德意志联邦共和国马丁·瓦尔泽 Martin Walser

德国德意志联邦共和国 (1927年 3月24日)

小说欣赏〡马•瓦尔泽【德国】：梅斯默的想法（上）
马丁•瓦尔泽小辑
诗歌回响|马丁•瓦尔泽【德国】：被奴役的动物——三十九首歌谣(选译)

马丁·瓦尔泽（Martin Walser），1927年生于德国。1957年获黑塞奖，1962年获豪普特曼奖，1980年获席勒奖，1981年获毕希纳奖，1996年获荷尔德林奖。1998年10月再获德国书业和平奖。早期作品如广播剧本《外面》《小规模战争》和小说集《房屋上空一飞机》等受卡夫卡影响，情节离奇。后转向现实主义创作风格，主要作品有《菲利普斯堡的几桩婚烟》《克莱斯特茵三部曲》《爱的彼岸》《无家可归》《心灵的活动》《天鹅别墅》《爱的表白》《喷泉》等长篇小说、十多部剧本及其他体裁的作品。

《梅斯默的想法》问世于1985年，该书由许多出色的微型故事和警句组成，被评论界认为是作者最美的一部散文体小说作品。作者的目的是要写出“自传的第四维”，在暴露自己的同时又掩盖自己。书中的主人公梅斯默无疑就是作者的第二个自我。梅斯默滞留在某大都市的火车站，给一位老友打电话，对方却没有兴趣再与他交谈或会面，从而使他思绪绵绵。本书的情节被淡化到极致，但文中的每一句话都令人深思和回味。

Martin Walser (German: [ˈmaʁ.tiːn ˈvalˌzɐ] (

listen); born 24 March 1927) is a German writer.

Life

Detail of the Bodenseereiter [de] by Peter Lenk (Martin Walser as Bodenseereiter).

Walser was born in Wasserburg am Bodensee, on Lake Constance. His parents were coal merchants, and they also kept an inn next to the train station in Wasserburg. He described the environment in which he grew up in his novel Ein springender Brunnen (English: A Gushing Fountain). From 1938 to 1943 he was a pupil at the secondary school in Lindau and served in an anti-aircraft unit. According to documents released in June 2007, at the age of 17 he became a member of the Nazi Party on 20 April 1944, though Walser denied that he knowingly entered the party, a claim disputed by historian Juliane Wetzel. By the end of the Second World War, he was a soldier in the Wehrmacht. After the war he returned to his studies and completed his Abitur in 1946. He then studied literature, history, and philosophy at the University of Regensburg and the University of Tübingen. He received his doctorate in literature in 1951 for a thesis on Franz Kafka, written under the supervision of Friedrich Beißner.

While studying, Walser worked as a reporter for the Süddeutscher Rundfunk radio station, and wrote his first radio plays. In 1950, he married Katharina "Käthe" Neuner-Jehle. He has four daughters from this marriage: Franziska Walser is an actress; Alissa Walser is a writer-and-painter; Johanna Walser, and Theresia Walser are professional writers. Johanna has occasionally published in collaboration with her father. German journalist Jakob Augstein is Walser's illegitimate son from a relationship with translator Maria Carlsson.

Beginning in 1953 Walser was regularly invited to conferences of the Gruppe 47 (Group 47), which awarded him a prize for his story Templones Ende (English: Templone's End) in 1955. His first novel Ehen in Philippsburg (English: Marriages in Philippsburg) was published in 1957 and was a huge success. Since then Walser has been working as a freelance author. His most important work is Ein fliehendes Pferd (English: A Runaway Horse), published 1978, which was both a commercial and critical success.

Walser received the Georg Büchner Prize in 1981.

In 2004 Walser left his long-time publisher Suhrkamp Verlag for Rowohlt Verlag after the death of Suhrkamp director Siegfried Unseld. An unusual clause in his contract with Suhrkamp Verlag made it possible for Walser take publishing rights over all of his works with him. According to Walser, a decisive factor in instigating the switch was the lack of active support by his publisher during the controversy over his novel "Tod eines Kritikers" (English: Death of a Critic).

Walser is a member of Akademie der Künste (Academy of Arts) in Berlin, Sächsische Akademie der Künste (Saxon Academy of Arts), Deutsche Akademie für Sprache und Dichtung (German Academy for Language and Poetry) in Darmstadt, and member of the German P.E.N.

In 2007 the German political magazine Cicero placed Walser second on its list of the 500 most important German intellectuals, just behind Pope Benedict XVI and ahead of Nobel Prize winner Günter Grass.

Political engagement

Martin Walser at a reading in Germany, 1992

From Left to Right

Walser has also been known for his political activity. In 1964, he attended the Frankfurt Auschwitz Trial, which was considered an important moment in the development of West German political consciousness regarding the recent German past. He was involved in protests against the Vietnam War. During the late 1960s, Walser, like many leftist German intellectuals including Günter Grass, supported Willy Brandt for the election to the office of chancellor of West Germany. In the 1960s and 1970s Walser moved further to the left and was considered a sympathizer of the West German Communist Party. He was friends with leading German Marxists such as Robert Steigerwald and even visited Moscow during this time. By the 1980s, Walser began shifting back to the political right, though he denied any substantive change of attitude. In 1988 he gave a series of lectures entitled "Speeches About One's Own Country," in which he made clear that he considered German division to be a painful gap which he could not accept. This topic was also the topic of his story "Dorle und Wolf".

Peace Prize of the German Book Trade

In 1998 Walser was awarded the Peace Prize of the German Book Trade. His acceptance speech, given in the former Church of St. Paul (Paulskirche) in Frankfurt, invoked issues of historical memory and political engagement in contemporary German politics and unleashed a controversy that roiled German intellectual circles. Walser's acceptance speech was titled: Erfahrungen beim Verfassen einer Sonntagsrede ("Experiences when writing the regular soapbox-speech"):

Everybody knows our historical burden, the never ending shame, not a day on which the shame is not presented to us. [...] But when every day in the media this past is presented to me, I notice that something inside me is opposing this permanent show of our shame. Instead of being grateful for the continuous show of our shame — I start looking away. I would like to understand why in this decade the past is shown like never before. When I notice that something within me is opposing it, I try to hear the motives of this reproach of our shame, and I am almost glad when I think I can discover that more often not the remembrance, the not-allowed-to-forget is the motive, but the exploitation / utilization [Instrumentalisierung] of our shame for current goals. Always for the right purpose, for sure. But yet the exploitation. [...] Auschwitz is not suitable for becoming a routine-of-threat, an always available intimidation or a moral club [Moralkeule] or also just an obligation. What is produced by ritualisation has the quality of a lip service [...]. The debate about the Holocaust Memorial in Berlin will show, in posterity, what people do who feel responsible for the conscience of others. Turning the centre of the capital into concrete with a nightmare [Alptraum], the size of a football pitch. Turning shame into monument.
— Martin Walser, Speech in Paulskirche (Frankfurt am Main), 11 October 1998

At first the speech did not cause a great stir. Indeed, the audience present in Church of St. Paul received the speech with applause, though Walser's critic Ignatz Bubis did not applaud, as confirmed by television footage of the event. Some days after the event, and again on 9 November 1998, the 60th anniversary of the Kristallnacht pogrom against German Jews, Bubis, president of the Central Council of Jews in Germany, accused Walser of "intellectual arson" (geistige Brandstiftung) and claimed that Walser's speech was both "trying to block out history or, respectively, to eliminate the remembrance" and pleading "for a culture of looking away and thinking away". Then the controversy started. As described by Karsten Luttmer: Walser replied by accusing Bubis to have stepped out of dialog between people. Walser and Bubis met on 14 December at the offices of the Frankfurter Allgemeine Zeitung to discuss the heated controversy and to bring the discussion to a close. They were joined by Frank Schirrmacher of the Frankfurter Allgemeine Zeitung and Salomon Korn of the Central Council of Jews in Germany. Afterward, Bubis withdrew his claim that Walser had been intentionally incendiary, but Walser maintained that there was no misinterpretation by his opponents.

In his 2002 roman-à-clef Death of a Critic, Martin Walser attacks violently the most powerful literary critic in Germany, Marcel Reich-Ranicki, a Jew who had escaped the Warsaw ghetto. Walser criticised his person as much as his role as a symbol of a corrupted cultural milieu. This started a scandal, a war between newspapers and a power contest between personalities all played a role. Does a writer, especially one who had been a member of the Nazi party, have the right to attack the most well-known critic in Germany, former head of the arts and culture section of the country's most prestigious newspaper and host of a popular literary television show, a German national for more than fifty years? As soon as the novel came out, this question became the hot topic of debate in Germany. Not a day went by without a newspaper article taking a stance for or against the book. And this with hardly anybody even having read it, because at the time, only a few advance copies were in circulation. His was the first volley in the public debate. On 29 May, months before the book was to be officially released in August, Frank Schirrmacher wrote an open letter to Martin Walser to inform him that contrary to tradition, an excerpt from his book would not be published in the feuilleton of the FAZ: "This book is an execution, a settlement of accounts, a document of hate", he wrote. The FAZ continued to publish expressions of support for Marcel Reich-Ranicki, who was Schirrmacher's predecessor at the FAZ. Its arch-rival daily paper, the Süddeutsche Zeitung from Munich, closed ranks behind Walser.Death of a Critic

Reich-Ranicki commented himself in May 2010 in an interview with Der Spiegel: "I don't think that he is an anti-Semite. But it is important to him to demonstrate that the critic, who allegedly tortured him most, is a Jew, too. He expects his public to follow him in this. You see, there never was an anti-Semitic line or remark from Grass, not one. And I certainly haven't written only positively about his books."^{[citation needed]}

Works

In German – and in English, if translated

Beschreibung einer Form: Versuch über die epische Dichtung Franz Kafkas (1951)
Ein Flugzeug über dem Haus und andere Geschichten (1955)
Ehen in Philippsburg (1957) – The Gadarene Club (1960)
Halbzeit (1960) – Halftime: A Novel (also 1960)
Eiche und Angora: Eine deutsche Chronik (1962) – The Rabbit Race (1963)
Überlebensgroß Herr Krott: Requiem für einen Unsterblichen (1964)
Lügengeschichten (1964)
Erfahrungen und Leseerfahrungen (1965)
Das Einhorn (1966) – The Unicorn (1983)
Der Abstecher, Die Zimmerschlacht (1967)
Heimatkunde: Aufsätze und Reden (1968)
Ein Kinderspiel: Stück in zwei Akten (1970)
Fiction: Erzählung (1970)
Aus dem Wortschatz unserer Kämpfe(1971)
Die Gallistl’sche Krankheit (1972)
Der Sturz (1973)
Das Sauspiel: Szenen aus dem 16. Jahrhundert (1975)
Jenseits der Liebe (1976) – Beyond All Love (1983)
Ein fliehendes Pferd (1978) – Runaway Horse: A Novel (also 1978)
Seelenarbeit (1979) – The Inner Man (1984)
Das Schwanenhaus (1980) – Swan Villa (1983)
Selbstbewußtsein und Ironie (1981)
Brief an Lord Liszt (1982) – Letter to Lord Liszt (1985)
In Goethes Hand: Szenen aus dem 19. Jahrhundert (1982)
Liebeserklärungen (1983)
Brandung (1985) – Breakers: A Novel (1988)
Meßmers Gedanken (1985)
Geständnis auf Raten (1986)
Die Amerikareise: Versuch, ein Gefühl zu verstehen (with André Ficus, 1986)
Dorle und Wolf: Eine Novelle (1987) – No Man’s Land (1988)
Jagd: Roman (1988)
Über Deutschland reden (1988)
Die Verteidigung der Kindheit: Roman (1991)
Das Sofa (written 1961) (1992)
Ohne einander: Roman (1993)
Vormittag eines Schriftstellers (1994)
Kaschmir in Parching: Szenen aus der Gegenwart (1995)
Finks Krieg: Roman (1996)
Deutsche Sorgen (1997)
Heimatlob: Ein Bodensee-Buch (with André Ficus, 1998)
Ein springender Brunnen: Roman (1998) – A Gushing Fountain (2015)
Der Lebenslauf der Liebe: Roman (2000)
Tod eines Kritikers: Roman (2002)
Meßmers Reisen (2003)
Der Augenblick der Liebe: Roman (2004)
Die Verwaltung des Nichts: Aufsätze (2004)
Leben und Schreiben: Tagebücher 1951–1962 (2005)
Angstblüte: Roman (2006)
Der Lebensroman des Andreas Beck (2006)
Das geschundene Tier: Neununddreißig Balladen (2007)
The Burden of the Past: Martin Walser on Modern German Identity (in English, 2008)
Ein liebender Mann: Roman (2008)
Mein Jenseits: Novelle (2010)
Ein sterbender Mann (2016)
Statt etwas, oder Der letzte Rank (2017)

Selected filmography

Der Abstecher, directed by Günter Gräwert [de] (1962, TV film, based on the play of the same name)
Eiche und Angora, directed by Rainer Wolffhardt [de] (1964, TV film, based on the play of the same name)
Eiche und Angora, directed by Helmut Schiemann [de] (East Germany, 1965, TV film, based on the play of the same name)
Die Zimmerschlacht, directed by Franz Peter Wirth (1969, TV film, based on the play of the same name)
Überlebensgroß Herr Krott, directed by Martin Batty and Karl Vibach (1971, TV film, based on the play of the same name)
The Unicorn, directed by Peter Patzak (1978, based on the novel of the same name)
Der Sturz [de], directed by Alf Brustellin (1979, based on the novel of the same name)
Ein fliehendes Pferd, directed by Peter Beauvais (1985, TV film, based on the novella of the same name)
Alles aus Liebe, directed by Rainer Boldt [de] (1986, TV film, based on the story Säntis)
Ohne einander, directed by Diethard Klante (2007, TV film, based on the novel of the same name)
Runaway Horse, directed by Rainer Kaufmann (2007, based on the novella of the same name)

Screenwriter

Chiarevalle wird entdeckt, directed by Hannes Tannert (1963, TV film)
Havoc, directed by Peter Fleischmann (1972)
Weak Spot, directed by Peter Fleischmann (1975)
Tatort: Armer Nanosh [de], directed by Stanislav Barabáš [de] (1989, episode of the TV series Tatort)
Tassilo, directed by Hajo Gies [de] (1991, TV series, 6 episodes)

References

^ Die Welt: Dieter Hildebrandt soll in NSDAP gewesen sein 30 June 2007
^ Der Tagesspiegel: Gemeinsam in die NSDAP 22 July 2009
^ Wolfgang Benz, ed.: Wie wurde man Parteigenosse? - Die NSDAP und ihre Mitglieder (Frankfurt: S. Fischer Verlag, 2009).
^ Edgar Lersch & Reinhold Viehoff (2002), "Rundfunk, Politik, Literatur. Martin Walsers früher Erfahrungen bei Süddeutschen Rundfunk zwischen 1949 und 1957", Jahrbuch Medien und Geschichte (in German), 2: 213–257
^ Franziska Walser on IMDb
^ Gerrit Bartels: Augstein und Walser. Vater und Sohn: Eine gewisse Ähnlichkeit. In: Der Tagesspiegel. 28 November 2009. Retrieved 25 March 2012.
^ Kaiser, Daniel (20 December 2019). "Georg Büchner Preis: Martin Walser". deutscheakademie.de. Darmstadt: Deutsche Akademie für Sprache und Dichtung. Retrieved 5 April 2020.
^ Jeder kennt unsere geschichtliche Last, die unvergängliche Schande, kein Tag, an dem sie uns nicht vorgehalten wird. [...] wenn mir aber jeden Tag in den Medien diese Vergangenheit vorgehalten wird, merke ich, daß sich in mir etwas gegen diese Dauerpräsentation unserer Schande wehrt. Anstatt dankbar zu sein für die unaufhörliche Präsentation unserer Schande, fange ich an wegzuschauen. Wenn ich merke, daß sich in mir etwas dagegen wehrt, versuche ich, die Vorhaltung unserer Schande auf Motive hin abzuhören und bin fast froh, wenn ich glaube, entdecken zu können, daß öfter nicht mehr das Gedenken, das Nichtvergessendürfen das Motiv ist, sondern die Instrumentalisierung unserer Schande zu gegenwärtigen Zwecken. Immer guten Zwecken, ehrenwerten. Aber doch Instrumentalisierung. [...] Auschwitz eignet sich nicht, dafür Drohroutine zu werden, jederzeit einsetzbares Einschüchterungsmittel oder Moralkeule oder auch nur Pflichtübung. Was durch Ritualisierung zustande kommt, ist von der Qualität des Lippengebets. [...] In der Diskussion um das Holocaustdenkmal in Berlin kann die Nachwelt einmal nachlesen, was Leute anrichteten, die sich für das Gewissen von anderen verantwortlich fühlten. Die Betonierung des Zentrums der Hauptstadt mit einem fußballfeldgroßen Alptraum. Die Monumentalisierung der Schande.(Full text in German Archived 2008-02-14 at the Wayback Machine)
^ "Jeder kennt unsere geschichtliche Last, die unvergängliche Schande, kein Tag, an dem sie uns nicht vorgehalten wird. [...] wenn mir aber jeden Tag in den Medien diese Vergangenheit vorgehalten wird, merke ich, daß sich in mir etwas gegen diese Dauerpräsentation unserer Schande wehrt. Anstatt dankbar zu sein für die unaufhörliche Präsentation unserer Schande, fange ich an wegzuschauen. Wenn ich merke, daß sich in mir etwas dagegen wehrt, versuche ich, die Vorhaltung unserer Schande auf Motive hin abzuhören und bin fast froh, wenn ich glaube, entdecken zu können, daß öfter nicht mehr das Gedenken, das Nichtvergessendürfen das Motiv ist, sondern die Instrumentalisierung unserer Schande zu gegenwärtigen Zwecken. Immer guten Zwecken, ehrenwerten. Aber doch Instrumentalisierung. [...] Auschwitz eignet sich nicht, dafür Drohroutine zu werden, jederzeit einsetzbares Einschüchterungsmittel oder Moralkeule oder auch nur Pflichtübung. Was durch Ritualisierung zustande kommt, ist von der Qualität des Lippengebets. [...] In der Diskussion um das Holocaustdenkmal in Berlin kann die Nachwelt einmal nachlesen, was Leute anrichteten, die sich für das Gewissen von anderen verantwortlich fühlten. Die Betonierung des Zentrums der Hauptstadt mit einem fußballfeldgroßen Alptraum. Die Monumentalisierung der Schande." (Full text in German Archived 2008-02-14 at the Wayback Machine)
^ Eshel, Amir: "Jewish Memories, German Futures: Recent Debates in Germany about the Past" Archived 2007-03-08 at the Wayback Machine, page 12. 2000. (PDF-File, 6 MB)
^ "Archived copy" (PDF). Archived from the original (PDF) on 2009-03-25. Retrieved 2008-12-28.
^ "Archived copy". Archived from the original on 2009-03-09. Retrieved 2008-12-28.