Robert Walser

Robert Walser (late 1890s)

Robert Walser (born April 15, 1878 in Biel , canton Bern ; † December 25, 1956 near Herisau , canton Appenzell Ausserrhoden ) was a German-speaking Swiss writer .

Life

1878-1897

Robert Otto Walser was the second youngest of eight children of the trained bookbinder and workshop owner for stationery and picture frames Adolf (senior) Walser (1833–1914) and his wife Elisabeth (Elisa) Walser (1839–1894). His brother Karl Walser was a set designer and painter. Walser grew up bilingual in Biel on the German-French language border . There he attended primary school and the Progymnasium , which he left before the exam because the family could no longer pay for school attendance. Walser was enthusiastic about the theater from an early age; his favorite piece was The Robbers by Schiller . A watercolor by Karl Walser has survived, which shows Robert Walser as Karl Moor .

In 1894, Walser's mother, who was “ mentally ill ” (a contemporary term for an affective psychosis ), died after she had been cared for by Lisa Walser (the older of the two daughters) for a long time. According to the Swiss Germanist Peter von Matt , the symbiotic relationship between Robert Walser and his mother was constitutive for his work. From 1892 to 1895 Walser did an apprenticeship at the Cantonal Bank of Bern in Biel. He then worked for a short time in Basel before moving to Stuttgart in 1895, where his brother Karl lived. There he worked at Union Deutsche Verlagsgesellschaft as a clerk in the advertising department. In addition, he tried unsuccessfully to become an actor, for which he auditioned for an actress at the court theater. He returned to Switzerland on foot, where he registered in Zurich at the end of September 1896. In the following years Robert Walser worked frequently - albeit irregularly and in rapidly changing positions - as an office clerk and typist. As one of the first German-speaking authors, he subsequently introduced the existence of an employee as a topos in literature.

1898-1912

The magazine Die Insel . First cover page of the first edition (excerpt), October 1899. Four poems by Robert Walser in the booklet.

In 1898, Joseph Victor Widmann , literary critic and features editor of the Bern daily newspaper Der Bund , published six of Walser's poems in the Bund's Sunday paper. Franz Blei , through which he became aware, introduced him to the Art Nouveau circle around the magazine Die Insel in 1899 , where he met Frank Wedekind , Max Dauthendey and Otto Julius Bierbaum, among others . Walser's poems, dramolets and individual prose pieces subsequently appeared on the island .

Walser's main residence - he changed rooms frequently - was to remain in Zurich until 1905, where he lived in various places, including Thun , Solothurn , Winterthur , Munich and with his sister Lisa in Täuffelen . In 1903 he graduated from the recruiting school and from the summer was an "assistant" to the engineer and inventor Carl Dubler in Wädenswil near Zurich. This episode was to provide the material for his novel Der Gehülfe (1908). In 1904 Walser's first book, Fritz Kocher's essays, was published by Insel Verlag .

In the late summer of 1905 he completed a training course as a servant in Berlin and was employed as such for a few months at Dambrau Castle in Upper Silesia in autumn 1905 . The theme of service pervades his work - particularly pronounced in his novel Jakob von Gunten (1909). At the beginning of 1906 Robert Walser went back to Berlin, where his brother Karl Walser, who had lived there for some time as a painter, book graphic artist and set designer, gave him access to literary, publisher and theater circles. At times, Walser worked as a secretary for the Berlin Secession artists' association . During this time he made the acquaintance of the publishers Samuel Fischer and Bruno Cassirer , the industrialist Walther Rathenau and the actor Alexander Moissi .

In Berlin, Walser wrote the novel Geschwister Tanner in 6 weeks and published it in 1907, the publication of the second novel Der Gehülfe followed in 1908, and the following year the novel Jakob von Gunten . All books were published by Bruno Cassirer; his editor there was Christian Morgenstern . In addition to the novels, he wrote prose pieces during this time, in which he sketches popular eateries such as “ Aschinger ” or the “Gebirgshallen” with language play and very subjectively from the point of view of a poor stroller . The novels and prose pieces - which appeared in the Schaubühne , in the Neue Rundschau , in the future , in the Rhineland , in the Neue Zürcher Zeitung and in Der neue Merkur - met with a very positive reception. Walser had established himself in the literature business. His prose has been praised by Robert Musil and Kurt Tucholsky , among others ; and authors such as Hermann Hesse and Franz Kafka were among their favorite authors.

Robert Walser published small pieces of prose in newspapers and magazines. This “small shape” should become his trademark. Most of his work consists of such prose pieces - literary sketches that defy precise categorization.

1913-1929

Geography of Switzerland , 1914 - Walser's brother Hermann was a professor of geography in Bern

In 1913 Walser returned to Switzerland, where he initially lived with his sister Lisa, who worked as a teacher in the nursing home for the mentally ill in Bellelay . There he met the laundress Frieda Mermet, with whom he became a close friend from now on, which manifests itself in a continuous and intimate correspondence. After a short stay with his father in Biel, he finally moved into an attic in the Hotel Blaues Kreuz there in July 1913, where he stayed until 1920. Walser's father died in 1914.

During the First World War , Walser had to do military service repeatedly. At the end of 1916, Walser's brother Ernst, who had been mentally ill for some time, died in the Waldau sanatorium . In 1919 Walser's brother Hermann, professor of geography in Bern, committed suicide. During this time, Walser became increasingly isolated. a. because he was largely cut off from Germany by the war. In addition, he was hardly able to earn a living from his activity as a freelance writer - despite extensive production.

In Biel, Robert Walser published a large number of small prose pieces that appeared in newspapers and magazines in Germany and Switzerland as well as a selection in the volumes Essays (1913), Stories (1914), Small Seals (1915; Imprint: 1914), Prose Pieces ( 1917), Kleine Prosa (1917), Poetenleben (1917; imprint: 1918), Komödie (1919) and Zealand (1920; imprint: 1919) were printed. The publication Kleine Dichtung was honored with the prize of the “Women's Association for Honoring Rhenish Poets” and was published as the first edition for the Women's Association in 1914. The only longer text of this period was The Walk (1917).

Walser, who has been an avid walker since his youth , began to take long walks on a regular basis during this time, often at night and even on forced marches. In his prose pieces from this time, those from the perspective of the wanderer who walks strangely through the near stranger alternate with playful essays about writers and artists. During his time in Biel (1913–1921), a “turn to the old and new surroundings” can also be identified, and with it a stylistic and thematic shift towards observing nature and the idyll.

At the beginning of 1921 Walser moved to Bern, where he accepted a position as a “temporary employee” in the Bern State Archives for a few months . The production of the lost novel Theodor also fell during this period . In Bern he lived very withdrawn and lived in furnished rooms that he changed frequently - in just twelve years he had sixteen different rooms.

1929-1956

Heilanstalt Waldau, painting by Adolf Wölfli , 1921

At the beginning of 1929, Walser, who had been plagued by anxiety and hallucinations for some time, went to the Waldau sanatorium near Bern after a mental breakdown on the advice of a psychiatrist and the insistence of his sister Lisa Walser. In a doctor's report it says: “The patient admits to hearing voices.” Therefore, it may not be possible to speak of voluntary self-delivery. In the institution, Walser's condition normalized after a few weeks and he continued to write and publish texts, albeit with breaks and overall much less than in previous years. In doing so, he continued to use the spelling he called the “pencil method”: In the smallest German Kurrent script , the letters of which were barely more than a millimeter taller at the end of this phase, he wrote poems and prose, also called micrograms, which he wrote in a second step selecting and editing with the pen translated into the clean. However, not many drafts from this period have survived, more fair copies and published texts. It was only when Walser was transferred to the Herisau sanatorium and nursing home in his home canton in 1933 against his will - and probably also because an essential market for the publication of his texts in German newspapers and magazines had disappeared with the takeover of power by the National Socialists - did he hear the Write down “although the director of the institution, Dr. Otto Hinrichsen ”, who himself produced a comprehensive oeuvre as a poet,“ provided a room for literary activities ”. Like the other prison inmates, Walser was busy making paper bags and cleaning up. In his spare time he enjoyed reading popular literature.

From 1936, his admirer and later guardian , the Swiss writer and patron Carl Seelig , who later reported on his conversations with Walser from this time in the book Walks with Robert Walser, visited him at the Herisau sanatorium . Carl Seelig made an early effort to make the almost forgotten Robert Walser known again through new editions of his works. After the death of his brother Karl (1943) and sister Lisa (1944), Seelig took over the guardianship. Walser, who was cranky but had shown no signs of mental illness for a long time, repeatedly refused to leave the institution during this time.

Robert Walser loved long, lonely walks. On Christmas Day 1956, he died of a heart attack while hiking through a snowfield, where he was found shortly afterwards. The photographs of the dead walker in the snow are almost eerily reminiscent of a similar image of the dead poet Sebastian in the snow from Robert Walser's first novel, Geschwister Tanner .

Work and reception

General

A playful serenity is typical of Robert Walser's texts, but is often underscored by tangible existential fears. Many of the early works, in particular, appear naive and playful at first reading, but behind this supposed simplicity there are on the one hand very modern, precise everyday observations, which on the other hand often lead away from reality into a highly artificial, self-related world of form and language. Today, Walser's texts, which were not fully edited until the mid-1960s, are therefore among the essential works of literary modernism. In his language, echoes of Swiss German find a charming and fresh expression, while at the same time very personal considerations are interwoven with "texts on texts", that is, reflections on or even variations on other literary works. Walser often mixes trivial literature with high literature .

Walser's work phases

Robert Walser's work is difficult to grasp. On the one hand, this is due to the fact that he has published his little prose pieces in different places (newspapers, magazines), and on the other hand, because the work is constantly expanding and growing up to the present day with as yet unknown texts - in 2016, the Central Library Solothurn Letters from Robert Walser to Emil Wiedmer , editor of the literary magazine Die Ähre found. The quote, which comes from Walser himself and is used in the Robert Walser handbook to characterize the unity of the work as a "manifold cut up or divided first-person book" (all works, 20, p. 322), is therefore not inappropriate. Because the division of Walser's work seems so difficult, has prevailed in the research, the division into four working phases, which are based on the frequently changing whereabouts of the author: the early works (1898-1905), which in the context of Art Nouveau and aestheticism were ; the comparatively realistic works of the Berlin period (1905–1913) , in which all of the novels published during Walser's lifetime were created; the writings of the Biel era (1913–1920), which ostensibly relied heavily on local art and Swiss subjects ; and the increasingly abstract, hermetic prose pieces, poems and dramolets of the Bernese period (1921–1933), which make up the largest part of Walser's work. After 1933, during the time in Herisau (1933–1956), the author fell silent almost completely on the literary level. Walser still writes letters occasionally, but in 1949 this also breaks off.

1898–1905: The beginning

From 1898 poems by Walser appeared in the Sunday paper of the federal government . From March 1902 to August 1903 the later book publication Fritz Kocher's essays was printed. Josef Viktor Widmann, editor of the Sonntagsblatt , writes in the introductory words that “something primitive, genuine and at the same time something very fine [...] finds expression” in Walser's moods. From 1899 the magazine Die Insel also published poems, prose and Walser's early dramolets.

The first and only book publication in these early years is the volume Fritz Kocher's Essays , which was published by Insel Verlag in 1904 and although it does not appear that way, Walser was enormously productive in the first few years; A total of around 80 poems have survived from these years, plus dramatic texts and prose pieces. In the collections that only appeared during the Berlin period, there are also many poems from the early days: A large part of the 40 poems in poems (1909, with 16 etchings by brother Karl Walser) were published in magazines between 1898 and 1900 ( Sunday paper of the federal government, Wochenschrift Freistatt, Zeitschrift Opale and others). But they only appeared as a book during the time in Berlin . The publication Komödie (1919) also dates back to the early period around 1900. As early as 1903, plans were made to publish the dramas, as can be read in Walser's correspondence with the publisher. The publication of Fritz Kocher's essays should have been one of three volumes; in volumes 2–3 the Dramolette and the Poems would have been printed. In a letter to Insel Verlag on January 16, 1905, he wrote:

“Without wanting to put any pressure on my part, I am asking you politely. whether you are thinking of starting to print the second (drama) volume. For the time being, it would contain "boys," "poets," "Cinderella," which works have all appeared on the island. Franz Blei writes that he hopes that the "Verse" will appear soon, then he will publish a longer essay in "Die Zeit" Wien. "

- Robert Walser : Letters 1897–1920. Works.

Although the reviews of Walser's first book were benevolent, the publication hardly found sales, "in 1910 the price of the book was reduced and soon afterwards sold out". The other volumes were never published.

Also included in this early productive phase Walser falls the emergence of the vernacular of scenes The pond , which was published in part in Robert Mächler Biography in 1966 and 1972, in Volume 12.01 of the total work s was reprinted in full by Jochen Greven for the first time. The pond is the only text written in Walser's dialect. Bernhard Echte dated it to 1902.

Walser's debut thus includes both lyrical works and prose texts. While the form of prose - as a columnist to earn money, but also as a novelist - remains throughout the entire creative phase, Walser's lyrical production is divided into three phases: in the early years (1898–1905), at the end of his time in Biel (approx. 1919–1920) and in the Bernese period (approx. 1924–1931).

In the office

The moon looks into us

he sees me as a poor clerk

languish under the stern look

of my principal.

I scratch my neck, embarrassed.

Permanent life sunshine

I never knew

Want is my skill;

scratching my neck

under the gaze of the principal.

The moon is the wound of the night

Drops of blood are all stars.

Whether I'm also far from blooming happiness

I am made humble for it.

The moon is the wound of the night.

(1897/98)

Here, if you take the last stanza, clichés of romanticism or the neo- romanticism, which was very popular at the time, are taken up and put in a seemingly clumsy relationship with an everyday situation from simple life described in the first stanza. What Walser succeeds here, as in his early prose pieces, is to contrast and contrast worn-out, frozen literary forms with a new perspective “from below” (that of the small clerk, an office worker - the “clerk”) so to fill with new life. Walser's early texts - this is where the criticism is unanimous - are considered early examples of an employee literature that the then new subject of the office world gets into literature.

He proceeds in a similar way in texts as in the prose pieces collected in Fritz Kocher's essays . He picks up worn-out topics that thousands of students have to deal with in school essays following the example of the classics, without being directly ironic or parodistic - and subverts them through his almost slavish admiration of the given form, his completely unironic way, no matter what flat subject seriously, personally, and as if trying to re-examine it: “It's hard to write about nature, especially for an A-grade student. It's about people: you have fixed traits. But nature is so vague, so fine, so intangible, so infinite. Still I try. I love to wrestle with the heavy. I have heard nothing is impossible being said somewhere. ”( Die Natur , 1902) Characteristics that pervade Walser's entire oeuvre can already be seen here: modesty, submissiveness, which, however, is so stubborn that she pretends to submit , just more undermined.

1905–1913: Berlin time

Berlin memorial plaque in Kaiser-Friedrich-Strasse 70 in Berlin-Charlottenburg

The time in Berlin began productively. Walser's novels Geschwister Tanner , Der Gehülfe and Jakob von Gunten were written between 1906 and 1909 . All three novels were published by Bruno Cassirer after the editor Christian Morgenstern had read Walser's first novel ( Tanner siblings) with enthusiasm and even compared it with his parallel reading by Dostoyevsky's brothers Karamazov . In addition to the publication of the three novels, Walser also published numerous prose pieces in major newspapers and magazines, which he was only able to publish as anthologies in 1913/1914, already living in Biel (see next chapter).

Characteristic of the Berlin period is a 'poetics of modernity', which arises from the “intertextual and internal references and the examination of contemporary discourses” and which finds fulfillment in the repetitive motifs of the big city: “Berlin, as a metropolis of modernity, becomes [...] a topos of Walser's literary landscape ”. Walser was introduced to the art and literature scene in Berlin by his brother Karl. He frequented the Berlin Secession and met influential personalities such as Walther Rathenau , Paul Cassirer and Efraim Frisch . But these social circles of the rich and beautiful were not part of his work. His pieces did not contain anything that “corresponded to the need for identification of the rising bourgeoisie”; rather, he describes life in Wilhelmine Berlin from the perspective of below, the perspective of a petty-bourgeois idler. But with this he pushed himself more and more into social and literary sideline. His subtle turning away from influential society is reflected in the texts and has been accentuated more over the years. In Aschinger he writes:

“When someone has his mouth full, at the same time his eyes look at someone who is pushed in. And people don't even laugh, neither do I. Since I've been in Berlin, I've given myself the habit of finding humanity ridiculous. "

In questionable it says:

“How they misunderstand themselves in the narrowly defined conviction that they are worth more than the other. They call themselves quite naive educated, their upturned noses wrinkling over one another. The poor. If they only knew how illiterate and untrained arrogance is, how badly brought up one is, ruled by the inability to judge oneself. "

This "realism" is most evident in the novel The Clerk . In other texts, however, above all Jakob von Gunten , this realistic world is transformed into an incomprehensible monster without becoming romantic or fairy-tale-like, which, with all the banal details of everyday life, is therefore an even bigger, completely poses an impenetrable mystery. It was not without reason that Franz Kafka , whose early texts function similarly, admired Walser's works from this period in particular.

In addition to the more critical texts, the big city, the cinema, the theater, but also strolling, observing nature and observing everyday life were topics of the Berlin era.

1913–1921: time in Biel

In 1913 Robert Walser returned to Switzerland. Moving back home is also a retreat from society and the literary business into private life. Only a few constant contacts are recorded during this time. Walser finds inspiration for his writing in long walks in nature. The change of location is also reflected in the content and stylistic shifts in his work: away from the big city themes towards more idyll. This idyll is broken again and again and is shaped by the prevailing crisis.

As a stranger and at the same time confidante in his own homeland, Walser lets his narrators discover the calm and insignificance of the small towns in the first years of their return - in contrast to the hectic, spectacular metropolis of Berlin. In the evening walk he writes:

“The earth was so peculiarly dark, the houses stood there so bright and quiet, friendly green shutters gave such a happy, sweet, well-known sound. Here and there a few serious Sunday-dressed people. Men, women and children. The children play spring games on the soft, clean, damp paths, and the mild, warm sky was so full of gentle and stormy motion. The evergreen on the high walls and the walls and rocks themselves spoke the most youthful language, as if the whole living world should suddenly become young again. Everything so happy, so easy, so tender, so tender. I went for a walk with a certain careful deliberation, always keeping still and turning around, as if this and that beautiful thing might be lost to me. "

The break with the idyll is already indicated with the possibility of loss. With the beginning of the war in 1914, the fragility of this calm became increasingly evident. The lyrics contain more irony, but the uncertainty and fear of the time of crisis also shines through. Occasionally, war and soldiers are also discussed in the texts ( The Soldier, At the Military) :

“Before my eyes stood my soft, precious, cozy home, my beautiful wife and the sweet children whom I loved more than anything. Before my eyes, however, stood the saber that I had thrown away and the battle from which I had fled. "

In terms of the number of book publications, the Biel years were successful. There was only one longer text - The Walk (1917) - but several anthologies with prose pieces. Most of them appeared in over twenty newspapers and magazines ( Der Neue Merkur, Der Bund, Neue Zürcher Zeitung and others) before the book was published , only the book Prosastücke gathers unpublished material. The walk (1917) was initially published independently by Huber Verlag in Frauenfeld as the 9th title in the Swiss storytellers series , and in 1919 the same story was reprinted again in the Seeland Collection , heavily revised. The procedure for the revision "was a common practice for Walser's time in Biel, which already points to the 'pencil method' that later emerged."

The volumes Essays (1913), Stories (1914) and Small Seals (1915; Imprint: 1914) produced during the Biel time were printed by Kurt Wolff Verlag in Leipzig, prose pieces (1917) by Rascher Verlag in Zurich, Kleine Prosa (1917) , Poetenleben (1917; imprint: 1918) and Seeland (1920; imprint: 1919) were printed by Alexander Francke Verlag in Bern, Komödie (1919) was published by Bruno Cassirer in Berlin and dates back to the early works, just like the 1919 reissued poems . Whether this was the trigger for Walser to return to poetry remains only a guess. It is proven that in 1919 Walser offered the magazine Pro Helvetia a poem for publication (see letter of March 19, 1919). The end of the Biel time is also the beginning of the second lyrical creative phase.

1921–1933: Bernese period

From 1921 Robert Walser lived in Bern. During this time one of Walser's most productive creative phases fell. In the years 1924–1926 in particular, Walser wrote almost daily, published in important daily newspapers ( Prager Presse, Berliner Tagblatt, Frankfurter Zeitung ) and was one of the most represented authors in the feature pages: “In the second half of the 1920s, no Swiss author should be allowed Have been featured in the German-language feature articles and literary magazines as often as Robert Walser, ”writes Kerstin Countess von Schwerin. Typical of Bernese prose are the “reports on everyday occurrences, small kaleidoscopes of splinters of impressions, memory particles, reflection and self-observation, sometimes in a mere additive sequence, sometimes framed in an adventure scene”. Walser was inspired by his surroundings, absorbed everything and made it the starting point for his 'prose pieces'.

During this time, a shift from the 'what' to the 'how' of the linguistic and intellectual gesture can also be observed. On the one hand, Walser wrote more often about writing and the efforts of writing, on the other hand, Walser's writing style also radicalized and condensed. From 1924 at the latest he wrote “micrograms” (so named after the tiny, difficult to decipher pencil script that Walser used for writing), that is, drafts for poems, prose pieces, scenes and an entire novel ( The Robber ). As early as 1917, Robert Walser, according to his own statement, developed a two-stage writing process in which the drafts are written in pencil and the fair copies in ink. Only some of these writings were actually written with the pen in order to submit them to editorial offices for printing. In these texts he condensed his linguistically subjective style to an even higher level of abstraction. Many texts of this time work on several levels - they can be read both as naive, playful feature pages as well as highly complex, allusive montages. Walser took up influences from both high and trivial literature and, for example, recounted the plot of train station novels, but in such a way that the - never mentioned - original was no longer recognizable. A large part of Walser's work was created in Bern during these very productive years, but he only found a publisher for one narrow book: the prose collection Die Rose (1925) - this is the last publication that the author himself actively obtained and compiled .

The otherwise unknown texts contained in the micrographic pencil drafts were deciphered in 1985-2000 by Bernhard Echte and Werner Morlang and edited in six volumes ( From the pencil area ). Jochen Greven and Martin Jürgens had previously deciphered and published the robber novel and the Felix scenes from it in 1972 .

From 1929 he continued his literary work in the Waldau sanatorium near Bern until 1933. After moving to the Herisau Sanatorium, Walser was no longer literary.

reception

Train «Robert Walser»

Walser, who, with the exception of his early years around the magazine Die Insel, never belonged to any literary school, group or direction, was a respected, widely published author before the First World War and also in the 1920s, although most recently almost exclusively as a Columnist. In the 1930s, however, it was quickly forgotten in Germany, which also changed little by Carl Seelig's editions, which were published in Switzerland and received almost exclusively there.

Robert Walser was not rediscovered on a broader scale until the 1970s, although Christian Morgenstern , Robert Musil , Kurt Tucholsky , Franz Kafka , Walter Benjamin and Hermann Hesse were among his great admirers. Since then, almost all of his writings have been made accessible through an extensive work edition and the edition of the late draft manuscripts. Walser's impact on contemporary authors as diverse as Martin Walser , Peter Bichsel , Ror Wolf , Peter Handke , Elfriede Jelinek , WG Sebald and Max Goldt is significant.

In 2003, the Swiss graphic artist Käthi Bhend created the picture book One Who Notices a Section from the prose text Lamp, Paper and Glove by Robert Walser (printed in the volume Walk near Suhrkamp).

In 1967 Robert Walser's sister Fanny Hegi-Walser donated her estate to Dr. Elio Fröhlich ceded the Carl Seelig Foundation on the condition that all documents are to be kept, maintained and made accessible in a Robert Walser archive to be established. It was established in 1973, supported by the foundation. In 1996 the Carl Seelig Foundation co-initiated the Robert Walser Society , and the foundation itself was renamed the Robert Walser Foundation Zurich in 2004 (from 2009 Robert Walser Foundation Bern). Due to financial difficulties, the company moved to Bern in 2009 and the Robert Walser Center was opened . The aim of the institution is to archive, inventory and research the works of Robert Walser and his friend and patron Carl Seelig and make them accessible and known to a wider audience. In addition to the Robert Walser Archive, the Robert Walser Center houses a library that gathers all of Robert Walser's texts, including non-fictional ones. There are also regularly changing thematic exhibitions on Robert Walser.

The Robert Walser Biel / Bienne Foundation, which awards the Robert Walser Prize , was founded in his hometown of Biel in 1978 . By Robert Walser, a tilting train was the SBB named. The installation artist Thomas Hirschhorn dedicated a sculpture to Robert Walser , which stood in front of Biel's main train station for 86 days in the summer of 2019.

Awards

• Prize of the »Women's Association for Honoring Rhineland Poets«. First edition for the women's association in 1914.

Works

Work editions

• Poems in prose. Ed. V. Carl Seelig. Holle Verlag , Kossodo Verlag, Geneva / Darmstadt / Frankfurt am Main 1953–1961.
  • Essays, small seals. Ed. V. Carl Seelig. Holle Verlag, Geneva / Darmstadt 1953 (=  poems in prose , 1).
  • Unpublished prose poems. Ed. V. Carl Seelig. Holle Verlag, Geneva / Darmstadt 1954 (=  poems in prose , 2).
  • The assistant. Novel. Ed. V. Carl Seelig. Holle Verlag, Geneva / Darmstadt 1955 (=  poems in prose , 3).
  • Fritz Kocher's essays, The Rose and Small Seals. Ed. V. Carl Seelig. Verlag Helmut Kossodo, Geneva / Frankfurt am Main 1959 (=  poems in prose , 4).
  • Comedy, Stories and The Walk. Ed. V. Carl Seelig. Verlag Helmut Kossodo, Geneva / Frankfurt am Main 1961 (=  poems in prose , 5).

• The complete work (12 volumes in 13 part volumes). Ed. V. Jochen Greven. Verlag Helmut Kossodo , Geneva / Hamburg 1966–1975.
  • Fritz Kocher's essays, stories, essays. Ed. V. Jochen Greven. Verlag Helmut Kossodo, Geneva / Hamburg 1972 (= GW, 1).
  • Little poems, prose pieces, little prose. Ed. V. Jochen Greven. Verlag Helmut Kossodo, Geneva / Hamburg 1971 (= GW, 2).
  • Poet life, Zealand, the rose. Ed. V. Jochen Greven. Verlag Helmut Kossodo, Geneva / Hamburg 1967 (= GW, 3).
  • Siblings Tanner. Roman, Jakob von Gunten. A diary. Ed. V. Jochen Greven. Verlag Helmut Kossodo, Geneva / Hamburg 1967 (= GW, 4).
  • The assistant. Novel. Ed. V. Jochen Greven. Verlag Helmut Kossodo, Geneva / Hamburg 1972 (= GW, 5).
  • Fantasize. Prose from the time in Berlin and Biel. Ed. V. Jochen Greven. Verlag Helmut Kossodo, Geneva 1966 (= GW, 6).
  • Pageant. Prose from the Biel and Bern times. Ed. V. Jochen Greven. Verlag Helmut Kossodo, Geneva / Hamburg 1966 (= GW, 7).
  • Olympia. Prose from the Bern period (I) 1925/1926. Ed. V. Jochen Greven. Verlag Helmut Kossodo, Geneva / Hamburg 1967 (= GW, 8).
  • Masquerade. Prose from the Bernese period (II) 1927/1928. Ed. V. Jochen Greven. Verlag Helmut Kossodo, Geneva / Hamburg 1968 (= GW, 9).
  • The European. Prose from the Bernese period (III) 1928–1933 . Ed. V. Jochen Greven, Verlag Helmut Kossodo, Geneva / Hamburg 1968 (= GW, 10).
  • Poems and Dramolets. Ed. V. Robert Mächler. Verlag Helmut Kossodo, Geneva / Hamburg 1971 (= GW, 11).
  • Drafts, different fonts. With editorial reports and an alphabetical complete index of the little prose. Ed. V. Jochen Greven with the collaboration of v. Martin Juergens. Verlag Helmut Kossodo, Geneva / Hamburg 1972 (= GW, 12.1).
  • Letters. Ed. V. Jörg Schäfer with the assistance of v. Robert Mächler. Verlag Helmut Kossodo, Geneva 1975 (= GW, 12.2).

• All works in single editions (20 vols). Ed. V. Jochen Greven. Suhrkamp , Zurich / Frankfurt am Main 1985–1986 .:
  • Fritz Kocher's essays. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37601-2 (= SW, 1).
  • Stories. Suhrkamp, ​​Zurich / Frankfurt am Main 1985, ISBN 3-518-37602-0 (= SW, 2).
  • Essays. Suhrkamp, ​​Zurich / Frankfurt am Main 1985, ISBN 3-518-37603-9 (= SW, 3).
  • Small seals. Suhrkamp, ​​Zurich / Frankfurt am Main 1985, ISBN 3-518-37604-7 (= SW, 4).
  • The Walk, Prose Pieces and Little Prose. Suhrkamp, ​​Zurich / Frankfurt am Main 1985, ISBN 3-518-37605-5 (= SW, 5).
  • Poet life. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37606-3 (= SW, 6).
  • Zealand. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37607-1 (= SW, 7).
  • The Rose. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37608-X (= SW, 8).
  • Siblings Tanner. Novel. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37609-8 (= SW, 9).
  • The assistant. Novel. Suhrkamp, ​​Zurich / Frankfurt am Main 1985, ISBN 3-518-37610-1 (= SW, 10).
  • Jakob von Gunten. A diary. Suhrkamp, ​​Zurich / Frankfurt am Main 1985, ISBN 3-518-37611-X (= SW, 11).
  • The robber. Novel. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37612-8 (= SW, 12).
  • The poems. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37613-6 (= SW, 13).
  • Comedy. Fairy tale games and scenic poems. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37614-4 (= SW, 14).
  • Worrying stories. Prose from the Berlin period 1906–1912. Suhrkamp, ​​Zurich / Frankfurt am Main 1985, ISBN 3-518-37615-2 (= SW, 15).
  • Dream. Prose from the time in Biel 1913–1920. Suhrkamp, ​​Zurich / Frankfurt am Main 1985, ISBN 3-518-37616-0 (= SW, 16).
  • When the weak think they are strong. Prose from the Bernese period 1921–1925. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37617-9 (= SW, 17).
  • Delicate lines. Prose from the Bern period in 1926. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37618-7 (= SW, 18).
  • There was once. Prose from the Bernese period 1927–1928. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37619-5 (= SW, 19).
  • For the cat. Prose from the Bernese period 1928–1933. Suhrkamp, ​​Zurich / Frankfurt am Main 1986, ISBN 3-518-37620-9 (= SW, 20).

• From the pencil field. Ed. V. Bernhard Echte u. Werner Morlang i. A. of the Robert Walser Archive of the Carl Seelig Foundation, Zurich. Suhrkamp, ​​Frankfurt am Main 1985-2000.
  • From the pencil field. Micrograms from 1924–1925. Prose. Ed. V. Bernhard Echte u. Werner Morlang. Suhrkamp, ​​Frankfurt am Main 1985, ISBN 3-518-03234-8 (= AdB, 1).
  • From the pencil field. Micrograms from 1924–1925. Poems and dramatic scenes. Ed. V. Bernhard Echte u. Werner Morlang. Suhrkamp, ​​Frankfurt am Main 1985, ISBN 3-518-03234-8 (= AdB, 2).
  • From the pencil field. 'Robber' novel, 'Felix' scenes. Ed. V. Bernhard Echte u. Werner Morlang. Suhrkamp, ​​Frankfurt am Main 1986, ISBN 3-518-03085-X (= AdB, 3).
  • From the pencil field. Micrograms from 1926–1927. Ed. V. Bernhard Echte u. Werner Morlang. Suhrkamp, ​​Frankfurt am Main 1990, ISBN 3-518-40224-2 (= AdB, 4).
  • From the pencil field. Micrograms from 1925-1933. Prose. Edited by Bernhard Echte. Decipherment in collaboration with Werner Morlang. Suhrkamp, ​​Frankfurt am Main 2000, ISBN 3-518-40851-8 (= AdB, 5).
  • From the pencil field. Micrograms from 1925-1933. Poems and Dramatic Scenes. Ed. V. Bernhard Echte. Decipherment in collaboration with Werner Morlang. Suhrkamp, ​​Frankfurt am Main 2000, ISBN 3-518-40851-8 (= AdB, 6).

• Critical Robert Walser edition. Critical edition of all prints and manuscripts. Ed. V. Wolfram Groddeck u. Barbara von Reibnitz. Basel i. A. the Foundation for a Critical Robert Walser Edition, Basel. Stroemfeld | Schwabe, Frankfurt am Main / Basel since 2008 (KWA).
  • Fritz Kocher's essays. Ed. V. Hans-Joachim Heerde, Barbara von Reibnitz a. Matthias Sprünglin. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2010, ISBN 978-3-7965-2463-9 (= KWA, I.1; with DVD).
  • Siblings Tanner (first print). Ed. V. Wolfram Groddeck, Barbara von Reibnitz u. Matthias Sprünglin. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2008, ISBN 978-3-86600-024-7 (= KWA, I.2; with DVD).
  • The assistant (first printing). Ed. V. Angela Thut u. Christian Walt. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2012, ISBN 978-3-86600-084-1 (= KWA, I.3; with DVD).
  • Jakob von Gunten. A diary. Ed. V. Hans-Joachim Heerde. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2013, ISBN 978-3-86600-154-1 (= KWA, I.4; with DVD).
  • Prose Pieces, Little Prose, The Walk. Ed. V. Barbara von Reibnitz. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2016, ISBN 978-3-86600-249-4 (= KWA, I.8; with USB stick).
  • Poet life. Ed. V. Matthias Sprünglin. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2014, ISBN 978-3-86600-191-6 (= KWA, I.9; with DVD).
  • Zealand. Ed. V. Matthias Sprünglin. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2018, ISBN 978-3-7965-3704-2 (= KWA, I.11; with QR code, accompanying online edition).
  • The Rose. Ed. V. Wolfram Groddeck, Hans-Joachim Heerde a. Caroline Socha. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2016, ISBN 978-3-86600-259-3 (= KWA, I.12; with USB stick).
  • Prints in the Neue Rundschau. Ed. V. Hans-Joachim Heerde, Barbara von Reibnitz a. Caroline Socha. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2017, ISBN 978-3-7965-3677-9 (= KWA, II.1; with QR code, accompanying online edition).
  • Prints in the Schaubühne / Weltbühne. Ed. V. Hans-Joachim Heerde, Barbara von Reibnitz a. Matthias Sprünglin. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2015, ISBN 978-3-86600-241-8 (= KWA, II.3; with USB stick).
  • Prints in the Berliner Tageblatt. Ed. V. Hans-Joachim Heerde. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2013, ISBN 978-3-86600-174-9 (= KWA, III.1; with DVD).
  • Prints in the Neue Zürcher Zeitung. Ed. V. Barbara von Reibnitz and Matthias Sprünglin. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2013, ISBN 978-3-86600-172-5 (= KWA, III.3; with DVD).
  • Prints in the Prague press. Ed. V. Hans-Joachim Heerde and Barbara von Reibnitz.Stroemfeld | Schwabe, Frankfurt am Main / Basel 2018, ISBN 978-3-7965-3777-6 (= KWA, III.4).
  • Siblings Tanner (manuscript). Ed. V. Wolfram Groddeck, Barbara von Reibnitz u. Matthias Sprünglin. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2008, ISBN 978-3-86600-022-3 (= KWA, IV.1; with DVD).
  • The assistant (manuscript). Ed. V. Angela Thut u. Christian Walt. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2012, ISBN 978-3-86600-087-2 (= KWA, IV.2; with DVD).
  • Zealand (manuscript). Ed. V. Fabian Grossenbacher, Christian Walt u. Wolfram Groddeck. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2018, ISBN 978-3-7965-3705-9 (= KWA, IV.3; with QR code, accompanying online edition).
  • Prague manuscripts. Ed. V. Angela Thut, Christian Walt u. Wolfram Groddeck. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2018, ISBN 978-3-7965-3778-3 (= KWA, V.2).
  • Micrograms 1924/25. Ed. V. Angela Thut, Christian Walt u. Wolfram Groddeck. Stroemfeld | Schwabe, Frankfurt am Main / Basel 2016, ISBN 978-3-86600-261-6 (= KWA, VI.1; with QR code, accompanying online edition).
  • Micrograms 1925 (I). Ed. V. Fabian Grossenbacher, Angela Thut and Christian Walt, Schwabe, Basel 2019, ISBN 978-3-7965-3925-1 (= KWA, VI.2).

• Works. Bern edition. Ed. V. Lucas Marco Gisi, Reto Sorg, Peter Stocker u. Peter Utz i. A. from the Robert Walser Foundation, Bern. Suhrkamp, ​​Berlin since 2018.
  • Letters 1897–1920. Ed. V. Peter Stocker u. Bernhard Echte. With the collaboration of Peter Utz u. Thomas Binder. Suhrkamp, ​​Berlin 2018, ISBN 978-3-518-42845-0 (= BA, 1).
  • Letters 1921–1956. Ed. V. Peter Stocker u. Bernhard Echte. With the collaboration of Peter Utz u. Thomas Binder. Suhrkamp, ​​Berlin 2018, ISBN 978-3-518-42845-0 (= BA, 2).
  • Letters. Epilogue and Appendix. Ed. V. Peter Stocker u. Bernhard Echte. With the collaboration of Peter Utz u. Thomas Binder. Suhrkamp, ​​Berlin 2018, ISBN 978-3-518-42845-0 (= BA, 3).
  • The assistant. Ed. V. Reto Sorg u. Karl Wagner, with afterword, illus. U. Attachment. Suhrkamp, ​​Berlin 2019, ISBN 978-3-518-42901-3 (= BA, 6).
  • Prose pieces. Ed. V. Lucas Marco Gisi, Reto Sorg, Peter Stocker u. Peter Utz, with afterword, illus. Attachment. Suhrkamp, ​​Berlin 2019, ISBN 978-3-518-42899-3 (= BA, 12).
  • Little prose. Ed. V. Sabine Eickenrodt u. Peter Stocker, 150 p., With afterword, illus. And Attachment. Suhrkamp, ​​Berlin 2019, ISBN 978-3-518-42900-6 (= BA, 13).

Publications before 1956

• Fritz Kocher's essays . Insel Verlag, Leipzig 1904.
• Siblings Tanner . Bruno Cassirer Publishing House, Berlin 1907.
• The assistant . Verlag Bruno Cassirer, Berlin 1908 (2005/2006 included in the Swiss Library book series by Das Magazin ).
• Jakob von Gunten . Bruno Cassirer Publishing House, Berlin 1909.
• Poems. Bruno Cassirer Publishing House, Berlin 1909.
• Essays. Kurt Wolff Verlag, Leipzig 1913.
• Stories. Kurt Wolff Verlag, Leipzig 1914.
• Small seals. Kurt Wolff Verlag, Leipzig 1915 (imprint: 1914).
• Little prose. Francke Verlag, Bern 1917.
• The walk . Huber Verlag, Frauenfeld 1917.
• Poet life . Huber Verlag, Frauenfeld 1917.
• Prose pieces. Rascher Verlag, Zurich 1917.
• Comedy. Bruno Cassirer Publishing House, Berlin 1919.
• Zealand. Rascher Verlag, Zurich 1920.
• The rose . Rowohlt Verlag, Berlin 1925.
• Big little world. A selection. Ed. V. Carl Seelig. Eugen Rentsch Verlag, Erlenbach-Zurich, Leipzig 1937.
• Robert Walser. From: "Big Little World", "Small Seals", "Poet Life". Verlag HR Sauerländer & Co., Aarau o. J. [1940] (= Swiss poet. A collection for Swiss secondary schools, 1; with a foreword by Carl Seelig).
• About happiness, misery and poverty. Ed. V. Carl Seelig. Benno Schwabe & Co., Basel 1944 (= Klosterberg collection. Swiss series).
• Silent joys. Ed. V. Carl Seelig. Olten Book Friends Association, Olten 1944.
• Portraits of poets. Ed. V. Carl Seelig. Scherrer & Co., Schaffhausen 1947 (= Tobias Stimmer-Drucke, 1).
• The Battle of Sempach. A story. Tschudy-Verlag, St. Gallen 1950 (= Der Bogen, 3).
• Jakob von Gunten. A diary . Published by Carl Seelig. Steinberg-Verlag, Zurich 1950.

Publications after 1956

• Unknown poems. Ed. V. Carl Seelig. Tschudy-Verlag, St. Gallen 1958.
• Reading for minutes. Thoughts from his books and letters. Ed. V. Volker Michels. Suhrkamp, ​​Zurich 1978, ISBN 3-518-04615-2 .
• Letters. Ed. V. Jörg Schäfer with the assistance of v. Robert Mächler. Suhrkamp, ​​Frankfurt am Main 1979, ISBN 3-518-36988-1 .
• To home. Essays. Suhrkamp, ​​Frankfurt am Main 1980, ISBN 3-518-01719-5 (= Library Suhrkamp, ​​719).
• Our city. Texts about Biel. Compiled v. Bernhard Echte. Nimbus. Art and books, Wädenswil 2002, ISBN 978-3-907142-09-7 .
• Did these poets poetry correctly? A poetic literary story. Ed. V. Bernhard Echte. Insel Verlag, Frankfurt am Main / Leipzig 2002, ISBN 3-458-34489-6 .
• Fire. Unknown prose and poetry. Ed. V. Bernhard Echte. Suhrkamp, ​​Frankfurt am Main 2003, ISBN 3-518-41356-2 .
• Europe's snowy fur boa. Texts on Switzerland. Ed. V. Bernhard Echte. Suhrkamp, ​​Frankfurt an Main 2003, ISBN 3-518-41454-2 .
• Selected love stories. Compiled by Volker Michels. Insel Verlag, Frankfurt am Main / Leipzig 2003, ISBN 3-458-34597-3 .
• Before pictures. Stories and poems. Ed. V. Bernhard Echte. Insel Verlag, Frankfurt am Main / Leipzig 2006, ISBN 978-3-458-19282-4 .
• Berlin always sets the tone. Little prose from and about Berlin. Ed. V. Jochen Greven. Insel Verlag, Frankfurt am Main / Leipzig 2006, ISBN 3-458-34912-X .
• Deep winter. Stories from Christmas and snowing. Ed. V. Margrit Gigerl, Livia Knüsel u. Reto Sorg. Insel Verlag, Frankfurt am Main / Leipzig 2007, ISBN 978-3-458-35026-2 .
• Micrograms. With 68 illustrations. After the transcription by Bernhard Echt u. Werner Morlang. Ed. V. Lucas Marco Gisi, Reto Sorg u. Peter Stocker i. A. from the Robert Walser Foundation, Bern. Suhrkamp, ​​Berlin 2011, ISBN 978-3-518-22467-0 (= Library Suhrkamp, ​​1467).
• In the office. From the life of the employees. Selected u. provided with an afterword v. Reto Sorg u. Lucas Marco Gisi. Insel Verlag, Berlin 2011, ISBN 978-3-458-35787-2 (= Insel Taschenbuch, 4087).
• The little zoo. Ed. V. Lucas Marco Gisi u. Reto Sorg. Insel Verlag, Berlin 2014, ISBN 978-3-458-35994-4 (= Insel Taschenbuch 4294).
• The pond. Scenes. Bilingual edition. From the Swiss German by Händl Klaus u. Raphael Urweider . Ed. V. Reto Sorg. Insel Verlag, Berlin 2014, ISBN 978-3-458-19396-8 .
• "The best I can say about music" . Ed. V. Roman Brotbeck u. Reto Sorg in collaboration with v. Gelgia Caviezel. Insel Verlag, Berlin 2015, ISBN 978-3-458-36120-6 .
• A slap and other things . Selected by Thomas Hirschhorn and Reto Sorg. With a foreword by Thomas Hirschhorn, Suhrkamp, ​​Berlin 2019, ISBN 978-3-518-46884-5 .

Audio books

• For the cat - a fictional day in the life of the writer Robert Walser. Radio play from texts by Robert Walser. Christoph Merian, 2006, ISBN 3-85616-277-1 .
• Robert Walser: The street. Christoph Merian, 2006, ISBN 3-85616-276-3 .
• Robert Walser: The ruin. Christoph Merian, 2011, ISBN 978-3-85616-457-7 .
• Robert Walser: In the office. Read by Stefan Suske . Diogenes, 2011, ISBN 978-3-257-80314-3 .
• Robert Walser: The assistant. Read by Martin Hofer and Heinz Müller. LOhrBär-Verlag, 2015, ISBN 978-3-939529-14-9 .
• Robert Walser: I stand on earth: this is my point of view. Scattered prose. Read by Hannelore Hoger . Diogenes, 2015, ISBN 978-3-257-80355-6 .

Theatrical performances

• Everyone goes against the castle , premiere of the dramolet Sleeping Beauty , Snow White and Cinderella in the Theater am Neumarkt , January 17, 1973
• he not as he (to, with Robert Walser). One piece. (Elfriede Jelinek: Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-41024-5 ), director: Jossi Wieler, world premiere on August 1, 1998, Salzburg Festival
• Jakob von Gunten - The high school of humility based on the novel by Robert Walser, director: Martin Jürgens sursumcorda Theater and film production 2000–2007
• robert walser mikrogramme das kleine welttheater , director: Christian Bertram , stage: Max Dudler , music: Hans Peter Kuhn , world premiere April 14, 2005 Berlin; Readings, films and panel discussions in the accompanying program www.mikrogramme.de

Film adaptations

• Jakob von Gunten. Director: Peter Lilienthal , screenplay: Ror Wolf and Peter Lilienthal, 1971.
• Robert Walser (1974–1978). Direction and script: HHK Schoenherr.
• The assistant. Director: Thomas Koerfer , 1975.
• The guardian and his poet. Direction and screenplay: Percy Adlon , 1978 (free film adaptation of Seelig's wanderings with Robert Walser ).
• Waldi. Direction and screenplay: Reinhard Kahn, Michael Leiner (based on the story Der Wald ), 1980.
• Institute Benjamenta, or This Dream People Call Human Life. Directed by Stephen Quay, Timothy Quay, 1995.
• Branca de Neve. Directed by João César Monteiro, 2000.
• Jakob von Gunten. Film director: Georg Bühren, theater director: Martin Jürgens , script: Martin Jürgens, Petra Moser, Andreas Ramstein, 2001.
• He, the hat, sits on top of it, the head. Robert Walser stories. A visual book read by Bruno Ganz . Director: Walo Deuber, 2006.

Documentaries

• Robert Walser - A Poet's Life. Biel 1878 - Herisau 1956. Documentary, Switzerland 2003, 59 min., Written and directed: Ernst Buchmüller , production: SF DRS , 3sat , first broadcast: October 18, 2003 in 3sat, table of contents on programm.ard.de.

• I'm still standing at the door of life. Robert Walser and the art of losing. Documentary, Federal Republic of Germany 1986, 119 min., Script and director: Peter Hamm , production: SWF , synopsis from the Literaturhaus Basel .

Settings

• Helmut Oehring : GUNTEN, a diary music for octet and three actors, libretto: Stefanie Wördemann based on Robert Walser's novel Jacob von Gunten, world premiere: October 2008 at Gare du Nord Basel.

literature

• Jürg Amann: Robert Walser. A literary biography in texts and pictures . Diogenes, Zurich 2006, ISBN 3-257-06553-1 .
• Walter Benjamin: Robert Walser. 1929 (article; full text ).
• Klaus Bonn, Edit Kovács, Csaba Szabó (Ed.): Discoveries. About Jean Paul, Robert Walser, Konrad Bayer and others. 2002, ISBN 3-631-38399-1 .
• Christoph Bungartz : Step backwards and forwards. The irony in Robert Walser's Bernese prose. Dissertation . Lang, Bern 1988, ISBN 3-631-40485-9 .
• Bernhard Echte: Robert Walser. His life in pictures and texts. Suhrkamp, ​​Frankfurt am Main 2008, ISBN 978-3-518-41860-4 .
• Bernhard Echte (Ed.): En face - texts by eyewitnesses. Memories of Robert Walser. Nimbus, Wädenswil [2019], ISBN 978-3-03850-017-9 .
• Tamara S. Evans: Robert Walser's Modernism. Francke, Bern 1989, ISBN 3-317-01661-2 .
• Tamara S. Evans: Robert Walser and the visual arts. The Graduate School and University Center, New York 1996, Congressional Report, Bibliography.
• Anna Fattori, Margit Gigerl (Ed.): Imagery. Sound figures. Playing forms of intermediality with Robert Walser. Fink, Munich 2008, ISBN 978-3-7705-4711-1 .
• Anna Fattori, Kerstin Countess von Schwerin (ed.): "I prefer to finish this poem in prose". Robert Walser as a frontier crosser of the genres. Winter, Heidelberg 2011, ISBN 978-3-8253-5597-5 .
• Robert Frank: Distant Closeness. Homage for / A Tribute to Robert Walser (= writings of the Robert Walser Center . Volume 3). 2012, ISBN 978-3-9523586-2-7 .
• Elio Fröhlich, Peter Hamm (Ed.): Robert Walser. Life and work in data and images. Insel, Frankfurt am Main 1980, ISBN 3-458-31964-6 .
• Lucas Marco Gisi, Reto Sorg (ed.): Every book that has been printed is a grave for the poet, isn't it? Robert Walser's books during his lifetime (= writings of the Robert Walser Center. 1). 2009, ISBN 978-3-9523586-0-3 .
• Lucas Marco Gisi: The writer's silence. Robert Walser and the power knowledge of psychiatry. In: Martina Wernli (ed.): Knowledge and non-knowledge in the clinic. Dynamics of Psychiatry around 1900. Transcript, Bielefeld 2012, ISBN 978-3-8376-1934-8 , pp. 231-259.
• Lucas Marco Gisi (Ed.): Robert Walser manual. Life - work - effect . Stuttgart, Metzler 2015, ISBN 978-3-476-02418-3 .
• Jochen Greven : Robert Walser. Figure on the edge in changing light. Fischer Taschenbuch, Frankfurt am Main 1992, ISBN 3-596-11378-4 .
• Jochen Greven: Robert Walser - an outsider becomes a classic; Adventure of a rediscovery . Libelle, Lengwil 2003, ISBN 3-909081-39-8 .
• Wolfram Groddeck, Reto Sorg, Peter Utz, Karl Wagner (eds.): Robert Walser's “Ferne Nahe”. New contributions to research. 2nd Edition. Fink, Munich 2007, ISBN 978-3-7705-4517-9 .
• Christoph Jakob: Robert Walser's hermeneutics of life . Shaker, Aachen 1998, ISBN 3-8265-3854-4 .
• Martin Jürgens: His art of hesitation. Eleven attempts to Robert Walser. October, Münster 2006, ISBN 3-938568-46-1 .
• Katharina Kerr (Ed.): About Robert Walser. 3 volumes. Suhrkamp, ​​Frankfurt am Main 1979, ISBN 3-518-06983-7 .
• Robert Mächler : The life of Robert Walser. Kossodo Verlag, Geneva and Hamburg 1966. The author revised and supplemented edition: Suhrkamp, ​​Frankfurt am Main 1992, ISBN 3-518-40444-X .
• EY Meyer: A distant resemblance. A Robert Walser story. Folio, Vienna 2006, ISBN 3-85256-341-0 .
• Catherine Sauvat: Forgotten Worlds. Biography of Robert Walser. Bruckner and Thünker, Cologne 1993, ISBN 3-905208-01-6 .
• Diana Schilling: Robert Walser. Rowohlt, Reinbek 2007, ISBN 978-3-499-50660-4 .
• Carl Seelig: Hikes with Robert Walser. 10th edition. Suhrkamp, ​​Frankfurt am Main 2001, ISBN 3-518-01554-0 .
• Dietrich Seybold: Robert Walser . In: Andreas Kotte (Ed.): Theater Lexikon der Schweiz . Volume 3, Chronos, Zurich 2005, ISBN 3-0340-0715-9 , pp. 2044 f.
• Roland Stark: Language on the gold scales - Robert Walser and Der Buntscheck (= writings of the Robert Walser Center , Volume 2). 2012, ISBN 978-3-9523586-1-0 .
• Peter Utz: Dance on the Edge. Robert Walser's “now-time style” . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-40965-4 .
• Peter Utz: Life in the fleeting word. In: Neue Zürcher Zeitung , December 16, 2006 ( online ).
• Matthias Weishaupt (Red.): Robert Walser in the sanatorium and nursing home Herisau (= Appenzell Yearbooks , Volume 133; special issue). 2005 ( full text ).

Web links

Wikiquote: Robert Walser  - Quotes

Commons : Robert Walser  - Collection of pictures, videos and audio files

• Publications by and about Robert Walser in the Helveticat catalog of the Swiss National Library
• Literature by and about Robert Walser in the catalog of the German National Library
• Works by and about Robert Walser  in the German Digital Library
• Robert Walser's estate in the HelveticArchives archive database of the Swiss National Library
• Robert Walser Center and catalog of the Robert Walser Library
• Critical Robert Walser edition (developed at the Universities of Zurich and Basel).
• Robert Walser ( Memento from April 16, 2016 in the Internet Archive ). Annotated link collection of the university library of the Free University of Berlin .
• The life and literary work of Robert Walser on xlibris.de.
• Works by Robert Walser in Project Gutenberg ( currently not usually available to users from Germany )
• Works by Robert Walser in the Internet Archive
• Ansgar Fabri, Burkhart Brückner: Walser, Robert Otto . In: Biographical Archive of Psychiatry , 2015.
• Lucas Marco Gisi: Walser, Robert. In: Historical Lexicon of Switzerland .
• Andreas Schwab: Robert Walser. Writer and walker at mémoire régionale - regional memory , the internet portal for historical documents from the Biel, Seeland and Bernese Jura region.

Individual evidence

1. ↑ Katja Zellweger: Walser family . In: Lucas Marco Gisi (ed.): Robert Walser manual. Life - work - effect . JB Metzler, Stuttgart 2015, p. 16 .
2. ↑ Walser's birthplace at 3 Dufourstrasse and other residential addresses until 1895 at mémoire régionale - regionales Gedächtnis , the Internet portal for historical documents from the Biel, Seeland and Bernese Jura regions.
3. ↑ Peter von Matt: The ink-blue confederates. About literary and political Switzerland. dtv, Munich 2004, p. 214.
4. ^ Franziska Zihlmann: Timeline . In: Lucas Marco Gisi (ed.): Robert Walser manual. Life-work-effect. JB Metzler, Stuttgart 2018, ISBN 978-3-476-04594-2 , pp. 7 .
5. ↑ Verena Bider: Life and afterlife in the small town and its surroundings: Robert Walser and Solothurn: Spotlights on secure, possible and random references . In: Communications from the Robert Walser Society. Robert Walser Society, Bern 2018, p. 5-16 .
6. ^ Franziska Zihlmann: Timeline . In: Lucas Marco Gisi (Ed.): Robert Walser Handbook. Life - work - effect. JB Metzler, Stuttgart 2015, p. 7-12 .
7. ^ Peter Stocker: Literature business, publishers, magazines and newspapers . In: Lucas Marco Gisi (ed.): Robert Walser manual. Life - work - effect. JB Metzler, Stuttgart 2015, p. 46 .
8. ^ Franziska Zihlmann: Timeline . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2015, p. 9-10 .
9. ↑ Lucas Marco Gisi: Work phases . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2015, p. 75 .
10. ↑ Werner Morlang: "I am content to nomadize within the boundaries of our city ...". Robert Walser in Bern . Verlag Paul Haupt, Bern / Stuttgart / Vienna 1995, p. 26 .
11. ↑ Irmgard Fuchs: Depth psychology and revolt: For the humanization of everyday life. Königshausen and Neumann, Würzburg 2014, p. 179.
12. ↑ Peter Stocker: Letters. Epilogue and Appendix . Ed .: Peter Stocker and Bernhard Echte. tape 3 . Suhrkamp, ​​Berlin 2018, p. 26 .
13. ↑ Lucas Marco Gisi: Work phases . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, ISBN 978-3-476-04594-2 , pp. 75 .
14. ^ Joachim Heerde, Barbara von Reibnitz, Matthias Sprünglin: Editorial afterword . In: Hans-Joachim Heerde, Barbara von Reibnitz, Matthias Sprünglin (eds.): Critical Robert Walser edition. Fritz Kocher's essays. tape I.1 . Stroemfeld, Schwabe, Basel, Frankfurt am Main 2010, pp. 102-103 .
15. ↑ Josef Viktor Widmann: Lyric first fruits. Preliminary note from the editors 1898 . In: Katharina Kerr (ed.): About Robert Walser . tape 1 . Suhrkamp, ​​Frankfurt am Main 1978, ISBN 3-518-06983-7 , pp. 11 .
16. ↑ Lucas Marco Gisi: Work phases . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, ISBN 978-3-476-04594-2 , pp. 74 .
17. ^ Paul Keckeis: Poems (1909) . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 79-82 .
18. ↑ Jens Hobus: Comedy (1919) . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 82-90 .
19. ↑ Hans-Joachim Heerde, Barbara von Reibnitz a. Matthias Sprünglin: Editorial afterword . In: Hans-Joachim Heerde, Barbara von Reibnitz a. Matthias Sprünglin (Ed.): Critical Robert Walser edition. Fritz Kocher's essays . tape I.1 . Stroemfeld, Schwabe, Basel, Frankfurt am Main 2010, pp. 118 .
20. ↑ Peter Stocker, Bernhard Echte (Ed.): Letters 1897–1920. Works. Volume 1. Suhrkamp, ​​Berlin 2018, p. 116, letter 103.
21. ^ Heinz Sarkowski: The Insel-Verlag 1899-1999. The history of the publisher. Frankfurt am Main, Leipzig 1999, p. 43–44 (quoted from KWA I.1, p. 128) .
22. ↑ Reto Sorg: The pond. Epilogue . In: The pond . Insel Verlag, Berlin 2014, p. 63-73 .
23. ^ Christian Morgenstern: Christian Morgenstern to Bruno Cassirer, April 8, 1906 . In: Peter Stocker and Bernhard Echte (eds.): Bern edition. Letters. Epilogue and Appendix . tape 3 . Suhrkamp, ​​Berlin 2018, p. 84 .
24. ^ Marc Caduff: Prose of the Berlin time . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 138 .
25. ^ Marc Caduff: Prose of the Berlin time . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 138 .
26. ↑ Bernhard Echte: In Berlin . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 28 .
27. ↑ Bernhard Echte: In Berlin . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 26-30 .
28. ^ Robert Walser: Aschinger. In: Essays. Volume 3. Ed. By Jochen Greven (= Complete Works. 3), p. 69.
29. ↑ Robert Walser: Questionable. In: Worrying Stories. Prose from the Berlin period 1906–1912. Volume 15. Edited by Jochen Greven (= Complete Works. 15), p. 118.
30. ↑ Christoph Siegrist: On the luck of misfortune: Robert Walser's Biel and Bern times . In: Klaus-Michael Hinz and Thomas Horst (eds.): Robert Walser . Suhrkamp Verlag, Frankfurt am Main 1991, ISBN 3-518-38604-2 , p. 61-62 .
31. ↑ Robert Walser: Dreaming . Edited by Jochen Greven. Zurich, Frankfurt am Main: Suhrkamp 1985. p. 19.
32. ^ Marion Gees: Prose of the Biel time . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 168-172 .
33. ↑ Robert Walser: Dreaming. Edited by Jochen Greven. Zurich, Frankfurt am Main: Suhrkamp 1985, p. 97.
34. ^ Marion Gees: Prose of the Biel time . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 168-173 .
35. ↑ Jörg Kreienbrock: Seeland (1920; imprint 1919) . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2015, p. 163 .
36. ↑ Robert Walser: Br. From March 19, 1919: Walser to 'Pro Helvetia' (Curt Wüest) . In: Peter Stocker and Bernhard Echte (eds.): Bern edition . B. 1 - Letters 1897-1920. Suhrkamp, ​​Berlin 2018, p. 546-547 .
37. ^ Hendrik Stiemer: Poetry of the Biel time . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 172-173 .
38. ^ Kerstin Countess von Schwerin: Prose of the Bernese time . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 196-197 .
39. ↑ Jochen Greven: Afterword. In: Robert Walser: When the weak consider themselves strong . In: Jochen Greven (Ed.): Complete works . tape 17 . Suhrkamp Verlag, Zurich 1986, p. 494-495 .
40. ^ Kerstin Countess von Schwerin: Prose of the Bernese time . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 199 .
41. ↑ See: Kerstin Countess von Schwerin: Prose of the Bernese time . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 202-207 .
42. ↑ Werner Morlang: Afterword . In: Bernhard Echte and Werner Morlang (eds.): From the pencil area . tape 2 . Suhrkamp Verlag, Frankfurt am Main 1985, p. 507 .
43. ^ Christian Walt: Writing processes: copying, revising . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 268 .
44. ^ Franziska Zihlmann: Timeline . In: Lucas Marco Gisi (ed.): Robert Walser manual . JB Metzler, Stuttgart 2018, p. 10 .
45. ↑ Hans ten Doornkaat: Do you think so? The Swiss Käthi Bhend draws a story by Robert Walser. In: The time . January 15, 2004 ( zeit.de ).
46. ^ Robert Walser Center
47. ↑ Gabriele Detterer: The realization of Thomas Hirschhorn's “Robert Walser Sculpture” for the Swiss Sculpture Exhibition becomes problematic. Neue Zürcher Zeitung , online, March 7, 2019.
48. ^ Robert Mächler: Robert Walser. Biography . Suhrkamp, ​​Frankfurt am Main 2003, ISBN 3-518-39986-1 , pp. 241 .