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Includes the full German text, accompanied by German-English
vocabulary. Notes and a detailed introduction in English put the
work in its social and historical context.
A fresh translation of the second volume of Max Frisch’s diaries.
By the time Swiss author Max Frisch published the second volume of
his diaries or sketchbooks, he had achieved international
recognition as a writer and dramatist. In this volume, he develops
his version of the literary diary as a mosaic of musings on
architecture and writing, travelogue, autobiography, and political
insight. He considers Cold War tensions as well as the civil rights
and anti–Vietnam War movements in the United States. Now
middle-aged himself, he looks squarely at men’s evolving attitude
to life, love, sex, women, and status. And for all the idyllic
descriptions of his new home in Berzona, Frisch becomes
increasingly critical of his native Switzerland, in particular the
crackdowns on left-wingers and protestors, and receives abuse for
his stance. Based on the second German edition that reinstated
material that had been removed from the original 1972 version, this
fresh and definitive translation brings an important
mid-twentieth-century European classic back to life.
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From the Berlin Journal
Max Frisch, Thomas Strässle, Margit Unser, Wieland Hoban
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R532
Discovery Miles 5 320
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Ships in 9 - 15 working days
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The daily journal of a giant of German literature, touching
subjects ranging from everyday life to the political and social
conditions in East Germany as viewed from West Berlin. Max Frisch
(1911–91) was a giant of twentieth-century German literature.
When Frisch moved into a new apartment in
Berlin’s Sarrazinstrasse, he began keeping a journal, which
he came to call the Berlin Journal. A few years later, he
emphasized in an interview that this was by no means a
“scribbling book,” but rather a book “fully composed.” The
journal is one of the great treasures of Frisch’s literary
estate, but the author imposed a retention period of twenty years
from the date of his death because of the “private things” he
noted in it. From the Berlin Journal now marks the first
publication of excerpts from Frisch’s journal. Here, the
unmistakable Frisch is back, full of doubt, with no illusions, and
with a playfully sharp eye for the world. From the Berlin
Journal pulls from the years 1946–49 and 1966–71. Observations
about the writer’s everyday life stand alongside narrative and
essayistic texts, as well as finely-drawn portraits of colleagues
like Günter Grass, Uwe Johnson,
Wolf Biermann, and Christa Wolf, among
others. Its foremost quality, though, is the
extraordinary acuity with which Frisch observed political and
social conditions in East Germany while living in West
Berlin.
A new translation of one of the earliest volumes of Max Frisch's
innovative notebooks. Throughout his life, the great Swiss
playwright and novelist Max Frisch (1911-1991) kept a series of
diaries, or sketchbooks, as they came to be known in English. First
published in English translation in the 1970s, these sketchbooks
played a major role in establishing Frisch as, according to the New
York Times, "the most innovative, varied and hard-to-categorize of
all major contemporary authors." His diaries, said the Times, "read
like novels and his best novels are written like diaries." Now
Seagull Books presents the first unabridged English translation of
Sketchbooks, 1946-1949 in a new translation by Simon Pare. This
edition reinstates material omitted from the 1977 edition,
including a screenplay for an unmade film. In this first volume,
which covers the years 1946 to 1949, Frisch chronicles the
intellectual and material situation in postwar Europe from the
vantage point of a citizen of a neutral, German-speaking country.
His notes on travels to the scarred cities of Germany, to Austria,
France, Italy, Prague, Wroclaw, and Warsaw paint a complex and
stimulating picture of a continent emerging from the rubble as new
fault lines are drawn between East and West. As Frisch completes
his final architectural projects and garners early success as a
writer, he reflects on theater, language, and writing, and he
sketches the outlines of plays, including The Fire Raisers and
Count OEderland. Whatever experience he chronicles in the
sketchbook-whether it's a Bastille Day party, an Italian fish
market, or a tightrope display amid the ruins of Frankfurt or an
afternoon by Lake Zurich with Bertolt Brecht, to take just a few
examples-his keen dramatist's eye immerses the reader in the
setting while also probing the deeper significance and motivations
underlying the scene. This new translation will serve to draw out
the immediacy and contemporary quality of Frisch's observations
from the shadow of his status as a classic author, bringing his
work to life for a new audience.
A playfully postmodern novel exploring questions of identity from a
major Swiss writer. A man walks out of a bar and is later
found dead at the wheel of his car. On the basis of a few overheard
remarks and his own observations, the narrator of this novel
imagines the story of this stranger, or rather two alternative
stories based on two identities the narrator has invented for him,
one under the name of Enderlin, the other under the name
Gantenbein.
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Biography – A Game
Max Frisch, Birgit Schreyer Duarte
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R442
Discovery Miles 4 420
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Ships in 9 - 15 working days
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A reissue of a comic and tragic play that asks just how much of our
life we could—or would—change if we got another chance. In this
play by Swiss playwright and novelist Max Frisch, a middle-aged
behavioral researcher Kürmann is given the opportunity to start
his life over at any point he chooses and change his decisions and
actions in matters both serious and mundane—He could save his
marriage, become politically active, take better care of his
health, or even change the color of his living room furniture.
Despite his intention to apply the wisdom he has acquired with age,
Kürmann finds himself inexorably trapped in the same decisions.
Ultimately proving fatal, Kürmann’s life game interrogates how
much of our own path is shaped by seemingly random factors and how
much is in fact predetermined by our own limited, conditioned
selves. The play’s central idea—that our lives are nothing but
a self-conscious play with imaginary identities—is brilliantly
captured in Biography’s dramaturgical form, setting up a theatre
rehearsal as the metaphor for the endless possibilities and
variables of the game of life. Frisch’s own revised, dramatically
heightened version of his play celebrates not only the theatre as a
form of self-expression but also the human condition in all its
potential and limitations as it showcases both comic and tragic
outcomes that define all our lives.
First published in 1986. Routledge is an imprint of Taylor &
Francis, an informa company.
Arrested and imprisoned in a small Swiss town, a prisoner begins
this book with an exclamation: "I'm not Stiller " He claims that
his name is Jim White, that he has been jailed under false charges
and under the wrong identity. To prove he is who he claims to be,
he confesses to three unsolved murders and recalls in great detail
an adventuresome life in America and Mexico among cowboys and
peasants, in back alleys and docks. He is consumed by "the morbid
impulse to convince," but no one believes him. This is a harrowing
account part Kafka, part Camus of the power of self-deception and
the freedom that ultimately lies in self-acceptance. Simultaneously
haunting and humorous, I'm Not Stiller has come to be recognized as
"one of the major post-war works of fiction" and a masterpiece of
German literature.
Max Frisch (1911 91) was a giant of twentieth-century German
literature. When Frisch moved into a new apartment in Berlin's
Sarrazinstrasse, he began keeping a journal, which he came to call
the Berlin Journal. A few years later, he emphasized in an
interview that this was by no means a "scribbling book," but rather
a book "fully composed." The journal is one of the great treasures
of Frisch's literary estate, but the author imposed a retention
period of twenty years from the date of his death because of the
"private things" he noted in it. From the Berlin Journal now marks
the first publication of excerpts from Frisch's journal. Here, the
unmistakable Frisch is back, full of doubt, with no illusions, and
with a playfully sharp eye for the world. From the Berlin Journal
pulls from the years 1946 49 and 1966 71. Observations about the
writer's everyday life stand alongside narrative and essayistic
texts, as well as finely-drawn portraits of colleagues like Gunter
Grass, Uwe Johnson, Wolf Biermann, and Christa Wolf, among others.
Its foremost quality, though, is the extraordinary acuity with
which Frisch observed political and social conditions in East
Germany while living in West Berlin.
A stunning tour de force, Man in the Holocene constructs a powerful
vision of our place in the world by combining the banality of an
aging man's lonely inner life and the objective facts he finds in
the books of his isolated home. As a rainstorm rages outside, Max
Frisch's protagonist, Geiser, watches the mountain landscape
crumble beneath landslides and flooding, and speculates that the
town will be wiped out by the collapse of a section of the
mountain. Seeking refuge from the storm in town, he makes his way
through a difficult and dangerous mountain pass, only to abandon
his original plan and return home. A compelling meditation by one
of Frisch's most original characters, Man in the Holocene charts
Geiser's desperate attempt to find his place in history and in the
confusing and fragile world outside his window.
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Homo Faber (Paperback)
Max Frisch
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R401
R356
Discovery Miles 3 560
Save R45 (11%)
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Ships in 10 - 15 working days
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Walter Faber is an emotionally detached engineer forced by a string
of coincidences to embark on a journey through his past. The basis
for director Volker Schlsndorff's movie Voyager. Translated by
Michael Bullock. A Helen and Kurt Wolff Book
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Zurich Transit (Paperback)
Max Frisch; Translated by Birgit Schreyer Duarte
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R252
Discovery Miles 2 520
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Ships in 9 - 15 working days
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This screenplay by Swiss playwright and novelist Max Frisch was
developed from an episode in his 1964 novel Gantenbein, or A
Wilderness of Mirrors. At the center of both works is Theo
Ehrismann, a man who cannot seem to change his life no matter how
many times he resolves to do so. Chance comes to Theo one day upon
returning from a trip abroad-he arrives home to read his own
obituary in the paper. He shows up just on time for his own funeral
and observes the attending mourners, and yet he is not able to
reveal himself to them, and especially not to his wife. "How does
one say that he is alive," wonders Theo. Life, as Frisch said, "is
the sum of events that happen by chance, and it always could as
well have turned out differently; there is not a single action or
omission that does not allow for variables in the future." Zurich
Transit presents Frisch at the height of his dramatic powers and
exemplifies his ardent believe in a dramaturgy of coincidence
rather than causality.
The novel tells the story of a middle-class UNESCO engineer called
Walter Faber, who believes in rational, calculated world. Strange
events undermine his security - an emergency landing in a Mexican
desert against all odds, his friend Joachim hangs himself in the
Mexican jungle, and he falls in love with a woman who dies of a
concussion, he has an incestuous affair. Finally Faber becomes ill
with stomach cancer, but it is too late for him to change his life.
Three contentious and enduring plays about the clash of the
individual and society
Fire Raisers (1958) tells the tale of a respectable bourgeois
whose house is one day visited by three strangers. It "is
successful on every level; the story is as gripping as an adventure
story; each line is fraught with several meanings: as an allegory
it is unique" (Edna O'Brien); Andorra is based on the author's own
experience of anti-semitism in Switzerland and is about Andri, a
young man who is believed to be a Jew and who is persecuted by his
community as a result; Triptych is a portrait of a writer grappling
with his own mortality. The flexible and contemporary translations
by Michael Bullock (The Fire Raisers, Andorra) and Geoffrey Skelton
(Triptych) are here complemented by an introduction by Peter
Loeffler.
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