the way the ex-author sees the review, kibitzing it over the shoulder of a fellow passenger in a bus, one eye also on a fellow traveler who sits near the bus driver: pure film. That young bus companion is the “author’s” successor and it’s a beautiful passage as the task is handed on… how the task comes to the younger man. Handke writes great endings, as he writes great openings</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>-III-</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>It is interesting to note that in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> for the first time Handke really avails himself in a novel, though of course in modified manner, of his great talent as a writer of dramatic monologues, in evidence as far back as </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>They Are Dying Out</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and developed grandly in the chief source for so much of his later work, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Walk about the Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, and spectacularly in many subsequent plays, most famously I suppose in the 1994 </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Play About the Film About the War.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> This form of telling, narrating is very apt here since the assembled on shipboard are an audience as are we readers who are being treated also to a voice, that of a “we” through whom the “ex-author” speaks. </b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Does it matter whether the narrator is an “I” as just once toward the very end, it might as well be the “author” off in the La Mancha of </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Del Gredos</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, it certainly is a fairy tale teller - the book initially was meant to be called “Samara” – but there are times that it appears the “we” is also the group assembled on the hotel boat “The Moravian Night”. That disparate group is your typical Handke troupe – amongst them the young future writer - as it has been appearing in Handke’s work ever since the in every respect fabulous 1987 film/ novel/ fable </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Absence</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> – and then in the plays </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Hour </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>and </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b> Art of Asking</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> – a small or large grouping of disparates that huddles and moves together on desolation row – pops up in a camp in</b></span><i><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></i><u><span style="font-family: 'Courier New', Courier, monospace;"><b>No-Man’s Bay</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> and in other instances, and thus stands for all such small or large collectives, from kids on hold-me-ropes to ancients gathering at tables. But it is most unlikely that this “group” would find a uniform voice, a consensus on what the “ex-author” felt and saw during his wanderings… It is not an important point, they after all talk in Handke’s voice here! I say so, because while translating </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Villages</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> I had the extraordinary experience, made the extraordinary discovery that each of the major characters – Gregor, Hans, the Site Mother, the Old Woman, Nova – instead of, say, being outfitted with idiosyncratic speech mannerism, each has its very own deep syntax that exerts itself on the translator. Pretty amazing stuff. Not that anyone else has noticed except I expect the directors and fellow translators. Something along those lines does not happen here, the book is meant to be a reading experience.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>A lot of literature is pure defense, and irony is one of its chief means, and few writers have as refined as cool a sense of irony as Handke pencil in hand… With </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Left-Handed Woman </b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>I began to realize how ultra dry his irony can be. L.H., as a reversal of what happened to Handke when his first wife left him shortly after his mother committed suicide [who did so abruptly, thus wreaking what Handke called “the worst thing that happened to me in my life” and a severe crisis lasting several years], when Handke wanted a poem in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>L.H.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> set to music by Randy Newman.</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><a href="http://www.songwritershalloffame.org/exhibits/"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.songwritershalloffame.org/exhibits/</b></span></a><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>I knew exactly what he had in mind…. By the time of WALK ABOUT THE VILLAGES, the “irony” becomes “heartfelt” … the happier Handke initially on coming home to Austria… but quickly unhappy in Salzburg as he appears to have been during that entire 7 year period… Claiming later that he could have written something along the lines of von Doderer’s </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Trudelhofstiege</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b>, a multi character realistic and satirical novel of manners about the experience. [Fat chance on that score, I would hold]. Eventually, the irony turns profound, as in THE ART OF ASKING!!! Which someone such as myself who thrives on answers loves so much because Handke evidently doesn’t want to ask for any of them in the usual way or have any as the horizon keep moving farther and farther away during pilgrim’s progress! I have indicated the irony that fashioned the great opening in </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian.</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Handke is not an esthete, but has an aesthetic… the so easily nauseated does… and next I will devote a piece to that subject, and what is involved, including on the neurological level, for someone who needs to write to heal and be well in an instance such as his. - German esthetes are Botho Straus, Ernst Juenger, Heinrich George… I can’t off-hand think of equivalent Americans though there must be oodles...</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>The German Book Trade nominated </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> as the best book of 2008, but Handke withdrew, for once, from the competition, saying that someone younger ought to receive the prize – years ago now he said he wanted no more prizes, but then accepted a slew of them, and gave the money back or to more needy writers. Uwe Tellkamp won the prize in 2008 for his “Der Turm” which I would say is a better book in the sense of being a whole book. Although Handke, as a writer, does better than Goethe, Stifter and Flaubert rolled into one, the bastard! </b></span></span><span style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><a href="http://www.deutscherbuchpreis.de/de/296796"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.deutscherbuchpreis.de/de/296796</b></span></a></span><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Perhaps Handke also did not want to be in competition with a title where far greater books of his – not necessarily greater writing – were not even nominated. I am reminded of his withdrawing his comparatively weak effort – where formalizing his misanthropism does not work for rage, his “running amok” – UNTERTAGS BLUES – where truly great plays of his were not even nominated. Meanwhile, German prizes seek to give them to Handke to decorate themselves with his name, and if Handke were an Austrian Field Marshall of old, and not one of the few major emblems of the now merely small “Kultchural” empire that probably has more first rate writers per capita than any other, he’d be on the verge of being weighed down by all that metal on his chest! I am I think the only person who in English wrote at some length on UNTERTAGS </b></span></span><span style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: yellow; background-image: initial; background-position: initial initial; background-repeat: initial; color: windowtext; font-size: 10pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b>BLUES [SUBDAY BLUES]</b></span><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span lang="DE" style="font-size: 10pt;"><a href="http://www.handkedrama2.scriptmania.com/photo5.html"><span lang="EN-US"><span style="font-family: 'Courier New', Courier, monospace;"><b>http://www.handkedrama2.scriptmania.com/photo5.html</b></span></span></a></span><span style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: yellow; background-image: initial; background-position: initial initial; background-repeat: initial; color: windowtext; font-size: 10pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>If anyone deserves the Nobel Prize it is Handke, though not for any single book, certainly not this one, but for the entire amazing oeuvre, his work does, to call world wide attention to how the logos has been renovated and enlarged, not he himself. But both he and his work are unlikely to receive the ultimate laurel because of the stand and how he took his stand in matters Serbian, where he led me, who found his self-exposure most suspect by then, to come to agreement with him, and then some, in matters of Western destabilization. </b></span></span><span style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: yellow; background-image: initial; background-position: initial initial; background-repeat: initial; color: windowtext; font-size: 10pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>I would put in special mention of the following works in the citation: The plays </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Public Insult, Kaspar, Ride Across Lake Constance, The Hour, The Art of Asking</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>; </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>The Play about the Film about the War;</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> the prose works, </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Der Hausierer;</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><u><span style="color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>Short Letter Long Farewell, Left-Handed Woman, No-Man’s-Bay, Essay on the Jukebox, Absence, Del Gredos, Don Juan</b></span></span></u><span style="background: yellow; color: windowtext; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;"><span style="font-family: 'Courier New', Courier, monospace;"><b>… and would cite </b></span><u><span style="font-family: 'Courier New', Courier, monospace;"><b>Moravian</b></span></u><span style="font-family: 'Courier New', Courier, monospace;"><b> for containing patches of some of his greatest writing from which no end of future writer can learn, take off… then I would let the Erinyes out of their cages! Just think of the media hullaballoo! “Nobel Prize winner fed to tigresses!”</b></span></span><span style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: yellow; background-image: initial; background-position: initial initial; background-repeat: initial; color: windowtext; font-size: 10pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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<span style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>*For my piece on the U.S. Handke reception go to</b></span></span><span style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: yellow; background-image: initial; background-position: initial initial; background-repeat: initial; color: windowtext; font-size: 10pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b> </b></span></span><span style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><span style="font-family: 'Courier New', Courier, monospace;"><b>the Handke-trivia BlogSpot </b></span></span><span style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: yellow; background-image: initial; background-position: initial initial; background-repeat: initial; color: windowtext; font-size: 10pt;"><span style="font-family: 'Courier New', Courier, monospace;"><b><o:p></o:p></b></span></span></span></span></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-77229311707536317822009-11-22T21:22:00.001-08:002009-11-22T21:22:10.178-08:00A FEW COMMMENTS ON HANDKE TALE "KALI"<meta content="text/html; charset=utf-8" http-equiv="Content-Type"></meta><meta content="Word.Document" name="ProgId"></meta><meta content="Microsoft Word 11" name="Generator"></meta><meta content="Microsoft Word 11" name="Originator"></meta><link href="file:///C:%5CUsers%5Cmichael%5CAppData%5CLocal%5CTemp%5Cmsohtml1%5C01%5Cclip_filelist.xml" rel="File-List"></link><style>
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<div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-family: "Courier New"; font-size: 22pt;">18<o:p></o:p></span></u></b><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-family: "Courier New"; font-size: 22pt;"> </span></u></b><b><u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-family: "Courier New"; font-size: 20pt;">A Few [really, just a few?] Comments on Handke’s 2007</span></u></b><b><u><span style="font-family: "Courier New"; font-size: 20pt;"><o:p></o:p></span></u></b><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: aqua none repeat scroll 0% 0%; font-family: "Courier New"; font-size: 20pt;">KALI, eine Vorwintergeschichte.</span></u></b><b><u><span style="font-family: "Courier New"; font-size: 20pt;"><o:p></o:p></span></u></b><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><span style="font-family: "Courier New"; font-size: 20pt;">[KALI, a Fore-Winter Tale]<o:p></o:p></span></b><br />
</div><div align="center" class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-align: center;"><b><u><span style="font-family: "Courier New"; font-size: 16pt;">[<i>Description of a Film</i></span></u></b><b><i><span style="font-family: "Courier New"; font-size: 16pt;"> might be a useful subtitle, too - for those in need to be clued in how to read and <span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">experience</span> this book.</span></i></b><b><span style="font-family: "Courier New"; font-size: 16pt;">]<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">If you wanted to condense what is a <i>description of a film or filmed opera </i>into a story outline for Columbia Pictures, as I once did in the mid-60s prior to filing a book report for Publisher’s Weekly who supplied the galleys, to its simplest essentials, you would write:<o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;"> <o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">“Note: <i>No need to produce a treatment in this case, the noted author Peter Handke has written what is in fact a description of what in many respects is a filmed opera: might need to be turned into shooting script if the director cannot follow what’s written. Strictly for the art house market, Wagnerites, medievalists and some ‘religious’ will love it. Bressonish.”<o:p></o:p></i></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">We [via a narrator who has to jog his memory about a past to make it PRESENT] follow a middle aged woman singer give her last concert [lots of “close ups”, all “very close”] doesn’t even change her clothes back stage before taking a taxi to her hotel. Taxi driver obvious groupie. The soulful kind. Exquisitely detailed! But can’t quite tell what city this is actually set in. - Then she takes the train to her mom’s place back in some village, she and the bus driver used to go to school together, they chat about having been fanatical readers. She’s on some kind of search. She and her mom, an ex-movie star, mope around a bit about the lousy childhood the singer had; there a sequence with a mopey woman pastor that needs to be cut at once, a real downer! All about what a dreadful world this is. The singer – nameless throughout - takes off across the water, in a boat full of workers from all over the world, to the “out of way place,” [<i>tote Winkel</i>] a island of sorts, which has a big salt mountain. She gets together with the manager of the salt works [there has been an intimation shot of him, she dreamt of him?] who is living with his son – the wife died a few years back – it all seems very formal, nearly as in an old knight’s tale. We who have paid close attention notice that the narrator and the salt man, let me call him Salt Master, seem to be one and the same, an ingenious segueing ploy that the real author Peter Handke performs, who sees a film of a past event [?]. Salt Master is forced to face her, which seems to mean that he has to submit to his desire, overcome his fear that that she is the flesh-eating spider! to give in to her, something that initially fills him with fury. The guy thinks about beating the devil out of his son, as a prophylactic. Very Old Testament this. The next morning they descend into the salt works and after running around its tunnels in a jeep for a while [there’s a cathedral dome room, but Christ what an opportunity for a great car chase was missed, white tunnels! The salt makes lots of crinkly sounds, lots of subterranean compression going on, author very good on details of that kind] they seem to do the beast with two backs at the pit of the mine, but the damned narrator suddenly goes blind [what a spectacular sex scene was left to the imagination instead of doing an exotic graphic, screwing in the womb of the earth, so close to the core and the heat, magma fluid and beasts in heat! - Maybe some consultation with a Jungian, to ascertain symbolism? - But you can fix that.] They ascend, the narrator suddenly looses his hearing when they are about to screw again on the top of the hill, and won’t tell us what they say, there’s a feast, some kid that was lost that the singer, a real searcher and finder she is, of wedding bands and contact lenses, is found, great feast a real rainbow coalition of workers from around the world. A bit preachy at the end, also the other time that this woman pastor appears, but it’s a blessing. Keep for the religious market. Futuristic, time is meant to be after a third world war. No mention or sign of radiation though. No one dies. Suggest the studio passes, though it might be something for Mr. Spiegel’s artsy daughter and the classic library that she is building. Author also tosses in some old French and German poetry to age this commode. Auteur movie all the way.” - <o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">And you notice how many more details it would have been suggested to me to leave out of this attempt to condense the narrative – that exists sentence by great sentence, one of Handke’s best narratives - into a “story.”<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Handke writes great openings, and the opening to <u>Kali</u> - why isn’t it called <i>Saltz</i>/ Salt? well its setting towards the end becomes what is known as a <i>Kalibergbau</i> in German but is called a <i>Salzwerk</i> as well - is one of his most extraordinary because it is not merely filmic but also <u>operatic</u> in the kind of grandeur that he enables, forces at least this reader to respond. [This in many ways interests me far more than anything Handke has to <i>say</i> here, the extraordinary development of what for short I call technique in making narrative powerfully communicative, an operatic film obviates some of his inner outerworld technical achievements such as writing in dream images, as he does in the “wounding” section of THE AFTERNOON OF THE WRITER - 1987, or writing in “dream syntax” as he does – even more extraordinarily – in ONE DARK NIGHT I LEFT MY SILENT HOUSE- 1994]. As we read on, there are stage directions such as: “Off with you.” It is all very momentous and operatic indeed as is what immediately follows.<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><i><span style="font-family: "Courier New"; font-size: 18pt;">“Gradually recollecting set in, and I can hear her without seeing her. And without do I hear of her? Is that her voice? Or an instrument? The tone or rather the sound has something of both. It is a kind of together sound, of instrument and voice…”<o:p></o:p></span></i></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Those who know their Handke openings will be reminded of the opening of RIDE ACROSS LAKE CONSTNACE where Emil Jannings wakes up after the maid has vacuumed the stage, “Was I dreaming?”<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">I have written about the filmic element as it is introduced into sleight of hand magician Handke’s prose procedures as of the fable <i><u>The Absence</u> </i>[1989] and is there every moment in the consciousness of the ex-Bankieress in <u>Del </u>Gredos; and thus the attentive experiencing reader will also experience KALI not only as the description of some reality out there, but as the description of a filmed reality, operatic here, and also with references to enough music to make it into its ow kind of <i>Gesamtkunswerk, </i>which via Howth’s castle, impresses far more powerfully than the more customary description would. This has been Handke’s fundamental stance, since his inception as a novelist with <i>Hornissen </i>in 1966 [the publication date, written, summer of 1964 I think, on the Island of Krk]. Thus KALI needs to be presented differently to the reader as the experience the reader has in this case of a text that is experienced as a film and so you need to let the experience sink in in that fashion, which is more than that of a reading of an ordinary text. For as slow as the film moves, and as slow as some other Handke texts since <u>The Repetition </u>have moved – the text actually moves at what I think is a very normal reading pace [I had occasional possibly entirely inappropriate déjà vues also of LAST YEAR IN MARIENBAD type of pacing and mysteriousness, i.e. is she sleepwalking] - however I never felt that, as odd as some of our heroine’s behavior may be judged by the standard of what is regarded as normal - I was bored, or put into a particular state of mind, as many Handke books – one of Handke’s probably inadvertent achievements is how his work can induce states of mind, or/ and slow your heartbeat and the pace at which you walk [<u>The Repetition</u>, the king of slowness’s best in that respect]. Here one terrific simple sentence links up with the other.<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">p. 65 [ on the boat to the island]. <o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><i><span style="font-family: "Courier New"; font-size: 18pt;">“On the ship. Far and wide nothing but water. Each of the passengers appears to be a master of his own fate. There are no couples, no groups. At the same time a lively open mood, as at the start of a trek during which for a while it seems natural to turn to even a complete stranger and to entrust yourself to him. A kind of general trust reigns throughout the ship, as though it were emigrants standing there at the railing.”<o:p></o:p></span></i></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Or [p.18] <i>“Then the child follows her glance and eyes, to the left and right, and behind its neightbors, and then turns back to her. Would I be able to follow her glance in the same way? Is that meanwhile a complicitious glance between the two of them? If yes, it is anything but a furtive glance –a serious, a distinct, perhaps even amused one. Additionally, her voice, as the first breath of sound for a song…”<o:p></o:p></i></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Only in this subjunctive “as if” fashion is the reader’s imagination, on the one hand left free, but also drawn in! Compare the generosity towards the reader of this way of narrating to the usual rat tat tat of American naturalism. E.G. this piece of unrelieved idiocy, this piece of merde by bête noire, Neil Gordon:<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -18pt;"><b><span style="color: #333333; font-family: "Book Antiqua"; font-size: 16pt;"> </span></b><b><span style="font-family: "Book Antiqua"; font-size: 16pt;"> "Dexter, Michigan. A booth at the back of the Sportsman bar... Life, I was thinking, sitting in the furthermost booth in the dark bar, drinking more beer... I, Jason Sinai, in a bar... I, Jason Sinai, alone in a bar... Isabel, should I try to describe that day in the Sportsman's bar, Dexter, Michigan? ...now, in a bar in Dexter, Michigan... There in that bar in Dexter, Michigan... drinking beer... ...Sitting there, drinking... I, Jason Sinai, your father. Forty-six years old. In a bar in Dexter... Sitting at the bar in Dexter, drinking too much... I saw them suddenly... I saw them then: big-hearted, articulate, brave, beautiful. Billy Ayers, Kathy Boudin, Ellen Radcliff, Bernadine Dohrn. Suddenly I could vividly see each and every one of them, their names, their aliases, the actions they were in. Catherine Wilksonson, David Miller, Nancy Ruth, Paul Millstone, Marsha Cole, Richard Rudd, Lou Cohen. Michael McGinn, Sharon Gresh, Judith Dreed, Ann Delaney. Their names flooded into my consciousness... I had been drinking too much... sitting in this bar in Dexter..." [from <i><u>The Company You Keep</u>, </i>Viking Press.]</span></b><b><span style="font-family: "Book Antiqua"; font-size: 16pt;"><o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Let me also remind Handke readers that the “ex-bankieress” of <u>Crossing the Sierra del Gredos</u> - as she proceeds toward the place where her narrator lives who is narrating each and every moment during her trip - sees herself filmed - as I think Handke does much of the time, the so highly self-conscious exhibitionist, addressing the world or engaged in some kind of conversation with the world inside his head. <u> <o:p></o:p></u></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Here, in KALI, the narrator starts off in a first person, that subsequently intrudes occasionally, these are the first words, and you can hear them being spoken, too! rather ominously: </span></b><b><span style="font-family: "Courier New"; font-size: 22pt;">“<i>She also made me afraid, instills fear. However, I would like to face her</i></span></b><b><i><span style="font-family: "Courier New"; font-size: 18pt;">.” [moechte mich ihr mir stellen</span></i></b><b><span style="font-family: "Courier New"; font-size: 18pt;">], which facing is then done by the Salt Master, thus narrator and master would seem to be one [???] since this plus quam perfect is retrieved in the present film, about halfway through the book: and thus what the Salt Master recounts, in such a pressing immediate presentness is actually a past event, as having been filmed, he is actually describing a film [in his mind?] of something that is past. But as film opera it is of course very much present tense. The necrophiliac that I think dwells resides is part of all great artists. How you must love what you produce to death. The ending of <u>Del Gredos</u> shows that Handke loves writing more than anything else, and if you love that well, and are that fanatical about it, and have such talent… only the Neil Gordons and Michael McDonalds and their large ilk won’t get it. Locked out of the logos forever, not even a glimpse which is all I lay claim to.<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">However, as you come on this first sentence, naively, you may wonder: Is he, the narrator, who keeps intruding throughout in the first person, going on a boar hunt? To war, facing a great moral quandary? A psychoanalytic quandary? Is he about to go to war with an Amazon? It is one of Handke’s drum roll, get the reader with the first paragraph beginnings the way we have had them since <u>Goalie</u>. After all, Handke’s works have musical forms, prescribe ascensions and denouements, and the melody he sings is not all that awkward; and there are some things that turn out well if you are a control freak like Handke. Rarely has the present been more present than here, by way of Handke’s “the as if made real procedure”<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Not only is this an operatic film, it relies on reference to mediaeval legend and poetry, Sir Lancelot and Iseult, German and French to historical depth, and perhaps to teach manners again? And wonderful to run into the brass that is still part of medieval French:<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span lang="FR" style="font-family: "Courier New"; font-size: 18pt;">“<i>Tant mar i fustes, biax dolz sire,<o:p></o:p></i></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><i><span lang="FR" style="font-family: "Courier New"; font-size: 18pt;">Tant es granz dommages des vos ;<o:p></o:p></span></i></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><i><span lang="FR" style="font-family: "Courier New"; font-size: 18pt;">C’o seroiz aussi come nos<o:p></o:p></span></i></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><i><span style="font-family: "Courier New"; font-size: 18pt;">Et en servageab essil… »<o:p></o:p></span></i></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Although the book is rich in cultural reference as say WALK ABOUT THE VILLAGE or THE HOUR WE KNEW NOTHING OF EACH OTHER or THE ART OF ASKING are too, there is absolutely no need to know these references in scholarly fashion [say that maybe the Salt Mountain might be the Venus Mountain, since it becomes that anyway, the references, the fairy tale motifs are alive in themselves. But if you would like to pursue the references Eleonora Pascu’s <u>Zu Peter Handkes Theaterstücken <i>Das Spiel</i></u></span></b><i><u><span style="font-family: "Courier New"; font-size: 18pt;"> <b>vom Fragen</b></span></u></i><b><u><span style="font-family: "Courier New"; font-size: 18pt;"> und <i>Die Stunde da wir nichts voneinander wußten</i><i> mit Blick über die Postmoderne</i></span></u></b><b><span style="font-family: "Courier New"; font-size: 18pt;"> will knock your socks off: as a transmitter Handke does an unusually good job in that respect.</span></b><span style="font-family: "Courier New"; font-size: 18pt;"><o:p></o:p></span><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Now that I have read the book twice, some sections thrice, I have also looked at the German reception - posted in near entirety, as is this piece at: <o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;"><a href="http://www.handkeprose2.scriptmania.com/">http://www.handkeprose2.scriptmania.com</a> -<o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">which reception is by and large favorable and perceptive and knowledgeable and for once I learned a few things from reading the reviews. One reviewer - Ina Hartwig in the <i>Frankfurter Rundschau</i> - actually noticed KALI’s operatic nature; another notices that, though pregnant with ancient and archaic matters, KALI is <i><u>cut</u> </i>like a film. So does Udu Marquand:<o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;"><a href="http://www.dw-world.de/dw/article/0,2144,2392892,00.html">http://www.dw-world.de/dw/article/0,2144,2392892,00.html</a></span></b><b><span style="font-family: "Courier New"; font-size: 18pt;"> <o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">One might keep in mind that Robert Bresson is one of Handke’s favorites and that Bresson not only made <i>Mouchette</i> [which Handke quotes in WALK ABOUT THE VILLAGES], <i>Pickpocket, Condamné</i> etc. but also <i><a href="http://en.wikipedia.org/wiki/Lancelot_du_Lac_%28film%29" title="Lancelot du Lac (film)">Lancelot du Lac</a></i></span></b><span style="font-family: "Courier New";"> </span><b><span style="font-family: "Courier New"; font-size: 18pt;"> <a href="http://en.wikipedia.org/wiki/Robert_Bresson#Feature_films">http://en.wikipedia.org/wiki/Robert_Bresson#Feature_films</a><o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">and that the mixing and transposition of media of communication, visual, aural, has been one of his modernistic [?] endeavors since the very beginning, for didactic as well as artistic purposes: so as to make contact, to refresh, break through the numbing out of his especial lockedupness in himself. </span></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 18pt;">Especially Andreas Isenschmid of the NZZ’s comment “<i>Die realistische Genauigkeit steht in «Kali» oft neben traumhaft Undeutlichem und Rätselhaftem wie Büschen, die sich ohne einen Windhauch wiegen. Und manchmal gehen die verschiedenen Sphären auch direkt ineinander</i>…” could not be more to the point and<br />
</span></b><b><span style="font-family: "Courier New"; font-size: 18pt;"><a href="http://www.literaturkritik.de/public/rezension.php?rez_id=10488&ausgabe=200703"><span lang="DE">http://www.literaturkritik.de/public/rezension.php?rez_id=10488&ausgabe=200703</span></a></span></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 18pt;"><o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">is one that I could not have put better myself, and <span style="color: black;">Ben Hutchinson, of the <i>Times Literary Supplement</i></span> makes life easy for me by translating Isenschmid and passing it off as his own [!]: “<i><span style="color: black;">Handke contrives simultaneously to evoke a sense both of descriptive precision (through his eye for detail) and of enigmatic uncertainty (through his use of narrative questions, through what he does not say).</span></i><span style="color: black;">" He leaves out the Isenschmid example “<i>like bushes that move without a breath of wind.</i>” I could add no end of them: A book whose pages are singed from a fire – surrealism is very much integrated, or perhaps it’s a good thing to re-experience all of it as surreal via Handke’s lens?<o:p></o:p></span></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">The reviews range from the ecstatic: Handke’s friend, the fine writer Weinzierl to whom Handke gave the money from the Buechner Preis way back in the 60s and who now edits the literary pages of <i>Die Welt</i>, pays back generously with: <i>"Wie bei seinem Don Juan, als er die mythologische Figur nach seinem inneren Bildnis umformte, ist dem Traumrealisten Handke abermals ein veritables Kunststück geglückt: Er hat den mittelalterlichen Lancelot-Roman, den "roman de la quête" vom ewig Suchenden, ins Heute übertragen. </i></span></b><b><i><span lang="DE" style="font-family: "Courier New"; font-size: 18pt;">Mit all seiner Unbedingtheit der Leidenschaften und seiner archaischen Abstraktheit. </span></i></b><b><i><span style="font-family: "Courier New"; font-size: 18pt;">Wer es fassen kann, der fasse es, würde die Pastorin sagen." – [„As in his DON JUAN, as he reconfigured the mythological figure according to the image he himself had of him there, the dream-realist Handke has been fortunate to succeed to transfer the medieval Lancelot “roman de la quête of the eternally searching, into the present day. With all the unconditionality of his passions and of his archaic abstractness. As the Parsoness would say: ‘Those who may grasp it, let them do so.’”<o:p></o:p></span></i></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Some are utterly disgusted with or at least upset by the occasional high Hoelderlin tone and the appearance of the preachy woman Parsoness, as am I at the end who agrees with one reviewer who could well do with that ending, though it is formally necessary. What bugs me is this “child business”, but that may have more do with knowing what a hideous father Handke was to his first daughter, and knowing how guilty he feels or at least felt about that at one time: whereupon his works start making this huge fuss about “the child” as though no one had ever heard of them or “it.” The Parsoness blesses us at the happy end – [despite the threat of all consuming love death between The Singer and the Salt Master, they do not; and a lost child is found. Hints of love death are quite sufficient.] „You really need to tremble more than usual,“ it says in Kali, “if it is lost a second time, it is lost for good.”<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Let me also say the things that KALI is not and does not do: Kali does not really induce a state of mind in me, or very differently, as Handke has communicated so often and so powerfully, indirectly possibly – the very formal manner of the book and its narrative are prohibitive of that in this instance. KALI, also, is devoid of the kind of <i>ecriture pure </i>as we have stretches of it in <u>Del Gredos</u> and at its very best in parts of <u>Moravian</u>. Yet it is, save for the several preachy addresses, as straightforward a narrative performance as he has accomplished. If autobiographical as so much of Handke’s work is [in the sense that at the very least creates personae prism through which to filter the state of mind he happens or happened to have been in [Innerworld of the outerworld of the Innerworld], most famously in <u>A Moment of True Feeling</u> and <u>Across</u> and <u>The Afternoon of a Writer, A Slow Homecoming </u>[the novel part of the American Edition] but also in the diary which reads like a novel <u>Weight of the World</u> - it is here in KALI so indirectly autobiographical – although fantasies are easier to analyze than dreams - that even though I know the fellow’s proclivities most intimately, my only speculation along those lines is that KALI is the first testament [there will be a second, more realistic and autobiographically tinged one in MORAVIAN] of our once lay-a-broad Don Juan, the coldest of Salamanders to live with, singing the praises of co-equals living in a tense form of high class marriage [Handke is in need to mythify the ordinary, and in the particular redeems it, renews it]. <o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt; text-indent: 54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Of greater pleasure to many of his readers of his recent work is that KALI does not play or is set in any kind of Balkan and Serbia or surrogate Balkan Spain, unless the out-of the way island – Handke is a lover of the out of the way as readers of his <u>Three Essays</u> [Lineares, Soria] and of <u>No-Man’s Bay</u> and <u>One Dark Night</u> know only too well - where the salt mine is located is Tusla [Turkish for salt] in Bosnia, but I don’t think it is. This first rate descriptions of the interior of the salt mine, and the general feeling of expertise that transfuse this section are an imaginary based no doubt on Handke’s familiarity with the like in the vicinity of Salzburg; and he draws on his capacity as a geologist: sections inside the Salt Mountain are as matter of fact as a first rate literate geologist would write. The only reference to Yugoslavia is the <i>Einbaum</i> in which our heroine, a singer on a quest, paddles around a bit: this KANU is called a DUG OUT that appears as a symbol of individual Serbian [?] orneriness in THE PLAY ABOUT THE FILM ABOUT THE WAR whose translation Scott Abott completed a short while back. I can see our author smile just a tad as he worked in that reference.<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">The language overall, too, is cast in a fairly high, but not too high a mode, as we would accept in an opera. The word “Knappe” appears a number of times, “knights attendants” – yet we are transported to a future in this film opera that assumes a completed globalization, a new Babel of languages among the workers in this salt mine. Dorothea Gilde at:<o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 16pt;"><a href="http://www.poetenladen.de/dgilde-peter-handke-kali.htm">http://www.poetenladen.de/dgilde-peter-handke-kali.htm</a><br />
</span></b><b><span style="font-family: "Courier New"; font-size: 18pt;">addresses the attempts to retain a level of communication as language breaks down very interestingly. I am not convinced by her taking the referentiality of Kali all the way to “kahle” [bald] <u>Saengerin</u>/ [<u>Cantatrice Chauve</u>] Soprano of the Ionesco play, formally one of the few models for Handke’s early <i>Sprechstuecke</i>, <u>Self-Accusation, Public Insult,</u> etc.<o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;"> This is one instance, a fable, rejuvenated knight’s tale, where Handke’s vision of a future in the present can be entertained [previous attempts and hints in that direction go back not just to <u>Del Gredos</u> and <u>Noman’s-Bay</u>, or recur at the end of the subsequent <u>Moravian Night</u> with the outskirts of his home village Griffen turned into a Samarkand, but as far back as the 1986 <u>The Repetition</u>, at one moment in a<i> Doline</i>, a lime stone cave or hollow, there I had the distinct feeling that Handke was foretelling a return to the bloody sacrifices among the Maya; can be entertained because of the manner in which it is presented. [One of Handke’s needs is to transpose his novel into another time, i.e. the present reality is always too much of a weight for our born depressive, and also for fundamental artistic reasons for him to be able to write at all, thus it seems to be a bit of make believe that he needs to play with himself]. What functions did operas serve prior to film? This opera is both quite grand and extremely intimate at times. It is film dream nightmare quite surreal – entirely integrated into the apparently real! - vision with a happy ending, of a different kind than Brecht would supply. And as it proceeds, no end of items from the “image collector’s” trove appear, as a kind of matter of course.<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">An operatic film will also allow an author a bit of editorializing, as Handke has done in most of his books since <u>A Slow Homecoming</u> and occasionally also in a play; brief recits, some quite objectionable and bereft of all intelligence such as the ones on “the modern woman” or on “narcissism” [both in ONE DARK NIGHT]. Here a character, who incorporates two past characters, both the Old Woman and the Site Mother, from WALK ABOUT THE VILLAGES, appears as a Parsonnes, and grumbles, to put it succinctly instead of two whole pages she is given, about “absence of being.” True enough in some ways of course. However the contrapuntality that drives VILLAGES, confined here to one voice, one person, strikes me not as ambiguous making as it ought to be. No yapping for oxygen as at the end of VILLAGES in Nova’s speech.<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">At one point, someone says that it looks as though “the third world war” has already begun. KALI, though our experience of it as an operatic film is very much in the present, or a kind of <i>plus quam perfect</i>, plays in an odd out of the way place where nearly all workers are from all corners of the world, a post or entirely globalized world where impoverished workers stream to work at what here is presented [by the Salt Master] as the last working salt mine that is sunk deep into the earth; scarcely any of the former miners are still around. As of my writing these comments, there however seem to be quite a few vertically sunk working salt mines around the world: you can ascertain by googeling:<o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;"><a href="http://en.wikipedia.org/wiki/Salt_mine">http://en.wikipedia.org/wiki/Salt_mine</a><o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">and then following the various links. I expect Handke at the very least familiarized himself with the no longer working now tourist salt mine in <a href="http://www.visit-salzburg.net/surroundings/halleinsaltmines.htm">http://www.visit-salzburg.net/surroundings/halleinsaltmines.htm</a><o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">or the one in Berchtesgaden<o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;"><a href="http://www.berchtesgaden.de/en/salt-mine-berchtesgaden">http://www.berchtesgaden.de/en/salt-mine-berchtesgaden</a><o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">There are also salt mountains of various kinds all over the world:<o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;"><a href="http://images.google.com/images?client=firefox-a&rls=org.mozilla:en-US:official&channel=s&hl=en&source=hp&q=salt%20mountain&um=1&ie=UTF-8&sa=N&tab=wi">http://images.google.com/images?client=firefox-a&rls=org.mozilla:en-US:official&channel=s&hl=en&source=hp&q=salt%20mountain&um=1&ie=UTF-8&sa=N&tab=wi</a><o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Though none that I found with the kind of cap that keeps it from being ruined by the rains.<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Handke is quite a fine geologist, and does a wonderful job of objectively describing a trip to the bottom of such a mine, in this case the Salt Master, head honcho, drives a jeep. So the idea of using a salt mine instead of a coal mine somewhere down the line may go back as far as his Salzburg days, 1979-1987, at which he appears to have abruptly fled, even leaving two m.s. behind!<o:p></o:p></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">I imagine, quite aside Salzburg getting to him, as you can read in ACROSS [<u>Chinese des Schmerzens</u>] and AFTERNOON OF A WRITER, the fury of furies Mari Colbin had something to do with this departure, she haunts ACROSS, NOMANS-BAY, and very much so seems to lie in wait for the now justifiably paranoid author at his houseboat on the MORAVA in MORAVIAN. No haunting here between singer and salt master, except that he realizes that she poses a danger, but he is now willing to chance it. As mentioned previously, the narrator closes his eyes when they evidently do the beast with two backs in the pit of the salt mine, and closes his ears when something along the same lines occurs on the salt mountain top once they are back out. I recall a Handke’s comment that the only way to write about love making at this point – I imagine he had the pornographication of sex in mind – was simply to say “they embrace.” [“All our embraces.”] And lets the wind howl and scream to make their words inaudible, leave them as mysterious as the inarticulatible ought to be. <o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><u><span style="font-family: "Courier New"; font-size: 18pt;">Kali</span></u></b><b><span style="font-family: "Courier New"; font-size: 18pt;"> among the several matters it is, is also a fable; say the way <u>Lefthanded Woman</u> and <u>Absence</u> are fables, the latter Handke mentioned recently was his way of retelling the Parsifal saga, a theme he also takes up in the great play <u>The Art of Asking.</u> And so one reason I like <u>Absence</u> and <u>Kali</u> and <u>Lefthanded</u> so much is because, whatever its autobiographical significance and basis this novella may have, it is not directly autobiographical, it involved more of Handke’s imagination which, if it does not exactly fly at the speed of the electron or as heatedly as it might when he was a young lay-abroad, is in a sufficiently transformative mode, and yet sufficiently concrete and detailed as not to broach what Hegel used to call “the bad abstract.” Also, like<u> Absence </u>it is devoid of irruptions of Handke’s psychotic side.<o:p></o:p></span></b><br />
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</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Wringing a change on the German expressionist poet Hans Johst’s phrase, made famous by being attributed to Goebbels, “when I encounter the mythic [Kultur] I reach for my gun, I want to point out that my man’s going mythic goes back at the very least to the 1976 <u>Left Handed Woman</u>, although Handke’s liking for the mythic John Ford Film can be found already in the 1971 <u>Short Letter Long Farewell</u>, and psychoanalytically speaking I would say that the predisposition to transfiguring denial, and to the “as if” state can be traced to young Handke’s pulling the covers over his eyes during his decade long exposure to violent primal scenes [the worst fears come true, from age two until age 12]. It goes nearly without saying that however suspect the mytho-poeic may be, you can do it well or do it badly, and on the sheer level of writing I posit that no one has really done it better, or perhaps had so much at stake for doing it better and better, to the sufferance of those closest to him. However, when we come to the moment of the mythic meeting of the “the singer” and the, let me call him, “Lord of Salt” I become a bit queasy for several reasons. One is that I have never cottoned to Wagner and the other is the knowledge that now that our aging lay-abroad Don Juan and frequent combatant of women [not to put it as crassly as maybe it should be] is beginning to sing the praises of co-equals, and if he were an opera composer might try to equal Straus great aria in <u>Arabella</u> “Will’st though marry me.” A similar though less directly straightforwardly theme pervades the subsequent novel <u>Moravian Night</u> which also has that “mythic moment” … necessary myths so frequently to conceal baser motives. The old bone with so much foresight in him may be looking forward to having a care taker, and the idea of building small hotel for himself and his friends as we get on in years and then watch the pony tails prance by may be fading. Michael Roloff, November 2009, Seattle.<o:p></o:p></span></b><br />
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-76561165533257979922009-10-01T13:26:00.000-07:002009-10-01T13:29:19.426-07:00A NOTE ON "THE CUCKOOKS OF VELICA HOCA" <br />
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</style> <div align="center" style="text-align: center;"><b><u><span> </span></u></b><b><u><span style="color: black; font-family: "Courier New"; font-size: 18pt;">A NOTE ON PETER HANDKE’S</span></u></b><br />
</div><div align="center" style="text-align: center;"><b><i><u><span style="color: black; font-family: "Courier New"; font-size: 18pt;">DIE KUCKUCKE OF VELICA HO</span></u></i></b><b><i><u><span style="font-family: "Courier New"; font-size: 18pt;"><a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č">č</a><span style="color: black;">A</span></span></u></i></b><br />
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</div><pre style="margin-left: -54pt;"><b><span style="font-size: 18pt;">As you read the Handke’s texts that treat of his involvement in the
disintegration of the Yugoslav Federation {1} [see: </span></b><span style="font-size: 14pt;"><a href="http://www.artscritic.blogspot.com/" moz-do-not-send="true"><b>http://www.artscritic.blogspot.com</b></a></span> <b><span style="font-size: 18pt;">for the Milosevic controversy summarized]and novels of his where reporters and journalists appear {2}, usually as self-imploding self-derisive figures, especially so in one of the Enclave sections of his epic <u>Crossing the Sierra del Gredos</u> and also in <u>Morawische Nacht</u>, you cannot but help notice frequent wholesale dismissal of their work as that of foreigners with set stories for which they seek confirmatory information and images - ill informed, unintimate with their surround, arrogant, and basically disgusted with the miseries they have to report on {3}: interchangeable reporters, for all intents out of interchangeable hotels, for interchangeable foreign locales telling very similar stories in pretty much the same standardized minimal language [the generic language ocean the deadened minds swim and want to swim in]. The exceptions, and these are not as few as you might think reading my autistic genius Handke:<span></span></span></b></pre><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span style="font-size: 14pt;"><a href="http://handke-discussion.blogspot.com/" moz-do-not-send="true">http://handke-discussion.blogspot.com/</a></span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span>however prove his point.</span><span><span> </span></span><span style="font-size: 14pt;"></span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span><span> </span>So it comes as a surprise to see Handke attempt to actually report, attempt to be a journalist on a locale with which he is quite familiar, the Serbian enclave of Velica Ho</span><span lang="DE"><a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span lang="EN-US">č</span></a></span><span>a in the now independent rump state Kosovo [no mention of the U.S. black site Camp Bondsteel!]</span><br />
</div><div class="MsoNormal"><span style="font-size: 14pt;"><a href="http://www.maplandia.com/serbia-and-montenegro/kosovo/velika-hoca/" moz-do-not-send="true">http://www.maplandia.com/serbia-and-montenegro/kosovo/velika-hoca/</a></span><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: 14pt;"><a href="http://www.yuheritage.com/vhoca.htm" moz-do-not-send="true">http://www.yuheritage.com/vhoca.htm</a></span><br />
</div><div class="MsoNormal"><br />
</div><div style="margin: 5pt -54pt;"><b><i><span style="font-family: "Courier New"; font-size: 14pt;">“Other than all the other previous times, the intent for this visit did not consist of just being there, to celebrate the local feasts, to look and listen. I felt the urge to make inquiry of this or that person in the Serbian part of Kosovo, as it were systematically, thoroughly in the role of a reporter or if you like, as a journalist, and to write the answers down along as they came. And I proposed to do so at a place where I had been not just once, in the Serbian enclave of Velica Hoca, a village in southern Kosovo...” [p.8-9]</span></i></b><br />
</div><div style="margin: 5pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">Not only is this the same enclave to which Handke and his director Klaus Peymann [in a publicity stunt tour] delivered the 50 K Euro Berlin Heine Prize that was substituted for the Düsseldorf Heine Prize [for which that city’s council refused to provide the monies once Handke’s publicity stunt* appearance at the Milosevic funeral had stirred outrage - *Handke may be big and sometimes subtle show-off, but, and I could be more specific here, he at least has a lot more to show than, say, either Norman Mailer or Alan Ginsberg!], but a year prior to this trip to Velica Ho<a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span style="text-decoration: none;">č</span></a>a a previous Handke trip to Velica Ho<a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span style="text-decoration: none;">č</span></a>a - on a bus filled with mourners on their way to a cemetery there - as we find out at the beginning of KUCKUCKE - provided him the extraordinary tour-de-force description of a trip in the novel’s there anonymous enclave in the 2008 quilt of a chiefly autobiographical narrative <u>Moravian Nights</u>, a brilliant opening a brilliant ending, some of the greatest writing this side of heaven and then some, but a hotch potch of locales and unrelated events inbetween:<span style="color: black;"></span></span></b><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span style="font-size: 14pt;"><a href="http://handke-watch.blogspot.com/" moz-do-not-send="true">http://handke-watch.blogspot.com/</a></span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span style="font-size: 14pt;"><span> </span></span><span><span> </span></span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span>So how does Handke do without his kind of novelistic lying, without introducing fantasies, without magical stylistic sleight of hand tricks, without showing off his immense gifts as a writer? He does extraordinarily well, better than he did in the three quickly [here he takes his time visiting and writing] penciled [?] reports from his expeditions to Yugoslavia during its disintegration <u>Trip to the Rivers: Justice for Serbia [1994], Ein Sommerlicher Nachtrag</u> 1995 [A Summer’s Sequel] and <u>Unter Tränen Fragend</u> [Questioning, in Tears-1999][2] which are marred by whole-sale media attacks that lack in specificity no matter that his personal impressions are immensely valuable as is his metaphoric, his individual way of responding, which the generic if they even it in them have excised by their editors.</span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span><span> </span>Initially, in <u>Kuckucke,</u> Handke takes recourse to the cool distanced objective tone with which his readers will be familiar from as far back as his 1971 <u>Sorrow Beyond Dreams</u> and his 1981 account <u>A Child Story</u>, where the kind of distancing to his own child by calling the girl an it {<i>es, das Kind</i>} might take you aback in its attempt to avert emotional distortion. In <u>Kuckucke</u>, his cool and dry initial descriptions, say at a border crossing - to get to Velica Ho</span><span lang="DE"><a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span lang="EN-US" style="text-decoration: none;">č</span></a></span><span>a is like an expedition through armed guards of all kinds, and it gradually devolves that Velica Ho</span><span lang="DE"><a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span lang="EN-US" style="text-decoration: none;">č</span></a></span><span>a is watched over, semi-occupied by all kinds of peace-keepers, some of whom have been there for years, and prefer it that way since it sounds as though they are fuck-ups wherever they came from! - reminds me of Uwe Johnson’s similar sporting coolness at once Berlin border crossings. However, the overly distanced tone becomes more and more intimate, Handke loosens up, and the prose becomes more venturesome: </span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><i><span style="font-weight: normal;"><br />
“</span></i><i><span style="font-size: 14pt;">And yet, and then again: the same pariah as our leader in the immediate vicinity and revealed as the Master of a carefully and solitarily cultivated vineyard. An entire morning he walked like that in front of us. And not just the cuckoos all around Velica Hoca were sounding off: the blue jays, merely as one example, too, injected their so different tones into our ears. <u>Vekoslav</u>, that is: the eternally Slav? or the eternally praised? knew about his ancestors: the jays, the Serbian <u>sojka</u>, has "nine voices"; one of them, for example, was "like that of a child, that is crying," another is "an adult's quacking"." The wild onion, which had shot up all about the meadows around the vineyard, were "snake weed" in translation, and on looking up the place the next day on my own, I really did see the tip of a tail twitch away, and at the next stalk, a few steps further, yet another tip. p. 64</span></i><span style="font-size: 14pt;"></span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span>and as I write this, I wish he were in Tegucigalpa, Honduras, writing for a big paper, instead of, say, the forever generic Elizabeth Malkin or Ginger “Rogers” Thompson, or Marc Lacey of the New York Times who share Aunties miserable Central American beat: </span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="font-size: 14pt;"><a href="http://www.nytimes.com/2009/09/25/world/americas/25honduras.html?ref=americas" moz-do-not-send="true">http://www.nytimes.com/2009/09/25/world/americas/25honduras.html?ref=americas</a></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="font-size: 14pt;">[do the same for Ginger “Rogers” Thomson and Marc Lacey, and the threesome must cost Auntie $ 500,000 per annum what with travel and bureaus.]</span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span>or the overheated <span> </span>David B. Briones of </span><span style="font-size: 14pt;"><a href="http://www.narconews.com/" moz-do-not-send="true">http://www.narconews.com/</a></span><br />
</div><div class="MsoNormal" style="margin: 0cm -45pt 0.0001pt -54pt;"><span>who, however, is on the street and has informants there, or the various Reuters and AP “bare facts” grinds [not the reporters, the readers are to blame who want it like that, just the facts?, really now, and the editors are the enacters of this habitual code.] but in which instance if you happen to be interested you fortunately at least have Larry Birns: <a href="http://www.coha.org/" moz-do-not-send="true">http://www.coha.org/</a></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span>to provide some background on the interests that are playing out there. During the Yugoslav wars, Steve Erlanger was the only NY Times reporter in Belgrade who did not take some obvious side. My now friend Chris Hedges appears to have got under Handke’s skin, too, but the now ex-war reporter had not been to Harvard Divinity and become the writer he is now: </span><span lang="DE"><a href="http://www.truthdig.com/about/staff/70" moz-do-not-send="true"><span lang="EN-US">http://www.truthdig.com/about/staff/70</span></a></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span>But any reporter whose language offends the aesthetic of the non-esthete Handke’s super-finicky sense of language... will trigger my man’s psychotic fuse when he is in extremis! But do you really think you got a feel for the de Hague Milosevic trial from Auntie’s Marlis Simon? If only these writers were allowed to write as well as the ones who do the NY Times obituaries, or delights such as Natalie Angier at the Science section or the various film and some of the daily book <span> </span>and art reviewers: only once you are dead:</span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span><a href="http://www.nytimes.com/pages/obituaries/index.html" moz-do-not-send="true">http://www.nytimes.com/pages/obituaries/index.html</a></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span>which is why some writers then can’t wait to be move over to that section!</span><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span>Handke, in <u>Kuckucke</u>, does not give us the history of the Kosovo campaign and disintegration: that exists as a background, his focus is limited to his week in Velica Ho</span><span lang="DE"><a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span lang="EN-US" style="text-decoration: none;">č</span></a></span><span>a, the famous “here and now” during which we also find out, no surprise here, that he is homophobic when his friend stick a branch between his legs from behind and he leaps up as though it were a snake!</span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span><span> </span><span> </span>While it is manifest where Handke’s sympathies lie and that the continued injustice of the expulsion of Serbs from most of the places they had farmed and lived in for generations becomes apparent, as does his disgust with one Spiegel reporter who appeared only to shoot off flashbulbs for a story about Velica Ho</span><span lang="DE"><a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span lang="EN-US" style="text-decoration: none;">č</span></a></span><span>a as a hotbed of troublemakers, a ready-made actually already “in the can” in Hamburg, Handke’s walking about either by himself, or with his long time Serbian translator and others, talking to this person and the other, the local Orthodox priest appears to be his main contact, he makes his own discoveries;</span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><i><span style="font-size: 14pt;">“Was it the fear of running across one of the locals? </span></i><i><span lang="DE" style="font-size: 14pt;">Of tangling with one of those “of the other side”? No. It was nearly a wish, finally to encounter an Albanian villager. One would have wished him “good day” in his language, “Miredita!”, and then at once have segued into English. (Just make doubly sure that not a single Serbian word slips out…). Would he, or would they (why did he always anticipate a “they,” a plurality?) not understand anything: English at least counted as a kind of pass-word. I would represent myself <span> </span><span> </span>as a “journalist”, which would have an immediate effect – I had experienced it several times in the most foreign wildernesses, my notebook and the pencil stub sufficed (but not hit them with the fact of being a “writer”, “shrkimitar” or “poet” for gods sake – that would mean suspicion from one second to the next, or at best mistrust, a wealth of experiences also on that score)…” [p.56-7]</span></i><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span>to his own surprise finds out that many of Velica Ho</span><span lang="DE"><a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span lang="EN-US" style="text-decoration: none;">č</span></a></span><span>a’s current inhabitants, many of them rentiers subsisting on pittances, are refugees from once neighboring villages. </span><br />
</div><div class="MsoNormal" style="margin: 0cm -9pt 0.0001pt -54pt; text-indent: 54pt;"><span>The overall impression I come away with is of a highland village whose agriculture is half destroyed – lots of vineyards are unkempt, as are meadows – a village that is going nowhere, desolation row; the political is the entire phenomenological ground that Handke the observers covers, and it is thus implicit, in Uwe Johnson’s first three novels {4} we can see the politics of the contradictions of socialism and capitalism intrude into every formulation, no need for that here, if it were even possible: but every barren vineyard makes a political statement too, you merely need to know how to read it, which tourists of course are incapable of. But here it is Handke the phenomenologist at work in a completely politicized landscape – all the detritus on his walk back from the Albanian village speaks of politics, is also the detritus of political events.</span><br />
</div><div class="MsoNormal" style="margin: 0cm -9pt 0.0001pt -54pt; text-indent: 54pt;"><span>Handke’s<span> </span>original <i>succés de scandale</i> <span> </span><u>Publikums Beschimpfung</u>, I now call it <u>Public Insult,</u> is actually <i>political </i>in a profound as compared to a trivial sense – [and that was at the time he was having his easy fun with the <i>engage</i>]<i> </i><span> </span>more so than the wonderful Orwell ever was. He later suggested to Günter Grass that he ought to spend more time working on his novels instead of engaging for Willy Brandt and the SPD – at a time that democracy wasn’t yet a choice between tweedledum and tweedledee. Of course we all know of Handke’s every engagement for dog catcher in the forest that he lives in! The disintegration of Yugoslavia, which had been the troubled writer’s sought for land of peace, wounded him as only a love child can be wounded, not the prettiest of sights, which might have called for understanding, or at least puzzlement instead of moronic cudgels. I continue to be astounded by the near total uniformity across the entire political spectrum in the U.S. of A. of agreement that the Serbians and specifically the Big Bad Wolf of Pograrevic is to blame for the various wars there. </span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt; text-indent: 54pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span>Handke ventures down a long serpentine to the </span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span>Albanian village and is greeted by a single crone</span><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><span>in a window sill, the look in whose eyes he judges </span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span>to be utter hatred and fear - the two ethnically different villages no longer communicate. He finds no mention of the famous 1389 battle at <i>Kosovo Polje</i> [Field of Blackbirds] as the reason for the villager’s allegiance to a land they have farmed for generations. He pores over maps after his return… finds all kinds of odd discrepancies and contradictions there as well. Although the rye fields are still planted and harvested, the grain must be milled at an Albanian village, who take the miller’s cut, there is no baker left in town: the villagers bake their rolls in small electric ovens. </span><span lang="DE">Remnants of recent battles and pogroms are all about. </span><span>But of course it his prose, the way he writes along with what he observed that makes one want to recommend someone like Handke to the newspapers of this world and the only way to prove that point convincingly is a few quotes:</span><br />
</div><div class="MsoNormal" style="margin: 0cm -18pt 0.0001pt -54pt;"><span style="font-size: 13.5pt; font-weight: normal;"><span> </span></span><span style="font-size: 24pt; font-weight: normal;"><br />
“</span><i><span style="font-size: 14pt;">That first, planned hour where I would pose questions took place in the yard of a small ground-level premise beneath a walnut tree, at some remove from the yard gate, on a sofa, the blanket on top, with DB, the initials for German Federal Railways [Deutsche Bundesbahn]. The questions, different than the usual, concerned everyday life - how are you getting by? - and how things were in general - how did the new state exert itself on the existence in the enclave? The idea of getting by, at least for the first person questioned, a not very old grandmother, with her 70 Euros, her husband's pension, who had once had a job in Austria and died suddenly, was unimaginable, she was a diabetic, and the sum she mentioned went for the requisite monthly Insulin injections, brand "Siomfor". (Why had the questioner expressedly noted this Siomfar? So as to plead the pretense of authority? </span></i><i><span lang="DE" style="font-size: 14pt;">Or out of embarrassment for his role playing?)...[p.43]</span></i><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -54pt 0.0001pt;"><i><span lang="DE" style="font-size: 14pt;">"Dahinwandern", das war schon bald nicht mehr das Zeitwort für den sich in dem ungewissen Niemandsland Fortbewegenden. Es handelte sich eher um ein Eindringen, Schritt für Schritt. Dabei ging der Weg in fast luftigen Höhen, über einem sanft nach Ost und West und vor allem nach Süden, auf das Albanerdorf zu, ausschwingenden Bachtal. Ein Eindringling war man dort, und dabei herrschte in dem Zwischengebiet eine nicht bloß episodische oder jüngstentstandene Menschenleere. Die erst noch üppigen, starkgrünen Wiesen im Bachtal erschienen immer schütterer und gingen allmählich über in ein nacktes graues Brachland, so wie auch die Weingärten an den Hängen brachlagen…[…] Vom Bach, der oben, nordwärts in Velika Hoča, als einzigen Namen 'Potočnica', weiblich, das 'Bächlein', hatte, kein Gluckern mehr zu hören. Überhaupt herrschte im Umkreis des Wegs, bis auf das Eindringlingsgeräusch der Schritte, eine beinah vollständige Lautlosigkeit…[…] Stetige Laute, ein immerwährendes allerseits wegbegleitendes Zurufen, einzig von den Kuckucken, den serbischen 'kukavice', den albanischen 'qyqe', aus den mehr und mehr zurückweichenden Waldhorizonten. </span></i><i><span lang="DE" style="font-size: 14pt;"></span></i><br />
</div><br />
<div style="margin: 5pt -45pt 5pt -54pt;"><b><span style="color: black; font-family: "Courier New"; font-size: 18pt;">Velica Horca seems fortunate only in one respect: whereas the cuckoos in Europe have not adjusted to needing to lay their eggs in the nest of birds that, because of global warming, lay their eggs two weeks earlier, the temperature in the high plains Velica Ho</span></b><b><span style="font-family: "Courier New"; font-size: 18pt;"><a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span style="text-decoration: none;">č</span></a><span style="color: black;">a, in Spring, remains the same; thus there are enough cuckoos in the vicinity of Velica Ho</span><a href="http://en.wikipedia.org/wiki/%C4%8C" moz-do-not-send="true" title="Č"><span style="text-decoration: none;">č</span></a><span style="color: black;">a for the rotten nests in the heads of all the madmen in the world.</span></span> </b><br />
</div><div style="margin: 5pt -45pt 5pt -54pt;"><br />
</div><div style="margin: 5pt -45pt 5pt -54pt;"><b><span lang="DE" style="font-family: "Courier New"; font-size: 18pt;">1] <u>Die Kuckucke von Velika Hoca, eine Nachschrift,</u> Suhrkamp Verlag, 2009, 100 pages.</span></b><b><span lang="DE"></span></b><br />
</div><div style="margin-left: -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">2] Handke’s first book on the subject is <u>Abschied vom Neunten Land</u> [1993] which deals chiefly with his questioning the need for Slovenian independence. Then come: <span> </span><u>Trip to the Rivers: Justice for Serbia [1994]</u>; <u>Ein Sommerlicher Nachtrag</u> 1995 [A Summer’s Sequel] and <u>Unter Tränen Fragend</u> [Lamenting, in Tears-1999]. There is also the great play DIE FAHRT IM EINBAUM, which Scott Abbot has just translated: <u>Voyage by Dugout:</u> <u>The Play About the Film About the War. </u>Here quote form it:</span></b><br />
</div><br />
<div class="MsoNormal" style="margin-bottom: 12pt;"><i><u><span style="color: windowtext; font-size: 14pt;">The Greek Reporter:</span></u></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">You appear in the name of goodness, yet you have never left behind the least goodness in this country. Helpers? You’ve never helped yet. There is a kind of indifference more helpful than your humanitarian gesticulating. Your right hand caresses some like Mother Teresa while your left hand raises the sword of a criminal court against the others. Puny devils of goodness. Humanitarian hyenas. Aloof and formal in the face of suffering – you officious and public humanitarians. Mars corporations masquerading as guardians of human rights. You claim to be humanitarian sheriffs – and the humanitarian sheriffs in the westerns, isn’t it true, Mr. O’Hara, were usually incompetent or secretly corrupt. They were the villains.</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">O’HARA</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">Aren’t those prejudices, my son?</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">MACHADO</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">Let him express his prejudices, John. Prejudices make good film plots.</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">GREEK</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">The war has made the people from here bad, worse than they are. You carpetbaggers have become bad with the war, like you really are. Deaf and blind – unfortunately, not speechless, not speechless at all.</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">THIRD</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">Medieval rhetoric.</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">GREEK</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">Those who wield sentences as bludgeons have the power. In earlier despotic regimes, that was the politicians. Now it is you. And while the small peoples here fought for scraps of earth, you conquered the whole world. In word and image the despotic lords over reality, you power rangers. Internationals? Extraterrestrials. International court? Universal stingrays.</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">FIRST</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
</div><div class="MsoNormal" style="line-height: 150%;"><i><span style="color: windowtext; font-size: 14pt; line-height: 150%;">You’re not imagining an about face? We have to continue the way we began. We are now prisoners of our initial opinion. We must continue more vigorously, more shrilly, and above all in a monotone – monotone – monotone. That’s the way it is. That’s the state of affairs. It’s true: We’re sick of what we do, so sick of it. And we’re sick of each other. But what can we do? Should we suddenly say: The other ones, the ones not from here, are also guilty? Guilty in a different way? Impossible! That’s not the point. We must continue as we began, in full voice and if necessary with empty hearts. That’s the way it is. That’s the way it has to be. We are the language.</span></i><i><span style="color: windowtext; font-size: 14pt; font-weight: normal; line-height: 150%;"></span></i><br />
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<div style="margin-left: -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">3] a good link with links to the German reception of <u>Kuckucke</u> is:</span></b><br />
</div><div style="margin-left: -54pt;"><b><span style="font-family: "Courier New";"><a href="http://begleitschreiben.twoday.net/topics/Peter+Handke/" moz-do-not-send="true" target="_blank">http://begleitschreiben.twoday.net/topics/Peter+Handke/</a></span></b><br />
</div><div style="margin-left: -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">also see:</span></b><br />
</div><div style="margin-left: -54pt;"><b><span style="font-family: "Courier New";"><a href="http://www.glanzundelend.de/Artikel/handkekuckucke.htm" moz-do-not-send="true">http://www.glanzundelend.de/Artikel/handkekuckucke.htm</a><span></span></span></b><br />
</div><div style="margin-left: -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">for a fine, sympathetic and detailed review by Lothar Struck that also has extensive quotes from the German text. Struck’s review of <u>Morawische Nacht,</u> in the same publication, however reveals him to be an uncritical acolyte.</span></b><br />
</div><div class="MsoNormal" style="margin-left: 7.5pt;"><i><span lang="DE" style="color: #333333; font-size: 14pt;">„Auf der Brücke brauchte ich mich, gegen die Erwartung, nicht auszuweisen. Sie wurde auf der serbischen Seite bewacht von Franzosen, das war schon an den Uniformen zu erkennen, auf der albanischen Seite von, an jenem Morgen wenigstens, schwarzen Amerikanern. Grüßen in den beiden Sprachen, und freundliches, jedenfalls nirgends argwöhnisches Zurückgegrüßtwerden. Mir war, ich sei der erste Brückengänger am Tag, und die Soldaten sähen sich bei meinem Passieren in der Tat als Angehörige einer Schutztruppe. […] Die Stacheldrahtrollen, beiseite geschoben hüben wie drüben dann, wirkten wie aus einer Vorzeit.</span></i><i><span lang="DE" style="font-size: 14pt;"></span></i><br />
</div><div class="MsoNormal" style="margin-left: 7.5pt;"><i><span lang="DE" style="color: #333333; font-size: 14pt;">„Im albanischen Teil angekommen, ging ich im Brückenrhythmus weiter, als hätte ich da zu tun. Nur nicht als Neugieriger oder sonst wer erscheinen. Breite Gehsteige, auch durch die hier fehlende Tausendkioskmeile und also viel Platz zum Gehen. […] Wieviel Luft allein schon um die sichtlich neuerbaute monumentale Moschee, welche, mit ihrem Minarett, sowohl Hauptplatz als auch Hauptkreuzung markierte. […]</span></i><i><span lang="DE" style="font-size: 14pt;"></span></i><br />
</div><div class="MsoNormal" style="margin-left: 7.5pt;"><i><span lang="DE" style="color: #333333; font-size: 14pt;">„Die Cafés hier mit offenen Terrassen, auch das ein Unterschied zu denen im Norden, wo die Terrassen, bis auf die einzelne Ausnahme wie das "Dolce Vita", mit Plastikplanen verkleidet waren, so daß das Geschehen dahinter von der Straße aus nur sehr vage und überdies verzerrt sichtbar wurde. Hier dagegen saßen die meist jungen Gäste, zahlreicher jedenfalls als wir Fußgänger, ganz offen im Freien, bei Kaffee oder Bier. […] Wenn einem der Sitzer da der doch wohl offensichtlich stadt- wie landfremde Passant auffiel, so ließ er das aber keinmal spüren. Oder war es eher so, daß er, der Passant, im voraus beschlossen hatte, niemandem aufzufallen? War so etwas denn möglich? An jenem friedlichen Morgen und Vormittag ja. Aus solcher den Norden wie den Süden umfassenden Friedlichkeit heraus ein einziges Wundern, daß das nicht auch schon in der Zeit vorher so hatte sein können, zusammen mit dem Gedanken, einem gewissen, im einzelnen dagegen ganz und gar ungewissen, daß das kein ganz leerer oder grundloser Wahn war: der Friede hatte seinen Grund – er lag in der Luft und ebenso klar auf der Hand – er hatte (eine) Zukunft, wenn es für diese auch im Norden und Süden zwei sehr verschieden klingende Wörter gab, 'budućnost' und 'ardhme'</span></i><i><span lang="DE" style="color: #333333; font-family: Verdana; font-size: 8pt;">.</span></i><br />
</div><div class="MsoNormal" style="margin-left: 7.5pt;"><i><span lang="DE" style="color: #333333; font-size: 14pt;">„Ungewiß, wo auf dem Weiterweg zwischen den zwei wenn auch nicht mehr deutlich verfeindeten, so doch einander wie endgültig aus dem Sinn geratenen Dörfern, nach dem Sportplatz mit dem im Strafraum grasrupfenden Kühen, und nach dem letzten Haus, wie bewohnt und beim Hinsehen unbewohnt, und dann noch einem, deutlich verfallenen – ungewiß, wo danach mitten im Land, mitten im da so besonders weiträumig erscheinenden Kosovo das Niemandsland begann. Jedenfalls war es nicht von einem Schritt zum andern, daß der einmal als Fahr- und Verbindungsweg angelegte Weg keinerlei Fahrspuren mehr zeigte. […]</span></i><i><span lang="DE" style="font-size: 14pt; font-weight: normal;"></span></i><br />
</div><div class="MsoNormal" style="margin-left: 7.5pt;"><br />
</div><div class="MsoNormal" style="margin-left: 7.5pt;"><i><span lang="DE" style="color: #333333; font-size: 14pt;">„</span></i><span class="apple-style-span"><i><span lang="DE" style="color: #333333; font-size: 14pt;">Bei der Ankunft,</span></i></span><span class="apple-converted-space"><i><span lang="DE" style="color: #333333; font-size: 14pt;"> </span></i></span><span class="apple-style-span"><i><span lang="DE" style="color: #333333; font-size: 14pt;">gleich beim Aussteigen aus dem Auto…in einer Maiensonne wie nur je einer, erklangen sie überall in dem weiten Umkreis rund um das Dorf […] All den Frühling hatte ich quer durch Europa hier und dort auf das Rufen eines Kuckucks gewartet…Aber in den Wäldern dann, gleichwelchen, gleichwo: nada…In Velika Hoča dagegen vom ersten Augenblick an ein regelrechtes Kuckuckswelttreffen oder –konzil, vielleicht nicht gerade der Liebe wegen, aber spürbar auch nicht zum Streit. Und es setzte sich während all der Tage dort fort, jeweils bis in die Abende hinein, und in jenem anderen Zeitsinn sind die Kuckucksrufe selbst in den Nächten erschollen</span></i></span><span class="apple-converted-space"><i><span lang="DE" style="color: #333333; font-size: 14pt;"> </span></i></span><span class="apple-style-span"><i><span lang="DE" style="color: #333333; font-size: 14pt;">und von nun an sollen die Kuckucksrufe</span></i></span><span class="apple-converted-space"><i><span lang="DE" style="color: #333333; font-size: 14pt;"> </span></i></span><span class="apple-style-span"><i><span lang="DE" style="color: #333333; font-size: 14pt;">das Vordringliche und den Grundton Angebende</span></i></span><span class="apple-converted-space"><i><span lang="DE" style="color: #333333; font-size: 14pt;"> </span></i></span><span class="apple-style-span"><i><span lang="DE" style="color: #333333; font-size: 14pt;">sein. </span></i></span><i><span lang="DE" style="color: #333333; font-size: 14pt;"></span></i><br />
</div><div class="MsoNormal" style="margin-left: 7.5pt;"><i><span lang="DE" style="font-size: 14pt;">„...</span></i><span class="apple-style-span"><i><span lang="DE" style="color: #333333; font-size: 14pt;">am folgenden Sonntag, nein, an einem der Tage vorher, einem orthodoxen Feiertag, das Glockenläuten in der Enklave und simultan, nein, das war keine Halluzination, im albanischen Unterdorf, so fern wie klar, das Muezzin-Schallen, zum Elf-Uhr-Gebet…im Einklang zum Läuten und/oder Gebetsrufen, Glockenschlag für Glockenschlag und/oder Suren-Silbe für Suren-Silbe, ein Gebell losließen, welches, ein wie skandierendes und synkopierendes, einmal kürzeres, einmal längeres, hochgezogenes und so geradezu melodisches Aufheulen, so oder so ein eindeutiges Respondieren war, oder jedenfalls sein sollte.</span></i></span><i><span lang="DE" style="color: #333333; font-size: 14pt;"></span></i><br />
</div><div class="MsoNormal" style="margin-left: 7.5pt;"><span class="apple-style-span"><i><span lang="DE" style="color: #333333; font-size: 14pt;">„Und jener letzte oder vorletzte oder erste Morgen in Velika Hoča, da ich, aus meinem Quartier durch das Hoftor auf den Dorfplatz getreten, mich auf die Stufen vor dem Tor setzte, da der eine kleine Streunhund sich zu mir gesellte, da die Enklaven-Kinder über den Platz zur Schule gingen, da die Enklaven-Alten sich aufmachten zu ihren hoffnungslos-heiteren Tagesrunden, da die Dorfplatzlinden grünten, und da unter uns allen ein illusionäres Einverständnis herrschte, nicht mit der Geschichte, bewahre, aber mit der Morgenluft, der Ratlosigkeit, dem Rundenziehen, dem Dasitzen…</span></i></span><i><span lang="DE" style="font-size: 14pt;"></span></i><br />
</div><div style="margin: 5pt -54pt;"><b><span style="font-family: "Courier New"; font-size: 18pt;">I myself have written extensively on Handke’s involvement in Yugoslavia, initially just for myself to make sense of it all, you can get the gist of that coverage at <u>The Milosevic controversy</u> at:</span></b><br />
</div><div style="margin: 5pt -54pt;"><span style="font-size: 14pt;"><a href="http://www.artscritic.blogspot.com/" moz-do-not-send="true" target="_blank"><b><span style="color: windowtext;">http://www.artscritic.blogspot.com</span></b></a></span><b><span style="font-family: "Courier New"; font-size: 18pt;"></span></b><br />
</div><pre style="margin-left: -54pt;"><b><span style="font-size: 14pt;"> </span></b></pre><pre style="margin-left: -54pt;"><b><span style="font-size: 14pt;">4} <u>Speculations about Jakob; The Third Book About Achim; Two Views.</u></span></b></pre><pre><b><span style="font-size: 14pt;"> </span></b></pre><pre><b><span style="font-size: 14pt;"> </span></b></pre><br />
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</div>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-14670411387469591112009-09-27T21:37:00.000-07:002009-09-27T21:37:03.007-07:00Peter Handke: Wounded Love Child The Psychoanalytic Monograph, Condensed<meta content="text/html; charset=utf-8" http-equiv="Content-Type"></meta><meta content="Word.Document" name="ProgId"></meta><meta content="Microsoft Word 11" name="Generator"></meta><meta content="Microsoft Word 11" name="Originator"></meta><link href="file:///C:%5CUsers%5Cmichael%5CAppData%5CLocal%5CTemp%5Cmsohtml1%5C01%5Cclip_filelist.xml" rel="File-List"></link><style>
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</div><div class="MsoNormal" style="margin-left: -54pt;"><u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Peter Handke: Wounded Love Child<o:p></o:p></span></u><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">The Psychoanalytic Monograph, Condensed<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">By Michael Roloff <o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">I first became aware of Peter Handke at the <i>Gruppe</i> 47 meeting in Princeton New Jersey in May 1966 where he delivered a general onslaught against the there read texts. </span><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Fairly well versed in contemporary German writing, I was sitting next to the Spiegel reporter Erich Kuby who, as he started to make notes, told me who it was who was speaking, but was being prohibited from launching general attacks. That this event would become the major news from this meeting can be attributed to the truth of Handke's statement on the impotence of the there delivered texts, none of which made for the kind of éclat that Handke’s statement did, as his own did not either. The vehemence of Handke’s attack, however, did not much impress me, who has or at least once was nonchalant about major upheavals, and because I had participated in U.S. creative writing programs where far harsher things are said. </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">On the basis of this single performance you would not conclude that Handke was an exhibitionist as he then turned out to be, also in the <span> </span>socially disfavored sense, whereupon he<span> </span>feels “a little diabolical” as he told me in Paris in the mid-70s. As a matter of fact it was Dr. Robert Tuch’s piece on compensatory trauma based exhibitionism {1} that then made me conclude my work, to the extent that I can finish it at this or any time. And if it were not for Handke’s exhibitionism and his need to write nearly at all times, itself both symptom and cure [at age 67 he has that number of books to his credit as well as approximately twenty some plays and twenty translations, from the ancient Greek, Elizabethan, French, American, and Slovenian, and rumor has it that on his deathbed he will tell us what he, who at his birth is said to have clutched the stub of a pencil, what his depressed mother’s Borborygma</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;"> <span> </span>-bowel growls! - communicated intrauterine!] so as to calm himself, his being in need of public performances and being photographed {2}, and publishing four volumes of diaries during his life time, and in his novels and also non-fiction projects using his self, putting as he announced he would, his self into play, manifesting changing self and self states as his primary material - without that mass of material I would be hard pressed to have undertaken a project of this kind.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;"><span> </span><span> </span>At Princeton I also happened to notice what is best described in the German words as a "lüsterne" expression pass over Handke's face, at the presence of Max Frisch, sheer raw ambition as I have seen it only a few times in my life. It invariably spelled: trouble ahead!<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;"><span> </span><span> </span>After Princeton, I and two friends, one of them had a spacious residence, gave a party for German and American writers. There I talked twice to Handke; the first time he explained, on being asked, that he wore nightshades - even in expensively modulated lighting conditions! - because he had eye problems. It would be some years before I read in his 1980 <u>Die Lehre der St. Victoire</u> [<i>The Lesson of Saint Victoire</i>-{3}] that he suffered from occasional bouts of color blindness, which is very much a sub-rubric and a complicated one in the etiologies that I explored to the then 1990 state of available evidence but did without reaching a definite conclusion. Handke himself writes in <u>L.St.V.</u> that he searched in his two families<span> </span>- his mother, Maria Sivec, was of the Slovenian minority in Carinthia; two of her brothers died during World War II; Handke’s actual father, a Herr Schoenherr, derives from the Harz region in Thuringia and Handke has Handke – the German mishmash of a Polish name - for a last name because his real father, the love of his mother’s life, was already married and refused to marry Maria, whereupon she married a fellow German soldier, Bruno Handke, who was stationed with the same company of soldiers in Griffen, Carinthia, Austria in 1942, which makes Handke a bastard with the to be expected legitimacy and father and identity problematics, at least for the first forty some years of his life. Both father and stepfather survived the war, the wounded Bruno Handke returned to Berlin in 1944, where Peter Handke, now two years old, first encountered him the same year. Until then, young Peter had been, as I inferred long ago and of which there exists ample evidence {4} and as he confessed in his 2008 <span> </span>even more than usually directly autobiographical novel <u>Moravian Nights</u> {5} very much his mother’s exclusive love, a love child and a compensatory one if ever there one was for a joyous mother; with his grandfather Sivec as the sole male figure to intrude into the baby’s consciousness until the quickly hated Bruno Handke became the terror father figure in 1944 due to the then ensuing decade long bouts of violent drunken primal scenes, Handke would then hate everything German for many years. {6}<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;"><span> </span>The evidently curious Handke failed to find evidence for the phenomenon of bouts of color blindness among his relatives, and, if not of genetic or strictly physiological origin, I initially postulated that his eye problems was rooted in Handke’s then near constant state of rage and hysteria. For the plethora of matters and their extraordinary enumeration of what both infuriated and tired young Handke see his 1989 <u>Essay on Tiredness</u> {7}, one of them the “cat on a hot tin roof noises” in the room above his. Many if not all consequences, including Handke’s numerous nauseas – including of the eyeballs! - can be accounted for by the decade-long trauma of exposure to violent drunken primal scenes, no matter that Handke writes in one of my chief sources, his 1971 book about his mother’s suicide <u>Sorrow Beyond Dream </u>{6} that one solution to the exposure was to put the blanket over his head - presumably his strength to dissociate in order to write objective texts may have gained an extra fillip from the so strengthened defense against the experience as well. It was while reviewing, around 1990, his 1984 novel <u>Across</u> [<i>Chinese des Schmerzens </i>{8}] that begins with the sentence “Close your eyes, and the world will arise anew” that I became aware of Handke’s capacity to say “no” to some matters to which the answer was obviously “yes,” which puzzlement on my part then eventuated in this work and even greater admiration for the work he has accomplished in living with and partly overcoming liabilities over which he was given no choice.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">One other useful sequelae of this decade long traumatic exposure, aside the ability to dissociate, for a writer [the Rembrandt painting of a woman clipping her fingernails was Joyce’s metaphor for the same disinterested state of mind, so akin the scientific mode], is that Handke suffers from insomnia and therefore does most of his writing at night, which then has unfortunate social consequences, and that he survived the anxiety by successfully masturbating {9} just as <span> </span>many of his early texts constitutes a victory over fear, an experience the real reader can share {10}; thus it being not all that surprising that our great manifester who had initially presented himself to the world as “the new Kafka” would eventually call himself the “anti-Kafka!” Handke himself has mentioned how surprised he was that everything was so calm on the page after he had felt anxious, and takes pride in how <i>geil</i>, how “hot”, his formulations are; and I postulate in this instance something like the obverse of Freud/ Breuer’s original thesis of hysteria, a conversion of hysteria based anxiety into the strength of a calm self. Nor is it all that surprising that someone with Handke’s trauma and background would eventually become a writer of mythic openness and a transfigurer par excellence.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Focusing on Handke’s “nausea of the eyeballs” I speculated initially that Handke’s rage might account easily for the bouts of color-blindness as in the proverbial “seeing black”; add to that what Handke calls his explosions of sacred rage and his then states of anxiety, an underlying dis-associated hysteria that keeps breaking through the defenses which then requires writing to calm himself down and to avert… and voila! - that would suffice: except that, in 1989, Handke, in a book-length interview with Herbert Gamper {11}, confessed that he still experienced occasional bouts of autism, scarcely a self-diagnosis that. I would witness some of these episodes which thus became somewhat explicable to me in retrospect; and, considering the extreme hyper-sensitivity of all of Handke’s senses, sheer <i>quantitative, </i>unmodulated input would suffice to explain the phenomenon of occasional color blindness as well, the old breaching of the barrier. Needing to review all my findings and speculative conclusions in the light of Handke’s autism, however, threw a major wrench into them, unless what was diagnosed as “autism” is itself a derivative of the decade long childhood trauma. Handke’s autism for me means that he has the eyes of an eagle, the nose of your best blood hound, the ears of your best bat, and the skin of a porpoise, the sense of taste of the finickiest feline, that he is socially gauche, that he cannot have other bodies in the room with him for long – currently, in his abode outside Paris, he at once takes even the closest friends out for a mushroom ramble in the forest [mushrooms signify peaceful harmless being for someone who much yearns for being at peace and being harmless himself, of which he I hear tell he makes the world’s best mushroom stew] and only interviewers and photographers or T.V. crews are allowed to stay in the domicile, through whom Handke can communicate and manifest himself to the world. {2}. And that he still has a mild case of Tourettism a frequent attribute of autism, augmented and made sacred as that may have been by his eventually self-chosen father figure, his grandfather’s royal cussing, and which can be delightful when turned into musical salvoes as it is at the end of his famous <u>Publikumsbeschimpfung/ Public Insult.</u> {12} And also that everything has to be just so, perfect, and that he needs to be in control, as are most of his works; that is, that the standard of perfection is one of his own literary texts. In other words, a wife’s delight!<u><o:p></o:p></u></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">The color of the glasses that Handke wears has become far lighter over the years, either because of anti-anxiety medication which he has perhaps takes more than just occasionally in extreme states, or because his sensitivity to light has abated, but eye problems is the chief reason why Handke has never managed to get a driver's license and thus has become most likely the greatest reporter and observer of what occurs during bus trips {13}, and needs friends to chauffeur him; that is, unless he, who must be one of the last great walkers on the earth – <span> </span>another way that this so very solitary writer has of calming himself [on which it has indeed become “hard <span> </span>to walk,” I only know one better, a little Scotsman who traversed the entire thousand mile long coast lines of Baja California Norte and Sur both up and down, which has no end of <i>bahias</i> that add at least another 500 miles to the task!]<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">At the first of our two brief conversations Handke was dressed as a kind of Beatle, and had that kind of haircut, closely checkered yellow black shirt, a pink carnation in the vest pocket, and it turned out that he loved their music even more than I did, and as we find out in his 1991 <u>Essay on the Jukebox </u>{7} sought refuge during dreaded family childhood outings in his home region in jukeboxes. His mode of dress has changed so frequently afterwards that he appears to be as much male model as writer. {2}<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;"><span> </span>At the N.Y. party when Alan Ginsberg approached Handke and me as we were talking the second time, I - who has a somewhat but less than Handke village background - could not but help notice a sadistic village grin spread over my guest’s face at something that Ginsberg said: as Handke says: "The smell sticks." My Elephant memory! Meanwhile he manages to make fun of this expression on his face himself.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">While in New York, Handke took a West German News crew up to the top of the Empire State Building and announced [they were not the first to be so informed, Ted Ziolkovsky a Hesse specialist at Princeton was, too], that he, Handke, was "the new Kafka." We all recall Kafka himself announcing in Prague that he was the first and that therefore there would be many others! My man was confident to a fault! Upon Suhrkamp Verlag’s acceptance of his first novel, <u>Die Hornissen</u> {14}, written at age 22 on the now Croatian Island of Krk/ Cordula, Handke ceased his law studies at the University of Graz which he, farsighted and thinking that like a 19<sup>th</sup> century writer he would create a large body of work {4}, law studies that he had undertaken to receive one of those wonderful sinecures that cultured nations provide to writers who cannot make a living at their craft, that of cultural attaché, and as such Handke would later assume a personae, one of his near innumerable focused masks, but this a major one, for several of his major works under the name of Gregor Keuschnig, Gregor being the name of one his beloved deceased uncles whose war time letters had been an heirloom of the Sivec clan back in Griffen [some of Handke’s works – <u>Sorrow Beyond Dreams, The Repetition, Goalie’s Anxiety at the Penalty Kick </u>- indeed have become heirlooms to quite a few around the world], Gregor being the first name most frequently and fondly assumed by our author. {15}. Prior to university studies, Handke, assisted by the village priest, had achieved his <span> </span>goal of attending the seminary Tanzenberg, but <span> </span>quickly felt homesick and for the first time felt nausea at “other bodies”, wrote down a long dream and sent it to his mother in which he identified himself with her dead brother Gregor, who had studied horticulture in Ljubljana prior to his induction into the German army [which dream I interpret as an unusual but highly successful adjudication of the oedipal challenges someone like Handke faced, especially so from what anthropologists call “the avunculate” and to which phenomenon I trace many of Handke’s most attractive and sympathetic sides] and did his first writing and was “discovered” by his first German teacher, and back home, as adolescent, terrorized the family with his insistence on complete quiet when he was writing, and since he was writing nearly all the time even then…; but left the seminary over a matter of conscience that led to an altercation and completed his <i>matura</i> at a Gymnasium at not too distant Klagenfurt [known for its great author Robert Musil]; worked in a card board cutting factory; and was dirt poor.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin: 0cm 18pt 0.0001pt -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;"><span> </span>And here we are at Pannah Grady’s apartment in the Dakota in late Spring in 1966, in whose courtyard Handke’s dedicatee, John Lennon, would be killed by a young goon from the state of Georgia years later [while I was on the Georgia Gold Coast, in 1980, where the news came out that a fellow from Georgia was the assassin they said it was sure to be a Negro], and Handke is dressed like a Beatle and is chipper as only a kid can be who was already a virtuoso, a Liszt with words in quelling anxiety, <i>labora verimus</i> very early on! <span> </span>And who would have thought that he already had such a past on his pelt! Leaving a bastard child behind uncared for in Krk as we find out in <u>Moravian</u> {5}. And that he would, via a period as a young Turk deconstructor become the reconstructor of a narrative mode on the order of Goethe, Stifter and Flaubert and still a complete virtuoso, and a bit of a lazy one now on occasion as the great success story that he is, who has manage to incorporate the medium of film into narrative and has written equally if not far greater plays than he did during his youthful period, in two of which, the 1970 <u>The Ride Across Lake Constance</u> and the 1992 <u>The Hour We Knew Nothing of Each Other</u> he, </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">as we say in Amurrican, cleans out our clocks, utterly refresh us, make us see the world anew; to put this into more accustomed literary terms: Handke accomplishes, completes the task Brecht set himself, to produce anti-Aristotelian non-cathartically cathartic drama, strange and new, and in those instances he is utterly playful. “Play on” as it says at the end of <u>Walk About the Villages</u> {16} his richest work; that is, we have Mr. Handke’s permission! <u><o:p></o:p></u></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;"><span> </span>Handke creates EXPERIENCES – on the stage in that his plays<span> </span>bear affinity to happenings, sleight of hand juggling acts, of necessity also of our culture so dominated by visual media, his earlier play more obviously than the later ones that accommodate themselves somewhat to usual but also employ more ancient stage practices, and so do his books whose initial reception ought to be a phenomenological description of the reader’s experience. E.g. doesn’t the very syntax of <u>The Repetition</u> slow down your breathing, make you a “king of slowness”? Isn’t reading <u>Absence</u> also like experiencing a film? And therefore disconcerting?</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;"> Not that scarcely anyone in the dramatic cultural overall Disneyfied desert that <i>Los Estados Unidos</i> Norte is has noticed, or are willing to follow the rake’s so very interesting progress.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">And there am I, who turned down C.I.A. imprecations in Berlin in 1957, and after translating all the early Handke plays up to and including his richest, also most revelatory magnetic work, that lodestone <u>Walk About the Villages</u> during a critical moment during my analysis {16} and some adventures in the publishing world, will become a sleuth of my then vis-à-vis’s psyche! And occasional critic, but chiefly acclaimer of the value of his writing.<br />
<span> </span>By 1967 I had read what the fuss was about and acquired Handke's first plays and second novel, <u>Der Hausierer</u> {17}, for the U.S. publisher I worked for. Not knowing to whom to assign the translation of these very playful texts, <u>Self-Accusation, Public Insult</u> & <u>Kaspar</u> {12}, I started to play with them on my typewriter, finding the experience delightful. Since the Suhrkamp agent was unsuccessful in finding performances for the plays, I then found a pick-up troupe and did them at a large variety of New York venues, experience of translating and rehearsing these texts bringing home to me that the fellow was a genius, who in an unusual way had access to the music of the spheres, at the very least to its syntax, especially in that respect and as a formalist. By that I mean the ability to sustain a large complex of matters simultaneously in mind, and to do so <i>rapidemente</i>, that is also Henry James’ definition. I do not subscribe to the notion of mad geniuses, rather to the notion that the world can drive geniuses mad, as it and some of the many women he has tangled with have on occasion brought out the psychotic side of the so high-strung Peter Handke, not an attractive spectacle, most notoriously so during the disintegration of Yugoslavia, where it was evident that his petulant behavior signified the extraordinary injury his being suffered for what for him was the destruction of his land of peace, and so his behavior would have called for understanding instead of cudgels and derision. Fat chance of course in the world such as it is, if even the analytic community, supposedly “scientific” and claiming to produce “understanding” can fight like dogs and cats!<u><o:p></o:p></u></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">At my troupe’s performance of <u>Public Insult</u> [<i>Publikumsbeschimpfung</i>] at the Goethe House an analyst told me that the piece served to make the audience as self-conscious as the best group therapy session might; thus providing me with first hint of the transport of Handke’s own extreme critical self-consciousness onto an audience.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Some years ago now, when I discussed the great Handke case in detail with Dr. Werner Schimmelbusch, who subsequently become the head of S.I.S.P.I., the Seattle Chapter of the Psychoanalytic Association, he pointed out that what with Maria Sivec’s lovelorn and depressed state of mind yet happy to have at least the child she was bearing to term, Handke, most likely suffered from what is technically called “anaclytic depression” [leaning, osmotic], and I had to assent to that speculation since <span> </span>especially some fairly early texts of Handke’s induce a depressed feeling in the reader, but as I and other readers have experienced, then seems to write himself and the reader out of that state of depression. Listen up pharma! Thus Handke is a both directly and subtly activist author, which is what attracted me to his work.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Handke himself felt that something dreadful had happened to him at birth, speculated about a birth trauma. However, the extant midwife’s report {4} speaks of an uncomplicated birth, pursuit of which subject then allowed me to put to rest the once analytic controversy on the subject since the massage the insensate skin of the fetus receives as it is delivered through what is now the birth canal is not liable to be a traumatic procedure; and I think Charles Darwin would agree with me.<i><o:p></o:p></i></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">More likely, the dreadful event in Handke’s past had its inception at his and his mother leaving Griffen and going to Berlin in 1944 which was under daily massive bombing raids and the inception of the night time exposure to violent primal scenes, coincidence of which would certainly do the trick.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">I know of several horrendous screen memories of my own, one dating to the inception of British bombing of Bremen in 1940/41 and one to a brief visit to Berlin in 1943 while the Zoo there was bombed; thus let us not forget what the terrorism of “Shock and Awe” produced in the children of Belgrade and Bagdad more recently.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;"><span> </span>Just this week I reread, now in electronic transmissible form, the extraordinary physician Dr. Charlotte Pommer’s account of the end of the war and the siege of Berlin, who, working in the Berlin Police Hospital, managed to save both my parents there from the Gestapo – Stalingrad comes to Germany, Kafka wins! And so that period is very much present again. <span> </span><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">After 1966 I saw Handke next in 1969 in Berlin to discuss my <u>Kaspar</u> translation.</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;"> In Berlin Handke composed<span> </span>nearly all the early wonderful plays and novels, he was living on the Uhland Strasse, I believe it was, in the apartment of the kind of German prince who likes to connect with the artistically talented, an apartment filled with stacks of newspapers, rather dank. I was perfectly happy to leave it at once and go to an outdoor restaurant on the Ku-Damm, and thought nothing about having baby Amina shown to me. Based on that experience you wouldn’t conclude that here is a man who needs to show and can’t bear being alone in a room with anyone for very long! Handke notes in his account of his life with his first daughter, <u>A Child’s Story </u>[1980-{18}] how upset he was with the young revolutionaries visiting him not caring a hoot about having his baby shown to them. Around the time of the publication of that book, happening to be in a victorious mood, I outplayed Handke at Tarot in Salzburg {19}, infuriating him and was punished by <u>not</u> being shown his re-imported first wife! Thus I think we can safely assume that the works that Handke bestows on the world are also to be regarded as shown gifts, with all that goes with response to or failure to respond to such offerings.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Next, in 1971, Handke and his then wife Libgart Schwartz and his close friend Fredi Kolleritsch showed up in New York for a 21 stops in 28 days tour of the U.S. as an Austrian cultural package, which produced the wonderful Godaresque novel <u>A Short Letter Long Farewell</u> which features a wife pursuing a husband, and with a gun, during which visit I noticed one event that I was subsequently able to explain to myself as one of his “autistic” episodes, in as much as that suffices for an explanation. Handke suddenly stepped away from a conversation between two of his earliest American admirers, Stanley Kaufman and Richard Gilman and myself and secreted himself at my record player and put on a Beatles record. Also, his tour was marked by Tourettisms galore, some of which I only heard of the second time I moved to the West Coast, and I could not but help notice that our supremely arrogant author, who was sleeping around in Berlin, treated his wife insultingly and I guessed she would split in short order, as she then did with dire consequences for my man’s state of mind, as we can read in the three long progressively more stormy fugueing poems of <u>Nonsense & Happiness</u> {20}, and in his novel of the suicidal Austrian cultural attaché Keuschnig in <u>A Moment of True Feeling</u> {21} where we have that moment that love – for the child – burst through and our Kafka begins to change into anti-Kafka. <o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Moving to Paris from Kronenburg where he had moved from the too noisy Berlin in 1970, Handke saw an analyst who mentioned to him that he was emotionally remote, a statement with which Handke agreed, and suffered from panic attacks one of which landed him in a hospital. The doctors said that there was nothing seriously wrong {22}, it was a tachycardia, and the taking of valium did the trick of calming him down. However, as only in rare matters that seem seriously to damage our author’s self-image as he imagines it seen publically, Handke prevaricated both about the reasons for his wife leaving him and the reason for the hospitalization. Libgart Schwartz did not leave him to resume her work as an actress because she had never stopped, and there is nothing wrong with Handke’s heart valves, as we can find out about the panic attacks in his correspondence with the German poet Nikolaus Born {23}, and from <u>Letter to St. Victoire</u> where Handke tells us that the only thing his hated stepfather Bruno Handke was proud of was that Peter was declared fit for service in the Austrian army [you have to present yourself for a physical at age 18], it appears the Austrian army cares not whether you have Handke’s kind of eye problems, or maybe he pointed it out and that is the reason he never did the required basic training. <o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Handke has said the reason he keeps affiancing himself to actresses is because they are “light,” or “lighter.” Thinking on what that might mean in the case of someone who is so beauty-oriented as of the earliest age { see the photos in 4 or follow the link at 2} yet of a depressive nature, and so media-oriented, I connect it with the title of his first published diary, <u>Weight of the World</u><span> </span>[1975-</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">{23}</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">]: indeed a beautiful woman helps defray depression I suppose; makes you feel better about yourself if you are badly self-imaged, not only that, a man himself will look better in the company of a pretty woman, she reflects on to him; it makes him look better, lighter; he can show her off [or withhold showing off] and actresses can be considered to be play-acting, i.e. not completely real, perhaps “as if”… [the <i>real</i>-ization of, the transport of the “as if” into the other world that is literature is the point] are also in that respect less “weighty”… and of course more graceful than… one quality that no Amurrican reviewer appear to have entirely missed is how graceful a writer Handke is, how graceful the forms of his works… and thought of their womanly neediness and materialism might just disappear! <span> </span><span> </span>But I also realize that all of Handke’s beautiful things are acts of generosity that are offered, shown to us as gifts… performances… also to be admired, ask for a requisite response; and since he so closely identifies with them… within those transactions between author and audience, where the author might withdraw and sulk if he is not sufficiently appreciated…- However, an actress, unless doubling as a French saint while with Peter Handke, will be more demanding and needy than an “as if,” and so the reasons why he as a writer who works at such a high level of concentration is not to be recommended as a mate… are, let me put it matter-of-factly… over-determined. Handke’s second wife, Sophie Semin, was a model when he met her in Paris, who instantly wanted to become an actress and left him when he had foisted this French actress onto Peymann for his production of <u>The Play about the Film about the War</u> {24}, shades of Citizen Kane I suppose, or maybe she begged him, and maybe she’s even talented; and Peymann is not someone who can say no to Handke. Handke did not go into a major fugueing cataclysm as he had when his first wife split, as usual he was already having an affair, while the wife, Sophie – the so talkative Don Juan told me around 1993 that he was emotionally withdrawing – thought him cadaverously cold as <u>Moravian</u> Nights also tells us.</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;"> </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Handke’s last publically known major relationship was with the highly intelligent German T.V. and film star Katja Flint. Handke said – it was a commuting relationship – that maybe not living together it might work. It did for a few years, and Ms. Flint, not having had to suffer living with our man, continues to express fondness for him. So presumably she was not beaten up as many other women were and did not suffer the misery of having to live as a cave dweller for any length in the aboriginal Forêt de Chaville outside Paris. <span> </span>As Handke has written many a time: “Stay in the picture.” The only bad news for a model is no photo-op. Handke invariably asked for trouble and got it, and the question is why someone who knows and writes in <u>Moravian Nights</u> {5} that women prove a danger, and has become seriously paranoid about them if only to his all important work, has then tangled with such a profusion of them? And lost male friends over tangling with their girlfriends. Gratuitously as it were. And been totally unaware. And then thought they were still his friend. Vim Wenders who knows Handke personally far better than I did mentioned to me here in Seattle that Handke invariably hurts those closest to him, I did not ask how Wenders had been. Being who I am [or used to be] I once made a joke to Handke about how he had hurt me: he could not handle it! As of the mid-seventies I sought to be alone as little as possible with Handke, he spooked me, and for good reason. He might do something dreadful, and appear to be entirely forgetful, have dissociated it the next week. His work is marked by numerous irruptions of violence into the lyrical epical flow of the texts. Suddenly a drunken chain-wielding Indian appears in Sorger’s Alaska idyll, suddenly an old Nazi is righteously killed in <u>Across.</u> Most famously, of course, in <u>Goalie</u>, construction worker ex-goalie Josef Bloch sees water bubbles on a hot plate as ants whereupon he throttles his pick-up, no wonder the moment is so authentic and expressed with a powerful metaphor, Handke had immediate access to those feelings.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">In <u>A Child’s Story</u> we can read Handke confess that in a moment of extreme irritation [the basement of his bungalow in Kronenburg was flooding] he smacked the head of his two year old distraught crying daughter! It takes very little to breach his threshold and elicit violence!</span><span><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span><span> </span></span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">Handke mentions in his great play <u>The Art of Asking {25}</u>, that he “writes out of his wound” – it is a love-child’s wound, the wound made him an exhibitionist, competitively so, to which drive we also owe the work, the unceasing work, but also instances such as his fessing up to ugly things he has done, the boundary between the private and the public is breached. The most unfortunate aspect of traumas, after all, is that you become the wound that wounds over and over again and knows not what it is doing while trying to heal [it was nice to notice a few instances of the concept “the unconscious” cropping up in his <u>Del Gredos</u>-{26} – until the compulsion ceases, the eternal return that needs to be acted out over and over again, as it were, the compulsion to heal! What a conundrum! Handke might have the courage to face his wound, he would no longer be at its mercy, but that would require the kind of self-understanding that he so lacks, beyond phenomenological observations. </span><span><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">Handke introduces his admission to having beaten a woman in <u>Moravian Night’s</u> tactical concession defense, as a belated response to former lover and <i>Lebensgefährte,</i> collaborator on a film, now Erinye Marie Colbin’s going public, during the Handke/ Yugoslavia publicity wars in the 90s, {27} with a description of how Handke had nearly killed her. „<i>I can still feel my head bang on the stone floor. I can still feel the mountain hiker boots hit my stomach and your fist in my face… As long as there are men in the world – men like you – one-eyed, unyielding, power-hungry and egomaniacal – there will be weapons and therefore war… Who are you, to think of yourself as so important. You are neither great, nor noble nor modest nor honest. A vain writer is what you are, who suns himself in the role of the solitary prophet… In some way you will be thankful for this war [The Yugoslav wars of 1994] because it will satisfy your insatiable longing for public acclaim</i>.” - I myself would have to say that while I have found Handke at other moments to be the most empathic, generous and sensitive friend… albeit at a remove, unless it become a matter of his precious self-image even if you were supporting his work, that ever so unfortunately I have to agree with each and every item that Ms. Colbin lists and was only surprised that it took so long for one of these women to speak up, in this instance an exquisite actress whom my man exploited in the film they made of a Margaret Duras book who, however, as the now Erinye who haunts Handke’s books as of the 1984 <u>Across</u>, and after the beating haunted him all over Salzburg so that he had to go to a pub at its edges with his friends, and who still haunts him <u>Moravian Night</u>, a Fury who evidently has little appreciation at the moment [the usual forgetfulness at moments of such irruptions] she made her statement that a certain kind of extreme narcissism - is required to do work at Handke’s genius – after all, he lacks the modesty of a Bruckner - level, and that his [in this instance insatiable compensatory need to exhibit his wound – and have a response, to make contact] is one of the major drives that produces the books. He describes his egomaniacal behavior toward the end of <u>Moravian</u> where we find the “ex-author” with his half-brother in Griffen, and the brother describes what a horror Handke had been already as an adolescent when he wrote, terrorizing the entire family. <u>Moravian’s</u> belated response to Ms. Colbin’s more than ten year old charge - and what a lucky man he is that the beaten black and blue did not go to the police with whom Handke has also tangled several times – admits that he actually had wanted to kill her, something Ms. Colbin of course could not know that his hatred went so deep, but then, as Handke must since his public image is at stake, he creates the excuse, the lie that Colbin would not leave him alone to do his writing any single moment of the day. Unfortunately Handke has already beaten many other women and used to say in the 70s how his once girlfriend Jeanne Moreau had been the toughest fighter – and it turns out that that tough broad actually may have beaten him up {23}, I wouldn’t put it past her, at any event she so acquired Handke’s respect to have an extra role written for her for the film he made of his film/novel <u>The Absence!</u> In <u>Moravian,</u> Handke has himself blanking out at the moment of the wish to kill [thus he might have actually killed, and not remembered] and that’s the moment of psychosis that still rips as the censors did in Tsarist times. Towards the end of <u>Moravian</u>, the protagonist narrator in an imaginary film sequence, knocks off the Erinye’s head, as she approaches him, and in innocence, which might mean that the injury she did to Handke’s self-image and in public is such that his hatred is as unbounded as is her lasting fury! Such are the wages of narcissistic injuries.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">Handke, the writer, may be “the one,” but he himself makes it very clear in <u>No-Man’s-Bay</u> {28} that as a person he is anything but – not that that stops the confusions of idol worship based on what artistry can do.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">Handke’s misogyny of course comes as a great surprise as it does from the writer of <u>Sorrow Beyond Dream</u>, it appears it is possible to writer and not learn from what one writes oneself! <o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">However, it is Handke’s self-righteousness that I find his most unpleasant quality, e.g. Handke calling Günter Grass belated public admission [also to get in on that publicity storm!] to having let himself be drafted into the Waffen-SS at age 17 [a matter actually quite well known already during the 60s at least in Berlin] a <i>vergüenza</i> [Handke’s explosion – he also calls them his “sacred rage” -<span> </span>first appeared in Spanish] - in <u>Moravian</u> he has his woman call him a “hanging judge” [<i>Dorf Richter</i>] - calls it a profound shame, that everyone knew at age 17 what the SS did [if Americans could only become as ashamed of their Special Forces and CIA crimes and their major war criminals, who all ought to undergo a Nuremberg tribunal and then be hanged, if need be posthumously and be similarly iconized; which no doubt would require a conquest by the Martians!] it certainly is a far greater <i>vergüenza</i> for someone aged 30 to nearly kill his own two year old baby girl in a fit of irritation and to keep beating up wives and girlfriends just because you saw your hated stepfather do so, for an entire decade, with no end of hideous sequaelae. <span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">But at least the author of <u>Moravian</u> can now make fun of himself, though he might pin the great quote he uses at the beginning of his great play <u>The Play About the Film About the War</u> <span> </span><span> </span>to his forehead, or maybe keep it in his pocket and at any upsurge of righteousness look at it: “</span></span><i><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Mistakes by others that highlight equivalent errors of our own precipitate a moral disappointment that permits us to assume the strict and noble stance of both judge and victim and gives rise to an inner state of moral euphoria. This euphoria distances us swiftly and surely from the process of personal moral perfection and makes of us terrible and merciless and even bloodthirsty judges</span></i><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-weight: normal;">.</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;"> </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">Ivo Andric, <i><u>Signs by the Wayside</u></i></span><i><u><span><o:p></o:p></span></u></i><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">There also exist great analysts in Paris, and analysis, after all, painful as it may be at times, also affords no end of previously unknown totally unexpected riches for the effort involved by both parties in that adventure. And Handke would find out that though he thinks of the language in which the therapeutic is discussed to be “dog language” that that is not the case during its practice.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt; text-indent: 54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">Handke did major psychic reorganizational and not just writer’s work in his 1986 <u>The Repetition,</u> {30} – where he has his surrogate Filip Kobal – the name of a 19<sup>th</sup> century Slovene independence revolutionary - repeats Handke’s own post high school graduation trek to Slovenia, among the many other matters that it repeats and retrieves [going back to his first novel, <u>Die Hornissen</u> and fulfilling the promise of the last sentence of <u>Sorrow Beyond Dreams</u> that he would get back to all of that once more later], learned Slovenian, his grandfather’s language, and created his own Slovenian-German dictionary, and thus acquired a firm identity of his grandfather, who already in 1921 voted for the first Yugoslav confederation and was no longer Kafka’s eternal son and apprentice of Kafka’s <u>Letter to My Father.</u> Subsequently his writing changed dramatically and he ventured forth on another of the seven year phases with his <u>Three Essays </u>[1989,90,91-{7}] in which you can rough out the rake’s progress, and wrote most of his later great works, the play <u>The Hour We Knew Nothing of Each Other [1992],</u> <u>My Year in the Nomans-Bay </u>[1993], <u>The Play About the Film About the War</u> [1994]; the novels <u>Crossing the Sierra Del Gredos;</u> [2002], the 2007 <u>Kali</u> and the 2008 <u>Moravian Night</u>, to mention just the highpoints in a stupendous output of all kinds. We have a living classic amongst us! And I read recently that Mr. Handke and Ms. Semin have reconciled, after everyone had another bunch of affairs and that he has found in her someone whom he can regard as “ebenbürtig”, co-equal, a nice and rare state of being indeed. And if not exactly a pussy cat, Handke makes up to his second daughter what he deprived his first of. Of course he is still an inveterate lover of all things Yugoslav and continues to insist on the immense injustice perpetrated there, and in that respect I am all with him, and then some. So if all does not end well it does at least up to a point. If anyone deserves the Nobel Prize it is Handke, though not for any single book, but for the entire amazing oeuvre, his work does, to call world wide attention to how the logos has been renovated and enlarged, not he himself. But both he and his work are unlikely to receive the ultimate laurel because of the stand and how he took his stand in matters Serbian, where he led me, who found his self-exposure most suspect by then, to come to agreement with him, and then some, in matters of Western destabilization. I would put in special mention of the following <span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;">works in the citation: The plays </span></span><u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">Public Insult, Kaspar, Ride Across Lake Constance, The Hour, The Art of Asking</span></u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">; <u>The Play about the Film about the War;</u> the prose works, <u>Der Hausierer;</u> </span><u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">Short Letter Long Farewell, Left-Handed Woman, No-Man’s-Bay, Essay on the Jukebox, Absence, Del Gredos, Don Juan</span></u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;">, <u>Kali</u> and would cite <u>Moravian</u> for containing patches of</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext;"> some of his greatest writing from which no end of future writer can learn, take off… then I would let the Erinyes out of their cages! Just think of the media hullaballoo! “Nobel Prize winner devoured by tigresses!”<u><o:p></o:p></u></span><br />
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</div><div class="MsoNormal" style="margin-left: -54pt;"><u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">Footnotes:<o:p></o:p></span></u><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">1] Robert Tuch, <o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">2] </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-family: "Times New Roman"; font-size: 14pt;"><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE" target="_blank">http://picasaweb.google.com/mikerol/HANDKE3ONLINE#</a> </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">3] The Lesson of St. Victoire can be found as part of the recently re-issued <u>A Slow Homecoming </u>NYRB-Books]<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">4] Haslinger, <u>Die Jugend eines Schrifstellers,</u><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">5] <u>Moravian Night</u> will not appear in English for some years, but I have written at length on it at <o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><a href="http://handke-watch.blogspot.com/" target="_blank"><span lang="EN-US">http://handke-watch.blogspot.com/</span></a></span><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"> </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">with ample links to other takes on the book.</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">6] <u>Sorrow Beyond Dreams</u> [Wunschloses Unglueck] also available from NYRB-Books. A close reading of S.B.D. and Myer’s et al’s work on the traumatic effect of continuous exposure to the primal scene, much less than what Handke was subjected to, serve as the background for my thoughts here. Otherwise check the online resources via </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 12pt;"><a href="http://soldzresearch.com/PsychoanalyticResourcesOnline.htmh">http://soldzresearch.com/PsychoanalyticResourcesOnline.htmh</a></span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">7] <u>The Essay on Tiredness</u> is one of Handke’s <u>Three Essays</u> [Farrar, Straus and Giroux]<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">8] <u>Across</u> [Chinese des Schmerzens], F.S.G.<i><o:p></o:p></i></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">9] In this I follow Heinz Kohut’s thinking.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">10] See my analysis of one of the poem <u>Singular and Plural</u> from <span> </span>Handke’s <u>Innerworld of the Outerworld of the Innerworld</u> at </span><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><a href="http://www.handkelectures.freeservers.com/" target="_blank"><span lang="EN-US">http://www.handkelectures.freeservers.com</span></a></span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"> for what I mean very specifically. Continuum Books. O.U.P.</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">11] Handke/ Gamper: <u>Aber ich Lebe doch nur von den Zwischenraeumen, </u>Suhrkamp Verlag.<i><o:p></o:p></i></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">12] in <u>Kaspar and Other Plays</u> Hill+Wang/F.S.G. and in The Compleat Plays of Peter Handke Volume I, Methuen.<i><o:p></o:p></i></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">13] Exquisite bus event descriptions can be found in <u>Essay on the Juke Box, My Year in the No-Man’s-Bay</u>, but especially in the second section of <u>Moravian Nights</u> which has an absolute tour de force one.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">14] <u>Die Hornissen</u> [1966] Suhrkamp Verlag.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">15] See </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">Fabjan Hafner </span><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><a href="http://www.hanser-literaturverlage.de/buecher/buch.html?isbn=978-3-552-05427-1"><span lang="EN-US">Peter Handke</span></a></span><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%;"> </span><u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">Unterwegs ins Neunte Land</span></u><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"> for a first rate placing of the Balkan background in his work</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">16] <u>Walk About the Villages, </u>Ariadne Press, 1995, also contains a description of translating under extremis in analyis. <o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">17] <u>Der Hausierer</u>, Suhrkamp Verlag, also available in Romance language translations.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">18] <u>A Child’s Story</u> [1981] was made part of the American edition of <u>A Slow Homecoming</u>, see fn. </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"># 6 above.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">19] see </span><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><a href="http://www.van.at/see/mike/index.htm" target="_blank"><span lang="EN-US">http://www.van.at/see/mike/index.htm</span></a><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">For a long amusing account of that visit.</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">20] <u>Nonsense and Happiness</u>, Urizen Books, 1976. Out of print. Just republished in German in Handke’s compleat poems, <u>Das Leben Ohne Poesie,</u> also available in a fine Spanish translation in its entirety.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">21] <u>A Moment of True Feeling</u>, Farrar, Straus; Stunde der Wahren Empfindung, Suhrkamp Verlag [1974]<i><o:p></o:p></i></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">22] <u>Weight of the World</u> [</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 13pt;">1976], Farrar Straus. </span><u><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 13pt;">Das Gewicht der Welt,</span></u><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 13pt;"> Suhrkamp, 1975<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">23] The correspondence of Nikolaus Born and Peter Handke.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">24] </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">Voyage by Dugout</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"> </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">or</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"> </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">The Play of the Film of the War translated by Scott Abbott [unpublished], <u>Die Fahrt im Einbaum,</u> das Stück zu Film über den Krieg, Suhrkamp Verlag. There exist translations into Greek and Serbian.</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">25] <u>The Art of Asking</u> &<span> </span><u>The Hour We Knew Nothing of Each Other </u>are published in one volume by Yale University Press, Gitta Honegger, translator.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">26] <span> </span><u>Crossing the Sierra del Gredos, </u>translated by Krishna Winston, F.S.+G. 2008; I have written at great length about this novel at: </span><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><a href="http://handke-discussion.blogspot.com/" target="_blank"><span lang="EN-US">http://handke-discussion.blogspot.com/</span></a><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">Which also has a long take on the Milosevic controversy.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">27] </span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext; font-size: 14pt;">her statement first in <i>Der Falter, </i>and was picked up</span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span lang="DE" style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"><a href="http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html" target="_blank"><span lang="EN-US">http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html</span></a></span><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;"> <o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">28] <u>My Year in the No-Man’s-Bay,</u> translated by Krishna Winston, F.S.G. 1996.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">29] <u>The Repetition</u>, translated by Ralph Mannheim, F.S.G. 1988.<o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; font-size: 14pt;">I and many others have written extensively on the above and if you follow: <o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext; font-size: 14pt;"> <a href="http://www.handke.scriptmania.com/favorite_links_1.html" target="_blank">http://www.handke.scriptmania.com/favorite_links_1.html</a><o:p></o:p></span><br />
</div><div class="MsoNormal" style="margin-left: -54pt;"><span style="-moz-background-clip: border; -moz-background-inline-policy: continuous; -moz-background-origin: padding; background: yellow none repeat scroll 0% 0%; color: windowtext; font-size: 14pt;">though shalt<span> </span>find!</span><span style="font-size: 14pt;"><o:p></o:p></span><br />
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com3tag:blogger.com,1999:blog-36070900.post-35627375188791347612009-06-28T18:31:00.000-07:002009-06-28T18:32:39.796-07:00PART II HANDKE PSYCHO-BIO-MEMOIR MONOGRAPH<div><span class="Apple-style-span" style="font-family:'courier new';"><b>PETER HANDKE:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> WOUNDED LOVE CHILD,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>DARLING AND MONSTER…IDIOT SAVANT, SHOW-OFF, GREAT PERFORMER…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The psycho-bio monograph + memoir</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>PART II</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>A: Résumé of Part I; </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>B: New York 1971: P.24</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>C: Fugueing [1972-74] p. 63</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>D: Encounters, visits, correspondence, commentary: p. 110 </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>E: 97:Mönchsberg Visit 1980: p.143 </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>F: Villages Translation 1982: p.154</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>G: Yugoslav Manifest: p. 183 </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>H: Terminus p.206 </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>NOTES </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[separatly ]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> 1-25+ </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Résumé of Part I</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In Part One I sought to detail Handke’s traumas and the ensuing psychological liabilities: </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[a] His decade-long exposure – starting in 1944, at age two, in Berlin - to violent drunken primal scenes; with a plethora of sequaelae especially for someone diagnosed as autistically hypersensitive which he himself enumerates in his Essay on Tiredness; nauseas, rages of all kinds being their chief manifestations; </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[b] following on two years as the exclusive love child of a very beautiful young mother of the Slovenian minority in the Austrian province Carinthia; which, too, has its consequences; especially, of course, and most importantly, for his extreme sensitivity to language, the world he there inhabits, and his sense of form; a need for quiet, gentle natural noises, cotton wadding, cork-lined walls stands in his future.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[c] The likelihood that his life-long somewhat depressive state of mind is of anaclytic origin, absorbed while a depressed mother [dumped by the love of her life, a Herr Schönherr, and then marrying his compadre German soldier surrogate, Bruno Handke] carried her child to term; </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[d] that Handke’s feeling that something dreadful had happened to him early in his life – that is, that he was traumatized - most likely is the result of the decade-long exposure to violent primal scenes, possibly coinciding with the experience of being bombed in Berlin in 1944 and 1945, his birth having been entirely normal according to the midwife’s report; </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[e] I emphasized Handke’s extreme hatred of his violent German stepfather, his early preference for his mother’s father, the Slovenian “Ote” Sivec, and Handke’s longing for his mother’s dead Slovenian brothers whose war time letters were a Sivec family heirloom, one of many impulses of his to become a writer, and his expressed preference for Yugoslavia, as his land of peace; the advantage that accrued from that avunculate, as it is called in anthropology, also in his passing through the Oedipal phase victorious and with kinder sides; his early turn in a Slovenian and Yugoslav direction; and aversion to matters German; </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[f] his early retreat into reading; that is also into fantasy, imagination; an affinity for more than the usual species of denial; and ultimately transfiguration and a very materialistic verbal magic;</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[g] his luck, that of an unusually gifted child, in finding a priest to support his wish to attend a boarding school, for priest it happened to be, that offered a better education than did the village of Griffen; </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[h] his entering the boarding school for priests, Tanzenberg, where, however, he felt instantly lonely and claimed that this was the first time he felt his life-long nausea at other bodies, one of many reasons for his general asociability; and which he left after four years over a principled disagreement; his then attending the regular public high school in Klagenfurt [Gymansium]; his working in a packing material factory to earn his keep upon entering the University of Graz to study law, his plan being to acquire the customary sinecure of [see photos at: </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE3ONLINE# </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>talented culturers as a cultural attaché [what a joke it would have been on that service to have the socially so inept Handke, with his Tourettish verbal explosions prove the exception to all those diplomatically well trained attachés!] in the event his early dream to be a writer did not permit him to live as one without drudgery; his affiliation to the Graz and Austrian avant garde; his becoming professionally adept in writing for Austrian radio and - though playwriting had not been part of the original plan - quick success in that arena, writing very much to his generations concerns in an unusually playful, succinct and formalist manner, success in acquiring and audience being more gradual, that having been his chief ambition, as a prose writer; his lack of inhibition – a very unusually arranged set of inhibitions overall - at speaking publically and to exhibit himself; his publically insulting, his arrogance; the odd contradiction of someone saying that he was “the new Kafka” and doing so with a happy smile!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[i] I ventured the guess that one of the few benefits that accrued from the constant violent primal scene exposure, for a writer, was the acquisition of an early training in the powerful dissociation so necessary for his discipline, and dreaming too I suppose, for his work also as a self-healing artist; that and insomnia - Napoleon slept four hours a day, it is said, in fifteen minute increments, and I imagine drove his generals crazy; Handke has only driven several wives and live-in girlfriends and one child to despair; and upset the public, usually to good and useful effect; but has published about 65 + books by his 65th year, some of them as great as the victory at Austerlitz! One derivative related to the ability to dissociate would be Handke’s capacity for denial, especially powerful in someone as self-involved in his own identity [in Sorrow Beyond Dreams the metaphor for that is “pulling the covers over my head.”]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[j] the downside consequences of the exposure being the plethora of matters - including a large variety of rages and nauseas, psychosomatic tics - that infuriate Handke – and made him tired - as an adolescent and still, enumerated in great detail in his Essay on Tiredness; as well as the root of Handke’s misogyny – so surprising in the writer of A Sorrow Beyond Dreams - too, can be traced to the decade long primal scene exposure, to the rage the love-child must have felt instantaneously upon what must also have been experienced as an abandonment and betrayal, at age two, in Berlin, and still in evidence during his student days. Nonetheless, we ought not to discount the importance of Handke remaining his mother’s favorite and the intimate complicity that existed between mother and child; his writing her his dream of wanting to be one of her dead brothers; reviving the past; ancestor worship in nuce.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[k] that the example of physical violence, [and the great likelihood of his having been a victim of physical violence as a child himself] and the exposure to violent drunken primal scenes is also one [major] reason for the physical, not just the verbal, violence Handke has committed on occasion, but knowledge of which propensity drives Handke’s extraordinary and pathos drenched yearning for peace and for peaceful forms, for example, in seeking them in geological formations in Alaska [!], or its expression in Nova’s epilogue in his most entirely self-revealing work, Walk About the Villages, that also being one major reason for his turn to lyrical nature description, and the attempt to produce what he calls “ecriture pure”…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[l] that Handke’s covering his eyes with a blanket during these primal scenes – also then symbolically – laid the groundwork for a future tendency in that direction, of scotomization, especially when it affects his identity, as say in - after initially not wanting the Serbian crimes to be true - finally having a surrogate, at the sight of Srebrenica, keep crying out “I don’t want to be a Serb” [not that anyone had asked Handke to be anything but what he was: a half Slovenian Yugo – Southern - Slav for whom, however, the idea of a confederated Yugoslavia, whose ground had become his “amour fou,” and for those madnesses: see Midsummer Night’s Dream… but I am ahead of myself… Also the wish, and then the learned ability, to transfigure, transfigure somewhat, make magical again – a wish in which the society in which he writes is complicit - and in the world such as it is, at least create works of sustained verbal beauty; to make one see the world anew [a didactic quality as well, pointing both to the nature of his super-ego and an identification with a priestly pastoral function]; as well as his unwillingness to represent violence directly on stage, but merely to suggest it, so that we may peek, as he did; in fascination and horror; Handke, however, is not a writer of “make believes”, he creates experiences; and his world of words when he is at his best in his lyrical epics produce uniquely absorbing experiences;</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[m] that what Handke in his interview with Herbert Gamper calls his “autism” [autistic episodes], an unlikely self-diagnosis but pointing to curiosity, are for our purposes best understood as hyper sensitivity of each and all of his senses, “the eyes of an eagle,” “the nose of a beagle,” “the finicky taste of a feline;” “the skin of a porpoise,” “the ears of a bat,” and that even his occasional bouts of color blindness – for which he sought out, but failed to find – as of 1980 [Lesson of St. Victoire] - similar afflictions in his Sivec and Schönherr [his real father’s name] family, may be related to this fundamental [unmylated?] hyper sensitivity which at one time forced him to wear glasses to ameliorate what irritated his eyes even in well modulated circumstances; that over-stimulation of his senses, that excess, as well as a finely honed sense of beauty, tht hyper-irritability, another fate of the sons of beautiful mothers, accounts for the nauseas of just about everything that Handke once complained of and suffered – “nausea of the eyeballs” “wanting to turn my body inside out” being his two most extreme expression of those feelings - another derivative of the traumatic childhood exposure to someone so hypersensitive – but also for his preference for aesthetically satisfying experience; and of course the chief reason that he not only seeks out but creates works opposite that experience, in other words that both formally and in every other respect, including women, for his addiction to beauty; aside whatever inborn [?] gifts that will forever be a mystery, at least to me; e.g. there is no telling in this instance what genetic alterations occurred intra-utero; that the fastnesses of the etiology of autism going hand in hand with a brilliant mind are beyond our ken, that is, if the diagnosis Handke received is at all useful except to indicate his extreme hyper sensitivity; although his habit of insulting might point to Monsieur Tourette being a kind of kissing cousin of his, a frequent companion of Señor Autism as he Kaspars his way through life discombulatedly! The kinship Handke feels with idiots!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[n] that even though he called himself the “new Kafka” and the work of his first five years [1965-70: Die Hornissen, Der Hausierer; Radio Play One, quite a few of the poems in Innerworld, Kaspar, even Goalie] gives evidence of fear and trembling, what really distinguishes this work is it’s ultimate victory over fear – a victory it appears that had to be won, and demonstrated, over and over, to the point that he became virtuoso at it; </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[o] that he calms himself by writing; and since he is such a libidinal creature, the productivity is near endless [libido has an aggressive component too], a proof it seems of the obverse of the original conversion theory of hysteria: here fear becomes productive: Handke becomes calm, his self is calm where every one else’s trembles; he becomes strong as he writes, that presumably he masturbated successfully during the primal scene [Kohut’s proposition], and thus will come out the victor [except in certain extreme circumstances, see anon]. For the reader and the culture this reconversion is of ultimate importance, because reading his greatest prose texts has a calming, salutary, healing effect on the reader; thus one forgives [silly proposition] the author his so self-involvement, his making himself, his self-states into the life-long subject of his virtuoso productions, of his loving to write, loving himself as a writer more than anything else in the world – since after all, there’s a lot of spill over, a lot of surfeit, and we don’t need to live with the bastard!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[p] One reason that one/ that is “I” can even venture these speculations is because Handke has revealed himself so nearly entirely in his writing, because he is such a huge compensatory wounded exhibitionist: there are not only the novels of his self, the publication of diaries and correspondence during his life time, in the fictions he uses versions of his self, personae, thinly veiled but focused masks, for his particular states of mind, mediums as it were, vehicles, artistic challenges solved. His self-presentation, if he can help it, is shown in the best possible light [i.e. nothing critical of him or his work appears is allowed to appear in any of the many publications about him that his publishers have done]; he poses multifariously like a movie star, as only an exhibitionist can, is hyper-sensitive about his image, both in writing about him and in being photographed; an exhibitionism which, to my thinking, is also of a compensatory competitive nature for the narcissistic psychological injury that the love child suffered from early childhood to early adolescence; the “wound that he writes out of” as he has his surrogate, a raggedy Parsifal of The Art of Asking, exclaim - aside whatever class consciousness and ascendance from the class of Keuschnigs – he once regretted not belonging to any class - plays a part, and being better at the writing game on the order of high composition art than anyone else, and the pride that goes with staying at the world’s best hotels; but for which effort he would lack the strength had he not been a “love child” during his first two years; “wounded love child Peter Handke,” “melancholy player” he called himself once, instead of Ted Dorpat’s “Wounded Monster” [an important psychoanalytic contribution to Hitler studies: it demonstrates the effect on Hitler’s blood lust and need to be in a continuous state of war from the post-traumatic stress at having been in the front line near continuously for five years and keeping bad company as Handke cannot be said to have since he keeps scarcely any company at all, except his own, and has a finely honed sense for the truly dark, including his own dark sides, just read Walk About the Villages with that thought in mind] whereas Handke’s two half-siblings, fathered by Handke’s stepfather Bruno Handke, born to the same unhappy mother, as of birth exposed to the violent drunken father, led rather sad unsuccessful lives, the half brother a petty criminal, now moribund; the sister, a shop employee, dying early of cancer, despite what their older brother’s generosity afforded them; </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[q] one major reason for the power, the experience that Handke’s texts and plays provide, perhaps even for his extraordinary dexterity in devising techniques and forms – modernist in that sense and very much of his time while salvaging the past – Goethe Stifter Eichendorf Grillparzer to remain in the German language realm, and so much more - be they of his plays or fictions - derives, I would venture, from the extreme need to communicate from the autistic position, to make contact, to effect and affect, not just from pure lüsternde, overweening lusting ambition and a well schooled talent and drive to exhibit his self: thus the quality of “letters in a bottle” of his texts, the attempt to communicate and in an original, a unique way – after all, that is what comes through most powerfully, that is what encounter with his work produces: states of mind; including the effect of putting the reader into a depressed state of mind but at the end of writing himself and the real reader out of it: thus if the physicians prescribed a Handke book instead of Zoloft or whatever medications are prescribed by the billions per year to keep folks happy under madcap capitalism… how much better the world would be off. Thus his books as well as his plays need to be described first of all as the reader’s experience of them! Experiences to be had only while reading! And for that readers would need to become self-conscious as readers; critiqued by the measure of how well he succeeds in this endeavor, which is also a technically ascertainable question – for example, a work such as The Hour We Did Not Know Each Other [the summa of all his early theater work] takes its readers by the scalp of their syntax and never lets go until the very end; experiencing a performance of the play becomes paradisiacal in the sense that we see the world – and each other – refreshed, anew; with new eyes [the essence of the function of theater, the only real use that art has]; a series of especially autobiographical works – Nonsense + Happiness [1972-74]; A Moment of True Feeling [1974], Across [1984], The Afternoon of a Writer [1986] and One Dark Night I left My Silent House [1996] – are diminished by mystifications, chiefly their refusal to own up to unhappy-making women matters. Other works, that entirely focus on his self – such as Der Hausierer, The Repetition, My Year in the No-Man’-Bay, especially the trip novel/ film The Absence [which I recently found out Handke thinks of his modern retelling of Parsifal] and is devoid of irruptions of violence [except for the loudest tank in literature], the Del Gredos epic – are devoid of the problems that the novelist’s license to lie introduce. Facing the task of needing, initially, to describe the experiences that these works produce, criticism enters a different arena from the usual; and 95 % of the critics have failed their author in that respect. Worst of all, those poor beings, I want to hug them whenever I encounter such a one, who have had their brains ruined by post-modernist studies. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>These then are some, most I think, of the psychological coordinates and parameters with which one can address Handke and his work: The sheer productivity – aside the early vision of seeing himself as a kind of 19th century author with a large and varied oeuvre - is over-determined, too. Colleagues insist I need to mention Handke’s psychic bisexuality, his androgynous quality. I myself have never felt easy with this concept [literal-minded me keeps seeing something copulating in the brain!], but since Handke seems able to adapt women personae as a writer too, and identified so closely with his mother, there may be something to that suggestion. The Gruppe 47 folks in 1966 in Princeton said, “Oh, ein Mädchen,” Alan Ginsberg came up to Handke and me at the Pannah Grady party and asked me to translate his wish to fuck Handke [Yes back in 1966! in so many words. Pannah and her hideous beatnik friends who smashed her Persian vases!] and drew a deadly blue eyed Prussian stare from this co-host, while Handke, his English must have been poor at the time, thinking the request was being made of me, evinced that memorable unselfconscious grin of the born again village sadist which the elephant memory affixed in its trunk - a matter that was not cleared up until 1980 where his grin, revealed as having been at my expense, and not, as I had assumed – that world of assumptions that has assumed rule over the world – at his own, then comes out looking that much uglier. Handke being insecure in the matter, over-compensates there too, just look how “male” he then tries to appear in photographs subsequent to the early ones where he shows himself as “the sensitive soul.” In the magnificently narrated Morawische Nacht [Moravian Nights, M.N.], not in English until 2011 at the earliest] which of course is once again, both imaginatively and precisely observed entirely about himself and his various sides we see him with the woman, his feminine side, living inside him [“ma mere c’est moi”] and I happen to know precisely what he means. Handke is someone who can dance in beautifully formal manner only in sentences, Valse triste, I once noticed that he couldn’t dance physically, just shuffle, I myself after my complete regression during analysis then danced like Nijinsky at our downtown converted 25 thousand square foot former, 19th century, Pony Express hangar Area. In M.N. we also notice his own awareness of how entirely impossible he is to live with, and how he needs to have everything around him “just so,” his way; as one might have noticed as early on in the stage direction for his first play, Publikumsbeschimpfung [Public Insult] There he even wants the audience to behave and sit in a particular way, like a table setting; here, in M.N. the half dozen or so “visitors” to the houseboat in the Morava River are arranged just the same way. Given that kind of perfectionism, so necessary for a composition that it written down, the messiness of life will invariably get on such hyper-sensitive nerves; and you don’t want to be either child or wife of such a person. What is surprising, though, is not Handke’s hatred for the improvisational in jazz, but that he has a sense of humor about himself yet is unwilling to be a bit more labile; not that he can’t be accommodating in some matters; anyhow not a totally impossible as Uwe Johnson, or… but the list is endless. But a wonderful quality if you are a translator and want input from the author [see W.A.T.V. translation anon]. Just look at the way Handke, hands in pants pockets, is overseeing the director Bondy as they regard the choreography for Hour:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE3ONLINE# </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>However, best to my knowledge Handke has not gone Elephant or lion hunting with Ernest Hemingway and Co. to show how “male” he can be; or behave like the usual American insecure idiot male scribbler… Although perfectly ordinary as a person, both in the good and the unpleasant sense of the word, as an artist, as a composer who has words and images and rhythms at his disposal as I prefer to think of him, Handke is utterly exceptional; in the Joyce, Proust, Beckett league. Had he not been so traumatized, he might be Austrian president or at least the leader of the Slovenian minority in Carinthia for whose partisan endeavors toward the end of WW II he just – 2009 – finished writing a long promised epic play “Storm Forever” seems to be the title! To heal yourself and the world and the word with the word is an even more daunting task! Not to be forgotten is Handke’s once, early years as a writer, obsession with the thought of suicide, the only thing of interest in that matter being its indication of unattached unfocused floating violence, a theme through-out his work, the treacherous nearby abyss, the as yet unabated rage, the wish to run amok.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>In No-Man’s-Bay Handke writes that it was the distinctions in Roman Legal Punishment code – refined Sadism indeed, the Marquis a piker by compare – that brought – presumably in Law School unless he read these texts earlier – lucidity, i.e. differentiation, into his angry adolescent noggin; he might of course also have mentioned Wittgenstein’s Philosophical Investigations, which he evidently knew well enough to use its queries so playfully for the deconstruction of buying and selling etc. in the quite sinister and erotic and utterly brilliant renewal piece The Ride Lake Constance. In his writing indeed, however, the verbal outbursts give no evidence that these distinctions have sunk in very deep even now; which points to Handke’s being at his best when he is in his element, pencil in hand. For me Handke’s only truly objectionable quality is his self-righteousness in, say – I could list dozens of instances - berating Günter Grass, when the latter confessed in 2006 to having let himself be drafted by the Waffen-SS at age 17 makes THE NEWS! [it seemed not to have made waves back in the 1960s] and this event outshines Handke in notoriety while the latter is in Vienna but his reaction is announced via the Spanish paper El Pais: “El escritor austríaco Peter Handke cree que su colega alemán Günter Grass es “una vergüenza” para la comunidad de escritores, después de que reconociera haber pertenecido a las SS hitlerianas </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.elpais.com/articulo/semana/memoria/huecos/elpepuculbab/20070519elpbabese_7/Tes</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>There Handke states that “everyone knew at age 17 what the Waffen-SS did” and his statement about Grass’s “shame” [vergüenza] quickly makes the rounds. The competitiveness of stars where any kind of media news is better than no news at all! As to knowing: well: unfortunately Handke saw children being hit as a child as well as his mother: so if anyone knew, he did, who must be regarded as fortunate for not killing or severely damaging his first daughter’s brain, at age 30, for not having spent years in jail for domestic violence, as he knows only too well – vide Walk About the Villages, but especially the figure of the Bankiéress “terrorist” brother in Del Gredos, ‘what a lucky man’ - listen to the song - he is in having that great talent to write and release and contain some of those dark rages, the criminality, and the fortune that “culture” bestows high accreditation, at least in a Neo-Platonic sense. Or children being exposed to primal scenes at the Rue Montmorency… perpetuating the horrors committed on him! Or beating up women! [Not that you have to be like me and be brought up to be their protector, quite a few of whom then don’t need protecting.] At other, more thoughtful moments Handke will then admit that somehow or other when attacked or on the defensive in the court of his own conscience he manages to twist things so that he keeps coming out the winner! [see Tablas von Damiel written shortly prior to the attack on Grass – instantly forgotten it appears:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://begleitschreiben.twoday.net/files/Die-Tablas-von-Daimiel/</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Anyhow, it’s nice to know that Handke is on to these sly rationalizations that our minds commit, and that he hasn’t lost all humor about himself. The diary volume Felsfenster has that moment he decides to absolve himself of all guilt - well if it’s as simple as turning a light switch: guilt can also make one thoughtful! After all, that is the lesson of Oedipus, which Handke then translated, magnificently as best as I, who never had Greek [the professor at college from whom I wanted to learn it was demented, and my Latin, too, got ruined, in highschool, by warhorse from Vassar, so I became savy in the lingo of the American street instead.]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>II-B: New York 1971</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In 1971 Handke and his compadre Alfred [Fredi] Kolleritsch of the Stadtpark Forum, and the actress Libgart Schwartz, Peter Handke’s wife, visit 21 location in the United States in 28 days as cultural representatives of the State of Austria, their child Amina is entrusted to Handke’s mother, Maria Sivec, in Griffen, the ancient province of Carinthia. Upon their arrival in New York, Handke near instantly transfers the threesome from the ordinary Austrian-assigned hotel, on Lexington Avenue just north of 42nd Street I think, to his preferred Algonquin, the abode of successful writers, Handke thought of Fitzgerald. [It took a permanent East German like Uwe Johnson to pick the next door half-price Iroquois and yet stay close to writers!] The visit coincides with the first official performance [there have been quite a few unofficial ones] of two of his plays – Self-Accusation & My Foot My Tutor - at the Brooklyn Academy of Music, headed then by Robert Kalfin, and Handke opines that it was just as well that they were done in Brooklyn. You wouldn’t imagine that someone with that attitude had actually been raised in a Keusche, a near hovel! He also mentions, on brief post performance meeting with the director of the plays, a Herr Schulz, that the fellow is “very dark”, or “at least very German,” the first instance I have of Handke thinking in ethnic categories, and evincing knowledge of “the dark.” I myself happened not only to be Handke’s translator, of all the plays up to and including Ride Across Lake Constance and of the novel Goalie, ex-editor at Farrar, Straus, also ex—director of a little pick up troupe with which and my Sony tape recorder, I ventured to many venues with Public Insult and Self Accusation, but also now Suhrkamp, thus by default, Handke’s agent, and my apartment seems to be regarded as a home away from Suhrkamp, or Siegfried Unseld’s on the Klettenberg Strasse in Frankfurt. Whoever Handke may be as a person, and I had not a clear idea for the longest time [and if you look at his changing mode of dress over the years:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> http://picasaweb.google.com/mikerol/HANDKE3ONLINE# </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>you too might not, except that he seems to be very changeable, nearly like a model] one matter I had become convinced of at that point is his genius as a writer of highly complex texts – the ability to juggle a lot of different oranges at once and in sequence, and for particular purposes: in short: a composer as which his work, particular experiences, is actually more easily comprehended - intense work on performance of which, also with Herbert Berghof and E.G. Marshall at the HB Studio, gave me the notion that in his own strange then chiefly serial way, he is [or certainly was then] in touch with the music of the spheres. [And if you are a woman and also a composer I would fall in love with you, as I once did, and find any possible downsides unimaginable, until reality teaches your fantasies a lesson.] I have met him twice before, once at a party that some acquaintances and I gave for the Gruppe 47, the other time in Berlin, in 1969, to discuss my translation of his Kaspar and the possibility of translating Der Hausierer one of my favorites of his. He was then living in a very unquiet Berlin in an apartment on the Uhland Strasse, filled with stacks of newspapers, and he showed off six month old baby Amina to me, who loves reverting to infant phase, an apartment rented from a German prince of some kind as Teddy Adorno whom I had seen shortly before in Frankfurt had mentioned, and he wanted us to repair to an outdoor restaurant, which seemed perfectly sensible to me under the circumstances of his dark depressing abode, and so we did at once, to an outdoor place </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> on the Kudamm and when I brought up the name of Adorno Handke said “der arme Adorno”, and I failed to follow up why he might consider Adorno pitiable – perhaps it was because the Adorno lectures at the time was beset by some German yippee types. Handke mentioned that Der Hausierer had lots of quotes from American black mask type detective stories; not only that, the quotes derived from the German editions, and my heart sank at the prospect of translating the quotes back into American; I failed to ask whether he might at least point out the quotes in the book and locate them in the German editions; and - who knows - perhaps he could have, and that wonderful book [his second novel] might have been his first to appear in American, instead of Goalie. We also discussed my translation of his play Kaspar and Handke expressed the wish that I make it even more abstract, especially Kaspar’s initial sentence, which he repeats over and over again, as his only property, </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> “I want to be like somebody else was once,”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and I then subsequently did that. See:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handketrans.scriptmania.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>for a piece on what was involved in translating the early [1965-71] pieces.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The three, Libgart, Peter and Fredi in New York in 1971 are a chipper crew and they do tourist type stuff in New York. Peter and Fredi, I think atop the Empire, on one of the photos at a coin-operated binocular at one of the photo sites:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE3ONLINE# </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the photographer is presumably Libgart. Libgart does an enchanting rendition of how you descend in The Ride Across Lake Constance on the staircase of the Austrian Institute. Both Libgart and Peter are camera happy. I know that Handke took one of Kolleritsch and me with our arms around Libgart’s waist and her arms around ours in front of the then already famous Elaine’s, my home away from since my friend Frank Conroy introduced me to it upon my return from Europe around x-mas 1965 but especially again now since the then recent end of my first marriage. I am on the next affair subsequent to my Jezebel was that and nothing else. I give a small party and Libgart notices the flaxen haired professor; not Handke; I myself, son of a socially exquisitely dexterous mother, have a mother hen’s penumbral sense of where everyone is and notice Handke suddenly stepping away from our foursome that includes Stanley Kaufmann and Richard Gilman, his first two intelligent American critic admirers, and squat down by my record player, like a woman, and put on, I think a Beatles record, but haven’t a clue to this odd moment until about twenty years later when I read in Handke confessing in his book length interview with Herbert Gamper that he still has “autistic episodes.” Who knows what proved excessive or insufferably stupid at that moment? Perhaps Gilman had brought up Wittgenstein, his hobby horse when it came to discussing Handke? Perhaps Handke’s diaries record it, Stanley Kaufman is still alive, there’s an idea.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The small gathering having flown the coop, the Handke bird is instantly insulting, his wife seeks to mitigate. It is evident that the marriage between the rasante actress and the genius playwright is on the rocks, she’s ready to split from one day to the next. Handke is oblivious of her, seems married, rather, to Kolleritsch and their literary theorizing, which I, an aficionado of literary theory since early on, however, do not manage to penetrate, with the result… but both Handke and Kolleritsch remain oblivious. I notice Handke nearly throw up subsequent to our meeting with another translator, who is famously ugly physically and eventually manifests the character to fit his hideous face. Upon the threesome’s return from their 21 lectures in 28 days reading jaunt through the United States, the exhausted Kolleritsch is hyper-ventilating on what had been my marriage bed; Libgart, too, is exhausted, and gets the day bed in my work room; fortunately nobody is allergic to cats. Handke seems energized and asks for and I tell him of two well-stocked near-by venues for foreign magazines and papers, Rizzoli’s and a hotel’s and off he goes, presumably to check how he is faring in the German papers. They ask me the impossible - and I throw up my hands - to guess whose autograph they managed to obtain on their trip to Atlanta: Muhammad Ali’s! They also go see a Broadway play and Handke expresses regret at how badly the current incarnation of Lauren Bacall compares with his film recollection of her. Back on the West Coast in the 80s I hear of Handke’s calling people stupid to their faces, the kind of gratuitous, it seems, insulting characteristic of his behavior then – if you read A Short Letter Long Farewell, the picaresque Goddarish novel he set in the, his U S of A shortly after that trip you notice the enragedness in which it is written - and which gratuitousness occasionally, proved costly, e.g. the Contemporary Austrian Literature Review not devoting a special issue to his work; or the fun he made of Reich-Ranicki, who may be a sorry pope of German literary criticism but is still sufficiently formidable to do a lot of damage to your work, since in that respect to his vanity he hasn’t any humor or forgiveness. Pettiness rules in those precincts. [the Reichs-Kanickel as I think of him appears to have made overtures at repair to Handke and have written to him in Salzburg, but the letters were returned. RR, an old Polish post WW II secret service hand, however, could tell that the letters had been opened and resealed!]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke, the person continues to puzzle me; the work is artistically lucid, it’s artistic logic I understand then, even better later on; and it is the greater pleasure; of all the very talented people I have known in that field, that however holds true for nine out of ten. But who was I at the time? Well, for one thing I was ready to jump the Suhrkamp representation, Unseld, the Großgauner für die Kultur, as I think of him, and extortionist, and Ritzerfeld, their foreign rights pest who made so many lives difficult, had made themselves thoroughly unrepresentable by the firm through whom I represented Suhrkamp, and by me. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Subsequent to Handke’s return from that month-long reading tour through the United States, Handke wrote, in just a couple of months, A Short Letter Long Farewell [which will become his first best seller novel]. It is very much a U.S. novel, also in deference to Raymond Chandler and Fitzgerald. A.S.L.L.F., however, can scarcely be regarded as an account of his trip. This is a fantasy United States, with its wish fulfillment of meeting John Ford [a film maker Handke much admires], but a fantasy is as capable of being analyzed as a dream. I don’t recall Handke flashing his pen to make a notation in his notebook as he would later, so I have no idea whether he kept one already during those days, but A.S.L.L.F. is not a slavish account, it riffs on certain memories I expect, the one’s that are least laden, Greil Marcus has just written a fine intro to its New York Review of Books Books 2009 re-edition but does not address the fantasy/ reality aspect of the book. However many individual sights the sight collector used, it is a trippy text, and could easily have been made into a Godaresque film. It is the story of a German writer, in company of an Austrian dramaturg – and that is what interest me in this psychological connection - who is being pursued by a wife, and I would venture that the then near alexithymic Handke sensed his wife’s longing for emotional reconnection, perhaps there is some paranoid guilt too, so that her emotional pursuit finds materialized representation in the book as a physical threat. As it might in a dream. Dreams may be difficult to decipher, but dreams do not lie, they may have displacements, condensations, transfigurations, reversals, a grammar all their own, but they are decipherable, and they lead to more than our unconscious, the lead to our whole being. A.S.L.L.F. needs to be experienced as a totality. Lots of scenes with near murder in them. It forebodes Handke’s problematics with women, all of them actresses, of course Goalie’s murder – his just prior novel - of the pickup in the Prater is another instance. Rage, violence near the surface. But productive rage. Only Handke can tell us for sure in what respect the book is autobiographical according to his statement to Gamper that all his work can be unraveled from an autobiographical perspective, or dimension [“aufrollen”], the extent to which the fantasy is a reflection of his state of mind, Marcus emphasized the state of rage, which I had nearly entirely forgotten in this instance. The couple is together at the end but does not reconcile, artistically a perfectly valid ending, yes the possibility exists. It is an open-ended book. There are some photos of Handke and Libgart Schwartz </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE3ONLINE# </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>at that time. Handke looks like an American hippie of the period; when I met him he was dressed and looked like a Beatle. Does he realize that marriage is an irreconcilable threat to the way he needs to live as the kind of writer he knows himself to be?</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke, it appears, was disappointed by marriage, yet it had been one of his envisionments, anyhow the idea of marriage penetrates our subconscious from early on, as some kind of longing to be in a more complete, other state, than that of being single, and the notion to perpetuate ourselves through children, the ultimate narcissistic act as Freud observed I write living in a city of “breeders”. Why Handke might have high hopes what with having witnessed his mother’s marriage is another matter, perhaps it was his grandfather’s far superior one that he had in mind, or just a sense. A child also was part of the picture he had made for himself. However, at that time, he seemed like the most neglectful husband, and was sleeping around, yet jealous when his affairs had other lovers. And since he was a kind of rock star in Germany in Austria, benefits accrued. The wife, however, becomes a kind of mother figure, someone taken for granted, a new edition of his home life; and she is there no matter how many romantic adventures he engages in, and in that respect is fundamentally more important. Soon Gibraltar will crumble! See the long foot note at the </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handke-trivia.blogspot.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and also at:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handkebiopsycho.scriptmania.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>where all the long footnotes can be found, of Isolde Schaad’s take on women figures in his texts.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In Fall 1971 Handke is arrested while trying to enter an over-filled hall in Graz - for “insulting the honor of the police” – he called them Nazis - to give a reading of one of his own texts. I can see it now: “I am the reader, you moron!” “I have my orders… Here, read the Fire law.” Something along those lines will happen once more during his Salzburg years, and this time he records his aggrieved pride: see his account of it in Langsam im Schatten. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And then his mother commits suicide, and he has already left the Berlin of the noisy demonstrations, lives in a house some friends have lent him, in a wealthy enclave Kronberg and is working on the play They Are Dying Out, a farce with serious moments, a kind of send-up of the New Left gibberish, too, and in short order he will write, opportunist that he is, what will become his most famous book, the so revelatory, not only of his mother’s life, Sorrow Beyond Dreams, tippling white wine, and at one time becomes so irritated by his approximately three year old baby daughter’s crying while he is in the flooding basement of the bungalow [see: A Child’s Story] that he smacks baby Amina [“shut up”] and could of course have killed or permanently injured her. [Later, Amina Handke will state that she recalled the smack.] Handke will snap at other times as well, a man of very short fuses: in his 2008 novel Moravian Night he owns up to the truth of his ex-live-in [Salzburg] girlfriend Marie Colbin’s statement about him during the Handke-media skirmish that was waged parallel to the wars in Yugoslavia : See Colbin footnote</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.spiegel.de/kultur/literatur/0,1518,24228,00.html</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I was a bit shocked at the degree of violence, though not totally surprised because by that time, in 1994, the time of Colbin’s declamation, I had begun to appreciate the consequences of the kind of primal scene violence Handke had been exposed to, although the shortness of the fuse was not necessarily connected to that; had taken note of the rage and violence in various texts going back to Der Hausierer [which has a barely concealed bloody primal scene lying at the heart of it], the rage and violence in Short Letter, and of course had translated it in Goalie where Josef Bloch strangles his pick-up at the moment he sees water boiling on the hotplate, like ants [a great metaphor for rage boiling over if there ever was one]: hyper-sensitivity, nausea, a near constant stage of rage that tired him especially as an adolescent, on the verge of the outbreak of psychosis at nearly all times; but able to calm himself by writing, redirecting those energies. Besides, I had had some serious experiences with my man [see anon] by that time and had heard, in Los Angeles, of the difficult Colbin/ Handke relationship from an Austrian film person who had worked on their Duras film adaptation:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“In the space of a short 65 minutes, a woman [Colbin] enters the luxury apartment of a wealthy man [Handke] with an eccentric fascination for the female form and is paid both for her sexual favors and for lying there naked and letting him examine the aesthetics of her body. For most of the hour, as the concise narration of Marguerite Duras' novel on eroticism and aesthetics fills the aural gaps, actress Marie Colbin's form fills the visual gaps. But unless viewers consider the feminine eyeball or microscopic views of skin exotic and worth lingering over, the eroticism lies more in the imagination than on the screen. In fact, the female body lying on the bed, taken away from the spirit that animates it, is really just a corpse - raising the question, exactly what is the "malady of death?"</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>~ Eleanor Mannikka, All Movie Guide </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.fandango.com/dasmaldestodes_v227565/summary </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Marie Colbin’s entry in http://de.wikipedia.org/wiki/Marie_Colbin</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>makes no mention of the Handke film! He has been written out of the life of someone who literally [if I can believe my Serbian grapevine] pursued him for years and years after their breakup all over Salzburg, from pub to pub, which perhaps explains why “the writer” in The Afternoon of a Writer [1987] has to head all the way to the outskirts of town to get a drink and meet his Serbian friend! Marie then makes frequent appearance in his books as the Eurynje, the Fury!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>My L.A. informer, after I mentioned to her my outplaying Handke at Tarot in Salzburg, said, he doesn’t like that at all, but then allowed that “he can be great at times”; matters in which we concurred. In the late 70s already I had made it a point, if at all possible, not to be alone with Handke; or as briefly as possible, sought a third to be present. I sensed something sinister, something seriously awry [see anon]; but, as he writes in Walk About the Villages, he can empathize at remove, as a matter of fact I have never known anyone to pick up vibes that I gave off in letters and of which I myself was quite unaware [my general state of mind]; thus Handke would be, is useful as an analyst or a long distance early warning system. He knows himself exceedingly well, but there is only that much you can do to change yourself.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Eventually, I then gave him and his work more thought than I initially thought I would and this is yet one other aspect of that labor. I was not all that surprised at Colbin’s statement, whose truth I didn’t doubt for a second, because I had learned to appreciate what being exposed to a criminally violent stepfather for an entire decade might do to anyone, not just someone with Handke’s extreme sensitivities and the capacity to be easily insulted and wish to dominate and control those in within his immediate ken. I expect there have been other incidents. However, in Handke’s case something of the being of stepfather Bruno appears to have been absorbed, spilled over: I am not positive that the analytic concept of identification with the aggressor does the trick here. Anyhow, it would seem to be too facile in explaining a fairly complicated process.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>So far we don’t know what ticked him off at Marie Colbin or why he hated her so much that he wanted to kill her… or what she did to provoke him, if anything. Perhaps she was as stubborn as a Fury in other matters, as head strong, she looks exquisite, she had left school early and had become a successful actress, had a marriage behind her. She becomes “the woman” whom he met on the bridge of “A Touch of Evil” in No-Man’s-Bay, which in fact was a bridge across the river Salzach in Salzburg. Eye candy she used to be! </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> As with his daughter, as with Bloch’s cashier, it might have been something very slight at the moment, a stressful moment perhaps, that the trigger went off - mountain boots – during a mountain hike? - no doubt he was already in one of his states of rage; when isn’t he? The only thing that would excuse Handke would be if he had acted in physical self-defense. She appears to be on the petite and delicate side. See the photo of the group of men, Austrian politicians, with Handke, who has brought his girlfriend “Oh what a pretty girl friend, Handke has!” they no doubt all said, however, the Duras film venture seemed not to have come off;</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE3ONLINE# </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Just as I was writing this in February 09 I received a link to pages from the Handke-Born correspondence that are accessible on line:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://books.google.de/books?id=VweE1WiiIY0C&pg=PA103&lpg=PA103&dq=suescun%2Bnicolas&source=bl&ots=h9YZHTxvHN&sig=zwFXUDs5qVMi8xlvKYUv\HK0w8o&hl=de&ei=CDmxSdvlCYye0AXCr4iMAQ&sa=X&oi=book_result&resnum=4&ct=result#PRA1-PA349,M1</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>where it becomes evident that Handke and his long-time Paris amour Jeanne Moreau seem to have fought like dog and cat in 1973-74. “Moreau was the better fighter,” Handke kept saying during those years, and I sure didn’t imagine that he meant that the were fighting mano a mano; one tough French broad, a wildcat a tigress! whom he must have met at one of the wonderful French production of Ride or T.A.D.O. which had Gerard Depardieu as Quitt [see in drama photos where the great monster has Kilb the minority stockholder in a head hold, sweat box!]. What astonishes me is the SHEER AND UTTER NORMALCY in Handke’s thinking that lovers or husband and wives beat each other up! Is that par for the course of Carinthia? Of course you, too, would think it perfectly normal if you had witnessed fights of the kind as Handke did, for years on end, between his mother and his stepfather: “Beat me again you bastard.” Anyhow, Handke liked Moreau well enough that he used her in his film Absence later on; even wrote in an extra part for her who must have been far more experienced, too, in the making of films and fighting the likes of Belmondo and various silly French machos. Perhaps she knew how to beat up men, or at least come out as an equal! It wouldn’t surprise me. I never met her during my visits to Handke in Paris, but the then five or six year old Amina once proudly displayed a brooch that Moreau had given her: keep the child happy who is living with an exhibitionist for a father, then wants to be acknowledged for being worthy of a gift. “Shit, I forgot to bring the kid something.” shot through my head.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke has said the reason why he keeps affiancing himself to actresses is because they are “light,” or “lighter.” Thinking on what that might mean in the case of someone who is both so beauty-oriented and of a depressive nature, I connect it with the title of his first published diary, Weight of the World: indeed a beautiful woman helps defray depression I suppose; not only that, a man himself will look better in the company of a pretty woman, she reflects on to him; it makes him look better, lighter; and actresses can be considered to be play-acting, i.e. not completely real, perhaps “as if”… are also in that respect less “weighty”… and of course more graceful than… and thought of their womanly neediness and materialism might just disappear! Then I think of the moment when Handke wouldn’t SHOW me the re-imported first wife, Libgart Schwartz, as punishment for having beaten him at Tarot on the Mönchsberg, I realize how profoundly “for show” the wives were/ are [and how awful that must be at least for those who want to be more than showroom models to make the unfortunately compulsively badly self-imaged look better], but also realize that all of Handke’s beautiful things are acts of generosity that are offered, shown to us as gifts… performances… but also to be admired; and since he so closely identifies with them…: within those transactions between author and audience, where the author might withdraw and sulk if he is not sufficiently appreciated…- However, an actress, unless doubling as a French saint while with Peter Handke, will be more demanding and needy than an “as if,” and so the reasons why he as a writer who works at such a high level of concentration is not to be recommended as a mate… are over-determined, too. Handke’s second wife, Sophie Semin, was a model when he met her in Paris, who instantly wanted to become an actress [see anon] and left him when he had foisted this French actress onto Peymann for his production of The Play about the Film about the War, shades of Citizen Kane I suppose, or maybe she begged him, and maybe she’s even talented; and Peymann is not someone who can say no to Handke. Handke’s last publically known major relationship was with the German T.V. and film star Katja Flint. Handke said at the time – it was a commuting relationship – that maybe not living together it might work. It did for a few years, and Ms. Flint, not having had to suffer living with our man, continues to express fondness for him. So presumably she was not beaten up and did not suffer the misery of having to live as a cave dweller for any length in the aboriginal Forêt de Chaville outside Paris where even the closest friends, currently, are taken for instant walks, while only the media are permitted access to the author pro domo and he will cook up a feast for a TV crew. Note our author displaying himself in the two photos of him in his door way. As he has written many a time: “Stay in the picture.” The only bad news for a model is no photo-op.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Violence and the observation of bloody deeds marks Handke’s work – they jut out - suddenly - like the chain-wielding Alaskan Indian in A Slow Homecoming [is this an intuitive artistic touch to disrupt the idyll? or based on having made the mistake of a pass at an Indian maiden? But finer artistically for remaining in the realm of mystery and imagination.] Asked about this incident, Handke said this was an irruption of history. As I noticed during the time I spent at Indian villages along the Yukon: indeed, these men, so great in the field, from whom you learned so much in the forest, once back home and having tanked up at the one village on the big river with a liquor store, beat up their wives, and then their wives beat them up, and when you hear the tethered huskies howl at night like wolves… Indians, too, lack the gene to produce the enzyme that breaks down alcohol. I suppose that is history too.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The murderous and righteous impulses of the “case,” as the once again Amok-running Loser is described in the otherwise idyllic Handke’s Salzburg novel Across, tearing off political posters and tossing a rock and killing the old Nazi on a spot on the Mönchsberg that I know quite well [see anon] at the very place where an enraged Handke once dropped me off with the words “this is the spot where unhappy Salzburg poets commit suicide!” - after I had outplayed him at Tarot and with panache [I was in rare over-drive from having returned, I thought victorious in having made a peace after four hard week’s work in Bulgaria! See the Bulgaria footnote] – there is something pathetic I realized even then before I translated his confession to being sometimes the most pathetic of creatures [one reason that I translated the dramatic poem with such fervor was that it also enumerated so much of myself, that it is such a great suction projection mirror] that therefore … he wouldn’t show me the apparently re-imported, briefly, it seems, Libgart; who I didn’t know had been the person who answered his telephone: I sort of saw him with a secretary at that point, the way he had worked his way up from that fairly miserable prince’s apartment in the Uhland Strasse in Berlin in 1969 via the Kronenberg Bungalow and from the Rue Montmorency basement apartment to the smallish Gründerzeit Castle in the Meudon section of Paris where Lefthanded Woman was filmed, to the villa on the Mönchsberg. Handke, the Yuppie!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But then he asked, in the rhetorical way that parents have, whether I would ever grow up, and my replay was a fervent “never,” he, this petulant child, who hadn’t really the faintest what I was saying with my acting out [as I didn’t myself until years later] replied “that’s all right”… which took the edge off… and we could have laughed I suppose. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Talking about man/woman relationships in Handke’s works: Ride Across Lake Constance is drenched in sexual aggressiveness in a young crew; aside the murder in Goalie there is in They Are Dying Out Dying the relationship between the protagonist Quitt and Quitt’s wife whose sole identity is “Quitt’s wife” and with the business woman Paula Tax that Quitt evidently had an affair with. T.A.D.O. is a serious farce that continues the dismembering language games of Ride on the different level of Left and Marxist lingo but estrangingly in the mouths of a variety of business clowns who have now found their roles: it is [a] a goodbye send-up to the German Left, its hyper-intellectualized lingo, that is put into the mouths of a variety of business types, whom Handke detests with equal vigor and Raimundesque sense of humor, and I suppose also part of his goodbye to the Berlin of the loud rallies and of the “Bullen” that he also notes in A Child’s Story. Aside these considerable hilarities, T.A.D.O. contains [b] the first serious intimations of a home coming to a Stifterian mode in writing, intimations of transfigurations to come; a send-up of ashcan lower depths playwrights, Handke specifically had Kroetz in mind [see my Kroetz footnote at the </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handke-trivia.blogspot.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>which however related more to my unhappy experience with this greedy Schlitzohr; and [c] acrimonious fight scenes between mogul Quitt and businesswoman Paula Tax are indicative that my man is wise to the Scylla and Carbides of marriage and affairs; the sleepwalking mad-woman wife [played to perfection by the director Carl Weber’s mad wife at the U.S. Yale Drama School premiere in 1979], would seem to have been observed from the behavior of his publisher’s consort, Frau Unseld, overwhelmed by all that Teutonic energy that will swim cross the Black Sea in the morning and the Caspian in the afternoon. The play lacks the cleansing effect of the procedures of Ride if only because it has a “story” of sorts and a real ending: Quitt’s huge ego has Dr. Siegfried Unseld [a would be monopolist who had announced he would take over all of German Belles Lettres] and Handke’s swollen head as their source, and Handke is nicely humorous about himself smashing Quitt’s big victorious head on a rock full of slithering snakes! Nothing that any mogul at the height of success has ever done!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The 1974 A Moment of True Feeling [the devastation that greets Keuschnig one transformative morning might seem motivated – but not explain the shock - if we knew that Handke was devastated when his neglected wife split, shortly after his mother’s suicide]. But if he wrote that story we would be in the realm, say, of an Ingmar Bergman film… or the standard soap opera… and he might have had to give some thought to… why it “takes two to tango” or not. Ditto for the 1984 novel Across which would seem a lot less mysterious, or IS a lot less mysterious now that we have Marie Colbin’s account of the end of their relationship. Ditto for the 1986 The Afternoon of a Writer: why might there be a “former friend”? Ditto for the 1996 One Dark Night I left my Silent House where a woman disparu is also very much in the “Pharmacist’s” background. In the great 1992 No-Man’s Bay there are allusions to walking the bridge between Ciudad Juarez and El Paseo in the film A Touch of Evil, which would seem a more grandiosely fitting metaphor for the Colbin Handke relationship than his encountering that considerable beauty, first, on a modest bridge across the Salzach [I know both bridges, the one linking Juarez/ El Paseo nearly like the back of my hand and some Mexican street urchins once stole my hat, which they either fancied or whose theft was a challenge to the forever Indios as M. and I were walking back to El Paseo!]; and No-Man’s-Bay has mention of receding man woman fights, another vengeful woman as in Short Letter Long Farewell! The brief self-serving recit in Night on the subject of “the modern woman” indicates our lord’s wishes in that respect [see the essay length FN by Isolde Schaad on the subject</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> http://www.handke-trivia.blogspot.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and I would have to say that fate handed him a raw deal in that respect: he missed the many pleasures afforded by liberated women who are no longer entirely man oriented.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Matters are different, and for my taste, better, in plays such as W.A.T.V. where Handke needs to objectify the relationships; and transfigures his parents hideous relationship into that of a pioneer couple; and his fondness for older women and appreciation of miserable working condition are viewed through such a much finer lens than any Kroetz could ever with his manipulation of feelings and exploitation of the audience; and W.A.T.V. probably incorporates his sister’s typical experiences as a shop girl, at any event, the lives of its characters are viewed with astonishing sympathy as are those of his construction worker brother and friends back in Griffen; and of older women, such as his Slovenian grandmother… that is, it is both rooted in real experience and somewhat transfigured while marvelously observed. As a drama it seems to be a hybrid between socialist realism and the mythic cast in the alternating discourse of Euripides and Goethe, high style in simple language for the life of the so-called simple people who “run under the wind” and with some of the most cutting critiques Handke has ever written, too. And then you get the great plays The Art of Asking and The Hour We Knew Nothing of Each Other. I myself find these dramas stronger than many of the contemporaneous novels except for No-Man’s-Bay. They are not marred by intrusions of our author’s psychological liabilities, the novel/ tale/ epic screen play Absence [1987] isn’t either.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The 2002 Crossing the Sierra del Gredos, like Left-Handed Woman [1976], features a woman as Handke’s prism. Whereas L.H.W., autobiographically, may be a bit of wish fulfillment in the sense it would have been easier for Handke to accept his first wife’s leaving if she had proceeded in such a gentle manner, of pointing out that she needed to live by herself; that is, the very opposite of the shock that she administered in real life, it contains a wonderful brief scene of the ex-husband and his buddies peeing in unison: ah memories of my part village childhood and who could piss the farthest in the penis competition. Let no one say that Handke is entirely “unpsychological minded”! Ditto for his knowledge of how Oedipally fraught his relationship with a son he never had but might have and had hoped for is detailed in No-Man’s-Bay. What always fascinated me was Handke’s saying that while writing the story of the Left-Handed Woman’s [also retreat from a sexual not just married relationship] he kept seeing no end of porno flicks in Paris! I am not sure what to make of that back story, perhaps Handke will do a rewrite of one of “The Temptation of St. Anthony” or some other saints these days!]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>The “publisher” who appears to fetch a manuscript from “the woman”, recently divorced and a translator [as Handke was becoming too, to see what that involved], bouquet in hand, is none other than Handke’s publisher Dr. Siegfried Unseld, who receives the appropriate, legerdemain, negative x-ray, portrait – our man is back in the finest of writing fettle at this point! So Handke’s comment to Herbert Gamper that “all this can be unrolled from an autobiographical perspective,” needs not so much granum salis, as to be, then and in each instance, imaginatively construed! Like dream analysis! Reversals, day residues, displacements and the like! [Asked how Unseld felt about this negative x-ray portrait, Handke told me that he was proud, whereupon I emitted a perhaps memorable “grr” sound.]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Yet Handke does not need to write an autobiography, it can be puzzled together, laboriously sometimes, taking it’s central work, My Year in the No-Man’s Bay as the starting point, and then you see that the idea for this book, or possibly to live in the Forêt de Chaville, most likely originated at the moment that Handke, living in Meudon, where L.H.W. is set, discovered a rabbit run that would lead him there. [see my long essay on M.Y.I.N.M.B. @:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handkeprose.scriptmania.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>L.H.W. becomes the one book of Handke’s that women really like! It is a manifestation also, I would say, of his regaining his feminine side, which - to use shorthand – are his words “Ma mêre, c’est moi.” So her suicide, which for all I know might also have been experienced as an attack on him, did not knock that out of him, nor did the being left by his wife. “Good riddance, all the time in the world to write” I expect, helped assuage the insult to the system somewhat!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>The sometimes rather hoydenish Bankiéress of Del Gredos has her split-off darker side in the form of a terrorist brother [a necessarily and complementarily – to the protagonist – grandiose criminal] who keeps popping up at the oddest moments, a theme that remains unresolved in the book, unless you feel that the great love scene at the end between Bankiéress and the fellow off in the La Mancha who has narrated her story in this almost analyst adhesive to each moment of her thought movements extra-sense perceptory monitoring [self-monitoring] manner, is more than the ultimate of self love! That is that Handke loves writing more than anything else – well, why shouldn’t or wouldn’t he, since it not only afforded him a spectacular career but is like a drug that keeps him well.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The bankiéress does have a husband, or husbands in her past… and children for whom she cares and recalls “carrying under her heart.” If you are interested on my very long take on this book, reading of which for the third time and then writing about it made for several months of the utmost of concentrated pleasure and mental health in late 2008, I can send it to you or you can look it up on line at:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handkeprose2.scriptmania.com or at the handke discussion blog.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Colbin is also spot on in the matter of Handke’s exhibitionism and she most likely witnessed its entire spectrum [see anon]: but lacking that powerful, aggressive as well as pathetic impulse, the ambition - I will never forget a lüsternen look I saw on Handke’s face at Princeton at some point, I associated it with the presence of Max Frisch, and I think Inge Feltrinelli was nearby: It was a look of animalistic envy and ambition as I only saw once again in my life - it has occurred to me - would we have the work? And she is also right I expect when it comes to Handke being “one-eyed” – and again: but what if he weren’t, being who he is, either he lounges around and is bored, so he has said many times, or entirely obsessed with whatever project. Single-eyed, after all, he’s no Rabelais! It is a kind of protean self, but not that kind.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I had one experience that might approximate Handke’s being “one-eyed [aside those boring and brief visits to his place in Paris to which I will come]: During an utterly idyllic snowy night’s walk across the Brooklyn Bridge, during which Handke failed to pull out his notebook and flash his pencil! [this is late 1977 or early 78] to visit the author Michael Brodsky: Handke had returned from Alaska and San Francisco and Colorado and had settled in a room on one of the top floors of the Hotel Adams at 86th at Fifth and Madison Avenues on Manhattan’s Upper East Side for some months to write A Slow Homecoming.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The experience of writing a book in New York cured Handke of any thought of living there. I had even checked out several French lycés where he thought to enroll Amina if he moved there. As a matter of fact, he went nearly entirely mad at the inception of the book, he had carried it’s opening sentence:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Sorger had outlived several of those who had become close to him; he had 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.” reads Ralph Mannheim’s rather inept translation of that sentence of the German which fails to capture the rhythm of that pathos drenched opening, he had carried this sentence – it is ONE sentence in German - around with him for some years, but this proved to be a case of Beethoven having the “Da da da” of the Fifth Symphony in his head, but then being unable to proceed. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Since Handke had proved so inhospitable - quite aside the reason that I did not really want to be alone with him, that as a person he had begun to spook me, and that I knew he was always writing - I only saw him a couple of times once he was installed in a neighborhood I knew only too well since the summer of 1955. Had matters been other, I might have taken him along to one or the other of my neighborhood pubs and clubs – CBGB’s, the MUDD, once I knocked off work around midnight. I think it was a girlfriendless period for me, no great paramour, though not for all that long, until the summer of 79. Handke from what he has written about his existence in the Hotel Adams got in such a state that he had some anxiety pills prescribed – the only time he claimed in a recent interview, seeming to forget the valium of 1974 that he had taken after his hospitalization episode. Recently</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.kleinezeitung.at/nachrichten/kultur/1989785/index.do </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke claims that he is a superb liar. I would say that as a liar he is an idiot, he is a superb dramatist and prose writer when he is on his game, which is most of the time. The contradictions between his claims, most of these are in defense of his vanity, are attempts at self-stylization, do not wash even within the internal evidence of the published work. When he puts his mind to it, as in Sorrow Beyond Dreams [Wunschloses Unglück] and A Child’s Story [Kindergeschichte] he can be truthful, to the point of the most unpleasant revelations about himself. His proclivity for denial is only too human in the sense of wishing not to hear that, say, the beloved is really a strumpet. In other respects, Handke knows what knowable reality is only too well, the overwhelming facts. He is anything but a fantast.</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke felt he had failed with the fragment A Slow Homecoming [Langsame Heimkehr] he said to his then editor at Farrar, Straus, Nancy Meiselas. He had had some grand plan for something on the order of a “Staatsroman” it appears; and thus A.S.H. remains fragmentary, two of the greatest sections he has ever written, the one on Alaska [see my Alaska note for why reading this chapter in particular proved such a whelming experience for me] </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and San Francisco, a couple of other slightly weaker ones and then the book trails off. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke got so lonely it appears while he blessed those below in Central Park from his perch high up in the Hotel Adams, at night he went down into the hotel’s huge lobby – it runs from Madison Avenue all the way to Fifth Avenue – and talked to the night man! Some finishing touches appear to have been put to the book at Siegfried Lenz’s place in Germany where Handke went to recover from the New York experience. In My Year in the No-Man’s-Bay he makes rather cheap, in my estimate, fun of the way he belittles the “writers” problematics in the there memorialized Hotel Adams which I knew mostly from the 50s for its barber shop and a breakfast joint and then for once picking up Handke in his room to go out to dinner. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>During our idyllic walk across the Brooklyn Bridge – there really is nothing finer in New York when a light dry snow is falling at night - I wanted to share a few Alaska anecdotes, but Handke mentioned that he was full up, and I told myself that I understood that, yet the mother hen that I can be was troubled by the prospect that he might write about Alaska – that’s all I was told about the project - after just a couple of fairly short visits… But he had at least read McPhee’s book on Seward’s Folly I was relieved to hear, still it seemed like an awfully audacious undertaking… Yet Norman Mailer had gotten a good drift of the flora there in an equally short time for his Why Are We in Vietnam, and Mailer, a city boy, was not known for being especially responsive to nature… I had caught on to the fact that Handke was always writing and so you left him alone to that fate and looked forward to what might come. Genius, so Henry James, consists of absorbing fast. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>As to being single-minded, one-eyed: I cannot recall a single question during our maybe altogether dozen plus meetings and about seventy five letters asking a single personal question, although, at a distance, he was amazingly perceptive as to my own varied states of mind during that adventurous period. As to his forgetting, he had also that it had been I who had written him that “winters in New England are like winters in Bavaria, winters in Colorado are like winters in the Alps, winters in Alaska are something else entirely.” Not that it took me to point out the problematic splendors of Alaska. As to forgetting, also of the convenient [?], psychopathology of the everyday kind [?] see anon…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>As to saying that Handke “is nothing but a vain scribbler” Ms. Colbin appears to have forgotten that she was once the public reader of her once lover’s texts and that she once loved what vanity produced. But if Handke wonders why he needs to put in his text that he has as many enemies as he has, he only need contemplate some of the things he has done, and not out of vanity.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>=II-C</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Fugueing</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And then, not that long after Handke’s mother commits suicide, his wife Libgart Schwartz disparu [“the worst thing that ever happened” he told a mutual acquaintance, a woman. I would say: not by a long shot of the decade long childhood trauma, but perhaps since]. The language regulation for this event becomes that Libgart has decided to resume her acting career, which the slightly older Libgart cannot be said to have ever dropped. She had just recently acted in the film that Wim Wender’s made of Handke’s Goalie. Libgart Schwartz and Peter Handke are legally divorced many years later, just prior to Handke consummating his second marriage with a wedding trip [some wedding trip!] with the first of his Yugoslav war adventures which will result in the book A Winter’s Journey to the Rivers: Or Justice for Serbia during which his second legal wife, Sophie Semin asks that famous question, indicating Handke’s awareness of his proclivity for denial, “and so you doubt that, too” [referring to the shelling of Dubrovnik – see anon] and see:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.artscritic.blogspot.com </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the Milosevic controversy summarized]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke’s second wife Sophie Semin also leaves Handke, around the time of the premiere of The Play about the Film about the War [1999] in Vienna where this model turned actress had a part, for a fellow actor, but without eliciting the same kind of fugueing disastrous consequences for my pasha’s pride as the first of at least one other disappearance, that of Marie Colbin, did. Handke said in an interview that he was not at all happy about Semin’s leaving. However, my Serbian grape vine has it that he already had a Serbian for a main squeeze at that time and that Ms. Semin and daughter Laocadie had already moved out of the unhappy-making Forêt de Chaville abode. - “Quelle horreur!”]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Thus, in the early 70s, Handke not only looses both mother and wife in short order but becomes house mother father to a most constraining but ultimately salvaging infant child [more on that anon, too]; his life disintegrates at a moment when he is at the peak of early success - he must have had two or three bestsellers at that time: Short Letter Long Farewell, A Sorrow Beyond Dreams and Innerworld of the Outerworld, and his plays are all the rage! And he had accomplished all this – a life’s work for many a genius – in little more than five years! And our jaunty haughty enraged fellow is laid low. And it takes him about another five years to hit a new and quite different stride. At least money is not a problem nor is time for himself, although in fact all that time by himself may be t h e problem of problems in the sense that he can dwell and noodle and doodle at length in his state of misery, which he might not at a job, on these blows which then elicit a prolonged and severe nearly five year crisis, personally, and in his work, which now becomes more immediately personal, or at any event: very differently and more directly auto-biographically tinged than were his prior self-state revealing works </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke writes himself out of this crisis, sort of - let us never forget that the Handke writing machine needs to write most of the time to stay calm and well and so heals himself - which lasts from Fall 1971 – from Sorrow Beyond Dreams to The Left-Handed Woman - about 1976 “with a little help” [a therapeutician in Paris, a panic attack and brief hospital stay, some pills, Valium] – “working through” an analyst would call these series of attempts, a writer’s, a very particular writer’s way of working through – especially the three long poems in Nonsense and Happiness and the suicidal novel A Moment of True Feeling and the collection of spontaneous diary entries that is Weight of the World [W.O.W.] as a way to regain control, and get to the fulfillment of long-laid plans, and some, but limited, self-understanding: I think if you read or re-read W.O.W. it might occur to you that the writer of this cumulation of mostly depressive entries [which however surprisingly ends for me and some other readers in lifting us out of the depressive state that this nearly preternaturally depressive’s text has put you in] might conclude that he needed to change his life, as Handke then gradually did. [“Working through”, the labora verimus of the procedure, involves, using Freud’s metaphor, the gradual examination of the numerous bone fragments – and their dimensionality is nearly legion - that a fracture leaves in its wake. My proposition is that through writing Handke more or less accomplished what is called “working through,” halfway, imperfectly, as we can see how much the same person, though a far better writer Handke is, by the time of Across [Chinese des Schmerzens] in 1984, at which point a painterly element has become part of his style. He regained his self-control, as a writer he can not be said to have lost it, though I have no idea how many drafts it took so that he felt the three poems of N+H and A.M.T.F. were what he wanted. The plan for A Slow Homecoming seems to have been hatched during the period of recovery, though the idea of Alaska I think is much earlier even… </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>One question to which I do not have the answer, only a suspicion, is whether Libgart Schwartz left with or for another man, which would have been more injurious to my pasha’s pride. My guess is yes, and is so for two reasons: it was evident in New York in 1971 that any half-way attractive man’s slightest beckoning would have sufficed for the neglected and insulted “woman” to split from the obnoxious and neglectful hero of Short Letter Long Farewell, who though he evidently sensed her emotional longing [expressed in the novel as a physical pursuit] was unable to or chose not to respond; my second guess being that the way “The Left-Handed Woman” in the novella withdraws from her husband into tending her self and translating would have been a far less painful and shocking and more acceptable and comprehensible way of going about the leave-taking than what actually occurred, an admirable way of going about achieving independence from my man’s writerly perspective and self-interest, and thus a bit of wish fulfillment entered the imaginative conception of L.H.W., one of Handke’s chief strengths, the “as if,” those artistically useful states – products of the imagination are as capable of being analyzed as dreams, and like dream analysis come to an ultimately inconclusive end at the navel whence they have issued - may play into that so wonderfully and concretely imagined reversal which otherwise is bereft of profoundly autobiographical elements – but shows the extent of Handke’s ability as a writer to imagine what it is like to be a single woman, and that Handke used his Meudon view of gently rolling Paris hills and the general setting – also in the film - to become less constrained, more open-hearted, - tightness around the chest is another of Handke’s psycho-somatic symptoms - especially to become the kind of mytho-poeic writer that we see him becoming already in Short Letter Long Farewell: thus, the works of the 1971-76 period represent a break from the prior endeavors that resume with Left-Handed Woman and A Slow Homecoming. Handke’s childhood past, its consequences caught up with him then; not just his anaclytically absorbed depression, and the decade long anxiety inducing exposure to violent primal scenes, </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>his hypersensitivity makes him especially injurable to this sudden double nay triple whammy. The simple fact that he is the cause, at least of his wife’s leaving, even if that thought occurred to him, would provide little relief. It isn’t that he’s been victimized by a woman who really hates men; he is just one of those men who might lead some women to hate men, big diff! </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The three sequential poems, Life without Poetry, Blue Poem + Nonsense and Happiness, the [title of the American edition</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.amazon.com/gp/offer-listing/0916354202/ref=sr_1_olp_3?ie=UTF8&s=books&qid=1243829842&sr=1-3</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>composed over a three year period, I am going to regard here from the perspective of the psychological phenomenon called fugueing. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>This condition, fugueing, a term also appropriate to these so musical musings, usually results from severe mental stress and may persist for several months [years in Handke’s case] and if one reads the three poems in succession – which were written in approximately sixty day periods each in the years 1972, 1973 and 1974 – three times the same tack in three years - one can tell what specific diurnal rhythm the fugueing had each day for Handke, these “nonsense attacks” over and over again, relieved by sudden disappearance, and reappearances, quite enough to drive anyone over the edge who is at their mercy, who is BEING LIVED BY THEM… and which appear to become progressively more severe. Moreover, what makes fugueing especially unpleasant is the inability to have any control over these states of mind, control being something that had become Handke’s forte, as you can see in Innerworld, and the early fear-overcoming works. [See the very long footnote at:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handke-trivia.blogspot.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>on “Turk” [Singular and Plural] one of the poems from Innerworld where I try to show what the author does for himself [and an empathic reader] in overcoming an incursion of anxiety, exemplary for many works of that period, from Der Hausierer, to Radio Play One, My Foot My Tutor, etc, etc.] These are very concrete manifestations of how Handke the artist becomes surrogate. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Not only does Handke fugue in and out of depressive states that verge on the suicidal into idyllic moments in these three long poems, but his hyper-sensitivity, now especially wounded, becomes hyper-irritated, irritations apparently entirely mood dependent, surfacing from what we would call the system unconscious. Yes, reading these three poems in sequence as I did again just now you would call them first of all moody, but also musical, filled as they are with murderous and suicidal moments, disgust, extreme nausea, hyper irritations, feelings of utter worthlessness and nonsensicality. Nearly all the same matters that he cites in his Essay on Tiredness as enraging and then tiring him as an adolescent also appear in this instance. The first of these poems, Life without Poetry, initially manifests to me the same mood or lack thereof, the same deadened state of mind in which Sorrow Beyond Dreams was composed in late 1971, it issues out of that experience. Life was also written at about the time he did the acceptance speech for the Büchner Preis – the wish for a phenomenologically registering writing, along the line that he practices instead of the then prevalent political attacks via actionist concepts. The use of the word “concept” is a bit puzzling, since no end of words can be said to be mental concepts of what they signify. Handke means, first, the occupation by slogans, of a political kind, during this fervently leftist actionist period; then cliché formulas, the slippery stones of ordinary human communication:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“In the newspapers everything stood black on white and every phenomenon looked right from the start</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>like a concept</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Only the cultural journals</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>still demanded conceptual exertions</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>were merely the dance of veils</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>before other dancing veils</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The novels ought to be “violent” and poems “actions”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Mercenaries had strayed into the language and occupied every word</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>blackmailed each other</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>by using </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>concepts as passwords</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and I became more and more speechless.”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke’s state of mind certainly is in no way usefully described in political concepts; medical and psychoanalytic concept are another matter: but they too, should wait. And so anyone who has followed me so far and who is interested on my take ought to read these three long poems in their entirety at least once, because here I provide only long chunks, divided by (…):and color coded, but only initially, roughly, to indicate the ups and downs of mood: green for up; purple for down; grey for intrusions of feelings of deadness, alexithemia in psychoanalytic terminology, white for nonsense or absurdity [which might be regarded as the manifestations of – unsuccessful - unconscious attempts at defense, attacks on the self. Incursions of aggression are marked in red. That is not to say, that the poems are devoid of instances of mixed feeling states! I am merely – merely! – providing some indices. I italicize indications of [often exteme] sensitivity to sensation. Let us never forget that these three poems are attempts to provide verbal equivalents of a writer’s subjective state of mind.</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>The first two poems, Life and Blue Poem, it will be noted, are composed in the same comparatively plain declarative poetic style, the third, Nonsense and Happiness, starts off and ends in a nearly rhetorical “high mode” reminiscent of the high style French poem of which it contains a quote –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“O desespoir! O villessee! O rage!...”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Your eyes grow wide,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>whatever you look at </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>LAUGHS</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>after such long nonsense, suddenly there was so much of the world’s abundance. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>a citation that made the author snap out of his state when he came on it! An instance of cycling as it were. The abundance of poetry on a page in a typewriter! He recalls poetic world feeling making him want to write as an adolescent, now he needs to write to have a feeling for the world.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(As a boy when a feeling of the world overcame me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I only felt the desire tot WRITE something</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>now a poetic desire for the world usually</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>only occurs when I write something)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Literature, in general, I would hold, is a defensive operation, for Handke clearly a salvation, and “high mode” provides an upper register or valve in that endeavor! </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke presented the three poems as an ongoing development of his Innerworld of the Outerworld of the Innerworld project, which is the primary vantage – equivalent to states of mind and being - into much of his work, especially the novelistic. I think Handke is absolutely correct in that presentation, but what a different innerworld than in the poems in the book of that title it is! The English educated world of course recalls T.S. Elliot’s notion of the “objective correlative”, of which the adjective may have become entirely questionable and irrelevant, but not the part that there exist related correspondences… </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>During these years 1971-73 Handke also completed the play They Are Dying Out [discussed on page 49] which I translated in 1974 and where he then made one change for the final version, altering a passage that manifested feelings to the more standard tough derisive cold tone that rules that play as well as the two prior novels, Goalie and Short Letter; and excusing himself to me, unnecessarily [the things writers then excuse themselves for!], that he had not been well and had lost his concentration. The therapeutician that Handke mentions seeing in Weight of the World points out to him that he seems to lack access to his feelings and Handke notes that he agreed, but if we read these three poems we note the incursions of feelings and their frequent soon disappearance, sympathy, if only for himself, and then none. He, something in him, was equivocating, but couldn’t really help the feeling coming on, overwhelming him, so it appears, to near tearfulness at moments. Life, written entirely in a well-to-do section of Kronberg, also shows how places enter Handke’s work, the degree to which someone so sensitive is also to his surroundings. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The writer knows that something is seriously off:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I’m really in a bad way</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I know one shouldn’t stop like that</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but there’s no alternative”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>with precisely those words</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Speedy Gonzales of concepts –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>I wanted to stop</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>even before I started to write</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But he is trapped in his fugueing!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Blue Poem,” the second of the triptych is the most aggressive and down of the lot. There we see Handke visiting Paris [as he did to find an apartment] and then going off to visit a friend somewhere in Germany [perhaps Nicolas Born] “Life without Poetry” appears to be located entirely in the well to do bungalow suburb Kronenberg, and is the gentlest, comparatively. By “Blue Poem” Handke is in Paris, Paris street scenes, Metro scenes [the period those great physical fights with Jeanne Moreau – not exactly the woman you would chose if you needed a bit of succoring! Unless he had started having an affair even prior to his being left, which is quite conceivable in the instance of our then lay-a-broad. There is a lot of sadism and strength in Handke, and he takes pride in introducing sadistic payoffs into his texts, I can’t say I encounter even a whiff of masochism, the occasional pangs of conscience and self-berating are another matter.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>From Life without Poetry </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[October/November 1972, Kronberg]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“This fall time passed nearly without me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and my life stood as still as then</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when I had felt so low</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I wanted to learn to type</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and waited evenings in the windowless ante-room</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>for the course to begin</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The neon-tubes roared</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and at the end of the hour</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the plastic covers were pulled back over the type-writers.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I came and went and</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>would have not been able to say anything about myself.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I took myself so seriously that I noticed it,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I was not in despair merely discontent.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I had no feeling for myself and no feeling for anything else. (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>A diary I wanted to keep</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>consisted of a singe sentence</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“I’d like to throw myself into an umbrella”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and even that I hid in shorthand</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The sun has been shining for four weeks</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and I have been sitting on the terrace</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and to everything that crossed my mind</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and to everything I saw </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I only said “yes yes” (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>”The longer I think the more Siberian the wind that blows through my head” </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I read in James Hadley Chase (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I had the need to love someone</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but when I imagined it in detail</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I became discouraged</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In The Man Without Qualities I reached the sentence “Ulrich examined the man” </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(“man”, too, Musil meant disparagingly)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when nausea stopped me from reading on</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>That perhaps was a sign that things were looking up for me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Occasionally I thought of my child</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and went to him</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>only to show him that I was still there</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Because I had such a guilty conscience</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I spoke very distinctly to him (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>At that time in summer</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when the grass was still dense and long colorful toys lay strewn about in it</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and someone said</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“That lies there like a child’s dream”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(Before I wrote that </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I had to laugh very intimately</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But it fit the facts – </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and without conceptual exertion)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>My sister came from Austria</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and at once began to clean</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and to put the house in order</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Grumpily I watched</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>how she filled my tea cup to the brim</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Then I remembered that all poor people</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>do that when they have guests</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and felt so sad that I became strange to myself (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I wasn’t completely inactive</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>started a kindergarten with others</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>applied for membership in a club</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but those were merely ornaments of my dozing</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>like a child smearing his shit over the floor</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I talked as if I constantly wanted to prove that I was harmless to my listeners</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>My neck became stiff</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and when I had had enough (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and all the mindless gibberish</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>so distracted me </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I couldn’t read a book afterward (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In this monstrously glowing autumnal world</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>writing too seemed nonsensical to me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Everything pressed itself so much upon me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>that I lost all imagination (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In the papers I read that a wealthy aristocratic banker’s wife had said “The rich became even richer under this government. You won’t believe me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>BUT MY HUSBAND WAS FURIOUS ABOUT THAT.”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>That perked me up absurdly</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Once a woman sat before me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>so beautifully</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and I thought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“I have to get very close to her</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>so that her beauty can unfold itself.”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but she shriveled </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when I approached her (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>flies died everywhere obtrusively</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I picked them up and threw them in the wastebasked</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>When I turned on the faucet</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I always caught the chlorine donation (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>… and when I went to the mailbox</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I was so blinded by the asphalt</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I had to put my hand over my eyes</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>so as to be able to greet the dark figures approaching me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Finally, then, at dusk</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>at the gabled house diagonally opposite</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the EDEKA sign glowed</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>consolingly yellow </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and I went shopping</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The shop was so bright and quiet</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the manager was counting the receipts</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the freezers hummed endearingly</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the fact that the chives I bought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>were held together by a rubber band</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>practically moved me to tears (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Then at night</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I slept with the garden shears beside me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the child fidgeted with trembling hands</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>screaming in his bed</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>When I closed my eyes I could open them only one by one</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Yes, I had once known how I ought to live</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But now everything was forgotten</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I would not even perceive a fart</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as something physical</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I’m really in a bad way’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I know one shouldn’t stop like that</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but there’s no alternative”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>with precisely those words</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Speedy Gonzales of concepts –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>I wanted to stop</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>even before I started to write</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Then with the insolence</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of self-expression</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>what was thought-out beforehand became even ghostlier</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>word by word</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and really with one jolt</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I again knew what I wanted</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and again felt eager for the world</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(As a boy when a feeling of the world overcame me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I only felt the desire tot WRITE something</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>now a poetic desire for the world usually</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>only occurs when I write something)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“I am feeling again” I thought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But I made a slip of mind</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and thought “I am reeling again.”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In the last few days</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>nature became musical</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>It s beauty</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>became human</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and its magnificence so intimate</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I sloshed with pleasure through the dead leaves</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>walked behind the perfumed poodle</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The bushes moved</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as when soldiers are on maneuvers</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>are camouflaged behind them</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The deep brown fir trees stood animally physical</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>before the window</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and at one place in the ominous landscape</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the birch tree leaves glinted as bright</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as a cry of pain</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Oh” I thought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Farther away smoke drifted past behind houses</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the TV antennas in front became monuments</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>With every day you saw more branches among the foliage</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the few leaves of grass grown back since the last mowing</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>glowed so intimately </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>that I became afraid of the end of the world</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>even the façade of the houses</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>smiled in my human reflection</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“It hurts so much!” I heard a woman say of the jet trails in the sky (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I really wrote ALONG</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>said long-suppressed things</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and then thought literally</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“So, now life can go on”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Frightened by the change of traffic lights</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the ‘guest’ worker women</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>started to scoot across the Zebra stripes</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The shop girls their behind stuck out</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>in thin blouses</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>ran arms clasped across the street</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Behind the frosted glass of a telephone booth</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>a mother slapped her child’s face</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>How proud I was of writing!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-fini-</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Blue Poem</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[June 1973/ Kronenberg/ Paris]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The mood is the same nearly a year later, however it is also graver, more serious, the author leaves Kronenberg, goes to Paris, we are having a few bouts of sex it appears, not much relief, but after initially feeling a bit better, Paris, too, gets to him, or rather: he will take his kit bag of troubles wherever he goes, I think he went to see his German poet friend Nicolas Born at this point.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Deep at night</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>it became bright again</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Crushed from the outside</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I began to curdle</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>in full consciousness</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Unfeeling my cock twitched</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>larger</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>from breath to breath</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Don’t wake up now!” I thought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and held my breath</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But it was too late</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Nonsense had struck again</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Never before had I felt so in the minority</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Outside the window</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>nothing but omnipotence</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>At first a few bird sang</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>then so many</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the singing </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>became a racket</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the air an echo chamber</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>without pause or end</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Such a down</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>suddenly no memory</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>no thought of the future.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I lay stretched out long in my fear</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>did not dare</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>open my eyes</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>relived the winter night</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when I did not turn once</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>from one side</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>to the other</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>gnarled by the cold then</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>now stretched out</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>illiterate from the horror outside me (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)Fear billowed up from the cellar stairs’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the COMMON-SENSE-PERSON inside me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>listened:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the tune was repeated</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>was repeated –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“No bird whistles that monotonously</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the phantom wants to ridicule me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>it’s grinning</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>with pitch black lips”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“I” thought (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)”But which bird?” the common-sense-person thought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Then the child woke up in the next room</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and shouted</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>that he couldn’t sleep</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Finally”!” I said</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>went to him</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and calmed him down</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>full of egotism</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>A garage door slammed</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the first early riser had to go to work</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The evening of the next day I left</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The unleveled rolling plazas</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>in the large graceful city</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>this repetition of the open country</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>with the horizons of hills</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>amid the houses</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the land </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>prolonged into the city</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>onto these plazas</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>where you were over-whelmed as nowhere else </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>by horizon longing…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>When I climbed out of the subway </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>even the dog shitting on the sidewalk</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>struck me as magicked</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I shuddered with disbelief</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>suddenly I was THE OBJECTIVELY LIVING THING</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>My cock lay strangely forgotten</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>between my legs</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Joy rose from the deepest depths</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and replaced me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“I can be happy” I thought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Why don’t you envy me!”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>For days I was beside myself</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and yet as I wanted to be.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I ate little</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>talked just to myself –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>needless so happy</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>unapproachable so full of curiosity</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>selfless</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and self-confident(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I as inspired machine</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>everything happened by chance:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>that a bus stopped</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and that I got on</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>that I rode the ticket’s worth</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>that I walked through the streets(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>no longer HESITATED</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>reacted IMMEDIATELY</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>experienced nothing SPECIAL</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>no “Once I saw” –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>merely experienced</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The cats sniffed around in the mausoleums</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of the large cemeteries</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Very small couples sat in the cafes</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and ate Salade Niçoise together…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I was in my element</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>clucking</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But in my dreams </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I hadn’t yet lost all interest</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Straggling slime track</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of the snail person.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I was not ashamed</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>was only angry.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I made myself wishless</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>by drinking too much</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The twitching eyelids became irksome</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The passersby were walk-ons</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>who behaved like stars</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Levi-Jeans-People! I thought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Ad-space bodies!”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-“Which says everything about you” I thought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>without the earlier sympathy.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I became superficial with crossness(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In any case:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>a DIFFERENT NONSENSE</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>without deathly fear</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>My heart throbbed for no one</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the city was foreign to me again</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>from all its familiar landmarks</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In a friend’s apartment</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I sat absentmindedly</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>my ears buzzing</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and heard my own soulless voice</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Being happy all I could remember</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>was happiness</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>being unhappy merely unhappiness</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Indifferently I recounted </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>how okay everything had been with me.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Then we talked about fucking</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The sexual expressions</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>provided us with the unabashedness</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>for everything else</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Anyone joining us we greeted</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>with obscenities</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and let loose</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>they lost their strangeness(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Everything without being horny</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In the upper deck of the bus</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the total strangers grinned</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as they listened to us</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and felt at home with us</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>What exhibitionism</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as soon as one of us</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>suddenly mentioned something!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But there was always someone’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>who found a hint of sex</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>in the allegedly other…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Yet no one talked about him or herself</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>we only fantasized</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>never the embarrassment of true stories</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>How the surrounding flourished then</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the pleasure of the sour wine in </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the heartiness of the sour wine</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>in the cylindrical glasses</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Don’t stop!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The indescribable particular’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of the grim new age</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the order of their lost connection</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>in the dirty stories</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Hello meaning is back!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Then it got serious</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the seriousness hit so quickly</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>that it didn’t want to be me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>who was meant</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Then I became curious</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>then ruthless</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I would take a woman to the next best toilet</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>No more flirting</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>no more obscenities</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>no more double entendres</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>instead of “fucking” I now said:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“sleep with you”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>if I said anything at all. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I pared my fingernails</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>so as not to hurt you too much</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In my horniness’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I could suddenly call nothing</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>by its name</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Before I had found a metaphor for sex</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>in the most unsuspecting things</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>now</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>during the experience</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>we experienced the sexual acts</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as metaphors for something else(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the leaves by the window</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the child singing himself awake</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>a framework house at dawn</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the light blue on the wayside shrine</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>from the time </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when you still believed in eternity</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Yes, swallow that!”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Beauty is a kind of information” I thought’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>warm from you</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and from the recollection</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“You force me</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>to be</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as I want to be” I thought</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>To exist</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>began</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>to mean something to me –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Don’t stop!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I faltered just now’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when I noticed’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>how suddenly the poem ended</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-fini-</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Nonsense + Happiness </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[January/February 1974 Paris]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>On a cold indescribable day</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when it does not want to become dark and not bright</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the eyes neither want to open nor shut</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and familiar sights don’t remind you</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of your old familiarity with the world,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>nor as new sights magick a feeling for the world</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>the Two & One poetic world feeling –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when there exists no When and But,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>no Earlier ad no Then,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>dawn sweaty </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and evening still unimaginable</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and on the motionless trees only quite rarely a single twig snaps</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as if it had become slightly lighter,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>on an the indescribable day like that,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>on the street,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>between two steps,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the sense is suddenly lost:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the black man walking toward you</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>in his leather coat –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>you want to slug his face,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and throttle the woman</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>reading off her list before you in the shop.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And more and more often</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the thought frightens you</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>how you nearly did it </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>a jolt was still lacking, the mysterious</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>JOLT</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>with which love set in at one time</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>or the wild resolve to lead life your way,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the certainty of a formless kind of immortality…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(Then you read in the papers of some who succumbed to this jolt and you wonder why there are still so few.)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Wherever you look now – everything greenish-discolored at such moments</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as on a too briefly discolored photo,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the objects half complete,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and no hope of completing them,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>every sight a rotted fragment</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>without the idea of a plan,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>which became lost,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>still raw-girdered and already a ruin,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>which you avoid,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>fearing you will collapse with it(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>excrescence of an excrescence</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>if only the eyes would close,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>of you could only squint at such moments,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>soothe the nausea in the eyeballs,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>and it would be just MOMENTS (after which you could sigh) –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but not this TIMELESS, EMPTIED-OUT, SPEECHLESS, FUTURE-REPRESSING, INANIMATE, SENSELESS HUMBUG</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>IRREMOVABLE FROM THE ZENITH, SCRATCHING YOUR</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>SOUL FROM YOUR BODY.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Someone has stopped on the street</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and cannot go on:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>not only he has stopped,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>everything else has too,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and so it seems that he walks on,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and that the rest walks on too.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But he is only pretending to walk; and the way he regards the horizon at the end of the street is also feigned;</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the French fries which he smells somewhere while he pretends </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>to walk</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>it might be altogether somewhere else –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>he only notices </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as a last kindness toward himself;</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>actually he does not smell anything any more,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the French fries are homeless remnants</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>from that already unimaginable time</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when every object still hugged its meaning:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>recollection of a picture in a church where the Just stand beneath the Blessed Virgin’s coat.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Yes, everything has turned into abrasive outer world in this state</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and in the open-skull an unappetizing something, once called brain</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>puffs itself up in the draft.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Instead of consciousness</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>nettle-like vegetation</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>skin sensations and allergy:’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>an incalculable time of rashes,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of goose bumps,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of eczemas,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of soreness.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>An unpleasant itch</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when the lips accidentally touched each other</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>- you have become ticklish to yourself. (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The sky above the crane could be a picture,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>which rekindles the necessary patience,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but the well-worn sky heals nothing either,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>nor the word that soothes so often,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>which you say to yourself:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the clouds grow repulsively</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>lie in unholy havoc,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>wind-wrecked,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the earth too, leveled to the horizon.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Everything wind-wrecked.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Everything mixed up.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And everything expressionless.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>AND EVERYTHING COMPLETELY EXPRESSIONLESS. (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and feel in the wrong toward others</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and regard your states just one of those states:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as if you behaved “like a schoolboy</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>not to be taken seriously.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>So you don’t take yourself seriously in company’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but the nonsense is too real,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and therefore unbearable.(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but even the prettiest sight now diminishes life.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>A bombing attack of nonsense on the world:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>right behind the house wall the earth breaks off</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>into whirlpools of</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the indefinable</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(some call it ocean trench, others space, others hell)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and on the last atoll a children’s carousel turns</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>tinkling, god forlorn.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Stop! Gaze at this picture:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Did not the lids lower over the eyes at this sight?</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>It is no picture: and if so, it went under from your impatience</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>with the last bit of earth.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The gloom where the earth was</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>distinguishes itself from the gloom </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of the indefinable all around’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>only by its fresher black,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and now even the whirlpools are streaming in…(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>in the shattering environment,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>which had been on the verge of soothing itself,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>your dyed in the wool HUMBUG breaks forth aain,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>world-wide and skin-tight…(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>AND NO MORE OPPORTUNITY</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>STALE AIR</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>WHICH YOU VAINLY TRY TO BREATHE</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>EVERYTHING AS IT IS</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>EACH ONE FORCED BACK INTO HIS NICHE. (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>or another time</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>a typewriter shop,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>you stare down at the machine’</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>with paper to try it out,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and there </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>among the people in the shop,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>read:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“O desespoir! O villessee! O rage!...”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Your eyes grow wide,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>whatever you look at </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>LAUGHS</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>after such long nonsense, suddenly there was so much of the world’s abundance. (…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>a feeling also returns</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>to your own ugly, deaf face,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and the indescribable day</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>becomes describable,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>it wanes</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and when you look at the woman again</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>you notice she isn’t smiling at all,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>but only has an expression:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>even the expression on her face</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>seemed like a smile to you.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>gradually you begin to picture these different women</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>even as something mythical</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>old hiccup of poets drunk on being –:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when a woman with water in her leg climbs in,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>more awkwardly than the others,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and kindly destroys the facile PICTURE…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And what do you bring home in the evening?-</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Such sights for example,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the sight collector answers proudly.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And how do you order them?-</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Because the fear of the nonsense is over</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>they no longer need an order.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And your own impression? –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Because the nonsense is over the sight has simultaneously become the impression. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And the actual words?-</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>When I see something, I only say: O God!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>or: No!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>or: Ah!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>or simply call out: The evening sky!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>or whimper softly..</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And yet –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Beware of the musicality of the world!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Beware of the happy ending!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>For even when the indescribable day came</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>you had been warned of previous indescribable days,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as in a fairy tale,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>before you walked through the forest,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>of the good fairy</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>or of the talking animal,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>and must,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>as in the fairy tale,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>have forgotten the warning after all.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>At least,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>instead of the all too anecdotal happiness,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>you cling to the moment</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>when the nonsense let up and the new familiarity was felt as pain.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The dreams are in the offing.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>They are there:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>A large red cherry falls slowly past you down the elevator shaft.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>(…)</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the time when you can dream</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>is a sensible time.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Already you nod to yourself in the street and shake your head; munch like a child an apple before falling asleep;</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>walk straight through puddles</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and again say “merry go round”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>instead of “carousel”…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>On a cold bright morning</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>still imbued by a long </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>bliss-kindling dream</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>where you were </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>what you can be</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>-the dream itself was the fulfillment –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and at the sight of the wide sky</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>behind the edge of the city</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>you look forward to growing old for the first time,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and in front of the child</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>who looks at you</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>after he has knocked over the glass,</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>you think</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>if the child wouldn’t have to look at you like that any more –</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>that might be the real way.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>fini</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In the sense that the three poems manifest by and large similar states of mind, they can also be regarded as a single text; they are not a theme and artful variation, although the reader will have noted an increase in the writer’s upsetness from one poem to the next, thing get worse not better for him, an increase in the incursions of irritation and nonsense attacks, of “meaninglessness”, and the subsiding. At least he could write!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Such similarities, such repetitions as we encounter them in this sequence of three poems are unique for Handke is what I am trying to say. The various preceding Innerworld texts are all quite different from each other, each plays a different game. They all employ Handke’s patented serial procedure [to which he takes a different kind of recourse throughout his work] and if not written in one fell swoop to still a moment of anxiety or still it in the recollection, are written in short order, they each have a theatrical and dramatic quality, too. Some are mini-plays and so bear a relationship to the early Sprechstücke. They have a kind of objective quality to them as well.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The three long poems in “Nonsense and Happiness” not only lack the prior playfulness, each of them was composed over the course of a month or so at least. They are extremely artful even graceful but have longer rhythms than anything Handke has written before, that is formally they are very different creatires indeed that Handke devises to communicate, exhibit his states of mind. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>These features distinguish these three poems from Handke’s previous formalist endeavors where he does not repeat himself, but explores the formal possibilities, say, as he does in the early Sprechstücke that are then summarized in one of his greatest pieces of sheer writing, The Hour We Knew Nothing of each Other [a work begun in the 70s but not completed until the early 90s, see:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http:///www.handkedrama2.scriptmania.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http:///www.handkedramalecture.scriptmania.com]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Informal, highly personal as these three poems appear yet they are not formless, and Gerhart v. Graevenitz’s approach to the “Assayings” [FN] too made me take a closer look at the apparently loose yet not arbitrary form of these three poetic texts. The word sinuous comes to mind. One breaks off suddenly, the other two have hints of a futile kind of optimism: in that disjointing sense fugueing resembles déjàs of all unpleasant kinds: the return of memories of repressed unpleasant occurrences – there are quite a few moments of fright from Handke’s childhood and then adolescence past, introduced as similes – déjà vues that literally take over your being, but usually just for a long moment, even in dreams – that, importantly, as the great Jakob Arlow observed, you knew you had survived a particular déjà, and thus they or it gave you just a brief fright: i.e. they are compromise formations – between what we call the ego and uncontrollable intrusions from the unconscious inhabitants of the self, and are of a defensive nature, which makes what is being defended against no less dangerous: if they are not defended against, if the defenses break down or perhaps it ought to be formulated as “taking over” of your self so that you might go wander off for weeks and have no recollection of how you happened to, when you come to; you could freeze into a pillar of salt. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke evidently survived, but unlike a déjà [of whatever kind], a comparatively brief experience, fugueing can obviously drive you over the edge… And in Paris it apparently did, he writes of panic attacks to his poet friend Nicola Born</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.schreibheft.de/docs/pdfs/Schreibheft-65-Born.pdf</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.amazon.de/Briefe-1959-1979-Nicolas-Born/dp/3835301063</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.nicolasborn.de/index.php?option=com_content&task=view&id=33&Itemid=0</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In Weight of the World we read of a hospitalization for a heart problem. The doctors say it isn’t serious, and Handke is glad of that and starts to take Valium [as he told me in Salzburg], the anxiety is put under control, its sources however are not eliminated. The language regulation for this event becomes “congenital heart valve problems” - apparently not detected upon his physical to qualify for the Austrian defense forces, the one achievement of which his hideous stepfather Bruno Handke was proud! [see Lesson of St. Victoire which also contains Handke’s mention that he sought among his relatives others who suffered from his occasional color blindness] I would think tachycardia induced by the general upset, the fugueing eventuated in a panic attack. Panic makes sense in the case of someone who once thought he was the new Kafka and suffered from fear and trembling - in one poem the fear that he felt at night during his childhood crops up. But let us recall that Handke in his early writing [when he claimed to be “the new Kafka”] became over-confident, nay a virtuoso victor in the control of anxiety, victorious over fear! Grandiose! A trapeze artist above the abyss! All gone now! Or only very very gradually it appears, in part by writing these three long extraordinarily beautiful [so feels their then somewhat or, let’s say, more puzzled translator] poems that describe the coming and going, the waves of self-states; three extraordinary fugueing attempts as I now think of them, a preternaturally depressive and troubled poets attempt to deal with the same theme - the novel A Moment of True Feeling, narrated in the distancing third person, thus more distanced, more controlled, induces stylistically the kind of suicidal state that the author was in at the time, his own self having been an alternative object to all the other matters that enraged and irritated the so easily irritable hyper sensitive poet.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke’s prose texts are all of a very different kind, solve different formal and linguistic problems, employ different personae lenses and narrators. The Three Assaying [1987-1991] as I think of those three prose experiments On Tiredness, On the Jukebox and The Day that Went Well employ markedly different highly self-conscious narrative approaches; and, as a matter of fact, the last of the three – the one on The Day that Went Well – takes up, circles the theme of being and nothingness and beauty, broached in such an unusually intimate manner in these three poems, once more… not quite twenty years later. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>A Moment of True Feeling of course has not only that Gregor Samsa moment at the opening, consciously Kafkaesque [and thus literarily distanced] moment of horror at its opening moment – which as compared to the poems makes it also a work of the imagination - but also has that salvaging “moment” for which I suppose we must thank Amina Handke for pulling our author away from the abyss, when “love sets in”, for the child,[a shard of a mirror, a lock of hair] when love in him resurfaced… the moment Handke started to become the “anti-Kafka.” The child also keeps pulling the author back out of his fugue states in the three poems; thus we can speak of a gradual surfacing of feelings in the man who agreed with his therapeutician that he seemed to lack access to his feelings; dissociated I would say, since - after all - they would surface. On being left by his wife Handke appears to have been struck dumb – perhaps he woke up one morning and there was note on the kitchen table, or maybe there was a scene [s], there must have been quite a few prior, judging the his knowledge of such in Dying – but at a certain point, eventually he starts to - what on the evidence of the three long poems in Nonsense and Happiness – be called, and I think usefully, begin to fugue. But by the time he uses the shock as the opening of A Moment of true Feeling it has been shorn of its origins and universalized and made literary, a defense. Not that there would be anything wrong with an opening such as: “One morning I woke up and my wife had left me. I had had no idea but weirdly enough instantly felt like the bug in Kafka’s Metamorphosis. That was even worse than being left by the love of my life. I had become an ogre. Also, I instantly felt suicidal; then I was suddenly pleased to be alone, until I heard the bloody child bawling to be taken to the bathroom… After several years of these kind of up and down mood swings, someone suggested that maybe I had something to do with her leaving. How could it possibly was my first, unspoken, response… but then I fell to thinking…maybe something I did, the way I behaved was at fault…”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Moments of depersonalization alternate with repersonalizations; moments of feeling nothing, nothing attacks alternate with the return of feeling. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>We find the recurrence of the following matters in these three fugues: [1] nausea – so that he writes “nausea of the eyeballs,” nausea at himself to the point of wanting to “turn himself inside out” [!!!!] i.e. every sight becomes irritable to the point of eyes hurting, skin itching: The severity of the state that Handke was in becomes evident once one appreciates this the most extreme of the many nauseas Handke mentions – more severe than any of those enumerated in Tiredness signifies. The hyper-sensitivity managed with medically soothing eye-glasses that he wore when I first saw him. “Nausea of the eyeballs” is a pretty extreme, perhaps the most extreme kind of irritation especially for a “sight collector” voyeut such as Handke [you will recall Handke claiming that the first time he felt nausea at other bodies was in boarding school, and if he’d give you a calling card “I’m sorry I’m autistic and I just can’t stand being alone in the same room alone with men,” you wouldn’t – I would not have been mystified all those years], and this nausea, too, is one of the classical derivatives of the kind of traumatization he suffered as a child; and which is related to, when the irritation reaches a crucial point, to [2] the wish to run amok! – as Loser then does in Across; i.e. upsurge of violent impulses approximating psychosis; magnified by the self-imposed state of isolation; [3] resentment, that is envy, of anyone who walks past seemingly royally self-satisfied, tall Africans parading their beauty on Paris streets; [4] occasionally being pulled out of this absorption in states of self-hatred and feeling that he is “nothing” [see the end of Afternoon of a Writer for a dramatized similar state of nothing where it becomes clearer that the nothingness is really the obverse of really thinking that you are king of the hill, hot shit] by the child waking, or crying [as at that “moment” in A.M.T.F.] [5] surges of feeling that seem invariably accompanied by the observation of soothing sights of nature, where nature becomes musical, as these poems do, at least so thinks their translator who a the time he was translating them [1974-5] sort of knew “there is a troubled soul” but can’t be said to have given much thought to the why’s and wherefores of Handke’s state of mind; yet the feelings made sense, as did/ does their representation. I am pretty immune to nauseas – after all, it is a fundamental impulse to rid yourself of potentially deadly, toxic substances - unless in the company of someone who pukes at which I have to take great control of my sympathetic mirroring nervous system, which failed me only once, at age seven. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The musical passages I responded to with especial attunedness, especially the “high mode” of the title poem Nonsense and Happiness, and they entered my being in the process of translation and they have popped up a chords sort of on occasion during my own writing: as a clue, a safety blanket, as parameters. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[6] Generalizing, perhaps usefully for once: each poem is a kind of ever repeated ride on the roller coaster of “nonsense attacks” and the rediscovery of “meaning”… What is that attack that nothings? what precisely does it turn into “nothing?” We are not in some kind of Heideggerian world here, after all. Human beings, nay everything organic can be said to be a “meaning making machine” – thus the “nonsense” attacks would be suicidal impulses, what Keuschnig the hero of A.M.T.F. suffers, attacks on the self, and which Handke the author knows intimately, but represents, knowingly, stylistically to convey that state to us to the degree that we participate, which, however, means that the author, though he may suffer their recurrence, has achieved dissociative, his forte, control over them.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>What made Handke particularly happy in the translation was my occasional use of the word “humbug” for the word “nonsense” which indeed reduces that tiresomeness to something playful and slight! Handke’s extreme sensitivity also to language to which we owe, and to which he owed his nausea at Spiegel language… </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>As fate would have it, Handke was friends with the Austrian cultural attaché in Paris at that time [who both are taking care of young daughters] and I recall going with them on a Sunday to the Bois de Boulogne I think it was, and I wonder idly what that fellow made of the book. But that is not what Handke is interested in, in A.M.T.F., an account of his life with his daughter, or with his friends: he is interested in representing and evoking a state of mind: we are still in the world of the inner outer innerworld. And he finds the stylistic means to put the reader into that state of mind.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In the poems Handke, the writer, faced the task of communicating his state of mind to a reader and in the process, regained some self control, the writing becomes a controlled discharge, a kind of acting out [but one on quite a deep psychic level, that was itself calming – at least he was writing, he was working, he was concentrating], and he is very good at that at this point, although this is a greater challenge than any he faced before: his Goalie will put the reader via a sleight of grammatical ingenuity into the state of mind of a paranoid schizophrenic… and that was an act of objectification for whose sake he had studied the linguistics of paranoia and schizophrenia! So it takes a good deal of work to communicate authentically and penetrate another mind and heart just with words. Here in the three poems not too many games are being played, the old rage is there, but playfulness doesn’t work it out of the system.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>If Handke had been on the couch and in a state of transference with a good enough analyst, the analyst would have had a pretty good idea what he was going through, and the anxiety would have been discharged in the talking and in the security of the analyst’s holding [who would not have talked “dog language” that is in the language in which cases are generally written up or that of the world of therapy] and perhaps Handke would have been open to understanding and perhaps “understanding” would have sunk in. The analyst whom Handke saw in Paris [see Weight] and who pointed out to him that he was emotionally disconnected, an observation with which Handke agreed, also, confessed to Handke to carrying the cross at Easter – so the analyst may also have been a religious, or purposefully confessional to his patient, or Handke is once again projecting - thus one further aspect of the meaning of the title “weight of the world”: only Handke or his unedited note books or the thera-peutician whoever he or she was can tell us. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The fine German psychoanalyst Tilman Moser [“Years of Apprenticeship on the Couch”, which I happen to have published in English these many years ago] addressed several novels in his untranslated Romane als Krankheits Geschichten [“Novels as Case Histories” would do in English], among them also Handke’s A Moment of True Feeling, but could not come to any definite conclusion about what was ailing our man. Yes, narcissistic injury, but that really begs the question. Not that I claim to have total insight: but once you are aware of Handke’s extended childhood trauma, his possible identification with the violently aggressive stepfather, in his hatred for whom Handke felt no ambivalence whatsoever, his being a love child for the first two years of his life, his having that super confident big head, once you realize his ultra sensitivities, the sheer rawness of his nerves, and that he is always needs to write to stay well, sometimes intensively, that you know that he has won many victories over his fright… you are at the very least a lot closer to unraveling this knotty question in this moment of uncompleted mourning for his mother [his identity, who has committed suicide, the would-be suicidal’s suicidal mother] and her surrogate, his wife abandoning him: a double repetition in some way of the childhood trauma which had its beginning with his mother’s return to her husband in Berlin, and no doubt, indeed not the slightest doubt for once on my part, for elicited similar rages, especially if Libgart Schwartz eloped with another man! Internalized figures of protection are gone, have vanished is a short hand way the modern gods of science might put it.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And even if you realize that it is your fault that they left, and I find no evidence of such reflection on Handke’s part in his writing [which does not mean that I may have missed them] that you had been impossible to live with, realizations which unfortunately somehow do little to assuage the injury, there are of course those self-berating! Self-flagellations! where what is needed, I would suggest, is self-understanding], and I suspect it took some time for that realization to set in, if in fact it ever did, certainly neither the works of this period nor A Child’s Story do, and as a writer he may even have felt “good riddance” I am left to write… but there was still the child, who he notes in Weight says “Daddy you are writing again.” And who early on learned to charm her harsh father: she takes a napkin with the message “Amina has been bad again” and dips it into a glass of water where the message dissolves! The honest Weight also notes our old sadist at work: Amina comes up and says she has to go potty. Her father notes that he says nothing and waits “what is going to happen now!” I was not surprised when Vim Wenders told me here in Seattle that Handke invariably hurts the people closest to him: Wenders it appears has put up with that if not forgiven. Later in life, there are these great lags in realization in Handke, he will deeply regret his parenting methods, and THE CHILD becomes a major invocation, e.g. in Walk About the Villages… In A Child’s Story it becomes clear that women friends have berated him for his ways as a father, and he dismisses what they say as being the “dog language” of the therapeutic society. [No real quarrel on the latter score though I can think of several dozen exceptions to the rule of inhuman scientism ruling the language roost of an allegedly humane science], but when I saw Amina in New York, in 1975 or in Paris, she seemed to be an unusually quiet child. The hyper-cathexis on language, the narcissism of the word… well, he might have listened past that for once. For his second daughter, Laocadie Semin-Handke, he writes the delightful Lucie im Wald mit den Dingsbums, Lucy in the woods with the Thingamajigs] a sort of extra chapter of No-Man’s-Bay, [and it shows that the second time around he’s doing a better job at child rearing, who however does not live with him! as he keeps picking what he regards as peace-object, mushroom, to make the world’s best mushroom stew!]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>It is noticeable in these text of what I call the critical first Paris Period [1973-78, though it had its inception in Kronenberg in Fall 1971] there is no mention of the wife, the mother of the child, except Weight at one point notes dismissively [if it is her and not one of the numerous women he would then sleep with, compensatorily, the great compensator that he is not just exhibitionistically, [a characteristic of both sexes when abandoned, to make up and avenge the loss of love so I noticed during my ten years in the so romantic and fairly communal – until the money pigs ruined it - heterosexual Tribeca] “L.s little lyricisms”. A person who is so irritable needs to live by himself… as he does now, and even takes the closest friends at once for a walk through the forest, only interviewers are allowed, and if it’s a T.V. crew so much the better, and Chef Handke # 2 [there is a famous establishment in Ohio with something called Handke Cuisine! which just now in June 2009 went broke!] will treat them to a meal as only that part object chef in No-Man’s-Bay can when the guests are actually welcome, and no doubt such meals on the house pay for themselves in the long run!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Part-II-D</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Encounters, correspondence,commentary, memoir.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Subsequent to the threesome’s visit in 1971, I saw Handke next I think in 1974. I gave up agenting and the representation of Suhrkamp in 1971 and re-entered publishing with high hopes and grand plans, quickly dashed [FN-00] but I had a really well paid year… of no accomplishment whatsoever, lots of traveling by elevator up and down one of those huge shoe boxes on the Avenue of the Americas, and then took a half year’s trip halfway around the world and back during which I also translated Handke’s Quodlibet and perhaps some of the poems of Innerworld. I recall mailing him the play – a condensation of everything he wants to do in theater [move, stir awaken the conscience of whatever king] – soon after the Hellenic Splendor started making landfall back in the U.S., Savannah, Georgia, or Columbia, S.C., and wrote the briefest of notes, excusing myself with the extraordinarily stiff keys of a brand new super sturdy German typewriter that replaced the one that had gone bust with six months of heavy use. – They really were stiff, memorably so, for years!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Quodlibet was published as part of the second collection of Handke plays, They Are Dying Out and Other Plays a few years before Dying had its premiere at the Yale Rep in 1979. Innerworld I published at Continuum Books [the successor firm to American Herder + Herder, of the one that had extricated itself from out under the Harold McGraw/ Beverly Loo caused catastrophe at McGraw-Hill] with a postscript that thoroughly embarrasses me now, though Handke voiced no objection, I wouldn’t have minded! and it must have been fall 1974 that Handke, who had moved to Paris in 1973, gave me Als das Wünschen noch geholfen hat [Nonsense and Happiness in English, whence I extracted the three long fugueing poems, see anon, the section called Fugueing] as I was leaving the one place of his I really liked: a nearly subterranean mysterious apartment in the Rue Montmorency [see the so marked photo: </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I took a first look at how I might translate it at an fairly bucolic outdoor restaurant at Luxembourg airport [I invariably flew Icelandic Airlines, not just because of the cheap tickets, but also for the “dottirs” and for Luxembourg], and it is one of the few times that I recall where I was when starting a translation [except at a desk] because I recall my envy of a gentleman of the gentry in riding boots meeting his affair… and the whiff of a Lady Chatterley romance. What struck me at once I imagine, in the texts, was how different this was from anything I had read or translated of Handke’s. The long lines, the musicality of the words, the different and longer rhythms, the moodiness, matters to which I am especially responsive, which features generally become parameters above and beyond literal meaning; and struck by the differing extreme states of mind that text elicited in me [which I now can name, which may or may not be a good thing]; and by the three long poems being variations on a theme: of losing and reacquiring meaning. I made a few scratches and then flew Icelandic Airline with those delightful flirty dottirs and the usual stopover at Reykjavik duty free shop and the view of desolate lake-ridden brown and iron-rusty New Foundland the first sight of the New Continent.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke writes in a letter to Kolleritsch [isn’t it unusual to publish correspondence between living people, no matter how much it may help the lovely publisher of Jung and Jung?] that I made a pleasantly boring visit. Well, they never lasted longer than five minutes, except twice, once the one time Handke, Amina and the actual Austrian cultural attaché in Paris, also caretaker of a girl, Amina’s age, all went, on a Sunday of course, to one of the Bois, Boulogne I think, and vaguely recall a carousel and that this particular attaché, who is said to have died young, was of an unusually slight stature, who I imagine must have had some kind of memorable reaction to being put to good use as Handke’s [a might have been] cultural attaché Keuschnig in A Moment of True Feeling. [Feeling weird maybe?] </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The other visit of a longer stretch was when I had brought along my then friend the lyricist Jerry Leiber of r + b fame who and I and the director Carl Weber were trying to shoe-horn some lyrics of his into They Are Dying Out to make it fly, maybe to New York from New Haven, and Handke uttered the memorable sentence “I don’t do Singspiel!”, not knowing of course how Brechtian some of Leiber’s lyrics had become by then for his unperformed “The International Wrestling Match.” [Handke much like Leiber’s early Coaster’s work, I had sent him a compendium] However, the Dying project ended in naught, not for any of Handke’s doing [I think I wrote him what I and the director Carl Weber had in mind] because, Leiber, as he had so many times, dropped out, and fixing some fine songs for the business folk from other projects into T.A.D.O. didn’t do the trick of the enough.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> Leiber subsequently commented on Handke’s swollen head, something I myself didn’t even notice anymore, typical of way I get used to odd ducks and their ways; people used to regard me as “gutmütig” for that, and so used to take advantage until they found out I could also be anything but, while yet going around, as I found out just the other day, name-dropping the lie that he was collaborating with Peter Handke on a project. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I seem to have stayed on a bit on that occasion and witnessed Handke nearly throwing up at Leiber’s then wife Barbara Rose, nearly wretching with nausea at her ugliness… who, it was said, had been cute once upon a time… but whose character then turned out to match her physiognomy. Second time of that on Handke’s part! Averting his eyes everywhere but in nature! In his correspondence with Fredi, Handke also mentions that he hasn’t seen anyone in five days except for the Portuguese cleaning woman. Yes I guess the place wasn’t filthy, but it had a musty if not musky odor that penetrated my nicotined nose and puzzled until I found out what a night time rake my man was. At the time, I put it off to the apartment being nearly subterranean. Of course matter would have been more comprehensible all around if I’d known of Handke’s nausea at other bodies! And maybe he ought to put at sign at his front door of his place in the forest of Chaville: “Autist, nausea prone! All those who enter here... will at once be taken for a walk in the woods.” Or get a T-shirt to that effect [See photos of Handke at the doorway to his cave and the threesome, their backs to us, with Handke in the middle walking with friends in these woods, the heavy-set one is the writer Weinzettel to whom Handke gave the money from the Büchner Preis. Weinzettel it appears is of a fine even temperament and his fine nature descriptions are – to the best of limited acquaintance - devoid of irruptions of what Handke calls “history.”]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>If there had been a chess board about, we might have, as the saying goes, got it on, it usually takes me a while to get untracked, besides I imagine I was always aware, the guy’s a bloody genius, really the real thing, not a fraud, I myself prefer walks too, and the time of the Bobby Fischer championship games was my last hurrah at that game, champion of Elaine’s and Eric’s but for Paul Kravitz! Nor am I now the same person I was then. I cannot recall where I stayed in Paris, the same fleabags by the Sorbonne as a student days, Hotel Rue Monsieur Le Prince I think, except once when a French ex gave me her apartment, to entice the wounded and thus unenticable back, but it, too, was on the Left Bank as it had been since my first visit [and Theàtre La Huchette and Ionesco] in 1957. But this also city walker invariably walked to the right bank Montmorency from wherever on the Left and, memorably, was never offered as much as a glass of water, which puzzled me about Carinthian manners. Handke after these five minutes of whatever invariably would say: “Please call and come again.” Once when I did call again, he confessed to having exposed himself to the Austrian Backfisch groupie who was there when I arrived, and that she had blushed, and that he did this when he was being a little diabolical. [Had I been in one of the wild moods that occasionally seized me I might even have said to her “do you want to fuck both of us?” and who knows what her response to that might have been, Handke’s I expect the famous village grin! But the one time I would arrive at Handke’s in one of my wild moods was still a half a decade off]. What if she hadn’t blushed, which indicates that the exposer has achieved his desire, the complicity of desire, has penetrated her unconscious, the puncture into the so revealed unconscious easily elicited fantasy, the orgy of the universal id. I put the event into the memory bank, and once I started to dwell on what motivated and drove Handke the event turned out to be very useful; and then I finally came on Dr. Frucht’s fine piece on exhibitionism [Analytic Footnote] and how its socially unacceptable and other compensatory aspects links to traumatization.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But there was occasional correspondence: Handke hoped to have Randy Newman set a poem from Left-Handed Woman to music for the film that he made of it, and I translated the poem and via Leiber, who had tutored Newman early in his career, I wrote twice to Newman’s agent, but never even got a no. If you look at that simple declarative lyric in Left-Handed Woman [or listen to it in the film] and set it to Newman’s kind of music, you note the supremely ultra light, Muscadet irony with which Handke was distancing himself from the heartaches of the early 70s. By the time of W.A.T.V. the distancing irony had become “heartfelt irony,” – a motion away and a motion towards – unique in my experience - a country-priest-like attitude, and something quite generous, something deep and beautiful indeed; Handke was becoming pastoral in both important meanings of that word. The Newman idea was something close to Handke’s heart, so he even asked a second time. But there was nothing more I or Leiber could do, and so a blues of some kind was substituted.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>At one time he wrote that it would be nice if I wrote him more often – not too surprising in retrospect in the case of someone who sees no one but his Portuguese cleaning lady during the week. [Much as I liked solitude, I could also be quite “social” in those days; i.e. Elaine’s where I met and had writer friends who, too, were able to combine their solitary profession with companionability; thus Handke’s associability, in the case of someone so successful that he had ample access, baffled me until I decided to take a close look at the why’s and wherefores of all that.]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> And I was so happy about being asked to write him – I was beginning to feel lonely myself in a situation with a partner in a publishing firm who as I ever so gradually allowing to dawn on me turned out to be just as dark Handke had realized within five minutes – that I wrote back, and in German, whereupon Handke expressed his preference for my English. Occasionally I sent books which I thought he’d like. I have a hunch that my German, after all I had emigrated at age twelve, and my command of it was fabulous in reading, but not at all in writing, may have been less than graceful. In Mexico in the 90s I then trained myself to write in German again! I think the only part of our correspondence that is really interesting occurred over the translation of Walk about the Villages, and it is what he writes; pertinent quotes are in the postscript to the American tradition and I also quote them here in the section that treats of that translation [see anon].</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I had and maybe, if he of the bad ticker can be located, still have a friend by the name of Boris Pearlman, a.k.a. Boris Policeband, a classically trained violist who stands about 6 feet 2 inches, is skinny as a beanpole and who became my pool teacher after we got to know each other at Barnabus Rex in Tribeca in the mid-70s, and who was also one of the quickest mouths east of the Mississippi, I have had other city friends like that and we get along wonderfully, perhaps it is because I was born in Berlin. [FN-BORIS] Boris was also one of the most easily scared people I knew, but his mode of dress in black punk and perpetual night shades of course afforded his fear a lot of camouflage in the city, anywhere for that matter. His quick mouth was his best defense. At some point Boris told me he was going to Paris, I don’t recall my asking him how he’d got the money to do so, but I gave him Handke’s address and number at Rue Montmorency. Friends yes, but no more girlfriends for Mr. Handke. On his return Boris reported that Handke seemed to have been frightened when he let him in, and that he saw Handke once more passing by on a street somewhere while he, Boris, was busking, which is I guess how Boris survived in Paris, and that they had said hello. Handke’s being frightened I of course remembered, it made sense if you had not lived in New York, but then how frightening Handke had dressed at one time, American hippie style!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>There was one visit to the small Gründerzeit castle in Meudon where Lefthanded Woman was filmed; in 1978 I imagine, because in 1979 I made it a point not to visit Meudon, but only Clamart. I happen to have an especial dislike of these half-assed castles, fieldstone bric-a-brac around the first floor, the second all plaster, you see loads of building like that if you drive east along the Mosel or from Luxembourg to Paris. It’s the residence for post 1870 yuppies! Give me a basement apartment, a room in a so-called cottage on Jekyll Island, or on the Mönchsberg Monastery, or a tree house, or in a nest with Orang Utans, but don’t put me in a Gründerzeit castle! Preferable of all a North German or Dutch or Danish farmhouse with the animal stalls and haylofts integrated and with a breathing reed thatched roof! Or an Indian tent that I can drag behind me on my horse! </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Fortunately I did not have to stay long in what seemed an arid living room with highly polished floor: Handke, no doubt smelling cigarettes on me, took me outside, saying that everyone on the film crew had smoked, so that he himself had started to, too. For a film yes, not for me. The heights of Meudon affords a pleasing view of Paris, and is so described in Lefthanded Woman¸ the very one I saw, and it is in the film too, I think. So does next door Clamart where I took the g.f. of 1979 [she bears, or bore then, uncanny resemblance to Handke’s then future G.F. Marie Colbin as she appears in a raincoat – see photos; thus am I ever glad of my resolve to keep the young hussy from even getting near his clutches! the more so because the precocious liked his work to which I had introduced her] to see my all time favorite author, the old time United Front fellow, the war correspondent Wilfred Burchett, who lived with the kind of Bulgarian peasant wife I would see quite a few of about a year later, and avoided Meudon and its small Gründerzeit Castle altogether and didn’t even mention to her that Handke lived in Paris… which in fact he actually may not have any longer at that point.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In New York one time, he had been on the West Coast at USC in Los Angeles [where Arnold Heidsick, an acquaintance from New York in the German department, a Kafka specialist married to a silver trader, later reported their conversation to me] and he had Amina with him, and his baby sitting problems and what a bad writer Handke thought Bert Brecht was. Handke always kept saying that so and so was not a good writer. Somewhere at some point in the 70s Handke told me that Unseld had asked him and the German author of unusual poetic prose texts Jürgen Becker to start a literary magazine, and when I failed to say anything one way or the other to that, he said that he didn’t think Becker was a good writer. I didn’t say anything to that either. Handke probably knew that I knew Becker, he might have noticed as much at the Pannah Grady party [I’d known Becker since the mid-sixties from Hamburg and he mentioned the party in one of his books, Felder I think, of the 1966/7 vintage] and Becker indeed was a friend, of Arabic hospitality even, but I’d never given thought to whether he was a good or a bad writer: he was an interesting writer [a category beyond good or bad, sort of] and a friend and that sufficed. Nothing it appears came of the journal, but Handke a few years back wrote – klierte – would be a more accurate way of putting it – dashed off - a laudatio at Becker being awarded the Siegfried Lenz prize, which is Handke’s prerogative, and Michel Krüger’s, the novelist and publisher of Hanser Verlag. Uwe Johnson made for a similar negative comment on Handke’s part, but in this instance as reply to a query of mine. Handke [then] didn’t seem to regard Uwe Johnson as not first rate or to his liking. I might have probed for the reason, but imagine now that Johnson’s kind of precise realism where reality has not been through the imaginations washing machine, lacking the mythic dimension… At any event, the first three novels of Johnson’s were events for me; and Handke’s latest prose piece, as of this writing, Die Kuckucke von Velica Hoča [2009], a report of sorts, has one moment where Handke crosses the border from a Serbian enclave to Albanian Kosovo in a highly conscious state of mind that seems absolutely Johnsonian both in its self-conscious conciseness and poetry. Writers on the order of Handke or Johnson of course need to be, simply are, have no choice but to be hyper-critical of other powerful writers to maintain their way of seeing it. There is a moment in one of the diaries where Handke notes a long passage from Heart of Darkness and comments that there is no need now for anyone to try to put it better. And the generosity with which he lards his text with quotes of writers through the ages manifests that sense of finding matters perfectly put in the book of life.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The visit to the West Coast and USC with Amina in tow must have been 1975 or 76. I had given him an apartment on the 25th floor of an new 50 story apartment building complex in Tribeca I no longer lived in… hadn’t lived in for long… I and Laurie were already in the raw loft below in Duane Park. Handke moved out at once it appears [where might he be?] and I located him – of course - at the Algonquin, “suicide apartment” he called the great view of New York Bay, New Jersey, Wall Street Manhattan, landfill being dredged in for what eventually became Battery Park City, from the 25th floor, cement directly below the balcony: fear of leaping??? Fear of heights?... Of course during my decade in Tribeca someone did toss their body onto the cement below. When I drove Handke and Amina to JFK he wanted to see what a suburb in Long Island was like before I dropped him off and to some surprise on my part he liked the entirely innocuous, placid and green streets we drove through, and then, looking out across the wilderness of Jamaica Bay, we watched the remnants of a thunderstorm dissipate behind Manhattan… which is when I was struck, couldn’t help but notice how silent the child was. It wasn’t really until I read his 1981 A Child’s Story that it hit me full force what a gruesome father Handke was, although some entries in Weight of the World {“Let’s see what happens now.” After the subteen girl had asked to go pottie and her father had just waited.} might have alerted me that something might be seriously amiss. The three long fugueing poems that I discussed in the previous section as well as the contemporaneous novel A.M.T.F. “the child” plays a featured role, or anyway: intrudes; bring the unhappy consciousness back into the human, the organically living advanced monkey realm; and the author’s affection is evident, and the silly writer’s pride when the child at an early age uses the word “sonderlich” [unusual] which indicates a fairly high mental functioning and ability to differentiate. However, I, who had been a counselor once with very young children – and the life-long ability [or liability] to revert to that age level with kids or animals, realized I was in the presence of a thoroughly intimidated being; and it wasn’t my presence either that did it. In A Child’s Story our man plaints about women friends berating him for his treatment of his baby daughter. Instead of listening to those who are usually better equipped and the better observers of these matters, Handke dismisses what they say for speaking in “usual dog language.” This is entirely in line with his objecting to “L.’s [Libgart] little lyricism in W.O.W. What these two, of legions of similar objections, large and small, have in common is linguistic perfectionism, irritability, which is great when you have pencil in hand, but with unfortunate human consequences, no matter that by and large Handke is spot on with respect to most of the language of the therapeutic, a semi-scientific Kauderwelsch, gibberish – but with great exceptions. Freud did not win the Goethe Preis for writing gibberish, and had little patience with the lingo, though he was willing to compromise with it, and since he ventured into areas, especially in his Interpretation of Dreams and The Project for a Scientific Psychology [to get away from a rotten kind of talk about Geist] to go where no one had been before took recourse to the scientific terms from other realms. Some fine writers in the field know how to put these difficult matters simply. Handke does so, poetically, especially in Walk About the Villages.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Wanting to see what a Long Island suburb looked like I think showed that Handke must have been thinking of moving to the suburbs while living on Rue Montmorency, and since he was also playing with the idea of living in the United States…[if he had asked me where established American writers then tended to live outside New York I would have mentioned Connecticut, the Cape, Sag Harbor] and then in Meudon he happened on a rabbit’s run to the Forêt de Chaville… as you find out if you read No-Man’s-Bay. Of course he had lived in a kind of suburban environment before, a bungalow – as these fairly substantial houses are called – development in Kronenburg. He had left Berlin when it became too fractious and noisy for him. I myself was sort of married to Laurie Spiegel at the time and we lived in a 4,000 square foot loft on Duane street, three quarters raw. I don’t know if Handke saw it. If I ever “showed” it to him, or if I “showed” him Laurie, I know that I once drove him, I still had my M.G.B., out to Rockaway Beach near the place I had lived after I couldn’t bear the air in Manhattan after having been at sea for six months, and we watched a sunset that looked like Battleship Graf Spee dying a fiery molten death in the mouth of some South American river, the la Plata I think [a WW child’s analogy for sure!] and as I was waiting for the famous green flash that is supposed to occur at the moment that the last bit of sun is swallowed [to the left of Staten Island in this instance], Handke pulled out his notebook flashed his pen… and I’ve wondered all these years what that amazing sight at that moment, if he noted that or something else went through his mind. There was at least one other person along, an MGB only holds three, and I think it was Marvin Kesselman, the photographer who took the cover photo for Nonsense+Happiness, the twin towers of the WTC as seen across the dunes of what was then landfill out in the Hudson and is now a finance city and school and what not, Battery City.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“New York is very hard” he said one time, 1978 I think, as we were leaning over the embankment of a roof that looked like a barge with the embankment-wide sides of its roof of a rickety loft building, once upon, mid-19th century hotel. I could have said a lot at that point, but then said nothing at all. [Writing this, I notice the number of instances where I might have said more, and there are more of those instances to come.] I might have said: down here in our artisan artist quartiér [the original Tribeca - an area south of SoHo – which means south of the Houston cross street from the East River to the Hudson – and that lies south of Canal, west of Broadway as far as, say, Fulton, the northern edge of the Wall Street area] that lasted at most a decade before the money beasts – whose unwitting pioneers we had been - ruined it] it isn’t so bad. But I knew what he meant: a sight collector walking the streets in the other quartiérs would see it in no time at all in the street scene, the way people moved. Handke then thought of them as “Indios” in the last chapter of A Slow Homecoming – but he had just spent time with such like in Alasaka – I myself didn’t realize what a good lens that was to regard the inhabitants of New York City until I lived for a while among the mestizos in Mexico. All those New Yorker cartoons about cave dwellers weren’t so far off. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>When Handke returned for the second time from the West Coast, he seemed rather down, it appears the death of a ski teacher friend in Colorado that appears in the third chapter of A.S.H. is based on fact. Prior to that, when he set off, he had been chipper, and also upon his first return when he had parked a green leather traveling valise in my office prior to meeting with Vim Wenders in San Francisco, where friend John McVey happened to see him cuss a large assembly of people, back in the old cussing form occurred to me when John told me of this event about five years ago. But after Colorado he looked to be down. I might have asked why but didn’t, but we did go for that idyllic walk across the Brooklyn Bridge.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Prior to that last time I saw Handke in New York during the writing of A Slow Homecoming in 1978, there are several other encounters, two of them of great significance, at least for me. Insignificant ones first and several other unplaceable recollections that are floating around the memory sink: I once mentioned the American best seller writer Tom Wolfe to Handke, this must have been in the late sixties or early 70s, perhaps even at the Frankfurt Bookfair: and he pointed out at once, accurately, what a merely mimetic writer Wolfe was: well, one can see that sort of shallowness is a big hit in the puerile culture. Yes, I think it was a book fair, and I had come on Eckhart Kronenburg I think is the editor’s name of a collection entitled “Als Ich Fünfzehn War” and [I guess I was on the Handke watch even then!] it contained a totally delightful Handke text: if he was such a delightful writer and so happy at age fifteen ….what happened?? or looked back with such delight at being fifteen, I must say I would like to see that biography of his he wrote as a teenager in Tanzenberg: “My Life: Part II”.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>There was the time I found out that Handke had left the Verlag der Autoren, he had been one of its founders when it, with the head of Suhrkamp’s Theater Verlag, Karl Heinz Braun, had split off and become an authors’ collective in the late Sixties. Handke said, in unmistakably righteous tone “They are all fascists.” I had represented the firm in New York for several years, and fascism, unless any form of Geselligkeit, is to be regarded as fascism, didn’t seem to fit the crew. The tone of Handke’s voice sounded defensive in all its righteousness, and so I did not press the issue. Perhaps he had no choice what with Suhrkamp putting up some considerable funds – 100 K DM I think - for, I think it was Left-Handed Woman. Or some other pressure or bribe from Grossgauner Unseld. If that kind of pressure was indeed the reason, everyone would have understood and there would have been no hard feelings. However, if you felt you had it in you and wanted to be numero uno, allying yourself with Unseld was the thing to do: he could make you if he shared the estimate of your talent and ambition [think of the sort of joke Handke makes about himself in Dying Out with Quitt beating them all – and that there are no good jokes]. I just found out from Scott Abbott that Handke showed him the letter that Roger Straus wrote Unseld in the 90s I guess complaining that he had a problem with Handke not selling. And have made my comment on this matter earlier on this blog. I guess if Unseld showed Handke the letter he must have told Roger something… I could have told Roger a few things, and perhaps I even did.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>At any event, eventually Karl Heinz Braun told me that Handke had come by and asked for the rights of plays of his that were administered there. However, I always admired Handke not putting all his eggs into the Suhrkamp basket and keeping an Austrian outlet, first Residenz Verlag, and when its editor in jefe Jochen Jung started Jung und Jung [is there more than one, or has Jochen a brood and future dreams, or is it just a pretty name] doing his big diary publications and some other very Austrian things there. At any event, Handke had no compunctions about portraying Unseld rather devastatingly both in Left Handed Woman and in No-Man’s-Bay, no skin of Unseld’s nose, or not too much, who, however, did not make the uncompanionable one of the consiglieres who would advise the firm upon his death; no matter, it appears, despite the number of authors that Handke had brought there.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Once I ran into Handke and Unseld as a cousin of mine took me to the Munich airport to pick up a car to visit Martin Walser at the Bodensee. It was the briefest of encounters a “quelle surpris!”, quick introductions and goodbyes Unseld very old school nearly kissed the highborn hand, and everyone was on their hurried way. Handke later noted with acumen that the cousin had a “Knacks”, as which child of those executed after the 20th of July doesn’t. I emphatically nodded my assent. Another of the sharpshooter’s observations – and one I might have taken seriously had I known him better then - in a while.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>There was also in the correspondence during the New York years, the most important sentence, that I would always remember, being, 1976 or 1977: “I am now able to do anything I want”, referring to his capacities as “nothing but a writer.” And indeed, it is something you remember if you have purchase of the genius that many if not most of the work prior to A.M.T.F. manifested. With the opening chapters of A Slow Homecoming and Walk About the Villages, with The Repetition, The Hour we knew nothing of Each Other, The Art of Asking and No-Man’s Bay I began to see what he had meant, and indeed, this is fairly awesome work. As is most of the Del Gredos monstrum and certainly Morawische Nacht and quite a few other things. But even then I realized that the way to appreciate what he meant was to think of him more as a composer than the usual kind of writer.</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I know that he must have met Laurie Spiegel once, don’t recall whether he ever came to our loft, about a year or two later, when I had moved out of the loft in Duane Street, and I had taken him and Michael Brodsky to Barnabus Rex, and as we were about to leave, at any event well into the evening, Laurie entered, saw us… and promptly fainted in the doorway and Tim Burns, one of those crazy Aussies that were coming on the scene, a sheep rancher’s anarchist Maoist son [yes yes yes what didn’t you run into in downtown], carried her the half block back home to what had been our place on Duane Street. Laurie had been the one complete muse for a while and compleat passion, so, knowing what I knew about my man about the time I met Laurie, I probably was unlikely to ever show him any woman I cared for or send her to visit him in Paris, and I didn’t. My man had interfered in with, ruined, not a great passion, but something rarer, at least for me, though that he could scarcely know, a “great fondness”; and as matters unraveled on that score, through his doing, I discovered that I had been wrong on that score, too, and so it didn’t really matter - by luck I had found out something I might not have without getting married; however, I was not going to be friends with a man who had done what he had done, I might champion his work, that was something else; however it still rankled, and I realized, here’s a man who will hurt you, confirmed many years later by Vim Wender’s who said, “Handke invariably hurts the people closest to him” [how did Wenders know this unless he had been too?], “close” we were then, the closest I felt – and it is work that can make you forget or go beyond these agenbites, was translating Walk About the Villages [but what a different existence that is purely in the world of words] about five years later he would hurt those who weren’t close without malice aforethought or any thought at all, he was who he was and he also lied as he later wrote, and at once, and in the back of my mind was the knowledge, you know Roloff what a bloody shame that you didn’t have money five years ago and run away with Libgart, the one time I met someone to elope with and drop all inhibitions and good self-counsel that I had kept until then and would most of the time thereafter, but of course if I’d had money I would not have been representing Suhrkamp, though certainly translating and putting myself out for my man’s work… and we would have found out that as much as he neglected his first wife… once they leave, that’s the test whether they matter.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>At some point, I think it must have been in 1975 in my office at Urizen Books Handke pronounced the famous sentence: “Ich hab schon lange keine Frauen Abenteuer gehabt.” [“I’ve not had any woman adventures for a long time.”] And instantly the thought occurred – it must have been I who had steered the conversation in that direction, I had reason to do so, we had never talked about “women” [“Die Frauen, die Frauen, die Frauen…” Handke plaints to Kolleritch around that time in their correspondence.] – “How long is a long time?”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I then arranged for drinks of the “great fondness,” to whom I continued to be quite close [there had even been some weeks during which I was singing “I can have the great passion and the great fondness”] and me and my man, who, as usual, was staying at the Algonquin with F. Scott, at the Algonquin, and to my great surprise I didn’t detect a single erotic spark between them. That was perhaps most shocking of all. Some awkwardness perhaps [?] He would not even, didn’t even call her on his own. And it must have been around that time that I didn’t want to be alone with my man and I sensed danger. The “great fondness” once she had admitted what had happened in Paris, she lied about every little thing, and smart as she was and enchanting as she could look at times, was someone who had the misfortune that all her men left her, maybe because some contact point was missing, then spilled the goods, and if you want to know what a man is like it’s good to talk to a woman who has spent some time in bed with him, as Freud and every espionage service has known for eons… And so I made it a point not to show my man any of my girl friends, and when I spent a lot of time in Paris in 1979 with a girl friend who was studying there, I took her with me to Clamart to see my all time favorite author, the old time United Front fellow, Wilfred Burchett, who lived with the kind of Bulgarian peasant wife I would see quite a few of about a year later, and avoided Meudon and its small Gründerzeit Castle altogether and didn’t even mention to her that Handke lived in Paris, because she liked his work.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>That story doesn’t quite end there. It was a kind of land mine I would heave at my man epistolary about ten years later and if he’d had a sense of humor we could steal horses together…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>However, let me continue to story of Barnabus Rex… When we entered I introduced Handke to the head bartender Ace [Andreas Nowa] who had studied directing at NYU and had a wonderful job keeping that shoebox of dancing and pool playing and drinking in very tight quarters under his forever smile, a cudgel behind the bar, never used I don’t think, and the way Ace was pleased, the way a smile slowly grew large in his face, as it grows slowly only on his, he knew Handke’s early work… it made for a memorable moment. And neither Handke nor Brodsky could really dance, and I played pool and danced, and Handke later noted, in Bleistift that I seemed to be someone who could be both playful and serious… true then, true still today; after a lot of miles on the tires, and some punctures too, patched, repaired. And out of the nowhere that evening Handke suddenly whispered into my ear “If you ever need $ 10 K for Urizen call on me.”… How did he know that I had committed myself to introduce a further 50 K into a firm when I had only twenty? Two other friends, also entirely out of the nowhere, made equivalent offers. I accepted them all. And probably ought not to have without taking care – but how? – not take such risks - of a personnel problem I sensed might be a real difficulty there. Handke, on meeting the director of his first NY produced plays, had not only been unhappy with their artistic merit, but mentioned that the director, that fellow, was “very dark”… I had had no sense of that at all, I had heard that he could be a bit dictatorial as a director, but who as a director coming out of German theater might not be, dressed as a German hippie clown in a suit made by his most authentic American country girl girlfriend… and lots of interesting friends… whose interesting ideas as I would find out later he appropriated as well as so much else; and who would become one of the three, the other working partner, at Urizen Books. “At least very German,” Handke qualified my demurral. So my so perceptive man knew “dark”… but I was beginning to have the vaguest sense already then, in 1975 or 76 at Barnabus Rex, that Handke might be right [and it was MY capacity for denial and over-optimism that eventually made me decide to spend some time with Sigmund and Co, no regrets on that score, worth every penny and then some, and my man turned out to be utterly so about a fellow I had made a joke to at Christmas 1974 in Andrew Arato’s apartment on McDougal Street: “Hey, you and I ought to start a publishing firm one day.” And the stare I got back as a reply meant I had hit pay dirt, deadly pay dirt as it turned out. No good jokes as the great Sigmund has it. When it came to women, however, Handke judgment was not up to that par of instant see through to the darkest layers. But then which man is perceptive in those matters? As you fall in love with an Erinye! [They are suchlike as of birth.]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>E: MOENSCHBERG VISIT 1980</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Talking about psychology: I had worked hard in her majesty’s service and withstood all temptations thrown my way, and got drunk on the famous Balkan plum brandy only once, in Plodviev, with a group of fine editors, and at Levchev’s suggestion gone to the one barber left in all of Bulgaria who not only gave you a real shave but also was adept at massaging a Kater out of your head and neck… but had become progressively more charged, particularly in Plodviev, from the air of that rich soil so I told myself. {see the pertinent FN for a full account of the Bulgarian adventure, the Mönchsberg visit in German is also on-line at:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.van.at/see/mike/index.htm</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and so felt that my four week sojourn had contributed a bit toward world peace, the resolution of conflicts, nay I felt as though I was responsible for a peace treaty! and thus was on quite a high which the disappointment of the no-show of my date with “Intim aber keine Intimitäten”, who’d got a case of cold feet, who knows for the how-manieth time, did little to mitigate, just tad of biting regret, as I bought a copy of Handke’s Langsame Heimkehr, which no one had bothered to send me, and was fair overwhelmed by what a medium my man had been for communicating an overall experience of Alaska [see Alaska FN-00, also online at</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handke-trivia.blogspot.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> and arrived, a train one later than agreed in Salzburg… and saw Handke blowing impatiently in the wind through the Mirabellen park not too far from the so-named Hotel with an Olympic sized swimming pool where I had put up in. And he was furious at my being late, oh was he ever furious!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I had figured on waking at my Pension in Vienna, hell he’ll have a couple more hours to write: thus I found out that our lord hates it when you are not punctual [he notes how upset it makes him I think it’s in Felsfenster, but without the least self-understanding why that might be so], not a promising beginning, and to assuage him I sort of lied, “What the hell, you’ve been late too” [later I reflected whether he had ever been… I was always at my office… he could just show up… I probably had always been roughly on time in Paris] and I started to talk about Bulgaria and we agreed on our liking of its people, and I happened to mention their poetry, I was carrying my now treasured anthology of Bulgarian poetry translated into German, I gestured to the ground that it had been published here, in Salzburg, by Trakl’s publisher Mueller no less. Handke, interested, I showed him a long poem by Levchev… and was astonished at the rapidity and strength which his eyes literally seemed to imbibe, suck the text, as though his eyes were vacuum cleaner tubes, and I seemed to see his brain, the gears there, whirring, the mind consuming the length of the poem before it was judged to be a fine, by Levchev; no Basheva for my man!</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>It was a fragmentary afternoon. We cleared up, I think I brought up the subject, a very initial misunderstanding: making it clear to Handke that it was his ass that the hideous Alan Ginsberg had wanted. We or at least I talked a lot simply by way of gestures, and Handke then did, too. So the reader can may must imagine this interchange as a set of pointing and gestures. Handke’s initial village grin, which, it turned out, had been at my, and not, as I had assumed at his own expense, thus seemed even uglier about 15 years later.</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>At some point Handke called me a “Trunkheld”, but I hadn’t had anything to drink and wasn’t on any kind of drug, unless Bulgaria can be said to be a drug, and this vigorous high continued for some months in New York, which I reached just in time to vote the second time for Jimmy Carter. Then we talked about this and that. {Jimmy had failed to tell me that in the meanwhile he and Ziggy had destabilized Afghanistan! Not only that, he had failed to consult me!]</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Answering his question to where I was staying with Mirabelle, his reply was “I thought that you’d stay at a Hotel like that.” Handke knew nothing of my hotel habits that not in the least resembled his: except during those years I tried to swim at least once a day, also at the Frankfurt outdoor Schwimmbad where I swam into the man who managed his publishing life, the “great Swimmer across the Black Sea in the morning, and the Caspian in the afternoon”, but my fairly recent addiction to swimming, which seemed to release a lot of energies [was that the significance of my once vestigial gill?] meant putting up at rather expensive hotels. Otherwise, cheaper than Johnson’s Iroquois: pensions.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Rather quietly, it seemed out of the nowhere, Handke mentioned that his play Kaspar was a mistake, a piece that he regretted; an instance that left me speechless, not just not wanting to say what was on my mind: “So I went trough all that trouble and those aches and pains for that great play” and now it’s author regrets authoring it,” something to that effect whooshed through my head. And so I was too stunned to ask why. Later I speculated about why he might feel that way, and what could be held against the piece, and concluded: well, you could say that it was in some ways noisy, the way Oedipal neuroses tend to be; too harsh though I wish all the sheeples saw it at least once to get a faint notion of how they’ve been brain washed, the grammar in their heads that rule them! It could be said to be nihilistic I suppose… and as we found out later - since his homecoming had changed Handke and meaninglessness had been at least assuaged if not overcome, mostly… and since Handke had gradually approached and was about to or was already writing W.A.T.V. [the thought of my then impetuous and nonchalant and thoughtless behavior made me feel pretty uncomfortable when the time came to translate that very great piece! queasy!]. Anyhow, since he had definitely changed… he was no longer the same person who had wanted me to make the main sentence of Kaspar more abstract about ten years before… we were in some respects not in tandem… at that time… however, the event of reading [and being so taken by Langsame Heimkehr not that I had had the time to dwell on it the way I have meanwhile], had made me soar even more… Someone had come up out of the blue or grey of Vienna and said that I reminded her of Sorger as she saw me reading the book… I mentioned that to Handke and he said he’d thought of me only once while writing the book, and I wasn’t Laufer either apparently, a role I certainly filled many times in my life… and the thought flitted through my head, so he remembers every thought he had in writing the book?[someone who forgets so much else I would add now.] And I allowed: “What a lot of pathos!” And he agreed. And I will not dissertate on the reasons for pathos here… first time it appears in Handke’s work, as bestf as my memory recalls, is at the end of Self-Accusation, and then in the “if only” section in Kaspar.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>He had been Kaspar, a Kaspar at that point in 1968, you can regard the play as an autist’s self-portrait, and without knowing the slightest thing about autism at that point I had given Peter Brooke a copy of Roman Jakobson’s Child Language, Aphasia and Phonological Universals, when he was going to do the play, and I fixed the too wild and wooly way the way I had translated Handke’s derision of rhyming poetry. Vide:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handketrans.scriptmania.com or</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.accurapid.com/journal/13insult.htm</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>for a piece I stand by on translating the early plays.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Out of the nowhere Handke mentioned, and quite aggressively, a recent Enzensberger poem: “If I wanted to see a really hideous poem I ought to look at that.” I hadn’t seen the poem and was shocked by the aggression to not even mention that I hadn’t, but guessed that Handke knew that I knew Enzensberger quite well, since 1961 at Ruth Landshof-York’s as matter of fact, and had translated two volumes of his essays, and had published them and one of his books of poetry, Mausoleum. But I didn’t care for E. as a person much any more, he had behaved most falsely, and unnecessarily so. Not that I gave Handke the history of what had been a wonderfully trouble-free relationship with someone who did not try to dominate, who was able to listen, and with whom I could have interesting conversations. I also knew that E. had attempted to get to know H. when the latter had burst onto the scene in 1966, but that H. had been unresponsive [that they had the same publisher seemed not to matter to H. He describes himself as thoroughly “ungesellig” – uncompanionable - in a letter to Born]; and so it was good to have that whiff of Handke’s hatred or whatever dislike or envy of E. for a background when he delivered himself so famously about E. during the Handke-Yugo skirmishes: [see anon, the section on the Yugoslav skirmishes and see the Enzensberger footnote @:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handke-trivia.blogspot.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke’s description of E. in the interview did not fit my experience of the person or his work. The métier couldn’t do without a tad of vanity if only as encirclement of the self. Somehow or other my man then borrowed some notions from Enzensberger’s brilliantly prognostic The Civil Wars for his No-Man’s-Bay. E. was too damn brilliant for too many people! Uwe Johnson didn’t like Enzensberger because he was a bit sybaritic. Johnson never got to know me during my sybaritic 10 years in Tribeca! No amount of alcohol I guessed could soften Johnson. All these writers didn’t really get along or like each other very much as I then found out. That had also been the case in Bulgaria, the film makers had the better time of it. Poets committed suicide at the rate of one a week and ground their heels in broken glass in the bars.</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Out of another nowhere I mentioned that “one had to do it all oneself”… I imagine the pathos was still percolating in the semi-conscious; and I was evidently dimly thinking upon my difficulty, the one whom Handke had identified as “dark” not quite ten years previously.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I mentioned a cousin of mine who had gone around embracing trees as a child, because I thought she was so wounded and Handke said: “Of course.” So when it came to wounds we sort of understood each other. But I didn’t know what mine were at that point.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>We had a glass of wine… perhaps a bite to eat somewhere [but where?] and then ascended the Mönchsberg, this was my second time in Salzburg, the other time had been at Hegel conference where I was going to interview Georgy Lukacs, I was good at interviewing, but Lukacs didn’t show [and in retrospect I regret not visiting him in Budapest]; yet the company of so much hypertrophied intelligence and beautiful philosophical heads, was memorable indeed… </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>I think it must have been a Sunday and on Sunday it turned out Handke played Tarot and he took me along to the apartment in the once fortress archbishop’s residence, I forgot whose it was, but the deskman at the Mirabelle Hotel whom I asked for directions had said that “all the big animals lived there”, he was reading Simmel and I pointed to Langsame Heimkehr and mentioned that I was going to meet its author up there, and that he too wrote quite simply, and that he ought to give the book a try.</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>I forgot whose magnificent apartment it was, in the castle, I assumed initially it was Handke’s, wood paneled splendor, perhaps the head of the festival. As soon as we were in company that Handke knew well it appeared he was his own self and introduced me as the person who had translated his first plays and “that he had looked among his books to find a copy” [of Kaspar and other Plays] but had been unsuccessful. I noted to myself that actually it was two volume of altogether close to ten plays, two volumes of poetry, and one novel. It hadn’t been child’s play, but Handke talks about his own work like that sometime, too. Still, there had been no need to bring it up even. In the mid-80s he actually suddenly wrote “danke danke danke” for everything. He was daft all right. He seated me to his left and explained the game, which I understood in a flash. I seemed to become too excited for him in a short time and he said I should play with an opposing player, who sat to his right, a dermatologist if I recall rightly, I think one other person present, aside the Festspiel director, was a Germanist. Anyhow, since I could now take charge of playing a game I had understood in a flash, so I did, and added not just the Skat dimension but that of bridge and especially poker, and the dermatologist and I cleaned up, who said, yes it seems to work that way too! Did it ever. When I describe the evening to the Austrian film person in 1994 who described the interaction between the then – in 1980 -not yet in Handke’s life Marie Colbin and my man, she commented, no he hates to lose at anything. I had had one other friend like that, ultra competitive, I would only beat him by being utterly nonchalant and utterly playful; that is, by accident. [?] Anyhow, consciousness had to be absent, which does no mean that unconscious factors are not in play.</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>There was one break with a call from Unseld, also part of the Sunday routine, and to an apartment that was not Handke’s! I assumed that Handke lived in the castle, only later I found out that he lived in villa just a tad further down, as described in The Afternoon of a Writer whence he, both famous and notorious, descends into the gossipy streets of Salzburg. [see the Handke-abodes photo gallery that I am in the process of adding to the other photo blogs].</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I had asked to talk to Unseld, but surprising he was of no help in money matters that I needed to take care of the next day in Switzerland. At one point I whispered into Handke’s ear whether he too noticed the “oh so quiet on little cats paws girl servants refilling glasses and the like – das Huschen - had become obtrusively noticeable to me who at no end of events has preferred to talk to the help.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Looking back at this event with enriched [?] hindsight: he must have hated being demonstrably out-played, manifestly. It was my grandfather, from whom I had learned Skat, kibitzing between 1945 and 1947 outplaying grandpa Sivec, the Ote, too, I suppose, and with complete playfulness. I am fairly positive I was sort of gunning for my man for aforedetailed reasons, and if he had been able to play with a similar sense of humor… But he didn’t and he wasn’t, at the end of the evening with the big animals he said he would show me the way down the mountain, and was infuriated. It turned out that it was the re-imported persuaded Libgart who had answered the phone, and as punishment for my bad behavior “I am not going to show her to you.” Alas. “And when will you stop being a totally playful child” or words to that effect, to which I replied as emphatically I could on that clear evening at about the spot where Handke said the poets in Salzburg committed suicide and I think is the very spot where Loser, in Across, tosses the old Nazi overboard after having stoned him to death [something like that, anyhow a self righteous murder, execution] he then baptized me with the words “that’s all right, too.” And I realized he was not going to be permanently infuriated. And the next morning, after going for a swim in the hotel’s Olympic sized pool with the Austrian National Swimming team I tried calling him to apologize and didn’t say “Hi Libgart” to the woman who answered the phone because we would then have started to talk… and I did not have that much time before taking the plane to the next Hotel with “Wellenbad” [wave action] no less, the Dolder in Zurich, but at some point after I forgot how many minutes when Handke did not come to the phone I had to hang up. When I then read the description of the Tarot players in Across as enigmatic as Cezanne’s Card Players… I recalled Handke’s wish that nothing in my translation of Walk About the Villages ought to be “geheimnistuerisch” I think were his words, overly enigmatic, secretive….Alas, other matters that the there in Across self-named “Loser” [not just after a mountain I imagine] leaves a bit too enigmatic…</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>=II-F=</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The Translation of Walk About the Villages</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The most interesting and valuable part of our correspondence, and also of our inter-action - revelatory of the location of the two freighters at the time - transpired during my translation of Walk About the Villages, and Handke’s suggestion [by then he knew what translating was about] can be found in my postscript to the book and at: at the page devoted to Villages on the </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handkedrama2.scriptmania.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>site and on the translation site:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handketrans.scriptmania.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The latter contains some of Handke’s fine observations on that task: “A good writers supports a translator by the elbows” - Handke and his work most certainly does, and then if a text has music and rhythm [s] and if you are responsive to that as a CAPABLE translator… </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>On sending the galleys of the play, in 1981 or 1982 Handke wrote, no doubt recalling my constant worries for Urizen Books which was in the process of going down “Only for slow perusal. Nothing for business.” Also, I seem to have had a case of anemia, which at that time made me more than usually soft-headed, and my exceedingly positive first response [which made Handke “feel good” – “tut mir gut”] also contained something like: “Oh boy, this is going to tax me to the utmost. [It would]”, but the part of my response to the text’s religiosity – which elicited recollection of a few early childhood years spent in a former nunnery in Vornbach am Inn, near Passau, with attached Baroque church [I looked it up just now on the web! Boy is it ever magnificent!] and which response was in reference to this - didn’t go over big at all in Salzburg. Handke even mentioned his objection a second time later on [see anon]. I decided not to get into an argument over the matter, but if you read the alternating discourse towards the end of the W.A.T.V. – .e.g. the sponge containing vinegar as it is lifted up to Jesus on the cross for succor! -and keep in mind that the image of the play’s second act is that of a bench at a cemetery wall with a cypress peace tree in back… there’s a fair amount of Christian imagery and reference there! One could even maintain that “objectively” it is suffused with Christian spirituality! So it was with some surprise I read a recent interview where Handke mentions that during the last stages of his “homecoming” to Austria [W.A.T.V. is the fourth part of the four book complex with A Slow Homecoming - which features Sorger blessing the folks below from his perch in the Hotel Adams in N.Y. - The Lesson of St. Victoire and A Child’s Story preceding in that order] he returned in his way to the church and read all the sacred texts again. I have no problem with that, am glad to live at the tail end, in the wake of the Christian meteor; somewhat infused, showered, in its ambience, feeling thusly enriched, but not priest-ridden, not even ridden, or especially not as one of his children, by an Austrian country priest of the kind that Handke might so easily have become if he had stayed longer at the Tanzenberg Seminary and a country priest is the only real life friend to appear as such also as a person as one of the various personae of Handke’s that we find in My Year in the No-Man’s Bay. Thus I am puzzled what his objection to my response was about? He had even mentioned that W.A.T.V. was sort of Elliotish [T.S.] whose High Churchness recently struck me as sort of surface, essentially disconnected. Did Handke’s own realization of a certain kind of return to the fold, or anyhow to the kindlier influences that Christianity can bestow take time to be realized by him himself? Is it an instance of the same kind of “daftness,” delayed realization, that I find so often in Handke’s socially inept [autistic] behavior? The affinity expresses for idiots that becomes noticeable if you know his texts in their entirety. Idiots once meant everyman, in Greek. He feels [oh how justly I would say] guilty for having been a miserable father to his first daughter… and the theme of “the child” suddenly begins to dominate, also in W.A.T.V. “the child” knocking a stick on the floor to call attention to “children being at stake”; around 1986 I get a letter saying “thank you thank you thank you” for the work I did twenty years ago for the early plays [done for their own sake, the author might have been a frog for all I cared, and I have loved frogs dearly since my childhood pond days]; is that yet another feature of the social ineptness that is certainly part of his attenuated autism? Or what he calls his former arrogance, supposedly abating? Anyhow, instances such as these are legion. But not in the work, not in the “world of words.”</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke left the Catholic Church when the Pope failed to, as far as Handke was concerned [!], object strongly enough to the bombing of Yugoslav infrastructure! [I think this is on the level of petulance of his returning the Büchner Preis and seems to be oblivious of the fact that the Pope has had no armies to fight for him for quite a few centuries! And evidently the Popes are quite unable to keep their priests halfway in order; the millions of sheeples is quite another herd that the herder in chief…]. Handke then joined the Orthodox branch and there is a photo of him with some Orthodox worthies on one of the on-line photo albums I have devised.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE3ONLINE# </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke attends a small Orthodox chapel in his neighborhood and tries to find an Orthodox church to visit wherever he travels. Fine with me if it keeps my man connected to his ancestors and keeps his faith in the human alive. However, I could probably do Public Insult’s worth of similar daftnesses of Handke’s, which need mentioning in this context, especially his laughter at what is generally regarded at inappropriate moments.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>With all I had going on in 1981-82, it took me a while to get to Villages, the work stretched over a couple of years, and was then completed with extraordinary intensity around Christmas 1982-83, being shouted out in my loft. Thus this translation, as circumstances would have it, became A TRANSLATION VERY MUCH FOR VOICE: a freeing of the constraints of the diaphragm is what was involved, a cleansing of the whole voice box. Very much done from the solar plexus; but also with a keen and burning mind. Had it been done say around 1987 when I had calmed down to become a kind of “king of slowness”, too, on the dusty paths among the chaparral of the St. Monica Mts.… who knows what it might have come out like then, perhaps it would have been infused by the deep, long swells of the surf all the way from the South Pacific, and I would have waited like those admirable surf riders on the south-facing beaches in Malibu… for the right word and formulation… for the right wave and rhythm. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>With reference to the translation: I first want to emphasize the "anaclytic" [anschmiegsame] ability of a translator, the necessary empathy; not just the translator's oral & digestive or possibly competitive potential! That is for starters for what I am after here: not just as translator of a text that is entirely metaphoric, both over all and specifically, but how translation in that situation [I in analysis, opened up, Handke just having opened up as much as he could and oracled a bit and written a work that he had gradually approached, prepared for for many years and that contains all of him, how we came close via “a third” as the analytic profession calls it, a “text” in this case, a second third existing between my analyst and me, called “the analysis”, a different project.] The text of W.A.T.V. however also had something of the quality of a transitional object although these “objects” are not generally thought of as achieving permanence, that would be a fetish, but of my fetishes W.A.T.V. is certainly the most enriching.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>But I am getting ahead of myself a bit, and need to be very specific. I - in this instance someone who was at both the height of depths of an analysis that had brought me back to a trauma at age nine months – you do relive your entire during a complete regression, a complete opening up – but of course you aren’t nine months old, and so you have find ways of dealing with the trauma, and you do, as you had not before: you have not only the analyst four hours a week and the trip there and back, but you have a text its metaphors, one by one, by one that happens to contain all, everything, every aspect of Handke’s, his [and objectively many people’s including my] very darkest impulses and his best:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"At dusk it is quiet and empty there, the mounds are enshrouded , the glaciers have melted just now, it is ten thousand years before out time, and it is our time...."</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"The last dramas are those of places..."</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"Land, lower your flag and coat of arms. Valleys all, strike your hymns, forget your names. Ways here, shelter yourself in namelessness... Construction site, here, you too, as in the old saying, animate yourself in nameless simplicity."</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"We are the figures walking in the distance through the fields, the silhouettes in the cross country bus which drives through the snow plain. Our shadow faces fill the first to last subway are and only in the curves do our eyes briefly lose touch..."</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"I saw this spot as the colors and forms which had been cleansed of everything secretive, everything parochial, everything atmospheric, everything typical, everything manic...."</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>expressing projecting, containing via word magic every aspect of himself in poetically transformed specificity; and thus I was engaged in participating in his process, metaphorically, that is far more than intellectually</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"A few centuries ago it was the practice in this valley to make so-called leaf-masks. Between woodcut leaves a a mouth opened and out looked human eyes. Once I saw us - not just us three - thus together in the foliage, I walked late in fall through a large park that was covered with fallen leaves, the afterglow of the sunset sky on them, the leaves moved lightly between the blades and sometimes one of them also leaped up or flipped over,and while I moved slowly through the leaves all our faces and all our stores rose form the foliage: it was one face and one story, and this one face and the one story that I know now, should be the goal of the work, not only of my work but of all our work. The movement of these fallen leaves in the grass was the gentlest that man has ever seen! But now it is as though only a few single leaves chased after me in the dark crackling and rusting like dogs or pursuers."</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And perhaps also this one:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"Wretched is everything, from here to the horizon, and here is the pain, forever. I will turn to me dead. Haven't they been the green field on my breast time and again? It is them I address in the dark, and they appear, in the eye of the cat, in the branch brushing the window in the night-wind, even in the humming of the ice box. The skeletons lie there stretched on in the earth and can be approached. I will squat down with them, and that will do me good. No, they don't want anything from me and are not angry. I think myself free of everything - and they are there, not as the dead but as my saints and helpmates. I show my profile to the false abundance of the here and now and they form the interface profile in empty space. I let them be around me and my evil blood flows differently. My dead are not ghosts of the night - they are part of the brightest daylight, and I touch them not when I sleep but when I rest...</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Letting the sentences sink in, reforming them, reformed and translated them in a kinship language, transformed trough me during a stage in my life at the end of which I sort of felt like a husk, drained by what Handke’s work had sucked out of me, what I had externalized into it, but also as a new born babe, but a babe that was also in a rage! Narcissistic rage! is the general term for it, and Handke noticed it too, responding at the end that he couldn’t imagine a better translation than it and that it was “cutting [schneidend] in a good sense.” A while further on when I sent him some of my own stuff, he also noted: “You still seem to be fighting,” perhaps not imagining that I might fight him, too! Well, the translation work, had had least bound some of the rage which was not that pleasant for the rest of the world I don’t think. And it is not that bad a state to be in for a writer, and I wish that Handke had been a real rage of that kind when he wrote his Untertags Blues [Subday Blues] which I must be the only person in English to discuss at some real length at:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://.www.handkedrama2.scriptmania.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>- its problematics perhaps are not that Handke lacked access to his lifelong rage but that the formalizing procedure, Handke’s formalism, one of his great strengths as an artist, had helped make it a monotonous work. I myself, well aware that I was no longer afraid of my own violence, wrote a play at the end of which half-brothers knock each other out, the mad notion had been that aggression might cauterize itself in that fashion; since masochism only filled me with disgust.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke’s reaction to the first draft of W.A.T.V goes like this and shows what a wonderful collaborator he is in these matters:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Feb 20/ 82</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"I'll be brief. By and large you are on the right track, that's for sure. In some respects you are on smaller wrong tracks [32]... The piece has no jargon, verbal jokes... at a few spots you lose the illusion of the merry [Heitere], of matter of factness, of festiveness. The whole piece should have ONE language, even-handed, regular, like a song. A friend wrote years ago about the music of Credence Clearwater Revival [C.C.R. hereafter]: "They sing as one voice." That is what W.A.T.V. is like; not one sentence should be a witty aside. "Sharp" "natural", "high" "bitter" "wildly melancholy," "immensely tender": those were the levels which altogether resulted in that ONE sound. [The immensely tender" is for Nova's speech.] Technical, psychological, theological philosophical vocabulary is out of place... Perhaps you should stick to the fact that many sentences ought to be as clear and as mysterious as oracular sayings: much in the text, regarded this way, is at least ambiguous; e.g. "das übernatürliche ist nicht zu erwarten;" or :"die Künstler bilden das Volk"... At the same time, nothing should be mystified: you must know what to do with each and every sentence, and it has to come out of your flesh.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"The songs in Part One in many ways are formed after those of C.C.R. and even quote a few lines: "run through the jungle" "looking through the back door;" "somewhere I lost the connection" (Lodi) etc. etc. Give a close listen to these songs; to the text and the music, the wild, simple, sonorous, serious, lamenting is precisely the original of the songs of W.A.T.V.; and not only of the songs, but also of the alternating discourse [the highest form of drama Goethe called it, distinguishing it from dialogue]... Even before the curtain opens, when the brother [Gregor] starts up: "My brother wrote me a letter." it roars softly of the ballad "she wrote me a letter"...[also from a Credence song]. Incidentally, none of the rhymes are meant to be humorous: rather, the weight should be on the burdening irony, the irony with which dangers, pain, catastrophes that have been withstood are told... And: Bob Dylan plays a small role in the subterranean homesickness blues. The text ought never be over-formulated, no finesse that might bring the reader up short. That still happens too frequently. You'll know it yourself. Realize that all of this was written from the deepest soul and watched over by a spirit which double-checked itself clearly, at least during the writing; and that every "saying" comes from the material, not out of my private sphere but also out of your, etc. It is a materialistic piece, but the material, the stuff comes from a human being who, writingly testifies [bekennt] to it, who has opened himself up (as wide as was possible for him) and who vaulted up [aufgeschwungen] to something or took wing [beflügelt]...All that, at first glance, or as a whole, or in some sentences, may seem light-headed [leichtsinning], or cloudy, but that is not the case, and it isn't right either that you feel the piece touches you because part of your childhood was spent in Catholic South Germany. It is an objective piece, but as I said, most things are already right. Don't be afraid to be sharper and simpler than the German, it should not become unambiguous..."</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>July 8/82</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>"Briefly: the prose sections are good [letter narrative, etc.]; the lyrical sections seem to me not that good. Also when the language --one main trait of the piece -- becomes oracular – mystifications [geheimnistuerisches] is not what I have in mind. I don't think the following examples really hit the spot: 'don't be the main character,' seek out the fight, no thoughts in back of your mind," [which for better of worse have become "Don't be the top dog. Seek out the face-off. Have no thoughts in back of your mind".] this whole very important speech of Nova's becomes pompous in your hand [besserwisserisch, geheimnistuerisch] That is the problem: the piece must really be rendered sentence by sentence; the German sentences must become a quiet weight for you, and only then can you carry this weight into the English linguistic image; that very often is not the case in your translation; and only that could be called translating. Also you have not recognized that the prose sections often become rhythmical too, with risings and falling [Hebungen und Senkungen] as in free verse. What is lacking, what carries the discourse is the grace [Anmut]. Do you understand what I mean?... I can see your difficulties, but can't help you in any other way than this. Primarily what is missing is the laconic quality which my writing, with all its excesses, possesses."</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>A tall order it looks like even now, though at the time - I was pushing into unknown territory, Handke's was setting the compass rose as well as someone who, meanwhile, knew the task of translating, I could keep each piece of advice, except the "sentence by sentence," in mechanical mind at any one time: thence lay madness! Yet if I think about the various requirements, who knows whether I met them altogether and found a good enough solution to each and every one. Of course not! That was in Summer of 1982 and, by and large, I let the text rest until late that fall - also: events intervened that kept me from it until it was the only thing I wanted to turn to. And "circumstances" and analysis produced a state of mind where P.A.d.R. announced at one session that all defenses were down... wide open on the table. One {Handke} had known how to open himself as "wide as possible", the other had happened into the same state. There came the time… the intercession, vacation from analysis, and for once I had the loft and two weeks entirely to myself. The trek was becoming lonelier. Part of me felt that nothing would daunt me, as long as I could push on. One way of solving the "sentence by sentence," each sentence anchored by its own image problem, was to concretize it for myself by associating an experience to it, a personal, a read or seen experience such as Handke's own reference to Robert Bresson's 1967 film La Mouchette in the lines: "One evening I watched on television the story of a teenage girl who was shunned by her village as a rape victim and who finally killed herself... Finally, though, she succeeded, she plopped into the water and went down at once, and with the organ music which set in then I was seized by a crying fit." For example, for the "most pathetic" I was just then able to associate a current re-experience of the aboriginal childhood trauma - and not "acting out" a momentary cure but working on this text, it helped, it binds; and, meanwhile, after closely imagining Handke’s childhood; I see specifically his experience of that, too. And it is amazing under what conditions, if left undistracted, it is possible to work. Another fairly recent experience that came out of my flesh was: "Have your forgotten my frightfully gentle replies to the bosses and the bosses' assistants tyranny which echoed even out into the street, my eyes round with fear at the cash register's daily take?"</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Also, I had made some real acquaintance with the "machine of evil." I had come to know the extent to which "the doctors didn't stick to us." The brilliant and thoroughly empathic and sensitive P.A. d. R. erred in playing "Laius in the Armchair," and both of us were sorrier for it! And our "rush to judgment" proved a dearth of imagination, which in that situation as in every other, is the primary prerequisite, did so to the point of ultimately useful but certainly premature and adventurous severance. Indeed, I came to fit an association, a story, an unloosened feeling and experience to each sentence and thus found the image for it. And I certainly was close enough in analysis at that point to: "Turning to my dead... It is them I address in the dark, and they appear, in the eye of the cat, in the branch brushing the window in the night wind, [the creaking of the wood of the ancient barque of my loft] even in the humming of the icebox... My dead are not ghosts of the night - they are part of the brightest daylight, and I touch them not when I sleep but when I rest. They are with me! Yes, sometimes I feel seen by them, in friendliness." Sentences from W.A.T.V. keep rumbling around my head even now, and the text is, or has become so obsessively multi-leveled for me in the meanwhile that I can associate sentences of it for just about each and every moment in life, or rather: sentences from it pop into my mind, and for all I know I may recite it on my deathbed. Better I think than the Radetzky March anyhow!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>This access to the imagoes - after a while you catch on to the fact that analysis is little else but a conversation with the living past - in Del Gredos, written twenty years later, the heroine speaks of the imagoes fading… Access to my now no longer repressed feelings to each of these observed experiences entered the translation of each sentence, lent it "weight", anchored and directed it, helped focus my voice and dredge up the appropriate words as I went feeling over my mystic writing pad for them. I was becoming freer and more decisive and daring. I realized I was entering an area of re-invention when I translated the untranslatable German "erschütterbar" in Nova's enigmatic first major speech, as "Tremble, quake, shatter, heal." For a while I felt I was oracling, too, albeit in highly formalized, controlled linguistic setting, which grandiosity has a certain humor even if you have it in you. Yet I think such a state of oracling is quite rare and the accompanying intensity is not to be recommended for every-day living, "translating another's wounds" as Handke describes a translator's task in The Afternoon of a Writer.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>So you wouldn’t think that two people who had come to close over such fine mutual work would ever fall apart! Freud, the initiator, of the transference process in the state of regression on the couch was so puzzled by some phenomena in that situation that he gave serious consideration to the possibility of extra sensory perception, and I certainly had moments, too, which puzzled me not only about myself but about certain instantaneous perceptions by my first analyst that anticipated matters merely singing in my mind. In matters analytic online, I point you to a gateway to nearly all of it:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://soldzresearch.com/PsychoanalyticResourcesOnline.htm</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke was so pleased with the final version in Spring 1983 he clear forgot in his enthusiasm that he was the originator of a piece that I could not even have conceived of! All I had been, after all, was a medium. But what a medium I say retrospectively. And so we might not have become estranged if we had both just been abbots in our respective monasteries, occasionally visited by a disobedient delicious nun who would leave us a the right time to our verbal magicking, and – most importantly -if I hadn’t come out of the analytic experience with eyes wide open, no denial of any kind, the reason I had gone in the first place, a dim awareness that I had been born with pink glasses, as “reborn fighter” [cutting indeed as Handke’s ear had heard it in my American]… and Handke lacking a sense of humor at a particular tested moment a few years hence! W.A.T.V. is by far his richest work, even now he lives off that, and you can see the subsequent texts – brilliant and deep and more “playable” as they are – become thinner. W.A.T.V. became the source for everything that would follow. Even Del Gredos, written about 20 years later suddenly harks back, recalls, takes recourse to its rhythms and not as scavenger of his own work [see</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://handke-discussion.blogspot.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>something Handke is quite capable of if he’s found the right melody for an aria and wants to use it but with different words. As a matter of fact, it is probably better that the kind of fit as it occurred over a text takes place at great mutual remove; just as the close remove of analysis has its own perfection. So near so far. So far so near. And so you’d think, well nothing can go wrong in that relationship again, whatever problems there might have been or Oedipal jealousies would have been obviated. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The aforementioned Don Juan, another misogynist [removed out of this defensor’s life for that reason] but a brilliant fellow, had it right years later in pointing out that we’d gotten dangerously close. Perhaps that would not have mattered, but trying to get the beautiful beast published then, astonishingly, led to a most unexpected severance, surely because I had come out of analysis a better and harder and less confused fighter than I had been before. After all the publishing firm would not have survived more than one year had it not been for that, especially so because Handke turned out to have been so right about how dark my Hagen had turned out to be. W.A.T.V. has first rate descriptions of the “machine of evil’s” machinations. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> To my “I love to fight” my analyst’s response had been wry sardonicism. If he had asked his usual “why”… what would I have said but, “it feels right”, it’s part of my identity? “But where did you acquire it?” “Must you always?” “Yes, if it’s something beautiful, if I run into bastards…” And I had the bastards in sight, and I was gunning! And I was winning! Especially against the ex-partner whose darkness Handke had spotted a decade or so ago.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.schulz-keil.faithweb.com/</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>As bad luck would have it, both mine and Handke’s nemesis was editor in chief at Farrar, Straus; had it been up to this fellow [FN-FSG] the first Handke book way back in 1966 would never have seen the light of day there; fortunately, Robert Giroux interceded. However, Farrar Straus, had asked for the translation of W.A.T.V.. And so I got into a fight there, a fight I did not win except that I managed to get everything “on the record”, which seemed to matter a great deal to me at the time, whereas Handke was confused if not troubled by my undiplomatic insistence. I might of course given him all the dirty tails and not just kept him informed by sending copies of the correspondence. Or he might have interceded with someone he did not care for either, with Roger Straus; and say more than </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>“Publishers can be weird.” I did not feel backed up. Fine, then I’ll go it alone. Something to that effect. You might say I fought for W.A.T.V. the way Handke fought for his idea of Yugoslavia/ Serbia! W.A.T.V. had become my amour fou, and I think is an entirely deserving one, whereas in the case of Yugoslavia only Handke’s IDEA of it is. And then, of course, I did find a firm that wanted to do it, and I had the written promise of a contract and left New York for the woman with whom for three months I crossed the bridge of A Touch of Evil back and forth before garrison town El Paseo became depressing and we found a hunting lodge way up at eight and a half thousand feet [just like dear old Granddad occurred to me subsequently!] in the Sacramentoes, island in the desert, and I reverted to another form of existence, I felled trees, water “came out of a rock” nearby, I hunted, but the neighborhood bear fled from the Texan bear hunters, the Turkeys disappeared at the start of hunting season, and the big Mulie decided to mingle with the cattle that the ranchers drove up from four thousand feet below to our eight; and the only thing I killed was a deer that played Hamlet, just like a squired, before my car as we drove back from the one bar within miles on New Years eve, or maybe the deer was drunk!. At eight thousand feet at that time of year you don’t need a freezer. We immediately got two goats and two dogs, and then when M. couldn’t hack it up in them thar hills though we had built a studio for her, lugging abandoned railway ties for the foundation, I also reconnoitered that quadrant of Lincoln National Forest on a horse, wearing a sweatshirt from the Tularosa Trading Post 4 thousand feet down on the west side of the island, that featured an Indian on a horse with a broken lance!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>And M. and I camped all over the New Mexico, Whites Sands, the Permian Sea, the trans-Pecos, the Llano Estacada and southwest Texas all the way to the Carmen Range and Big Bend and across the Rio Grande and from every hamlet I’d drop Handke a postcard, signed “as ever”, but matters of no relevance to this tale [FN-00] then made me cut out further west in Spring of 1987 and find an even more idyllic spot, with pepper corns and Juniper sap dripping on the roof, though not at as high an elevation, only about 2,000 feet in the St. Monicas Mountains near County Line between Los Angeles and Ventura. Went back to New York to close up my loft, nearly fell back into my old pleasurable city ways, and also to check on the promised contract for W.A.T.V. But the two people at the firm changed their mind, they were people I had given work to when I had been a publisher myself; oddly enough they not only changed their mind, but wanted to reprint other things of mine. And I wrote a drop dead letter, with copy to the P.E.N. Club and to Handke. Again: if I had not been in a fighting mood… However, Handke’s reply to my letter to P.A.J. was odd and revelatory in the extreme – I had had not reply to any letters or postcards for more than a year. It began with “nice to hear from you again,” which struck me as odd in the extreme under the circumstances, and then threatened the abrogation of our friendship if I persisted in writing such letters. I imagine Handke had had great hopes for a work that he had poured his everything into. The German reception was anything but kindly. For his Austrian fellow writers he sounded like the priest on high; those stuck in “critical theory” seemed to have forgotten that the theory implied the positive, it was critical of an absence. Who was being undialectical now? Perhaps I with my problems with publishers was becoming an obstacle? “You can’t do that to a writer” was the most puzzling sentence of the letter: “What is being done to him?” I thought. That and of course the threat. I had been allergic to threats all my life: if you wanted to rouse me, get my back up, all you needed was threaten me. Especially then. But what was being done to Peter Handke? I suppose contiguity and that is a matter that pertains to this monograph. But it is a supposition: his being associated with my drop dead letter? I look at his drop dead statements during the Yugoslav controversy. His are verbally far more powerful! At any event, I then typed – to be sure to be unmistakably legible[!] – on several postcards – on my first type-writer that was part computer with its memory chip - something like the following – and then I imagined that I was Handke as he was waiting for what Amina would do when she had come to him and asked “Daddy I need to pee” and he had waited to “see what would happen now”, wrote something to the effect of: “Aren’t we lucky to have continued to be friends despite that business with the Great Fondness and, you know, if I’d not been tied up, you know I and the Rasante would have run away back in 1971, she was just right shirt size for me.” And then waited a while for an answer, but the answer was Handke’s at once turning to Ralph Mannheim to do another translation of W.A.T.V.! Infuriating me! Not what I would write now after contemplating at some length what the devastating effect the Rasante’s leaving had on my man. My letter may have woken all kinds of rabid dogs!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Later, once I had taken a close at Handke’s biography, on reflection and contemplation of the injury that the loss of the disparu of die Rasante Libgart Schwartz had caused in the early 70s, my expectation of humor on Handke’s part was definitely misplaced. But perhaps also the shock of his realizing that I had known about his dastardliness for years! That the pretense of “not having had any woman adventures” had been seen through! Thus the Oedipally possessed injure each other, whose whole extent did not really register until I spent a little time with the Touhamares during my years in Mexico, where the men have nothing better to do but steal each other’s women and the women have nothing better to do than steal each other’s men, and where stealing is fun and you must steal! Meanwhile, I freed myself of being so much under Handke’s sway, overwhelmingly possessed by the text of W.A.T.V., deeply internalized as each of its sentences are, and try to be a getreue Korreptitor of Handke’s work, critique him within his own terms as he asks of his critics, and am glad to live at something like six thousand miles remove from someone whose work I will defend but towards whom as a person I feel ambivalence.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> With my own analysis of the analysis nearing completion in the eighties and doing a review of Handke’s 1984 novel Across [Der Chinese des Schmerzens] that begins with the sentence “Close your eyes” but mine now wide open eyes espied… denial, lots of it, and at critical moments, mystifications. – I had thought at some point earlier to write maybe something about what was involved translating the early work, but now – walking like a “King of Slowness” on the dusty pathos through the Chaparral and under the influence also of the slowing syntax of Handke’s The Repetition and that of the long swells from the South Pacific that became thunderous breakers [Malibu allegedly means “loud thundering surf in the language of the no longer extant Chumash, at the end of my six year stay up there I lived within a half mile of one of their old caves] on the south-facing Malibu beach, thunder thumps audible even at my few thousand feet elevation – I started to examine at great length, and closely, and what an education and adventure it became, to take a really close look not only at Handke’s work but at him as a person, and since he is such an exhibitionist… found a lot to examine and unravel and have been enriched by the work and the connection to the better side, except when Handke distorts and denies or leaves out. And what if his 1987 The Afternoon of Writer doesn’t mention a “former” and “ex-friend” who sends apparently illegible postcards as he gets lost in the Sierras writes the fellow who became something of a mountain goat in the Sierra del Gredos. Ah yes, if we’d written the real story of that, wouldn’t that have been interesting, not that I don’t think it’s not quite a wonderfully shaped novella, dream image writing, wounded by Salzburg gossip, for good reason it turns out, feeling like nothing yet king of the hill, and where, in the novella, I first met, in some edge of town dive, Darko or is it Zarko whose name was thus familiar when I re-encountered him as a Handke compadre on his Yugoslav adventures some years later. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>When no one in this country seemed to want to do his great The Play about the Film about the War, the best thing of Handke’s to be inspired by his involvement in the disintegration of Yugoslavia – and an objective and rightly ambiguous piece of work indeed [see my take on it at</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handkedrama2.scriptmania.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I had a “no” back from him with the message that “I should accept that” – as though I had needed another loss leader or another hole in the head with another Handke adventure! Fortunately Scott Abbot finally did a translation this year, 2009. As one reads No-Man’s-Bay and Del Gredos and some of the other works it becomes noticeable how frequently the main characters make mention of their enemies! I am no longer surprised that someone who seeks peace nearly desperately then has managed to make so many of them.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>=II-G</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Yugoslav Adventures</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[a]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The last major episode to shed light, and in extremis, on my man's traumatized psychological make-up was his involvement in the disintegration of Yugoslavia; and it continues to this day. He has written a half dozen books or more on the subject, the first of which – Abschied des Träumers vom Neunten Land: eine Wirklichkeit, die vergangen ist [1991] shows us his approach and the significance of Yugoslavia for him. It was his land of peace, and if you have followed me so far and appreciate the violent impulses and aversions that dwell in Handke as well the search of someone who can be the sweetest and loveliest of men and his pathos drenched longing for peace, perhaps you will also appreciate what the destruction of his land of peace - amour fou though it is [but tell that to a lover about the ass he or she drools about!] - will mean and what a potential landmine will go off, as it did in his case.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In 1992 Handke became father of a second daughter, Léocadie [no matter how much he had longed for a son, whose future fractiously unhappy relationship with his might-have-been father is imagined with great humor in No-Man’s-Bay] with his second wife Sophie Semin, a French model who to Handke’s distress instantly wanted to become an actress on living with him and whom he eventually married shortly prior to his 1994/95 “Winter’s Journey” adventure to the Yugoslav Rivers, this being, perhaps it was meant as a joke, also their wedding trip. Handke and Semin separated during rehearsals for the production of the play The Play about the Film about the War in 1999 in Vienna during which she became enamored of one of her fellow actors. However, as noted previously, this reprieve of Handke’s being left by Libgart Schwartz in the early 70s, or by Marie Colbin in Salzburg, did not elicit a protracted fugueing into a self-isolating misery, if only because they were not living together in his forest abode any more and my man already had another main squeeze, a Serbian girl… so my Serbian grape vine tells me! Not that my Pasha was anything but happy about being left. At least Semin did not turn into another Fury a la Marie Colbin!</b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>The great prattler “Don Juan” Erich Wolfgang Skwara reported already in the early 90s that he sensed Handke’s emotional withdrawal from Sophie Semin, so their split came as no great surprise to me; also, besides having a drift on Handke’s personal problematics by then, I appreciated that he was not someone who went to a cubby hole office somewhere to write his daily 1000 words and then returned to wife and kids - the mere presence of anyone around him while he worked would prove deleterious.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>Subsequently Handke was for some years, as also noted previously, with yet another actress, the exceedingly well known and smart German Katja Flint and expressed the possibility that not living with an inamorata might solve his problem of being a writer and having a main squeeze; but apparently no, they separated after some years, but Ms. Flint expressed her continued affection and closeness to our author who continues to reside in his forest abode outside Paris and raise his second daughter together with his once second wife, who appears to have Léocadie living with her for whom Handke then wrote a kind of additional chapter to No-Man’s-Bay, Lucie in dem Wald mit den Dingsbums – “Lucie in the Woods with the Thingamajigs” as it might be called, which memorializes Handke’s mushroom hunting, mushrooms being beings of peace for him which he turns into I gather the most delicious mushroom stew!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke’s intimate relation to Yugoslavia is as of his birth as a son of woman of the Slovenian minority in the Austrian province Carinthia; he wrote Die Hornissen [The Hornets], his first novel, on the now Croatian Island of Krk, if you have read My Year in the No-Man’s Bay with the slightest care you will note the many happy sections sat in Yugoslavia. At the inception of the controversy, well along with this Handke project, I made a long detour to try to understand – as pure as understanding as I was capable of then without making any kind of judgment – and came out satisfied that I had the rough outlines right. Meanwhile, Fabijan Haffner has written a first rate study on the subject of Handke and Yugoslavia detailing Handke’s intimate relation to the region [Peter Handke: Unterwegs ins neunte Land Von Fabjan Hafner/ Zsolnay/ ISBN 3552054278, 9783552054271/ 381 Seiten; a good discussion of this book can be found at </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://begleitschreiben.twoday.net/topics/Peter+Handke/</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> that is far more intimate than anything I could do. However, take a look some time at Prof. Dr. Michel Chossudovsky’s piece if you are interested in the economic background to the disintegration of Yugoslavia: </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.trend.infopartisan.net/trd0399/t400399.html</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>and then in the National Security Directives mentioned therein and you will acquire a rather larger context within which to understand the disintegration and the violent forces it unleashed, the reasons for the tectonic shifts that turned those tribes against each other, that made the old animosities come back out of their latency! Is there anything more insidious than that kind of economic warfare? How does this differ from the Machiavellian 1978 U.S. destabilization of Afghanistan? The apparently thoughtless [of consequences] German recognition of the independence longings of Slovenia and Croatia [read Margaret Mahler on separation individuation drives, too!] was merely the last little kick to the brittle structure that had not only been hollowed out by a supposedly failed socialism but by U.S. capitalism’s malice aforethought, that made them blindly find reasons to savage each other. [They know not what they do the more they think they do!] And then all the humanity hyenas – Handke’s first rate designation of these righteously possessed beasts - have a heyday displaying and slashing at each other about who of them is the more humane as they parade in Sarajevo performing this or that play. H.M. Enzensberger, a smart fellow, once observed that at the end of these wars it was left to the old women to chip the mortar off the bricks so they could be re-used. Thus, I think that Handke’s analysis of the why’s and wherefore of these wars is right, and then some! That is paying a compliment to someone not known as a political thinker except in other, literary matters. And he sure didn’t go about it as a politician of any kind at first. But he knew his Marx way back when he wrote Dying Out and had not forgotten “usufruct” by the time he wrote the bankiéress book Del Gredos. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Knowing of Handke’s exhibitionism at the point in the early nineties that the parallel media war featuring my man broke out [and idiot’s like Salmon Rushdie who knew zilch about the Balkans had their publicity tours interrupted and nominated Handke as the dunderhead of the year] with the publication in the Süddeutsche Zeitung of Handke’s A Winter’s Journey, I anticipated that Handke would not waste the opportunity, and thus, initially, found his actions and statements most suspect as a kind of parallel skirmish as those unhappy events began to unfold. However, if political events were to be the occasion for exhibitionistic display, he had certainly wasted a lot of opportunities since his days in the late 60s Berlin! At one time he even famously berated Günter Grass for neglecting his books while campaigning for “democracy” and Willy Brandt! which I found honorable and interesting. I eventually concluded that even if Handke’s bloody exhibitionism played a role, as I suspect it did [just watch him “play” mourner in front of the huge photo of Milosevic at that funeral! and on some of the photos taken of him in the Kosovo greeting local Serbs], one child nearly going crazy was preferable to all that robotic reporting and robotic “clinical” air raids, to the uniform right left and center hatred of Serbs and making of Milosevic into the newest devil of the last century on 95 % of the media and commentators in the United States [oh how good it made all the goodified feel! From ex S.F commie Stephen Schwartz now of The Weekly Standard, Michael McDonald of the American Interest via Roger Cohen of the NY Times to Susan Sontag and all the leftist publication! Rarely have the hegemon’s kiddies been that united in their hated of one devil! How simple life can be made out to be sometimes!]. Handke at least managed to change the equation. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The so talkative Don Juan who appears with “the same woman [!]” in No-Man’s Bay, the first rate writer but ugly womanizer Erich Wolfgang Skwara [who has published four fine some first rate, novels translated into English with nary a review in the miserable organs that claim coverage], had also informed of Handke’s exhibitionism, of Handke’s parading arm in arm with Umberto Eco through the familiar vastnesses of the Frankfurt Book Fair -“I wonder what he’s up to now!” the savvy one had said - upon publication of his No-Man’s Bay. I even agree that Marie Colbin has a point when she says that the disintegration afforded Handke the opportunity to display himself and righteously address the media and the world as he loves to, that those impulses definitely played into his so involvement.</b></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b> And there were three major coming of the controversy! The first one in 1995, the second during the Kosovo war and destruction of Serbian infrastructure; the third on Handke’s visit to the Milosevic funeral which made more waves even then the first two [no actual warfare to distract from Handke!]: see the immensity of the consequences that the display in front of the photo of the big bad Wolf of Požarevac produced, you couldn’t buy this kind of publicity for 100 million dollars!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.perlentaucher.de/artikel/3135.html</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke had known the Milosevic family since the days that they looked with favor on the production of his plays in Belgrade. He attended the trial, or rather he published the book Rund um das Tribunal [A Walk Around the Tribunal], or maybe “The Handke cat walking around the soup that’s too hot in De Hague” as it might also be called. Handke trained in the law, he didn’t recognize the legitimacy of the tribunal, especially not the way it, Carla del Ponte, set out to get Milosevic at all costs, but refused to testify as a character witness, the family invited him to the funeral so he stated. About M. himself Handke has said a variety of things: That M. had little choice in what he did to defend the integrity of the Federation; that the Croat treatment of the Serbian minority in their region necessitated a response [a half million Serbian refugees which are scarcely ever mentioned in the Western press]… and several times he has stated to interviewers that he has no feelings one way or the other about the man he visited in prison together with the now deceased British Nobel prize winner Harold Pinter. </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>It is my sense that Handke blinked when he refused to be a character witness for a man who had been his benefactor in Belgrade, but whose funeral he attended and at which he orated. As witness, it would have been a bit too much attention! And once on the stand… who knows for how long! And I don’t believe that you can say what you did at the funeral and then say that you have no feelings! Handke, friend of powerful men, acquaintance of Austrian prime ministers, I know meanwhile to be a very good judge of character, also of the powerful. He became a bit hesitant - after all the involvement did great damage to his work.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Initially Handke took no sides of any ethnic kind, I know because I tested him once by sending him my take on his initial involvement and putting in a small intentional misreading of his text, which he caught, thus showing me also that he’d read the damn thing, which he even liked, not that this kept him from being insulting once again via my friend Franz Angst who had sent it to him.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Meanwhile, Handke appears to favor the Serbs as the inheritors of the idea of the federation disparu, and the latest candidate for the Serbian nationalist option. See the photos to that effect. And his repeated visits to Yugoslavia and Kosovo have become part of a media circus.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The only real cost of the great self-display at the Milosevic funeral was the loss of the production of his greatest playable play, The Art of Asking, at the Comédie Française. Handke then seizing the opportunity to decline the Heine Preis after the City of Düsseldorf refused to abide by the monetary terms of its own jury’s award afforded further publicity and a Berlin Heine Preis that afforded yet another publicity tour to Kosovo to hand the 50 K Euro to a Serbian enclave! The humanity hyenas are playing into the hands of someone who knows their game better than they do themselves. Handke is now a brand name, albeit a slightly ominous one! </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>I can live with Handke’s uncouth behavior and the vicious outbursts, his altogether tantrum ways [enumerated below] of his public behavior, again so different in many ways from that when he has his sane making pencil in hand, if only because if he had not behaved like a freaked out child I myself might have gone along with the near universal media message that it was all the bloody Serbians and Devil of the Day Milo the Bad Wolf of Požarevac’s fault: after all, how much time do each of us have to investigate the horrors as the waves of news throw them up on the beaches of our mind each day; born during the Spanish civil war that did not penetrate my early childhood idyll rudely interrupted, traumatized by British bombers in 1940, I cannot really think of many years during my life time that not some major conflict was going on somewhere in the world. It perhaps took a really hurt child like Handke to shake up things a bit. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Appreciating Handke’s propensity for violence at moments of extreme irritation as much as his pathos drenched yearning for peace, I was yet surprised that all of Yugoslavia, as a federation, would turn out to be his amour fou. Not just the Slovenian identity he had forged for himself analogous to his grandfather Sivec with the writing of The Repetition while creating his own Slovenian German dictionary in 1986 so that eventually he could translated from Slovenian. For, if you regard the history of the region now called “the Balkans” either during the past two or three thousand years, or during the 20th century, generally, and specifically</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://en.wikipedia.org/wiki/Balkans</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> http://en.wikipedia.org/wiki/Yugoslavia</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://en.wikipedia.org/wiki/Croatia</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://en.wikipedia.org/wiki/Zadar</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>it would be difficult to convince you that this is an especially peace-drenched region. However, it had become Handke’s land of peace and attachments and earliest memories and longings for reasons that are psychologically evident and sound [that’s not only what humans do, it’s what they need to do: they need to attach, idealize, at least initially: later you learn to throw out some of the crap], his grandfather the “Ote”, his uncle “Gregor,” those war time letters, his walking, his writing his first book there. That is the case, and it made him take a kind of political action that until then, aside of despising politicians and the veils they throw up [and participating in elections for dog catcher in Chaville!], yet befriending a slew of powerful ones - Handke friend of the powerful! - seeing prime ministers and the like…. and so Handke tossed a major tantrum! And if you regard the interview linked below, he did it also most righteously, a most difficult impulse to understand as one is in its sway and exercise with differentiation, especially it appears for Mr. Handke: the return of the German Büchner prize, that committee which had nothing to do with the actions of the German government [i.e. his hatred of everything German, aversion of contiguity], the way he laid into Jürgen Habermas for his so adjudicative [German philosophy at its worst, Habermas could also have argued the opposite or the middle of the case, and in the end said something like: I didn’t think it would be more than a few bombs [Professor Habermas will only give you a slap on the wrist, not do missile demonstration Shock and Awe for his classroom.] way of supporting the NATO bombing, the way the invective against the so enviously [my guess, for the sheer brilliance of his essay work, see: Enzensberger Footnote] at the evidently thoroughly hated fellow Suhrkamp star author Enzensberger must have lain at the back of his tongue, to leap out so well formed at t</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.friwe.at/jugoslawien/bewegung/%D6sterreich/handke.htm</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the very moment the idiot interviewer said “H.M. Enzensberger supports the intervention”,:“Hans Magnus Enzensberger redet wie ein Politiker und möchte die UÇK bewaffnen. Der weiß immer, wo's lang geht, ein grinsender höhnischer Zuschauer, der menschgewordene Hohn. Der islamische Sufi Djalâl-ud-Dîn Rûmî sagt: ‹Sie tragen bedruckte Seiden nicht als Ornament, sondern um ihre Schönheit zu bewahren." Enzensbergers Sachen sind das Gegenteil, Ornament zur Verhöhnung der Schönheit;“ [“H. M. Enzensberger speaks like a politician and would like to arm the UÇK. He always knows what side his bread is buttered on, a grinning derisive spectator, derision in human form as such. The islamic Sufi Djalâl-ud-Dîn Rûmî says: ~They are wearing printed silk not as an ornament but to retain their beauty.~ Enzensberger’s things are the opposite. Ornament as derision of beauty;“ the way he lashed out at a questioner in Vienna, to name a sufficiency of instances which are legion</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.bruchlinien.at/index.php?subaction=showfull&id=1165221367&archive=&start_from=&ucat=30&</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.focus.de/politik/deutschland/intellektuelle-kopfzerbrechen-ueber-den-krieg_aid_176621.html</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.wsws.org/de/1999/jul1999/hand-j22.shtml</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the way he displayed himself in Belgrade with the “bomb me” target pinned to his chest, </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE3ONLINE# </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>the way I knew he would as soon as it became evident that the bloody court would let Milosevic die of heart disease in prison, that Handke would seize the opportunity to display himself [How well he plays mourner here with the best sorrow mien!] and that he would use the opportunity of the Berlin surrogate Heine prize being bestowed on him to bestow the money on a Serbian enclave for a media event of his own: Guess which of these photos is ready to be used by the next socialist realist for a typical greeting scene or sculpture?! The one with the old woman exudes authenticity; so does the welcoming handshake; but the somewhat sour looking Handke exchanging a handshake and getting a slap on the back from the Serbian nationalist anti-Western candidate at the 2007 Yugoslav election? With that engagement, however, Handke becomes, for me, one of those powerful people he has walking around in Quodlibet…. mouthing ambiguities for the augurs to discern in the auditory hallucination provided by the media. Sheer stubbornness turns into perversity. And get you the Kosovo St. Lazar Preis! And we are in the realm of power psychology where Handke as a public person has dwelled for some time. And there I don’t need to go today. It is too ordinary for words. Marie Colbin has that right too! Take a look at the photo with Handke and Colbin and the Austrian politicians in Salzburg, right to left and Austrian edition of Gerard Depardieu, the mayor, the candidate, a political gathering, memorialized, on the Mönchsberg is my guess! Courtesy of your long range CIA analyst! </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE3ONLINE# </b></span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></span><span class="Apple-style-span" style="font-family:'courier new';"><b>></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/HANDKE2ONLINE# </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke’s books - other than those specifically around the Yugoslav and Yugoslav detritus - written during this now fifteen year + engagement – Lucie im Wald mit den Dingsbums [1994], a kind of extra chapter for No-Man’s-Bay written for his daughter Laocadie and his mushrooms; One Dark Night I left my Silent House [1996], and Crossing the Sierra del Gredos [2002], Die Morawische Nacht [2008] and a few plays among them the just completed “Sturm Immer” [“Continuous or Forever Storm”][2009] cannot be said to have suffered from this engagement - I keep thinking of the time he returned from that 21 lectures in 28 days jaunt through the U.S. in 1971 and his companions were exhausted, but he seemed energized! - and I don’t think these works suffer from his so engagement. Moreover, Handke managed to write the great The Play about the Film about the War in the early 90s on the Yugoslav [or any such war, the play is also a model in the Brechtian sense]… on his type writer: Handke writes his plays on the typewriters and they come out a lot more objective than these novel projections of his psychic state and nature descriptions, so he probably could write a multi character novel with his kind of “action”, or can be said to have done so in the screenplay novel Absence, once.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>[b]</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>The other Handke feature these events threw light on in action was his vaunted capacity for denial, the pulling of the bed covers over his eyes as the violence proceeds near by, for which denial – which all plays on the background of the legally prohibited and punishable Shoah denial in Germany - he was most unjustly but not entirely inappropriately, yet uncomprehendingly accused. Indeed, it was this kind of denial that drew my attention to my “Handke case” back around 1988 when I came across the obvious denials in the 1984 novel Across. Handke has Sophie Semin, wife # 2 ask, in Winter’s Journey, will you even deny the attacks on Dubrovnik?</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://images.google.com/images?hl=en&client=firefox-a&channel=s&rls=org.mozilla:en-US:official&hs=WFl&q=dubrovnik+bombing+photo&um=1&ie=UTF-8&ei=8ejOSYCqJpS4sgOgs9WgAw&sa=X&oi=image_result_group&resnum=1&ct=title</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.youtube.com/watch?v=ipoocgWNy74</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://video.aol.com/video-detail/serbian-attack-on-the-pearl-of-the-adriatic-dubrovnik/2345953942?icid=acvsv3</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>indicating that he is and has been made aware of this tendency, and so he doesn’t then; but writes about what troubles him in his language, refusing easy recourse to standardized concepts, in his metaphors: “Skips a stone angrily over the river” where the bodies have floated down… yet what is more normal than not think the worst of the person or the people you love? and in Sommerlicher Nachtrag [1995] [A Summer’s Sequel] Handke has a surrogate exclaim ever so authentically, hysterically, theatrically over and over again “I don’t want be a Serb [but who had asked him to be a Serb but he himself!] and so he didn’t seem to deny while dissociating his identity, and so did deny after all, but on the still powerful – motive is not the right word, nor motivation – sheer physical the most authentic of aversions] just as he doesn’t want to be a hated German! But all it shows us once again is his aversion, his nauseas! But when a Croatian T.V. team visits him at his place in Chaville in 2007 to do an interview for the weekly Globus [served the best food and not taken for a slog through the woods!] he again denies the artillery attacks on Dubrovnik:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://globus.com.hr/Pretrazivanje.aspx?txtSearchField=handke</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.focus.de/wissen/bildung/peter-handke_aid_111192.html</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.perlentaucher.de/feuilletons/2006-07-03.html</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> it is inconceivable that anyone might attack such a beautiful place! It cannot be! I mean that is touching, all too human, and so Handke initially, in ordinary life [as compared to the psychic state he is in while composing his fictions] is simply all-too-human in wanting those he favors not to come out looking badly; perfectly ordinary; – and all those who want to rub his nose in being a denier are the very ones who go along with agent orange being spread to exterminate the Vietnamese, etc.; and want Handke to chime in with their Kaspar assents: “Big Bad Wolf Milosevic.” Or like Susan Sontag, in her very worst moment, writing in the New York Times Magazine: “Now the Serbs are the victims” during the destruction of Yugoslav infrastructure, proving her compleat ignorance of what had transpired while she put herself in harm’s way in Sarajevo, talking about exhibitionism! Not the faintest it appears of the half million Serb refugees from Croatia. And then playing her evasion of snipers to her friends back in the USSR, life as a film by Godard! Or the bloody French who have made it a crime to deny the genocide perpetrated on the Armenians for God’s sake while each and every French woman man and child and vaca opposed the Germans during the occupation and went out of their way to save their Jews. Why is it that the French, in that hideous respect, upset me so much more than any other nation? It can’t be because around the year 1000 they sent the first crusaders rampaging and killing Jews on their way to Jerusalem??? Why, actually, are the Serbs the only ones who are not permitted to be nationalists while the bloody nationalism of all the other tribes is endorsed? Handke’s initial intervention can also be regarded as an act of fairness, a quality I generally don’t think he has absorbed to excess with his mother’s milk. </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Eventually, Handke said… circumstances seemed to force him to say, to formulate the question in the usual words: “Of course, the events in Yugoslavia and in Srebrenica are the worst crimes committed in Central Europe after WW II.” And who has committed the biggest crimes against humanity since the end of WW II world wide, that would have to be Uncle Sam by a long shot, no? The atomic bombing of Japan, Vietnam, the overthrow of Mossadegh, of the government of Guatemala, the Iraq war, the installation of Pinochet in Chile, Iran Contra and the Contras, the death squads in Honduras, the destabilization of Afghanistan and throwing a country of 25 million into turmoil, the creation of the Genie out of the Bottle, the mujahedeen, that can’t be put back in the bottle, etc. etc.….and more to come… the assumption of the European imperialist impulses. When will the time come that it is a crime to deny Uncle Sam’s crimes? And some insignias of his forces will strike the same terror as the acronym SS does?</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Instead of rubbing his readers’ nose in yet another edition of horrors at atrocity in the same language, you will read Handke writing of tossing a stone, a brief mention of Yugoslav Tank Communism, or the notorious “Para militaries” [who consisted of what? out of work workers, who found pay that way?], but by far the best thing he wrote on the matter – and it may be the last great play in the Brecht, Kipphart, Hochhuth, Weiss tradition [I say this not having read “Storm Forever”] – is his The Play About the Film about the War. Only now is it being translated, by Scott Abbot who also did Winter’s Journey. I tried to figure out for myself how the play worked, and you can see these attempts at:</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.handkedrama2.scriptmania.com</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Various readers try to nail Handke to one or the other character in the piece, the “Greek Reporter”, the idiot J.L. Levine at the NYRB thinks it’s the “Bear Skin Woman.” All or none for a projection distribution organ as my man is as an artist in his plays! As of this writing I have only read a few excepts of Handke’s latest in the series of books relating to the disintegration, “The Cuckoos of Velica Hoča” see once again: http://begleitschreiben.twoday.net/topics/Peter+Handke/</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>for a review also at Glanz + Elend</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>http://www.glanzundelend.de/Artikel/handkekuckucke.htm</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>where it appears Handke tries on the suit of the usually so hated and derided [vide the Del Gredos novel], role of the disinterested even-handed reporter. I have the book, but am reading Morawische right now, and need to finish this up.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>=G:=</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Terminal Thoughts</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>Handke once said about himself: “When I am good I am very good, when I am bad I am very bad.” True, one would not expect anything else from a childhood such as his and a man who has led a life of such ambition. He also once said in one of his several interviews with Rene Mueller: “Sometimes I feel that I’d like to be a real Schuft [prick, bastard]” and Mueller, for once quick on his toes, replied: “Oh I think you’ll live long enough to succeed at that.” I would say that Handke has succeeded also in that endeavor; not just in writing the most useful plays and prose this side of heaven. Angel Handke! Most valuable are the means he has created for readers to be in a healthy state of mind by reading some of his texts, and experiencing a number of his plays… and what exposure to his work may afford future shamans. Let no one say that literature has no effect! Thus the aberrations of his grandiosity and idiocy are the kind of schist that history makes part of the moraine… as he is pursued by the Erinyes to the end of time!</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b> </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>In recent years, Handke has expressed the wish for another transformative moment such as occurred, or that he cites during the writing of A Moment of True Feeling. Since with all that walking and not smoking and all that delicious food and those great Yugoslav genes he can be expected to live as long as his skirt chasing-into-old age “Ote”, and since that “moment” does not seem to be forthcoming on its own, I suggest psychoanalysis to its ultimate point, a complete regression to the point of birth, a rebirth too, perhaps with some time spent intra-uterine with the analyst generating optimistic sounding borborygma to disabuse of the acquired depressive features, such an event, which occurs over time - it isn’t like pulling a light switch, and thus would be perfect for the “king of slowness” - will release amazing energies, writing will cease to be a symptom that seeks to cure itself, and who knows what the new life will be like and what a story of the inside of the outside of the inside Handke will have to tell then! His publisher even has the right analyst for him, who is favorably disposed and wants to help, and whose specialty is injured narcissism, and I expect that Tilman Moser, who devoted himself to A Moment of True Feeling once, would not conduct the analysis in “HUNDE SPRACHE!” [Dog language, as Handke calls the lingo of the therapeutic as it has entered ordinary speech] Since all of Handke’s powerful aversions haven’t got what he calls the “German” out of his system in all these years, he might try analysis. I look forward to what such a mimosa-antannaed will bring back out of the depths intra-uterine, and so ought the rest of the world; then he would be indeed “the world, the discoverer” and not the same old same old over and over again. In some ways Handke can be said to have been on the right track when he felt such aversion to himself that he wanted to be turned inside out back in the early seventies, do that really, don’t be so scared! And what a diamond will be born again! In Del Gredos the attentive reader will note such close monitoring adhesion to the writer’s self… that Handke is even nearly there, he just needs to be a little less scared of concepts.</b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>===== </b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b><br /></b></span></div><div><span class="Apple-style-span" style="font-family:'courier new';"><b>There will be a Part III to this monograph that will try to explore Handke’s aesthetics, his changing poetics, from a psychological perspective; the self-healing state that he enters, that he is in when he writes. In about a year. Have to finish up a few other things too.</b></span></div><div><br /></div>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-17230133793240634522009-06-28T15:23:00.000-07:002009-06-28T15:39:51.942-07:00The "FUGUEING" Section from Part II of the Psycho-Analytic Monograph on Peter Handke<span class="Apple-style-span" style="font-family:'courier new', monospace;"><span class="Apple-style-span" style="font-size:small;"><div><b><span class="Apple-style-span" style="font-size: large;">-------- Original Message --------</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Subject:</span></b><span class="Apple-tab-span" style="white-space:pre"><b><span class="Apple-style-span" style="font-size: large;"> </span></b></span><b><span class="Apple-style-span" style="font-size: large;">III-c FUGUEING section of the Handke psycho-bio monograph Part II</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Date:</span></b><span class="Apple-tab-span" style="white-space:pre"><b><span class="Apple-style-span" style="font-size: large;"> </span></b></span><b><span class="Apple-style-span" style="font-size: large;">Sun, 28 Jun 2009 10:01:14 -0700</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">From:</span></b><span class="Apple-tab-span" style="white-space:pre"><b><span class="Apple-style-span" style="font-size: large;"> </span></b></span></div><div><b><span class="Apple-style-span" style="font-size: large;">To:</span></b><span class="Apple-tab-span" style="white-space:pre"><b><span class="Apple-style-span" style="font-size: large;"> </span></b></span></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Part II is done but for the notes, here is the section on "fugueing" and the three poems from Nonsense and Happiness I noodled over for some weeks. Also as an attachment. Comments appreciated. xx m.r.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">=II-C</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Fugueing</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">And then, not that long after Handke’s mother commits suicide, his wife Libgart Schwartz disparu [“the worst thing that ever happened” he told a mutual acquaintance, a woman. I would say: not by a long shot of the decade long childhood trauma, but perhaps since]. The language regulation for this event becomes that Libgart has decided to resume her acting career, which the slightly older Libgart cannot be said to have ever dropped. She had just recently acted in the film that Wim Wender’s made of Handke’s Goalie. Libgart Schwartz and Peter Handke are legally divorced many years later, just prior to Handke consummating his second marriage with a wedding trip [some wedding trip!] with the first of his Yugoslav war adventures which will result in the book A Winter’s Journey to the Rivers: Or Justice for Serbia during which his second legal wife, Sophie Semin asks that famous question, indicating Handke’s awareness of his proclivity for denial, “and so you doubt that, too” [referring to the shelling of Dubrovnik – see anon] and see:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">http://www.artscritic.blogspot.com</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the Milosevic controversy summarized]</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Handke’s second wife Sophie Semin also leaves Handke, around the time of the premiere of The Play about the Film about the War [1999] in Vienna where this model turned actress had a part, for a fellow actor, but without eliciting the same kind of fugueing disastrous consequences for my pasha’s pride as the first of at least one other disappearance, that of Marie Colbin, did. Handke said in an interview that he was not at all happy about Semin’s leaving. However, my Serbian grape vine has it that he already had a Serbian for a main squeeze at that time and that Ms. Semin and daughter Laocadie had already moved out of the unhappy-making Forêt de Chaville abode. - “Quelle horreur!”]</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Thus, in the early 70s, Handke not only looses both mother and wife in short order but becomes house mother father to a most constraining but ultimately salvaging infant child [more on that anon, too]; his life disintegrates at a moment when he is at the peak of early success - he must have had two or three bestsellers at that time: Short Letter Long Farewell, A Sorrow Beyond Dreams and Innerworld of the Outerworld, and his plays are all the rage! And he had accomplished all this – a life’s work for many a genius – in little more than five years! And our jaunty haughty enraged fellow is laid low. And it takes him about another five years to hit a new and quite different stride. At least money is not a problem nor is time for himself, although in fact all that time by himself may be t h e problem of problems in the sense that he can dwell and noodle and doodle at length in his state of misery, which he might not at a job, on these blows which then elicit a prolonged and severe nearly five year crisis, personally, and in his work, which now becomes more immediately personal, or at any event: very differently and more directly auto-biographically tinged than were his prior self-state revealing works</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Handke writes himself out of this crisis, sort of - let us never forget that the Handke writing machine needs to write most of the time to stay calm and well and so heals himself - which lasts from Fall 1971 – from Sorrow Beyond Dreams to The Left-Handed Woman - about 1976 “with a little help” [a therapeutician in Paris, a panic attack and brief hospital stay, some pills, Valium] – “working through” an analyst would call these series of attempts, a writer’s, a very particular writer’s way of working through – especially the three long poems in Nonsense and Happiness and the suicidal novel A Moment of True Feeling and the collection of spontaneous diary entries that is Weight of the World [W.O.W.] as a way to regain control, and get to the fulfillment of long-laid plans, and some, but limited, self-understanding: I think if you read or re-read W.O.W. it might occur to you that the writer of this cumulation of mostly depressive entries [which however surprisingly ends for me and some other readers in lifting us out of the depressive state that this nearly preternaturally depressive’s text has put you in] might conclude that he needed to change his life, as Handke then gradually did. [“Working through”, the labora verimus of the procedure, involves, using Freud’s metaphor, the gradual examination of the numerous bone fragments – and their dimensionality is nearly legion - that a fracture leaves in its wake. My proposition is that through writing Handke more or less accomplished what is called “working through,” halfway, imperfectly, as we can see how much the same person, though a far better writer Handke is, by the time of Across [Chinese des Schmerzens] in 1984, at which point a painterly element has become part of his style. He regained his self-control, as a writer he can not be said to have lost it, though I have no idea how many drafts it took so that he felt the three poems of N+H and A.M.T.F. were what he wanted. The plan for A Slow Homecoming seems to have been hatched during the period of recovery, though the idea of Alaska I think is much earlier even…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">One question to which I do not have the answer, only a suspicion, is whether Libgart Schwartz left with or for another man, which would have been more injurious to my pasha’s pride. My guess is yes, and is so for two reasons: it was evident in New York in 1971 that any half-way attractive man’s slightest beckoning would have sufficed for the neglected and insulted “woman” to split from the obnoxious and neglectful hero of Short Letter Long Farewell, who though he evidently sensed her emotional longing [expressed in the novel as a physical pursuit] was unable to or chose not to respond; my second guess being that the way “The Left-Handed Woman” in the novella withdraws from her husband into tending her self and translating would have been a far less painful and shocking and more acceptable and comprehensible way of going about the leave-taking than what actually occurred, an admirable way of going about achieving independence from my man’s writerly perspective and self-interest, and thus a bit of wish fulfillment entered the imaginative conception of L.H.W., one of Handke’s chief strengths, the “as if,” those artistically useful states – products of the imagination are as capable of being analyzed as dreams, and like dream analysis come to an ultimately inconclusive end at the navel whence they have issued - may play into that so wonderfully and concretely imagined reversal which otherwise is bereft of profoundly autobiographical elements – but shows the extent of Handke’s ability as a writer to imagine what it is like to be a single woman, and that Handke used his Meudon view of gently rolling Paris hills and the general setting – also in the film - to become less constrained, more open-hearted, - tightness around the chest is another of Handke’s psycho-somatic symptoms - especially to become the kind of mytho-poeic writer that we see him becoming already in Short Letter Long Farewell: thus, the works of the 1971-76 period represent a break from the prior endeavors that resume with Left-Handed Woman and A Slow Homecoming. Handke’s childhood past, its consequences caught up with him then; not just his anaclytically absorbed depression, and the decade long anxiety inducing exposure to violent primal scenes,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">his hypersensitivity makes him especially injurable to this sudden double nay triple whammy. The simple fact that he is the cause, at least of his wife’s leaving, even if that thought occurred to him, would provide little relief. It isn’t that he’s been victimized by a woman who really hates men; he is just one of those men who might lead some women to hate men, big diff!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The three sequential poems, Life without Poetry, Blue Poem + Nonsense and Happiness, the [title of the American edition</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">http://www.amazon.com/gp/offer-listing/0916354202/ref=sr_1_olp_3?ie=UTF8&s=books&qid=1243829842&sr=1-3</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">composed over a three year period, I am going to regard here from the perspective of the psychological phenomenon called fugueing.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">This condition, fugueing, a term also appropriate to these so musical musings, usually results from severe mental stress and may persist for several months [years in Handke’s case] and if one reads the three poems in succession – which were written in approximately sixty day periods each in the years 1972, 1973 and 1974 – three times the same tack in three years - one can tell what specific diurnal rhythm the fugueing had each day for Handke, these “nonsense attacks” over and over again, relieved by sudden disappearance, and reappearances, quite enough to drive anyone over the edge who is at their mercy, who is BEING LIVED BY THEM… and which appear to become progressively more severe. Moreover, what makes fugueing especially unpleasant is the inability to have any control over these states of mind, control being something that had become Handke’s forte, as you can see in Innerworld, and the early fear-overcoming works. [See the very long footnote at:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">http://www.handke-trivia.blogspot.com</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">on “Turk” [Singular and Plural] one of the poems from Innerworld where I try to show what the author does for himself [and an empathic reader] in overcoming an incursion of anxiety, exemplary for many works of that period, from Der Hausierer, to Radio Play One, My Foot My Tutor, etc, etc.] These are very concrete manifestations of how Handke the artist becomes surrogate.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Not only does Handke fugue in and out of depressive states that verge on the suicidal into idyllic moments in these three long poems, but his hyper-sensitivity, now especially wounded, becomes hyper-irritated, irritations apparently entirely mood dependent, surfacing from what we would call the system unconscious. Yes, reading these three poems in sequence as I did again just now you would call them first of all moody, but also musical, filled as they are with murderous and suicidal moments, disgust, extreme nausea, hyper irritations, feelings of utter worthlessness and nonsensicality. Nearly all the same matters that he cites in his Essay on Tiredness as enraging and then tiring him as an adolescent also appear in this instance. The first of these poems, Life without Poetry, initially manifests to me the same mood or lack thereof, the same deadened state of mind in which Sorrow Beyond Dreams was composed in late 1971, it issues out of that experience. Life was also written at about the time he did the acceptance speech for the Büchner Preis – the wish for a phenomenologically registering writing, along the line that he practices instead of the then prevalent political attacks via actionist concepts. The use of the word “concept” is a bit puzzling, since no end of words can be said to be mental concepts of what they signify. Handke means, first, the occupation by slogans, of a political kind, during this fervently leftist actionist period; then cliché formulas, the slippery stones of ordinary human communication:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“In the newspapers everything stood black on white and every phenomenon looked right from the start</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">like a concept</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Only the cultural journals</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">still demanded conceptual exertions</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">were merely the dance of veils</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">before other dancing veils</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The novels ought to be “violent” and poems “actions”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Mercenaries had strayed into the language and occupied every word</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">blackmailed each other</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">by using</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">concepts as passwords</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and I became more and more speechless.”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Handke’s state of mind certainly is in no way usefully described in political concepts; medical and psychoanalytic concept are another matter: but they too, should wait. And so anyone who has followed me so far and who is interested on my take ought to read these three long poems in their entirety at least once, because here I provide only long chunks, divided by (…):and color coded, but only initially, roughly, to indicate the ups and downs of mood: green for up; purple for down; grey for intrusions of feelings of deadness, alexithemia in psychoanalytic terminology, white for nonsense or absurdity [which might be regarded as the manifestations of – unsuccessful - unconscious attempts at defense, attacks on the self. Incursions of aggression are marked in red. That is not to say, that the poems are devoid of instances of mixed feeling states! I am merely – merely! – providing some indices. I italicize indications of [often exteme] sensitivity to sensation. Let us never forget that these three poems are attempts to provide verbal equivalents of a writer’s subjective state of mind.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The first two poems, Life and Blue Poem, it will be noted, are composed in the same comparatively plain declarative poetic style, the third, Nonsense and Happiness, starts off and ends in a nearly rhetorical “high mode” reminiscent of the high style French poem of which it contains a quote –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“O desespoir! O villessee! O rage!...”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- Your eyes grow wide,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">whatever you look at</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">LAUGHS</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">after such long nonsense, suddenly there was so much of the world’s abundance.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">a citation that made the author snap out of his state when he came on it! An instance of cycling as it were. The abundance of poetry on a page in a typewriter! He recalls poetic world feeling making him want to write as an adolescent, now he needs to write to have a feeling for the world.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(As a boy when a feeling of the world overcame me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I only felt the desire tot WRITE something</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">now a poetic desire for the world usually</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">only occurs when I write something)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Literature, in general, I would hold, is a defensive operation, for Handke clearly a salvation, and “high mode” provides an upper register or valve in that endeavor!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Handke presented the three poems as an ongoing development of his Innerworld of the Outerworld of the Innerworld project, which is the primary vantage – equivalent to states of mind and being - into much of his work, especially the novelistic. I think Handke is absolutely correct in that presentation, but what a different innerworld than in the poems in the book of that title it is! The English educated world of course recalls T.S. Elliot’s notion of the “objective correlative”, of which the adjective may have become entirely questionable and irrelevant, but not the part that there exist related correspondences…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">During these years 1971-73 Handke also completed the play They Are Dying Out [discussed on page 49] which I translated in 1974 and where he then made one change for the final version, altering a passage that manifested feelings to the more standard tough derisive cold tone that rules that play as well as the two prior novels, Goalie and Short Letter; and excusing himself to me, unnecessarily [the things writers then excuse themselves for!], that he had not been well and had lost his concentration. The therapeutician that Handke mentions seeing in Weight of the World points out to him that he seems to lack access to his feelings and Handke notes that he agreed, but if we read these three poems we note the incursions of feelings and their frequent soon disappearance, sympathy, if only for himself, and then none. He, something in him, was equivocating, but couldn’t really help the feeling coming on, overwhelming him, so it appears, to near tearfulness at moments. Life, written entirely in a well-to-do section of Kronberg, also shows how places enter Handke’s work, the degree to which someone so sensitive is also to his surroundings.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The writer knows that something is seriously off:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I’m really in a bad way</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I know one shouldn’t stop like that</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but there’s no alternative”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">with precisely those words</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- Speedy Gonzales of concepts –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- I wanted to stop</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">even before I started to write</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">But he is trapped in his fugueing!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“Blue Poem,” the second of the triptych is the most aggressive and down of the lot. There we see Handke visiting Paris [as he did to find an apartment] and then going off to visit a friend somewhere in Germany [perhaps Nicolas Born] “Life without Poetry” appears to be located entirely in the well to do bungalow suburb Kronenberg, and is the gentlest, comparatively. By “Blue Poem” Handke is in Paris, Paris street scenes, Metro scenes [the period those great physical fights with Jeanne Moreau – not exactly the woman you would chose if you needed a bit of succoring! Unless he had started having an affair even prior to his being left, which is quite conceivable in the instance of our then lay-a-broad. There is a lot of sadism and strength in Handke, and he takes pride in introducing sadistic payoffs into his texts, I can’t say I encounter even a whiff of masochism, the occasional pangs of conscience and self-berating are another matter.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">From Life without Poetry</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">[October/November 1972, Kronberg]</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“This fall time passed nearly without me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and my life stood as still as then</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when I had felt so low</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I wanted to learn to type</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and waited evenings in the windowless ante-room</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">for the course to begin</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The neon-tubes roared</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and at the end of the hour</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the plastic covers were pulled back over the type-writers.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I came and went and</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">would have not been able to say anything about myself.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I took myself so seriously that I noticed it,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I was not in despair merely discontent.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I had no feeling for myself and no feeling for anything else. (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">A diary I wanted to keep</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">consisted of a singe sentence</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“I’d like to throw myself into an umbrella”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and even that I hid in shorthand</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The sun has been shining for four weeks</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and I have been sitting on the terrace</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and to everything that crossed my mind</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and to everything I saw</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I only said “yes yes” (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">”The longer I think the more Siberian the wind that blows through my head”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I read in James Hadley Chase (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I had the need to love someone</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but when I imagined it in detail</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I became discouraged</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In The Man Without Qualities I reached the sentence “Ulrich examined the man”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(“man”, too, Musil meant disparagingly)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when nausea stopped me from reading on</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">That perhaps was a sign that things were looking up for me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Occasionally I thought of my child</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and went to him</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">only to show him that I was still there</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Because I had such a guilty conscience</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I spoke very distinctly to him (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">At that time in summer</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when the grass was still dense and long colorful toys lay strewn about in it</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and someone said</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“That lies there like a child’s dream”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(Before I wrote that</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I had to laugh very intimately</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">But it fit the facts –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and without conceptual exertion)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">My sister came from Austria</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and at once began to clean</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and to put the house in order</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Grumpily I watched</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">how she filled my tea cup to the brim</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Then I remembered that all poor people</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">do that when they have guests</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and felt so sad that I became strange to myself (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I wasn’t completely inactive</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">started a kindergarten with others</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">applied for membership in a club</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but those were merely ornaments of my dozing</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">like a child smearing his shit over the floor</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I talked as if I constantly wanted to prove that I was harmless to my listeners</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">My neck became stiff</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and when I had had enough (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and all the mindless gibberish</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">so distracted me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I couldn’t read a book afterward (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In this monstrously glowing autumnal world</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">writing too seemed nonsensical to me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Everything pressed itself so much upon me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">that I lost all imagination (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In the papers I read that a wealthy aristocratic banker’s wife had said “The rich became even richer under this government. You won’t believe me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">BUT MY HUSBAND WAS FURIOUS ABOUT THAT.”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">That perked me up absurdly</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Once a woman sat before me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">so beautifully</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and I thought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“I have to get very close to her</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">so that her beauty can unfold itself.”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but she shriveled</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when I approached her (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">flies died everywhere obtrusively</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I picked them up and threw them in the wastebasked</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">When I turned on the faucet</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I always caught the chlorine donation (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">… and when I went to the mailbox</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I was so blinded by the asphalt</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I had to put my hand over my eyes</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">so as to be able to greet the dark figures approaching me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Finally, then, at dusk</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">at the gabled house diagonally opposite</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the EDEKA sign glowed</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">consolingly yellow</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and I went shopping</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The shop was so bright and quiet</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the manager was counting the receipts</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the freezers hummed endearingly</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the fact that the chives I bought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">were held together by a rubber band</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">practically moved me to tears (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Then at night</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I slept with the garden shears beside me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the child fidgeted with trembling hands</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">screaming in his bed</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">When I closed my eyes I could open them only one by one</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Yes, I had once known how I ought to live</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">But now everything was forgotten</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I would not even perceive a fart</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as something physical</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I’m really in a bad way’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I know one shouldn’t stop like that</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but there’s no alternative”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">with precisely those words</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- Speedy Gonzales of concepts –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- I wanted to stop</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">even before I started to write</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Then with the insolence</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of self-expression</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">what was thought-out beforehand became even ghostlier</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">word by word</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and really with one jolt</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I again knew what I wanted</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and again felt eager for the world</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(As a boy when a feeling of the world overcame me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I only felt the desire tot WRITE something</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">now a poetic desire for the world usually</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">only occurs when I write something)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“I am feeling again” I thought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">But I made a slip of mind</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and thought “I am reeling again.”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In the last few days</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">nature became musical</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">It s beauty</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">became human</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and its magnificence so intimate</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I sloshed with pleasure through the dead leaves</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">walked behind the perfumed poodle</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The bushes moved</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as when soldiers are on maneuvers</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">are camouflaged behind them</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The deep brown fir trees stood animally physical</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">before the window</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and at one place in the ominous landscape</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the birch tree leaves glinted as bright</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as a cry of pain</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“Oh” I thought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Farther away smoke drifted past behind houses</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the TV antennas in front became monuments</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">With every day you saw more branches among the foliage</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the few leaves of grass grown back since the last mowing</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">glowed so intimately</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">that I became afraid of the end of the world</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">even the façade of the houses</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">smiled in my human reflection</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“It hurts so much!” I heard a woman say of the jet trails in the sky (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I really wrote ALONG</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">said long-suppressed things</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and then thought literally</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“So, now life can go on”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Frightened by the change of traffic lights</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the ‘guest’ worker women</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">started to scoot across the Zebra stripes</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The shop girls their behind stuck out</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">in thin blouses</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">ran arms clasped across the street</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Behind the frosted glass of a telephone booth</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">a mother slapped her child’s face</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">How proud I was of writing!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">-fini-</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Blue Poem</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">[June 1973/ Kronenberg/ Paris]</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The mood is the same nearly a year later, however it is also graver, more serious, the author leaves Kronenberg, goes to Paris, we are having a few bouts of sex it appears, not much relief, but after initially feeling a bit better, Paris, too, gets to him, or rather: he will take his kit bag of troubles wherever he goes, I think he went to see his German poet friend Nicolas Born at this point.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Deep at night</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">it became bright again</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Crushed from the outside</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I began to curdle</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">in full consciousness</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Unfeeling my cock twitched</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">larger</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">from breath to breath</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“Don’t wake up now!” I thought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and held my breath</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">But it was too late</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Nonsense had struck again</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Never before had I felt so in the minority</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Outside the window</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">nothing but omnipotence</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">At first a few bird sang</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">then so many</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the singing</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">became a racket</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the air an echo chamber</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">without pause or end</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Such a down</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">suddenly no memory</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">no thought of the future.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I lay stretched out long in my fear</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">did not dare</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">open my eyes</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">relived the winter night</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when I did not turn once</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">from one side</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">to the other</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">gnarled by the cold then</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">now stretched out</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">illiterate from the horror outside me (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)Fear billowed up from the cellar stairs’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the COMMON-SENSE-PERSON inside me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">listened:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the tune was repeated</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">was repeated –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“No bird whistles that monotonously</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the phantom wants to ridicule me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">it’s grinning</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">with pitch black lips”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“I” thought (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)”But which bird?” the common-sense-person thought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Then the child woke up in the next room</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and shouted</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">that he couldn’t sleep</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“Finally”!” I said</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">went to him</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and calmed him down</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">full of egotism</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">A garage door slammed</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the first early riser had to go to work</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The evening of the next day I left</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The unleveled rolling plazas</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">in the large graceful city</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">this repetition of the open country</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">with the horizons of hills</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">amid the houses</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the land</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">prolonged into the city</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">onto these plazas</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">where you were over-whelmed as nowhere else</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">by horizon longing…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">When I climbed out of the subway</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">even the dog shitting on the sidewalk</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">struck me as magicked</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I shuddered with disbelief</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">suddenly I was THE OBJECTIVELY LIVING THING</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">My cock lay strangely forgotten</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">between my legs</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Joy rose from the deepest depths</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and replaced me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“I can be happy” I thought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“Why don’t you envy me!”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">For days I was beside myself</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and yet as I wanted to be.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I ate little</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">talked just to myself –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">needless so happy</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">unapproachable so full of curiosity</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">selfless</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and self-confident(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I as inspired machine</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">everything happened by chance:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">that a bus stopped</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and that I got on</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">that I rode the ticket’s worth</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">that I walked through the streets(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">no longer HESITATED</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">reacted IMMEDIATELY</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">experienced nothing SPECIAL</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- no “Once I saw” –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">merely experienced</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The cats sniffed around in the mausoleums</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of the large cemeteries</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Very small couples sat in the cafes</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and ate Salade Niçoise together…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I was in my element</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">clucking</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">But in my dreams</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I hadn’t yet lost all interest</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Straggling slime track</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of the snail person.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I was not ashamed</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">was only angry.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I made myself wishless</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">by drinking too much</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The twitching eyelids became irksome</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The passersby were walk-ons</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">who behaved like stars</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“Levi-Jeans-People! I thought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“Ad-space bodies!”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">-“Which says everything about you” I thought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">without the earlier sympathy.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I became superficial with crossness(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In any case:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">a DIFFERENT NONSENSE</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">without deathly fear</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">My heart throbbed for no one</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the city was foreign to me again</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">from all its familiar landmarks</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In a friend’s apartment</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I sat absentmindedly</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">my ears buzzing</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and heard my own soulless voice</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Being happy all I could remember</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">was happiness</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">being unhappy merely unhappiness</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Indifferently I recounted</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">how okay everything had been with me.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Then we talked about fucking</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The sexual expressions</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">provided us with the unabashedness</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">for everything else</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Anyone joining us we greeted</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">with obscenities</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and let loose</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">they lost their strangeness(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Everything without being horny</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In the upper deck of the bus</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the total strangers grinned</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as they listened to us</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and felt at home with us</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">What exhibitionism</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as soon as one of us</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">suddenly mentioned something!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">But there was always someone’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">who found a hint of sex</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">in the allegedly other…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Yet no one talked about him or herself</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">we only fantasized</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">never the embarrassment of true stories</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">How the surrounding flourished then</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the pleasure of the sour wine in</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the heartiness of the sour wine</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">in the cylindrical glasses</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Don’t stop!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The indescribable particular’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of the grim new age</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the order of their lost connection</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">in the dirty stories</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Hello meaning is back!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Then it got serious</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the seriousness hit so quickly</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">that it didn’t want to be me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">who was meant</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Then I became curious</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">then ruthless</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I would take a woman to the next best toilet</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">No more flirting</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">no more obscenities</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">no more double entendres</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">instead of “fucking” I now said:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“sleep with you”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- if I said anything at all.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I pared my fingernails</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">so as not to hurt you too much</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In my horniness’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I could suddenly call nothing</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">by its name</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Before I had found a metaphor for sex</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">in the most unsuspecting things</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">now</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">during the experience</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">we experienced the sexual acts</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as metaphors for something else(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the leaves by the window</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the child singing himself awake</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">a framework house at dawn</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the light blue on the wayside shrine</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">from the time</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when you still believed in eternity</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“Yes, swallow that!”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“Beauty is a kind of information” I thought’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">warm from you</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and from the recollection</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“You force me</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">to be</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as I want to be” I thought</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">To exist</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">began</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">to mean something to me –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Don’t stop!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">I faltered just now’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when I noticed’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">how suddenly the poem ended</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">-fini-</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Nonsense + Happiness</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">[January/February 1974 Paris]</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">On a cold indescribable day</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when it does not want to become dark and not bright</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the eyes neither want to open nor shut</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and familiar sights don’t remind you</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of your old familiarity with the world,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">nor as new sights magick a feeling for the world</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- the Two & One poetic world feeling –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when there exists no When and But,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">no Earlier ad no Then,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">dawn sweaty</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and evening still unimaginable</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and on the motionless trees only quite rarely a single twig snaps</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as if it had become slightly lighter,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">on an the indescribable day like that,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">on the street,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">between two steps,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the sense is suddenly lost:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the black man walking toward you</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">in his leather coat –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">you want to slug his face,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and throttle the woman</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">reading off her list before you in the shop.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">And more and more often</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the thought frightens you</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">how you nearly did it</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- a jolt was still lacking, the mysterious</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">JOLT</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">with which love set in at one time</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">or the wild resolve to lead life your way,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the certainty of a formless kind of immortality…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(Then you read in the papers of some who succumbed to this jolt and you wonder why there are still so few.)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Wherever you look now – everything greenish-discolored at such moments</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as on a too briefly discolored photo,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the objects half complete,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and no hope of completing them,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">every sight a rotted fragment</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">without the idea of a plan,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">which became lost,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">still raw-girdered and already a ruin,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">which you avoid,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">fearing you will collapse with it(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">excrescence of an excrescence</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- if only the eyes would close,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- of you could only squint at such moments,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">soothe the nausea in the eyeballs,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- and it would be just MOMENTS (after which you could sigh) –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but not this TIMELESS, EMPTIED-OUT, SPEECHLESS, FUTURE-REPRESSING, INANIMATE, SENSELESS HUMBUG</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">IRREMOVABLE FROM THE ZENITH, SCRATCHING YOUR</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">SOUL FROM YOUR BODY.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- Someone has stopped on the street</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and cannot go on:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">not only he has stopped,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">everything else has too,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and so it seems that he walks on,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and that the rest walks on too.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">But he is only pretending to walk; and the way he regards the horizon at the end of the street is also feigned;</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the French fries which he smells somewhere while he pretends</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">to walk</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- it might be altogether somewhere else –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">he only notices</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as a last kindness toward himself;</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">actually he does not smell anything any more,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the French fries are homeless remnants</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">from that already unimaginable time</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when every object still hugged its meaning:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">recollection of a picture in a church where the Just stand beneath the Blessed Virgin’s coat.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Yes, everything has turned into abrasive outer world in this state</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and in the open-skull an unappetizing something, once called brain</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">puffs itself up in the draft.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Instead of consciousness</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">nettle-like vegetation</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">skin sensations and allergy:’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">an incalculable time of rashes,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of goose bumps,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of eczemas,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of soreness.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">An unpleasant itch</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when the lips accidentally touched each other</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- you have become ticklish to yourself. (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The sky above the crane could be a picture,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">which rekindles the necessary patience,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but the well-worn sky heals nothing either,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">nor the word that soothes so often,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">which you say to yourself:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the clouds grow repulsively</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">lie in unholy havoc,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">wind-wrecked,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the earth too, leveled to the horizon.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Everything wind-wrecked.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Everything mixed up.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">And everything expressionless.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">AND EVERYTHING COMPLETELY EXPRESSIONLESS. (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and feel in the wrong toward others</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and regard your states just one of those states:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as if you behaved “like a schoolboy</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">not to be taken seriously.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">So you don’t take yourself seriously in company’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but the nonsense is too real,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and therefore unbearable.(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but even the prettiest sight now diminishes life.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">A bombing attack of nonsense on the world:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">right behind the house wall the earth breaks off</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">into whirlpools of</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the indefinable</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(some call it ocean trench, others space, others hell)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and on the last atoll a children’s carousel turns</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">tinkling, god forlorn.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Stop! Gaze at this picture:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Did not the lids lower over the eyes at this sight?</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- It is no picture: and if so, it went under from your impatience</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">with the last bit of earth.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The gloom where the earth was</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">distinguishes itself from the gloom</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of the indefinable all around’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">only by its fresher black,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and now even the whirlpools are streaming in…(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">in the shattering environment,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">which had been on the verge of soothing itself,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">your dyed in the wool HUMBUG breaks forth aain,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">world-wide and skin-tight…(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">AND NO MORE OPPORTUNITY</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">STALE AIR</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">WHICH YOU VAINLY TRY TO BREATHE</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">EVERYTHING AS IT IS</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">EACH ONE FORCED BACK INTO HIS NICHE. (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">or another time</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">a typewriter shop,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">you stare down at the machine’</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">with paper to try it out,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and there</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">among the people in the shop,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">read:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">“O desespoir! O villessee! O rage!...”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- Your eyes grow wide,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">whatever you look at</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">LAUGHS</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">after such long nonsense, suddenly there was so much of the world’s abundance. (…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">a feeling also returns</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">to your own ugly, deaf face,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and the indescribable day</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">becomes describable,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">it wanes</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and when you look at the woman again</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">you notice she isn’t smiling at all,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">but only has an expression:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">even the expression on her face</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">seemed like a smile to you.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">gradually you begin to picture these different women</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">even as something mythical</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- old hiccup of poets drunk on being –:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when a woman with water in her leg climbs in,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">more awkwardly than the others,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and kindly destroys the facile PICTURE…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">And what do you bring home in the evening?-</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Such sights for example,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the sight collector answers proudly.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">And how do you order them?-</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Because the fear of the nonsense is over</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">they no longer need an order.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">And your own impression? –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Because the nonsense is over the sight has simultaneously become the impression.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">And the actual words?-</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">When I see something, I only say: O God!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">or: No!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">or: Ah!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">or simply call out: The evening sky!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">or whimper softly..</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">And yet –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Beware of the musicality of the world!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Beware of the happy ending!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">For even when the indescribable day came</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">you had been warned of previous indescribable days,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as in a fairy tale,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">before you walked through the forest,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">of the good fairy</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">or of the talking animal,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">- and must,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">as in the fairy tale,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">have forgotten the warning after all.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">At least,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">instead of the all too anecdotal happiness,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">you cling to the moment</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">when the nonsense let up and the new familiarity was felt as pain.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The dreams are in the offing.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">They are there:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">A large red cherry falls slowly past you down the elevator shaft.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">(…)</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">the time when you can dream</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">is a sensible time.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Already you nod to yourself in the street and shake your head; munch like a child an apple before falling asleep;</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">walk straight through puddles</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and again say “merry go round”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">instead of “carousel”…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">On a cold bright morning</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">still imbued by a long</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">bliss-kindling dream</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">where you were</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">what you can be</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">-the dream itself was the fulfillment –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and at the sight of the wide sky</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">behind the edge of the city</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">you look forward to growing old for the first time,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and in front of the child</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">who looks at you</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">after he has knocked over the glass,</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">you think</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">if the child wouldn’t have to look at you like that any more –</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">that might be the real way.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">fini</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In the sense that the three poems manifest by and large similar states of mind, they can also be regarded as a single text; they are not a theme and artful variation, although the reader will have noted an increase in the writer’s upsetness from one poem to the next, thing get worse not better for him, an increase in the incursions of irritation and nonsense attacks, of “meaninglessness”, and the subsiding. At least he could write!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Such similarities, such repetitions as we encounter them in this sequence of three poems are unique for Handke is what I am trying to say. The various preceding Innerworld texts are all quite different from each other, each plays a different game. They all employ Handke’s patented serial procedure [to which he takes a different kind of recourse throughout his work] and if not written in one fell swoop to still a moment of anxiety or still it in the recollection, are written in short order, they each have a theatrical and dramatic quality, too. Some are mini-plays and so bear a relationship to the early Sprechstücke. They have a kind of objective quality to them as well.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The three long poems in “Nonsense and Happiness” not only lack the prior playfulness, each of them was composed over the course of a month or so at least. They are extremely artful even graceful but have longer rhythms than anything Handke has written before, that is formally they are very different creatires indeed that Handke devises to communicate, exhibit his states of mind.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">These features distinguish these three poems from Handke’s previous formalist endeavors where he does not repeat himself, but explores the formal possibilities, say, as he does in the early Sprechstücke that are then summarized in one of his greatest pieces of sheer writing, The Hour We Knew Nothing of each Other [a work begun in the 70s but not completed until the early 90s, see:</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">http:///www.handkedrama2.scriptmania.com</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">and</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">http:///www.handkedramalecture.scriptmania.com]</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Informal, highly personal as these three poems appear yet they are not formless, and Gerhart v. Graevenitz’s approach to the “Assayings” [FN] too made me take a closer look at the apparently loose yet not arbitrary form of these three poetic texts. The word sinuous comes to mind. One breaks off suddenly, the other two have hints of a futile kind of optimism: in that disjointing sense fugueing resembles déjàs of all unpleasant kinds: the return of memories of repressed unpleasant occurrences – there are quite a few moments of fright from Handke’s childhood and then adolescence past, introduced as similes – déjà vues that literally take over your being, but usually just for a long moment, even in dreams – that, importantly, as the great Jakob Arlow observed, you knew you had survived a particular déjà, and thus they or it gave you just a brief fright: i.e. they are compromise formations – between what we call the ego and uncontrollable intrusions from the unconscious inhabitants of the self, and are of a defensive nature, which makes what is being defended against no less dangerous: if they are not defended against, if the defenses break down or perhaps it ought to be formulated as “taking over” of your self so that you might go wander off for weeks and have no recollection of how you happened to, when you come to; you could freeze into a pillar of salt.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Handke evidently survived, but unlike a déjà [of whatever kind], a comparatively brief experience, fugueing can obviously drive you over the edge… And in Paris it apparently did, he writes of panic attacks to his poet friend Nicola Born</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">http://www.schreibheft.de/docs/pdfs/Schreibheft-65-Born.pdf</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">http://www.amazon.de/Briefe-1959-1979-Nicolas-Born/dp/3835301063</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">http://www.nicolasborn.de/index.php?option=com_content&task=view&id=33&Itemid=0</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In Weight of the World we read of a hospitalization for a heart problem. The doctors say it isn’t serious, and Handke is glad of that and starts to take Valium [as he told me in Salzburg], the anxiety is put under control, its sources however are not eliminated. The language regulation for this event becomes “congenital heart valve problems” - apparently not detected upon his physical to qualify for the Austrian defense forces, the one achievement of which his hideous stepfather Bruno Handke was proud! [see Lesson of St. Victoire which also contains Handke’s mention that he sought among his relatives others who suffered from his occasional color blindness] I would think tachycardia induced by the general upset, the fugueing eventuated in a panic attack. Panic makes sense in the case of someone who once thought he was the new Kafka and suffered from fear and trembling - in one poem the fear that he felt at night during his childhood crops up. But let us recall that Handke in his early writing [when he claimed to be “the new Kafka”] became over-confident, nay a virtuoso victor in the control of anxiety, victorious over fear! Grandiose! A trapeze artist above the abyss! All gone now! Or only very very gradually it appears, in part by writing these three long extraordinarily beautiful [so feels their then somewhat or, let’s say, more puzzled translator] poems that describe the coming and going, the waves of self-states; three extraordinary fugueing attempts as I now think of them, a preternaturally depressive and troubled poets attempt to deal with the same theme - the novel A Moment of True Feeling, narrated in the distancing third person, thus more distanced, more controlled, induces stylistically the kind of suicidal state that the author was in at the time, his own self having been an alternative object to all the other matters that enraged and irritated the so easily irritable hyper sensitive poet.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Handke’s prose texts are all of a very different kind, solve different formal and linguistic problems, employ different personae lenses and narrators. The Three Assaying [1987-1991] as I think of those three prose experiments On Tiredness, On the Jukebox and The Day that Went Well employ markedly different highly self-conscious narrative approaches; and, as a matter of fact, the last of the three – the one on The Day that Went Well – takes up, circles the theme of being and nothingness and beauty, broached in such an unusually intimate manner in these three poems, once more… not quite twenty years later.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">A Moment of True Feeling of course has not only that Gregor Samsa moment at the opening, consciously Kafkaesque [and thus literarily distanced] moment of horror at its opening moment – which as compared to the poems makes it also a work of the imagination - but also has that salvaging “moment” for which I suppose we must thank Amina Handke for pulling our author away from the abyss, when “love sets in”, for the child,[a shard of a mirror, a lock of hair] when love in him resurfaced… the moment Handke started to become the “anti-Kafka.” The child also keeps pulling the author back out of his fugue states in the three poems; thus we can speak of a gradual surfacing of feelings in the man who agreed with his therapeutician that he seemed to lack access to his feelings; dissociated I would say, since - after all - they would surface. On being left by his wife Handke appears to have been struck dumb – perhaps he woke up one morning and there was note on the kitchen table, or maybe there was a scene [s], there must have been quite a few prior, judging the his knowledge of such in Dying – but at a certain point, eventually he starts to - what on the evidence of the three long poems in Nonsense and Happiness – be called, and I think usefully, begin to fugue. But by the time he uses the shock as the opening of A Moment of true Feeling it has been shorn of its origins and universalized and made literary, a defense. Not that there would be anything wrong with an opening such as: “One morning I woke up and my wife had left me. I had had no idea but weirdly enough instantly felt like the bug in Kafka’s Metamorphosis. That was even worse than being left by the love of my life. I had become an ogre. Also, I instantly felt suicidal; then I was suddenly pleased to be alone, until I heard the bloody child bawling to be taken to the bathroom… After several years of these kind of up and down mood swings, someone suggested that maybe I had something to do with her leaving. How could it possibly was my first, unspoken, response… but then I fell to thinking…maybe something I did, the way I behaved was at fault…”</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">Moments of depersonalization alternate with repersonalizations; moments of feeling nothing, nothing attacks alternate with the return of feeling.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">We find the recurrence of the following matters in these three fugues: [1] nausea – so that he writes “nausea of the eyeballs,” nausea at himself to the point of wanting to “turn himself inside out” [!!!!] i.e. every sight becomes irritable to the point of eyes hurting, skin itching: The severity of the state that Handke was in becomes evident once one appreciates this the most extreme of the many nauseas Handke mentions – more severe than any of those enumerated in Tiredness signifies. The hyper-sensitivity managed with medically soothing eye-glasses that he wore when I first saw him. “Nausea of the eyeballs” is a pretty extreme, perhaps the most extreme kind of irritation especially for a “sight collector” voyeut such as Handke [you will recall Handke claiming that the first time he felt nausea at other bodies was in boarding school, and if he’d give you a calling card “I’m sorry I’m autistic and I just can’t stand being alone in the same room alone with men,” you wouldn’t – I would not have been mystified all those years], and this nausea, too, is one of the classical derivatives of the kind of traumatization he suffered as a child; and which is related to, when the irritation reaches a crucial point, to [2] the wish to run amok! – as Loser then does in Across; i.e. upsurge of violent impulses approximating psychosis; magnified by the self-imposed state of isolation; [3] resentment, that is envy, of anyone who walks past seemingly royally self-satisfied, tall Africans parading their beauty on Paris streets; [4] occasionally being pulled out of this absorption in states of self-hatred and feeling that he is “nothing” [see the end of Afternoon of a Writer for a dramatized similar state of nothing where it becomes clearer that the nothingness is really the obverse of really thinking that you are king of the hill, hot shit] by the child waking, or crying [as at that “moment” in A.M.T.F.] [5] surges of feeling that seem invariably accompanied by the observation of soothing sights of nature, where nature becomes musical, as these poems do, at least so thinks their translator who a the time he was translating them [1974-5] sort of knew “there is a troubled soul” but can’t be said to have given much thought to the why’s and wherefores of Handke’s state of mind; yet the feelings made sense, as did/ does their representation. I am pretty immune to nauseas – after all, it is a fundamental impulse to rid yourself of potentially deadly, toxic substances - unless in the company of someone who pukes at which I have to take great control of my sympathetic mirroring nervous system, which failed me only once, at age seven.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The musical passages I responded to with especial attunedness, especially the “high mode” of the title poem Nonsense and Happiness, and they entered my being in the process of translation and they have popped up a chords sort of on occasion during my own writing: as a clue, a safety blanket, as parameters.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">[6] Generalizing, perhaps usefully for once: each poem is a kind of ever repeated ride on the roller coaster of “nonsense attacks” and the rediscovery of “meaning”… What is that attack that nothings? what precisely does it turn into “nothing?” We are not in some kind of Heideggerian world here, after all. Human beings, nay everything organic can be said to be a “meaning making machine” – thus the “nonsense” attacks would be suicidal impulses, what Keuschnig the hero of A.M.T.F. suffers, attacks on the self, and which Handke the author knows intimately, but represents, knowingly, stylistically to convey that state to us to the degree that we participate, which, however, means that the author, though he may suffer their recurrence, has achieved dissociative, his forte, control over them.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">What made Handke particularly happy in the translation was my occasional use of the word “humbug” for the word “nonsense” which indeed reduces that tiresomeness to something playful and slight! Handke’s extreme sensitivity also to language to which we owe, and to which he owed his nausea at Spiegel language…</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">As fate would have it, Handke was friends with the Austrian cultural attaché in Paris at that time [who both are taking care of young daughters] and I recall going with them on a Sunday to the Bois de Boulogne I think it was, and I wonder idly what that fellow made of the book. But that is not what Handke is interested in, in A.M.T.F., an account of his life with his daughter, or with his friends: he is interested in representing and evoking a state of mind: we are still in the world of the inner outer innerworld. And he finds the stylistic means to put the reader into that state of mind.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">In the poems Handke, the writer, faced the task of communicating his state of mind to a reader and in the process, regained some self control, the writing becomes a controlled discharge, a kind of acting out [but one on quite a deep psychic level, that was itself calming – at least he was writing, he was working, he was concentrating], and he is very good at that at this point, although this is a greater challenge than any he faced before: his Goalie will put the reader via a sleight of grammatical ingenuity into the state of mind of a paranoid schizophrenic… and that was an act of objectification for whose sake he had studied the linguistics of paranoia and schizophrenia! So it takes a good deal of work to communicate authentically and penetrate another mind and heart just with words. Here in the three poems not too many games are being played, the old rage is there, but playfulness doesn’t work it out of the system.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">If Handke had been on the couch and in a state of transference with a good enough analyst, the analyst would have had a pretty good idea what he was going through, and the anxiety would have been discharged in the talking and in the security of the analyst’s holding [who would not have talked “dog language” that is in the language in which cases are generally written up or that of the world of therapy] and perhaps Handke would have been open to understanding and perhaps “understanding” would have sunk in. The analyst whom Handke saw in Paris [see Weight] and who pointed out to him that he was emotionally disconnected, an observation with which Handke agreed, also, confessed to Handke to carrying the cross at Easter – so the analyst may also have been a religious, or purposefully confessional to his patient, or Handke is once again projecting - thus one further aspect of the meaning of the title “weight of the world”: only Handke or his unedited note books or the thera-peutician whoever he or she was can tell us.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">The fine German psychoanalyst Tilman Moser [“Years of Apprenticeship on the Couch”, which I happen to have published in English these many years ago] addressed several novels in his untranslated Romane als Krankheits Geschichten [“Novels as Case Histories” would do in English], among them also Handke’s A Moment of True Feeling, but could not come to any definite conclusion about what was ailing our man. Yes, narcissistic injury, but that really begs the question. Not that I claim to have total insight: but once you are aware of Handke’s extended childhood trauma, his possible identification with the violently aggressive stepfather, in his hatred for whom Handke felt no ambivalence whatsoever, his being a love child for the first two years of his life, his having that super confident big head, once you realize his ultra sensitivities, the sheer rawness of his nerves, and that he is always needs to write to stay well, sometimes intensively, that you know that he has won many victories over his fright… you are at the very least a lot closer to unraveling this knotty question in this moment of uncompleted mourning for his mother [his identity, who has committed suicide, the would-be suicidal’s suicidal mother] and her surrogate, his wife abandoning him: a double repetition in some way of the childhood trauma which had its beginning with his mother’s return to her husband in Berlin, and no doubt, indeed not the slightest doubt for once on my part, for elicited similar rages, especially if Libgart Schwartz eloped with another man! Internalized figures of protection are gone, have vanished is a short hand way the modern gods of science might put it.</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">And even if you realize that it is your fault that they left, and I find no evidence of such reflection on Handke’s part in his writing [which does not mean that I may have missed them] that you had been impossible to live with, realizations which unfortunately somehow do little to assuage the injury, there are of course those self-berating! Self-flagellations! where what is needed, I would suggest, is self-understanding], and I suspect it took some time for that realization to set in, if in fact it ever did, certainly neither the works of this period nor A Child’s Story do, and as a writer he may even have felt “good riddance” I am left to write… but there was still the child, who he notes in Weight says “Daddy you are writing again.” And who early on learned to charm her harsh father: she takes a napkin with the message “Amina has been bad again” and dips it into a glass of water where the message dissolves! The honest Weight also notes our old sadist at work: Amina comes up and says she has to go potty. Her father notes that he says nothing and waits “what is going to happen now!” I was not surprised when Vim Wenders told me here in Seattle that Handke invariably hurts the people closest to him: Wenders it appears has put up with that if not forgiven. Later in life, there are these great lags in realization in Handke, he will deeply regret his parenting methods, and THE CHILD becomes a major invocation, e.g. in Walk About the Villages… In A Child’s Story it becomes clear that women friends have berated him for his ways as a father, and he dismisses what they say as being the “dog language” of the therapeutic society. [No real quarrel on the latter score though I can think of several dozen exceptions to the rule of inhuman scientism ruling the language roost of an allegedly humane science], but when I saw Amina in New York, in 1975 or in Paris, she seemed to be an unusually quiet child. The hyper-cathexis on language, the narcissism of the word… well, he might have listened past that for once. For his second daughter, Laocadie Semin-Handke, he writes the delightful Lucie im Wald mit den Dingsbums, Lucy in the woods with the Thingamajigs] a sort of extra chapter of No-Man’s-Bay, [and it shows that the second time around he’s doing a better job at child rearing, who however does not live with him! as he keeps picking what he regards as peace-object, mushroom, to make the world’s best mushroom stew!]</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-size: large;">It is noticeable in these text of what I call the critical first Paris Period [1973-78, though it had its inception in Kronenberg in Fall 1971] there is no mention of the wife, the mother of the child, except Weight at one point notes dismissively [if it is her and not one of the numerous women he would then sleep with, compensatorily, the great compensator that he is not just exhibitionistically, [a characteristic of both sexes when abandoned, to make up and avenge the loss of love so I noticed during my ten years in the so romantic and fairly communal – until the money pigs ruined it - heterosexual Tribeca] “L.s little lyricisms”. A person who is so irritable needs to live by himself… as he does now, and even takes the closest friends at once for a walk through the forest, only interviewers are allowed, and if it’s a T.V. crew so much the better, and Chef Handke # 2 [there is a famous establishment in Ohio with something called Handke Cuisine! which just now in June 2009 went broke!] will treat them to a meal as only that part object chef in No-Man’s-Bay can when the guests are actually welcome, and no doubt such meals on the house pay for themselves in the long run!</span></b></div><div><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div><div><br /></div></span></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-36070900.post-3657658515222558502009-06-20T15:12:00.000-07:002009-06-20T15:21:15.127-07:00COMMENTS ON SCOTT ABBOTT'S COMMENTS JUST BELOW<span class="Apple-style-span" style="font-family:-webkit-monospace;"><span class="Apple-style-span" style="white-space: pre-wrap;"><b><span class="Apple-style-span" style="font-size: large;"> Let me comment on your comments, point by point, Scott. but in a disorderly manner! 10] The Repetition being the Handke book that you can do least without! [there's the formula, the right approach! ] I can see. Just coming off a three months involvement in Del Gredos, reading it for the third time, and in a great translation, which also contains perhaps the best five thousand words I have ever read anyone write - the section of the destruction of the Forét de Chaville after that hurricane hit northern France around the year 2000 - I will read it once more for sure... not that I don't have a quibble here and there. Recall the monstrous review by that non-reader Neil Gordon, how nice that Frank Wood agreed with my letter to the bloody NY Times Book Review which of course they never publish when you take one of their regulars apart; or that compleat and total idiot Michael McDonald's [of "The Amurrican Interest" and "The Weakly Standard" inability to read, and mutton dennis dutton only linking to McDonald and not the fine review in WaPo or the L.A. Times, such shits all around, who fancy themselves "conservatives"] I would also have a hard time living also without Hausierer, Short Letter, the two diary volumes Die Geschichte des Bleistifts - for its showing how what thoughtfulness he devotes to his works, chiefly VILAGES in this istance + Gestern Unterwegs, Left Handed Woman, Absence, Juke Box, [Tiredness as an analyst for being told my chap's uncomprehended merely described symptoms!Zvi Lothane, a fine analyst with lots of life experience thinks I'm on the right track analytically with Peter's traumas], No-Man's Bay, and of course sections from many other books... so if you left me on a desert Island with nothing but handke's works... I'd be fairly happy even...at this age... not missing the pony tail parade all that much... 1] Since I translated GOALIE, perhaps it ought to be one of my favorites... but wonderful book though it is, I think the preceding DER HAUSIERER which is not in English [but in the Romance languages, i.e. "L'histoire de crayon"] is by far the better, formally, and in the depth of its accomplishment of being a wholesale victory over fear, than GOALIE which derives from one sliver of it. 2] Among the Yugoslavia titles, my preference is for the first, Abschied vom Traum des 9ten Landes, because it goes to the heart of the contradictory matter: peace, federation, individuation of the tribes... with hints of US National Security Directives under Reagan and West European capitalist economic warfare which threw those tribes back into a regression of fraternal strife... the opposite of Philadelphia. However, his involvement in those matters then made also for a great play, which I think of as THE PLAY ABOUT THE FILM ABOUT THE WAR whose translation you are completing. A play very much in the tradition of Brecht, Grass, Kipphardt, Weiss, Hochhut, Heiner Mueller... the great Post WW II German historically oriented enlightenment tragedies... with Peter's invariable Slavic/ Austrian twist.... and awareness of media... I have written about his involvement extensively... to clarify that for myself, on the part of someone who is also very much of an exhibitionist and became part of the story.... http://www.artscritic.blogspot.com 3] It's "Roger" Straus not Robert and he was a shit in many ways, stingy, a gossip, a clothes horse who was afraid of the slightest speck showing on his vest; and a brute; Peter took instant dislike to him; not an independent thinker, thus he went along with the humanity hyenas latching on to the Serbs and Milosevic as the cause of the wars, and of course would never have published JUSTICE FOR SERBIA; a "taker," he took you the way a pretty meat eating flower eats flies; in the sense that he posted that sign "Nobel prize winners wanted", but no number of such winners would ever ennoble him; and tried to get it for free, or kicked those he took from... My friend Christopher Lehmann-Haupt who wrote the NY Times obits for both Straus and Robert Giroux quotes Giroux [go on line athttp://www.nytimes.com/ and learn how to "read" obits] as saying he could never complete his history of the firm because thought of Straus was just too distasteful; totally dishonorable bastard he turned out be be. I was with him at Frankfurt Book Fairs , I turned out to have been his pipe line into postwar German publishing while I was still feeling my way, but I found it pretty quickly. Roger's troubles were many fold: primarily that he was not an obsessive publisher the way Unseld, or Ledig-Rowohlt, or Wagenbach or Gallimard or any number of Brit editor-publisher's were, that he was not sufficiently well read, that he felt inferior to the editors around him, gays most of them at that time, except for Henry Robbins, the only one I really got along with, not that I have anything untoward to say about Robert Giroux and Hal Vussel, but Roger happened to despise gays, I couldn't care less as long as they left my ass alone, and so many of my closest friends, such a robert phelps and michael lebeck happened, by the pure accident of sensibility and sensitivity to language and overlaps of taste, to be gay... Fortunately Roger had the good sense to make the pretty much first rate Jonathan Gallassie his successor... though who knows how his son Roger III would have turned out had he not got into the same kind of row with his dad as Unseld did with his son Joachim who, however, then started a firm of his own, The Frankfurter Verlagsanstalt. Farrar, Straus did 11 printings of KASPAR AND OTHER PLAYS but never made good on the promise to put in my final changes on the KASPAR translation - however, they do exist in the Methuen Volume I of Handke's Collected Plays. I made those changes several dog ages ago at the behest of Peter Brook. More on Kaspar anon. FS+G sold the first half a dozen books to various paperback publishers for reprinting, over and over, and so certainly did not lose any money. However, in all these years I have never seen an ad for a Handke book in this country. Roger was a heavy duty socializer and arm twister and if he had wanted to make sure that novels as of A SLOW HOMECOMING got sound reviewers he was quite able to arrange matters of that kind. I knew Henry Raymond of the Times, too. First mistake of his was to publish A SLOW HOMECOMING jointly in one volume with LESSON OF SAINT VICTOIRE and A CHILD'S STORY [to save money and also on the individual presentation which these three very different books deserved, Peter evidently agreed, it's weird but he does have an obliging side in those matters, also in accommodating to the stupid American title ACROSS for CHINESE DES SCHMERZENS because the FSG editor thought "oh we got a handle on how to sell the book, an old Nazi get's tossed!] So what Roger is complaining to to Unseld is something that was easily remediable by him. Handke has had about ten different editors assigned to him since I left there in 1969. Some first rate, the first several, some not, but each of course incapable or unwilling to construct the history of publication... Handke's current wonderful prose translator Krishna Winston is way behind, too! And often as I have pointed out to her that at the very least she ought to read WALK ABOUT THE VILLAGES... the groundbreaking richest work of his whence most of what followed was whelped.... she has not. Farrar, Straus, or rather its playwriting division Hill + Wang then also passed on the other great plays,HOUR, ART OF ASKKIG while the allegedly good editor Steve Wasserman ran that subdivision and the quality paperbackdivision Noonday Books, prior to becoming editor of the L.A. Times book review. He and I had a recent brief e-mail exchange where he held i didn't know my ass from any old hole in suggesting that maybe Noonday Books, FSG's paperback division ought to have put out some of these titles in quality paper - well, Handke had a good record in paperback and New York Review of Books Books is doing so now, and with a total of three titles to date, Sorrow Beyond Dreams, and a fine intro by Greil Marcus to SHORT LETTER, and a so so by a postmodernistically confused fellow from N+1 for the A SLOW HOMECOMING compendium, Kunkel. Straus and I then we got into a row over what Peter regarded as the best translation he ever saw at that time [mid 80s] of WALK ABOUT THE VILLAGES, Straus welched on a written promise, and in the to and fro, I then showed him up to be a liar, besides, he'd managed to screw me out of half of my editor's royalties, I'd made millions for the bastard, couldn't get a break when I actually needed one for a change, and all because a man I think of as "an asslicking envious little stiletto man", a certain michael dicapua, who had already ruined a lot of my projects there -- Adorno, Fichte, Hugo Ball - in the late 60s happened to be briefly, but just long enough, to be FSG editor in chief. Had it not been for the estimable Robert Giroux, my bringing Handke to FSG around 1967 would never have succeeded, Susan Sontag backing and all. So Roger Straus both published stupidly and failed to render the support a publisher can render. And with all the alleged great friendship between Susan and Roger you don't see any I don't think of authors she must have suggested on the FSG list. Not on the cutting edge intellectually. All the publisher I worked for were crooks with one or the other degree of legitimacy! Unseld was a Grossgauner for Kultur! It was my tough luck of not knowing about "dark" and not knowing Peter long enough to trust him when he pointed out that the man who would become the other working partner in Urizen was "very dark" or at least very German. I didn't know about "dark" back in 1971, boy do I ever know now!Including my own dark sides! My favorite publisher was Ledig-Rowohlt, you signed contract on a napkin at Harry's bar, and if it didn't work out, you dipped the napkin in a whiskey soda where ever. and never mentioned it again. The way Amina Handke dips the napkin on which her father has written "Amina has been a bad girl again" into a glass of water back at Rue Montmorency! [The little charmer had learned to survive her daddies rages!] More on the fall out from all this in the memoir. Not that I didn't meet some fine people in that world, Mike Bessie of Atheneum, Bill Koshland at Knopf, Sam Lawrence at Atlantic Monthly Press, Martin Kessler and Arthur Rosenthal at Basic Books... among other. Meanwhile I've become a semi-tough old tomcat meself! 4] Ditto for the Slovenian/ German dictionary he created for himself while writing The Repetition. I happen to really like his translations of the ancient Greek dramas, but remember that that's what you have to do to be a German classic in your own lifetime! What surprises me is that he's not translated anything from the Latin! Or Spanish meanwhile! 5] Re Kindergeschichte/ A Child's Story. Peter was a hideous father to his first daughter, he even admits as much in that book; also if you read Weight of the World you can see that... and then felt hugely guilty once he woke up to what he had wrought! I get into that as well as some other of the matters in necessary detail in Part II of the nearly completed Psycho-Biographical Monograph and Memoir that will appear at the handke-discussion blog http://www.handke-discussion.blogspot.com in another week or so [the opening resumé of the case history is already on line. Mr. Handke is quite dark fellow as he himself knows only too well and as he the great exhibitionist shows us in Villages and in Del Gredos. What makes him so unique is his wild desire to be healed, for peace from those monstrous childhood wounds, and the only thing that does the trick for him is by writing, and so reading him closely, his best things, Absence, The Repetition, No-Man's Bay, Del Gredos, Jukebox, Morawian Night now... have a healing effect on me. Go pick a mushroom in honor of Peter Handke. 7] In my experience, Peter is pretty judgmental of other, especially competitors for the Laurel Wreath! 8] re kaspar: let me quote myself from the memoir: "Rather quietly, it seemed out of the nowhere, [1980 Moenchsberg/ Salzburg] Handke mentioned that his play Kaspar was a mistake, a piece that he regretted; an instance that left me speechless, not just not wanting to say what was on my mind: “So I went trough all that trouble and those aches and pains for that great play” and now it’s author regrets authoring it,” something to that effect whooshed through my head. And so I was too stunned to ask why. Later I speculated about why he might feel that way, and what could be held against the piece, and concluded: well, you could say that it was in some ways noisy, the way Oedipal neuroses tend to be; too harsh though I wish all the sheeples saw it at least once to get a faint notion of how they’ve been brain washed! It could be said to be nihilistic I suppose… and as we found out later - since his homecoming had changed Handke and meaninglessness had been at least assuaged if not overcome, mostly… and since Handke had gradually approached and was about to or was already writing W.A.T.V. [the thought of my then impetuous and nonchalant and thoughtless behavior made me feel pretty uncomfortable when the time came to translate the piece! queasy!]. Anyhow, since he had definitely changed …he was no longer the same person the same Kaspar - it is also a self portrait that piece - who had wanted me to make the main sentence of Kaspar more abstract about ten years before… we were in some respects not in tandem… at that time… " 9] Well, LUCIE IN DEM WALD MIT DEN DINGSBUMS,[Lucie in the Woods with the Thingamajigs] what you call a children's story, is also one further chapter of No-Man's Bay and his obsession with mushroom picking , allegedly because these are the most peaceful of beings and then he turns into delicious mushroom stew. You have to be as obsessed with violence as Handke to be so crazed for peace and quiet! </span></b></span></span><div><span class="Apple-style-span" style="font-family:-webkit-monospace;"><span class="Apple-style-span" style="white-space: pre-wrap;"><b><br /></b></span></span></div>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com2tag:blogger.com,1999:blog-36070900.post-24823262952222340532009-06-20T09:31:00.000-07:002009-06-20T09:31:48.503-07:00SCOTT ABBOTT'S BAR RAISING COMMENT ON PREFERENCES OF HANDKE TITLES<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial; font-size: 18px;">I've hesitated to join the conversation, and only this morning realized<br />
why. I've got a complicated and sometimes troubled and always thankful<br />
and deeply personal and often quirky relationship with these books. I<br />
don't know if I can do this. But I'd like to find a way.<br />
<br />
So my divisions and choices and equivocations are as follows:<br />
<br />
1. The group that Suhrkamp Verlag published in paperback. I love to see<br />
the colors and uniform size on my shelf: See a photo of some of them<br />
above. I've arranged my books in various ways over the years, but keep<br />
coming back to color and size and publisher as a reasonable and<br />
aesthetic way to make words and things correspond. My favorite of this<br />
rainbow of books may be The Goalie's Anxiety. When Joseph Bloch finds<br />
that his map doesn't exactly correspond to the landscape, he and I<br />
breath deep sighs of relief. The authorities may not be able to find us<br />
after all.<br />
<br />
2. The essays and play about the former Yugoslavia have shaped me and<br />
my thinking, have measured and cut and sanded my thoughts after<br />
providing possible blueprints. They affect me so much, in part, because<br />
I worked (am working) hard to translate them, and translation is,<br />
perhaps, the most intensive kind of reading. Because people comment on<br />
these Yugoslavia books, especially, without having read them, they have<br />
been controversial. Language is critical as we move toward or away from<br />
war. That's Peter's point. Journalists and politicians and commentators<br />
don't like to be reminded that they are sloppy with language. So they<br />
attack the messenger. And finally, these books remind me of the trip my<br />
friend Zarko and I took with Peter along the Drina River. It was one of<br />
the defining weeks of my life.<br />
<br />
3. The big novels, written after criticism that Peter couldn't write<br />
big novels. Peter showed me a letter from Robert Straus, the American<br />
publisher, to Siegfried Unseld, Peter's German publisher, that opened<br />
with the sentence: "We've got a big problem. His name is Peter Handke."<br />
Straus' problem, of course, was that Peter had started to write a new<br />
kind of novel. And it wasn't selling. Selling lots of copies isn't one<br />
of my criteria, however, and each of these novels has given me hours of<br />
sanity and careful form and slow perception in a precipitous and<br />
unperceptive world. For my favorite of these, see my final entry.<br />
<br />
4. Translations. Peter has made a lot of literature accessible to<br />
German readers through his translations from Greek, French, English, and<br />
Slovenian. Although I can read the English, I love his translation of<br />
Shakespeare's A Winter's Tale. I told Peter that I laughed when I came<br />
to the scene where Autolycus was selling ballads and found that one of<br />
them was Dylan's "Stuck in Mobile singing the Memphis blues." Yes, he<br />
said, I allowed myself that. Peter's little German/Croatian dictionary<br />
(he had added "Serbian" to the title so it accurately reflected the dual<br />
nature of the language) was well worn. I'd love to see the shelf of his<br />
dictionaries. Perhaps they would be my favorites of all his works.<br />
<br />
5. Although I can't read them, Zarko Radakovic's translations of<br />
Peter's work have to fit in here somewhere. I first heard of Peter<br />
Handke in conversation with Zarko in Tuebingen, Germany. Zarko is an<br />
active and even bold translator. He sees his work with Peter's works as<br />
part of his larger creative project, which includes performance art,<br />
jazz criticism, novels, creative biography (Julija Knifer), and thematic<br />
editing. For instance, at the back of his translation of Peter's<br />
Kindergeschichte, Zarko presents a separate section featuring texts and<br />
works of art about childhood by the likes of Michael Hamburger, Braco<br />
Dimitrijevic, Ilma Rakusa, Tomaz Salamun, David Albahari, Martin<br />
Kippenberger, and yours truly. From Peter Handke's German to<br />
Serbo-Croatian. From Peter Handke's childhood to our own experiences. A<br />
fine textual textile.<br />
<br />
6. This interweaving of texts makes it productively difficult to decide<br />
where to quit expanding the discussion of which of Peter's books have<br />
influenced me the most. Zarko's and my books: the first following a<br />
character from Peter's Repetition into Slovenia, and the second an<br />
account of our trip with Peter up the Drina River in the former<br />
Yugoslavia, would never have been written if we hadn't been reading<br />
Peter Handke.<br />
<br />
7. Peter has written a lot of notes in the notebooks he carries<br />
everywhere with him, words and drawings to help him remember what he has<br />
seen. He also has reviewed the work of other writers, teaching me in the<br />
process that while it makes good sense to write about how a work works<br />
on the reviewer, its never even interesting to pronounce judgments on<br />
works of art.<br />
<br />
8. And there are Peter's plays and poetry. Although it's not in this<br />
photo, but rather in the rainbow one, I'll choose the early Kaspar as<br />
especially important for me, a riff on Herder's claim that we don't<br />
speak language but that it speaks us. Kaspar, by the way, was<br />
wonderfully translated by Michael. The much later play, Voyage by<br />
Dugout, whose premiere I saw in Vienna, left me, as I stumbled out of<br />
the theater, with a fierce resolve to return often to Peter's work as a<br />
powerful antidote to what ails me (and the worlds I live in).<br />
<br />
9 Peter wrote a children's book, which I include here as an excuse to<br />
reproduce my friend Thomas Deichmann's photo of Peter and his daughter<br />
Leocadie.<br />
<br />
10. And finally, because I don't know which of Peter's works is the<br />
best, because I can't know, because I'm not smart enough to figure that<br />
out, I have to say that the book I like the best is the one I've worked<br />
hardest on, the one I've spent the most time with, the one that bears my<br />
marks, the one that I've written about critically ("Postmetaphysical<br />
Metaphysics") and personally (Zarko's and my Repetitions) -- Peter's<br />
novel Die Wiederholung / Repetition.<br />
<br />
[for the photos that accompany these somewhat random thoughts, see<br />
<a href="http://goaliesanxiety.blogspot.com/" style="color: #354258;" target="_blank">http://goaliesanxiety.<wbr></wbr>blogspot.com/</a><br />
<br />
Scott<br />
</span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com2tag:blogger.com,1999:blog-36070900.post-22459957988416671852009-06-18T08:04:00.000-07:002009-06-18T08:04:14.100-07:00Continuation of "What's your favorite Handke titel + why???"<b><big>Dear Lothar,<br />
Your comment [on the bottom of this page] somehow does not appear at </big></b><a href="http://handke-discussion.blogspot.com/2009/06/best-handke-books.html">http://handke-discussion.blogspot.com/2009/06/best-handke-books.html</a><br />
<b><big>even though I got the notification! I will post it there myself as part of this post.<br />
<br />
Life would of course be simple for us if the discussion involved what car we preferred to drive, and why.<br />
I had a brief period in the early 70s when I liked fast cars - a Pontiac Firebird Convertible and MGB -<br />
and fast girls, and I still have an itch for both. After I left NY in 1985 I had a four door 74 Chevy Malibu, which I <br />
bought used, and took the back seat out, so that my goats, the great Nubian love Chiquita and Mexican wool goat Amy,<br />
could travel with me, and I had that car for<br />
ten years and put a total of 250 thousand miles on it before I actually managed to sell it in Mexico<br />
for $ 200, that really is me! Martin Krusche of<big> </big><a href="http://www.van.at/log/">http://www.van.at/log/ </a><br />
still longs for fast muscle cars, but merely memorializes them with photos on his blog that<br />
is otherwise devoted to an interesting crossroad of cultural events in a small town near Graz! That is,<br />
we can observe, read an extraordinary cultural potpourri brewing, and not in one of the cultural<br />
capitals. Albania appears there, all of the Yugoslav republics and more; Austrian politics, fascism keeps<br />
rearing up into it!<br />
</big></b><b><big>===========================================<br />
<br />
I wouldn't say that I am cheating by dividing Handke's work and what speaks to me as being lastingly important<br />
as well as excellently done, into periods. It's something<br />
I would also do with Goethe, but not with Shakespeare's plays for example.<br />
The Germans are said to be always in a "state of becoming"... and that certainly <br />
applies to Handke as a changing writer... thus I note that you don't seem to think any of the early <br />
novels all that important or excellently done. What about my argument that<br />
a novel such as DER HAUSIERER is a demonstration of how Handke conquered fear??<br />
Well, perhaps you have not entertained that argument which I will complete<br />
in Part II of the Psychoanalytic Mongraph, sometime next week.<br />
<br />
For Josef Winkler even DIE HORNISSEN is/ was an immensely important book/ document... perhaps he can tell use why! I am still<br />
struggling over it! I am a bit more of a consumer who wants my writers to do at least <br />
half the work for me! Handke then splits into the writer of novels, and of diaries. HORNISSEN<br />
has both qualities, and that I suppose is what makes it so taxing.<br />
<br />
I didn't pick any of the diary publications, no matter how important I find them,<br />
especially<u> Bleistift, </u>[L'histoire de Crayon] because it shows us how Handke thinks about, develops<br />
artistic matters [<u>Walk About the Villages</u> in this instance], because, as edited<br />
selections from what Handke noted down during these various periods, they are untrustworthy, no matter<br />
their cumulative impact. For example, WEIGHT OF THE WORLD, the only one that<br />
Farrar, Straus has published [not that they would stand in the way of other publishers<br />
doing them in English] was subsequently re-edited in the German edition, eliminating<br />
some embarrassing matters... so I regard them as partial primary material, selections, which<br />
actually do not make the claim to be any more than what they are... but as "whole"<br />
completed books...??? By publishing these selections Handke has assured continued <br />
fascination with the material, and attention to his work on the part of scholars,<br />
who now have TWO depositories where they can look at the material and write<br />
their books about him! Handke realized the value of this continued fascination at<br />
the latest when regarding the Kafka and Joyce industries. After all, he's<br />
at least as sly and cunning a writer as Joyce.<br />
<br />
To simply make all of BEWOHNER DES ELFENBEIN TURMS into one essay<br />
is avoiding the issue of what kind of essayist Handke is: which he has answered<br />
with the DREI VERSUCHE [Three Assayings: <u>on Tiredness, Jukebox, and<br />
the Fortunate Day</u>; as well as a reprieve of that in his <u>Don Juan </u>dance].<br />
I do something similarly encompassing by regarding - usefully for me! - all the early theater work plus HOUR [excluding<br />
DYING OUT] as one work, a single endeavor, but can make out a strong case for their integral<br />
formal authenticity, and the formal logic out of which they were written.<br />
HOUR is probably the greatest piece of sheer prose Handke has written!<br />
The laws of formalism are both harsh and confining, but generous in what<br />
can be done within it's terms. Think of these laws as they apply to music, Bach,<br />
Mozart, but also the near-undening Afternoon Raga under the Buyon Tree<br />
in Madras!<br />
<br />
My favorite Adorno quote always was: "Degustibus disputandum est " - because it<br />
is in that fashion that one discovers how alike and unalike one is from one<br />
another, and if such a discussion is then conducted in something like the manner<br />
suggested by Professor Habermas [who turned 80 today!], one can reach some interesting conclusions<br />
while engaging in a worth while process.<br />
<br />
I myself would not include PREPARATIONS FOR IMMORTALITY, despite<br />
its extraordinary beginning, because<br />
it has sections where the formalism runs dry. Dem Stueck geht schnell die Puste aus!<br />
Weird but true, perhaps Handke will at some point return to it and make the necessary remedies. I am positive<br />
that anyone as self-critical of his own work as he, is aware of the play's weaknesses.<br />
<br />
The screenplay for HIMMEL UEBER BERLIN consists of 1/3 Wenders<br />
and 2/3 Handke who himself scavenged his then texts and added a few poems!<br />
You evidently didn't read my long piece picking apart the screenplay.<br />
Beginning of my becoming a Handke studier, 20 years ago. <br />
<br />
There is nothing to "understand" in GREDOS: it is a process that you enter,<br />
and you then participate in a writers being skin-close, totally adhesive to being in love with writing!<br />
Thus that extraordinary ending! <br />
<br />
Anyhow, perhaps some others will join us on-line<br />
<big><br />
</big>xx Michael R.</big></b><br />
<br />
<br />
Lothar Struck wrote: <br />
<blockquote cite="mid:f61b72430906172259y665c5db8m12b55d4e58cd2203@mail.gmail.com" type="cite"> <div><span style="font-family: tahoma, sans-serif; font-size: medium;">Okay, ich habe mit der Fragerei angefangen.</span></div><div> </div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Schön so zu mogeln und unterschiedliche Perioden und Genres ausfindig zu machen - so kann man mehr Bücher angeben :-)</span></div><div> </div><div><span style="font-family: tahoma, sans-serif; font-size: medium;"><u>PROSA</u></span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Die Wiederholung</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Versuch über den geglückten Tag / Versuch über die Jukebox</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Die morawische Nacht</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Langsame Heimkehr</span></div><div> </div><div><span style="font-family: tahoma, sans-serif; font-size: medium;"><u>STÜCKE</u></span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Das Spiel vom Fragen </span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Über die Dörfer</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Zurüstungen für die Unsterblichkeit</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Publikumsbeschimpfung (das ist immer noch "aktuell"!)</span></div><div> </div><div><span style="font-family: tahoma, sans-serif; font-size: medium;"><u>GEDICHTE</u></span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Naja...</span></div><div> </div><div><span style="font-family: tahoma, sans-serif; font-size: medium;"><u>JOURNALE / TAGEBÜCHER</u></span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Gestern unterwegs (vielleicht von allen Büchern das Schönste)</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Das Gewicht der Welt</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Am Felsfenster morgens</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Die Geschichte des Bleistifts</span></div><div> </div><div><span style="font-family: tahoma, sans-serif; font-size: medium;"><u>ESSAYISTISCHES</u></span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Aufsatzsammlung: Ich bin ein Bewohner des Elfenbeinturms (hieraus kann man soviel lernen)</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Gerechtigkeit für Serbien </span></div><div> </div><div><span style="font-family: tahoma, sans-serif; font-size: medium;"><u>SONSTIGES</u></span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Film - Der Himmel über Berlin (mit Wim Wenders) </span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Besprechungen - eine in der ZEIT über die französischen Filmemacher Huillet/Straub</span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Übersetzungen - Aischylos; Bove</span></div><div> </div><div><span style="font-family: tahoma, sans-serif; font-size: medium;"><u>WAS ICH NICHT VERSTANDEN HABE (liegt an mir)</u></span></div><div><span style="font-family: tahoma, sans-serif; font-size: medium;">Der Bildverlust</span></div><div> </div><div><br />
</div></blockquote>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com2tag:blogger.com,1999:blog-36070900.post-86308127722726896112009-06-17T18:04:00.001-07:002009-06-17T18:23:54.559-07:00BEST HANDKE BOOKS<b>LOTHAR STRUCK, who runs the great German literary Blog, "BEGLEITSCHREIBEN</b><span class="Apple-style-span" style="font-family:arial;font-size:180%;color:#500050;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 18px;"><b> </b></span></span><span class="Apple-style-span" style="border-collapse: collapse; color: rgb(80, 0, 80); font-family: arial; font-size: 18px; "><div class="gmail_quote"><div class="gmail_quote"><div class="gmail_quote"><div class="gmail_quote"><div><div><div><div class="im" style="color: rgb(80, 0, 80); "><div><div> <a href="http://begleitschreiben.twoday.net/topics/Peter+Handke/" target="_blank" style="background-color: rgb(255, 153, 0); color: rgb(53, 66, 88); ">http://begleitschreiben.<wbr>twoday.net/topics/Peter+<wbr>Handke/</a></div><div>asked me today which I regarded as Handke's best books, and I replied the following:</div><div>in German, whose translation i wil put in {...}</div><div><br /> <big>Man sollte es so definieren: das gelungenste jeder der verschiedenen Perioden und der Arten {the question ought to be defined this way: the most successful from the various periods and of its kind:<br /><br /><u>PROSA</u><br /><br />1] Der Hausierer {The Peddler} not in English but in the Romance Languages...{1967}<br /><br />2] Der Kurze Brief zum langen Abschied {Short Letter Long Farewell just republished by New York Review of Books Books}</big><br /> <pre style="background-color: rgb(51, 255, 51);"><span style="background-color: rgb(255, 204, 102);"><span style="font-size:130%;"><b>3<small>] </small></b></span></span><b><big><u>Ueber die Doerfer [Walk about the Villages, Ariadne Press,</u></big></b></pre><pre style="background-color: rgb(51, 255, 51);"><b><big><u> this is the summa of Handke}{1982}</u></big></b></pre> <big><u></u><br />4] Die Wiederholung {The Repetition} 1986<br /><br />5] Die Abwesenheit {ABSENCE - 1987}<br /><br />6] Versuch über die Jukebox {Essay on the Jukebox} 1989<br /><br />7] Niemandsbucht {No-Man's-Bay - 1992]<br /><br />8] Del Gredos [2003]<br /><br />9] Don Juan [oder: was fuer ein geiler Frauenheld ich Peter Handke doch bin!] [[2005] Translation by Krishna Winston exists, and so is imminent from Farrar, Straus.<br /><br /><br />und jetzt [10] wahrscheinlich Morawisch {and Morawian Nights which will be available in French and Spanish sooner than in English}<br /><br /><u>Gedichte: {Poem}</u><br /><br /></big><big>1] Die Einzahl und die Mehrzahl [aus <u>Innenwelt</u>] Singular and Plural</big></div><div><big></big><big>from Innerworld; some copies available via Amazon; the poem itself I use at the handkelecture site. {1967}</big></div><div><big><br />2</big><big>] d</big><big>ie Sinnlosigkeit und das Glück {Nonsense and Happiness - title poem of self-named book. {1973}<small><br /></small></big><b><big><u>3] Ueber die Doerfer - Walk About the Village, see above, </u></big></b></div><div><big><u></u></big><span class="Apple-style-span" style="font-size:6;"><span class="Apple-style-span" style="font-size: 22px; text-decoration: underline;"><b>it has all of Handke, his richest Work.<br /></b></span></span> <big> </big><big> </big><big><u><br />Stuecke:{P{ays}</u><br />1] Ritt Bodensee [eigentlich sollte man alle fruehen stuecke mitsamt <u>stunde</u> als ein Werk bezeichnen] {Ride Across Lake Constance - actually one ought to regard all the early pieces and HOUR as one piece}<br />2] Die Stunde als...{hour, completed 1992}<br />3] Kunst des Fragens {Art of Asking - 1995}<br />4] Einbaum...{The Play about the Film about the War - 1999]<br /><br /><u><br />Essayistisches</u>: 9te Land. {Booklength essay: the first of his books addressing Yugoslavia, this one deals with Slovenia: The End of the Dream of the 9th Land} not in English, but in the Romance and Slavic languages.<br /><br /><span class="Apple-style-span" style="font-size: 18px; "><div style="text-align: center; "><u style="background-color: rgb(255, 0, 0); ">L<b><span style="font-family: 'courier new', monospace; ">INK OF LYNXES TO MOST HANDKE MATERIAL ON THE WEB:</span></b></u><br /></div><br /><div class="gmail_quote"><div class="gmail_quote"><div class="gmail_quote"><div class="im" style="color: rgb(80, 0, 80); "><div><div><div style="text-align: center; "><span style="background-color: rgb(255, 204, 102); "> <a href="http://www.handke.scriptmania.com/favorite_links_1.html" target="_blank" style="color: rgb(53, 66, 88); ">http://www.handke.<wbr>scriptmania.com/favorite_<wbr>links_1.html</a></span></div></div></div></div><div class="gmail_quote"><a href="http://www.handke.scriptmania.com/favorite_links_1.html" target="_blank" style="color: rgb(53, 66, 88); "></a><div><div><div><div class="im" style="color: rgb(80, 0, 80); "><div><br /><br />HANDKE LINKS + BLOGS<br />SCRIPTMANIA PROJECT MAIN SITE:<span style="background-color: rgb(255, 102, 102); "> </span><a href="http://www.handke.scriptmania.com/" target="_blank" style="background-color: rgb(255, 102, 102); color: rgb(53, 66, 88); ">http://www.handke.scriptmania.<wbr>com</a><br /></div>and 13 sub-sites<br /><br /></div><span style="font-size:85%;"><b style="background-color: rgb(51, 204, 255); font-family: 'courier new', monospace; ">the newest:</b><br /><span style="font-family: 'courier new', monospace; "></span></span><span style="font-family: 'courier new', monospace; font-size:85%;"><b style="background-color: rgb(255, 204, 0); "><div class="im" style="color: rgb(80, 0, 80); "><a href="http://handke-photo.scriptmania.com/" target="_blank" style="color: rgb(53, 66, 88); ">http://handke-photo.<wbr>scriptmania.com/</a><br /></div>contains the psychoanalytic monograph<br /></b></span><div class="im" style="color: rgb(80, 0, 80); "><div><div></div><div><br /><br /><a href="http://www.handkelectures.freeservers.com/" target="_blank" style="background-color: rgb(51, 255, 255); color: rgb(53, 66, 88); ">http://www.handkelectures.<wbr>freeservers.com</a> [the drama lecture]<br /><br /> <a href="http://www.kultur.at/see/roloff.htm" target="_blank" style="background-color: rgb(51, 255, 51); color: rgb(53, 66, 88); "><br /></a></div></div></div></div></div><div><div></div><div><div class="im" style="color: rgb(80, 0, 80); "><div><pre style="background-color: rgb(51, 255, 51); white-space: pre-wrap; word-wrap: break-word; "><span style="font-size:130%;"><b><a href="http://www.van.at/see/mike/index.htm" target="_blank" style="color: rgb(53, 66, 88); ">http://www.van.at/see/mike/<wbr>index.htm</a></b></span></pre></div></div><div><div></div><div><div class="im" style="color: rgb(80, 0, 80); "><div><a href="http://www.kultur.at/see/roloff.htm" target="_blank" style="background-color: rgb(51, 255, 51); color: rgb(53, 66, 88); "></a><br /><b style="background-color: rgb(204, 102, 204); ">[dem handke auf die schliche/ prosa, a book of mine about Handke]</b><br /><br /><a href="http://begleitschreiben.twoday.net/topics/Peter+Handke/" target="_blank" style="background-color: rgb(255, 153, 0); color: rgb(53, 66, 88); ">http://begleitschreiben.<wbr>twoday.net/topics/Peter+<wbr>Handke/</a><br /><br /></div></div><b><div class="im" style="color: rgb(80, 0, 80); "><div style="font-family: 'courier new', monospace; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-weight: normal;"><br /></span></span></div></div></b><b style="color: rgb(0, 0, 0); background-color: rgb(255, 153, 0); "><a href="http://picasaweb.google.com/mikerol/HANDKE3ONLINE#" target="_blank" style="color: rgb(53, 66, 88); ">http://picasaweb.google.com/<wbr>mikerol/HANDKE3ONLINE#</a> </b><br /><table><tbody><tr><td valign="top" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-family: arial, sans-serif; "><br /></td><td style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-family: arial, sans-serif; "><table><tbody><tr><td style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-family: arial, sans-serif; ">></td></tr></tbody></table></td></tr></tbody></table><b style="color: rgb(0, 0, 0); background-color: rgb(51, 204, 0); "><a href="http://picasaweb.google.com/mikerol/HANDKE2ONLINE#" target="_blank" style="color: rgb(53, 66, 88); ">http://picasaweb.google.com/<wbr>mikerol/HANDKE2ONLINE#</a> </b><br /><b style="color: rgb(0, 0, 0); "><br /><span style="background-color: rgb(0, 204, 204); "><a href="http://picasaweb.google.com/mikerol/POSTED?authkey=YeKkFSE3-Js#" target="_blank" style="color: rgb(53, 66, 88); ">http://picasaweb.google.com/<wbr>mikerol/POSTED?authkey=<wbr>YeKkFSE3-Js#</a></span></b><br /><a href="http://begleitschreiben.twoday.net/topics/Peter+Handke/" target="_blank" style="background-color: rgb(255, 153, 0); color: rgb(53, 66, 88); "></a><br /><pre style="background-color: rgb(51, 255, 51); white-space: pre-wrap; word-wrap: break-word; "><span style="background-color: rgb(255, 204, 102); "><big><b><big><big><span style="font-size:130%;"><a href="http://www.handke.scriptmania.com/favorite_links_1.html" target="_blank" style="color: rgb(53, 66, 88); ">http://www.handke-trivia.<wbr>blogspot.com</a></span><br /><a href="http://www.handke.scriptmania.com/favorite_links_1.html" target="_blank" style="color: rgb(53, 66, 88); "></a></big></big></b></big><br /></span><div class="im" style="color: rgb(80, 0, 80); "><b><big><big><big><span style="font-weight: bold; background-color: rgb(255, 0, 0); "></span></big></big></big></b><span style="font-size:130%;"><b><a href="http://www.artscritic.blogspot.com/" target="_blank" style="background-color: rgb(204, 204, 204); font-family: 'courier new', monospace; color: rgb(53, 66, 88); ">http://www.artscritic.<wbr>blogspot.com</a></b><span style="font-size:85%;"><b><span style="font-family: 'courier new', monospace; "><br /><span style="font-size:130%;">[some handke material, too, the Milosevic controversy summarized]</span></span></b></span><br /></span></div></pre><div><br /><b><span style="font-size:85%;"><div class="im" style="color: rgb(80, 0, 80); "><span class="Apple-style-span" style="font-size:180%;"><span class="Apple-style-span" style="font-size: 18px; font-weight: normal;"><span class="Apple-style-span" style="font-family:'courier new';font-size:130%;"><span class="Apple-style-span" style="font-size: 16px;"><b> </b></span></span></span></span></div></span></b></div></div></div></div></div></div></div><div class="im" style="color: rgb(80, 0, 80); "><div><div><div><div><div><div><br /><br /></div></div></div></div></div></div></div></div><div class="im" style="color: rgb(80, 0, 80); "><div><div></div><div><div><div></div></div></div></div></div></div></div></span> m.r<br /><br /> </big></div><div><br /></div></div></div></div></div><div><div><div><div><div class="im" style="color: rgb(80, 0, 80); "><div><br /></div></div></div></div></div></div></div></div><div class="im" style="color: rgb(80, 0, 80); "><div><div><div><div><div><div> </div><div><br /></div></div></div></div></div></div></div></div><div class="im" style="color: rgb(80, 0, 80); "><div><div></div><div><div><div></div></div></div></div></div></div></div></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com1tag:blogger.com,1999:blog-36070900.post-86354195190402221302009-06-09T12:29:00.000-07:002009-06-09T12:31:43.409-07:00reply to elarelis comment<span class="Apple-style-span" style="font-family: arial; border-collapse: collapse; color: rgb(80, 0, 80); font-size: 18px; "><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">I've posted your comment meanwhile, Elarelis</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">The Heine Preis was a funny one.</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">First of all Handke said quite a few years ago that he would accept no further prizes.</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">On the other hand, there has rarely been a both grosser and cleverer and needy publicity hound </span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">than Handke. This creates conflicts in him, such as accepting the Thomas Mann Preis</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">recently, he happens to dislike Thomas Mann, he gave the money back to the Bavarian</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">Academy which had renamed its Preis so people would pay more attention to it.</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">Then after accepting the Preis he called it "a shit Preis"</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">thus: he [and the Preis] got three times their money's worth in publicity:</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">a] with the announcement</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">b ] with Handke returning the money [which he doesnt need and usually gives to a needy case]</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">c] by actually appearing for the ceremony, and seeing some friends in Munich on the way</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">d] by then calling the Preis "shit."</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); "><br /></span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">There are so many prizes in Germany meanwhile that they have a hard time finding someone famous</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">to give it to, to call attention to the Preis! The Preis decorates itself with the name of the Preis Winner.</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">Somehow the Heine Preis is also not fitting, since Heine was a political poet also of the</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">enlightenment... one could argue that position anyhow.</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">Handke's chief backer for the Preis was Sigried Loeffler, a close friend and backer of his</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">who quite rightly sees him as an author of world importance.</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">I even had a cousin by marriage of mine on that Jury, Gabriele von Arnim</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">who has not divulged the jury's consideration to me.</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">Then the idiots of the City of the so well named provincial village of "Düssel" doof [a pun on Dorf/ village + doof=moron/ ultra stupid], as a double pun it means a kind of absentminded idiot who is ultra stupid. I expect the kids in that town can do better than I in this respect.</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">do him the favor of objecting by not releasing the money</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">Handke withdraws....</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">The Mayor apologizes...</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">Peymann who knows how the game is played as well as anyone...</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">creates the Berlin Heine Preis in the same amount of 50 K Euro...</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">And the traveling circus then goes to Kosovo and Handke gives the money to a Serbian enclave...</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">"Play the game... Stay in the Picture." and that is the Oracle of Dordonna Handke speaking.</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">And besides, overall on Yugoslavia he had it right, and was and is the better Marxist</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">than either Enzensberger or Habermas, so he can sleep with an easy conscience,</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">not that we have to worry too much about agenbite's of inwit in his case!</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">This entire episode is part of the fall out from Handke's appearance at the Milosevics funeral...</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">He knew very well that this would cause a huge publicity stink...</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">He had been a friend of the family for a long while, had enjoyed the favors</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">of having his work performed in Belgrade, but had refused to testify as a character</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">witness in De Hague, yet went to the funeral, just a brief appearance instead of protracted testimony and</span></div><div style="text-align: left; ">being exposed to counter testimony which might prove that the big bad wolf was also a criminal....</div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">at the funeral he could play mourner to the hilt... and does he ever.....of course this kind of grandiosity</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">also takes a certain amount of guts... and on the part of someone who is actually</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">easily frightened who use to call himself "the new Kakfka"...</span></div><div style="text-align: left; "><br /></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">The fallout from the funeral appearance was that his greatest play "The Art of Asking" was cancelled by the Comedie Francaise...</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">That a 100 stupid frogs signed a statement in support of that decision...</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">The last thing you want to do is fall into the hands of those humanity hyenas </span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">who will imprison you for denying..... what? ... the Armenian genocide....</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">not any of the French collaborationist or colonialist crimes. </span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">The quacking Frogs upset me more than anything else,</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">I was just trying to figure out why yesterday, and concluded'</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">that it probably was because they launched the first Jew murdering crusade</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">from Paris around the year 1000... I think they got bogged down on their way to Jerusalem... those amazing Christians!</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">"Art of Asking" can wait, if Peter Brook had guts he would do it at the Buffe du Nord</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">but Brook hasn't had any guts for many decades now... and hasn't done the</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">great contemporary playwrights...</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">The fallout chiefly was several million dollars worth of publicity</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">assuring the brand name Handke will live on, and what he sells you in the form</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">of most of the books and plays is the real thing, it's the best medicine</span></div><div style="text-align: left; "><span class="Apple-style-span" style="background-color: rgb(255, 255, 0); ">available. And he knows that too. </span></div></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0