Arno Schmidt

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Cows in half mourning . Etching by Jens Rusch for Arno Schmidt's story Kühe in Halbtrauer

Arno Otto Schmidt (born January 18, 1914 in Hamburg-Hamm , † June 3, 1979 in Celle ) was a German writer .

Schmidt grew up in Hamburg and Lauban near Görlitz . From 1938 he lived in Greiffenberg . From 1946 on he lived as a freelance writer, first in Cordingen , then in Gau-Bickelheim , Kastel an der Saar and Darmstadt and, from 1958, finally in the heath village of Bargfeld near Celle. His first volume of short stories, Leviathan , was published in 1949. This and his works from the 1950s are linguistically characterized by an unusual choice of words, often based on Expressionism . Formally, it marks the endeavor to create new forms of prose; in terms of content, they are shaped by a culturally pessimistic worldview and aggressive opposition to West Germany during the Adenauer era . Schmidt further developed his theoretical considerations on prose and language in the 1960s, especially with James Joyce and Sigmund Freud , and tried to implement his results in the works created during this time ( rural stories in the volume Kühe in Halbtrauer , KAFF also Mare Crisium ) . As a result of this development, the monumental main work Zettel's Traum appeared in 1970 . His late work ( The School of Atheists , Evening with Gold Edge and the fragmentary work Julia, or the paintings ) appeared like Zettel's dream in large-format typescript volumes. In addition to the prose works that are important to the author, numerous translations from English, short stories, literary history and theoretical (radio) essays , a detailed biography of Friedrich de la Motte Fouqué and a study on Karl May ( Sitara ) inspired by psychoanalysis were created .


Until 1945

Memorial plaque for Arno Schmidt in Hamburg-Hamm

Arno Schmidt was born on January 18, 1914 in Hamburg-Hamm . His parents were the police officer Friedrich Otto Schmidt (1883–1928) and his wife Clara Gertrud Schmidt, b. Ehrentraut (1894–1973). Both parents came from Lauban in Lower Silesia , where they married in March 1912, one year after the birth of their first child, Lucie. Otto Schmidt was a soldier from 1904 to 1912 and served in the East Asian Detachment in Kiautschou from 1907 to 1909 . Since 1912 he worked in the Hamburg police service. Arno Schmidt found the conditions in the two-room apartment to be cramped, later he complained that the family lived "year in and year out, only in the kitchen" because the "living room" was spared.

After Otto Schmidt succumbed to a heart condition on September 8, 1928, his widow found that the widow's pension was higher than the money her husband had given her during his lifetime. Apparently he cheated on her and only brought a small part of his salary home. Clara Schmidt moved back to her parents' house in Lauban with her two children. In order not to lose her pension entitlement, she did not remarry, but she did have love affairs. The young Arno Schmidt was also confronted with the bad reputation this earned her, which, according to a note from 1955, “poisoned my entire youth during the Lauban years (1928–1937) [...] My parents were my curse ! But my mother most of all! ”He graduated from secondary school in Görlitz in March 1933 with the Abitur. His academic achievements were quite good; at times he was noticeable for his unusual reading and knowledge, especially of religious and ancient history. Schmidt's literary ambitions are not only recognizable in the poems he began at this time, but also in his correspondence with his friend Heinz Jerofsky.

After graduating from high school, for which he had stated that he would like to become a bank clerk, he attended the commercial college in Görlitz for a few months , where he learned shorthand . In the ongoing global economic crisis , Schmidt was unemployed from September 1933 to January 1934 . On a postcard in November 1933 he told his friend Heinz Jerofsky how he had applied to the SS after seven unsuccessful attempts to find a job ; but he was not taken because of his short-sightedness . Jerofsky suspected that this incident was an invention of Schmidt. The fact that he began studying astronomy at the University of Breslau , as he claimed in a biographical sketch for Rowohlt Verlag in 1950 , does not correspond to the facts. In the same year 1933, his sister Lucie emigrated to Prague with her husband Rudy Kiesler, who was a communist and of Jewish descent , and in 1939 they fled further to the United States .

On January 24, 1934, Schmidt was finally able to begin a commercial apprenticeship at Greiff-Werke in Greiffenberg , a major textile factory. He was taken on after completing his apprenticeship in January 1937 and from then on worked as a graphic accountant in the “table”, that is, he was responsible for entering incoming orders and production output in lists and illustrating the results in graphs on graph paper. The mostly schematic and dull work was easy for him due to his arithmetic talent. He was aloof from most of his colleagues. His supervisor at the time, Johannes Schmidt, remembers Schmidt's bon mot: “ Hell will be easy for all of us , because we worked at Greiff.” In the Greiff factory, Schmidt met Alice Murawski , who was two years younger and whom he met on August 21 Married in 1937. The relationship between the married couple was similarly patriarchal to that of Schmidt's parents. In a letter to Jerofsky, Schmidt described it as "a very ideal vertical love (my specialty! Unfortunately!)". Schmidt forbade his wife to continue working even though she wanted to continue working. Instead, he required her to train herself to be an assistant and secretary for the literary work he planned, in addition to doing housework. The couple, who remained childless, initially lived in Clara Schmidt's house, and in 1938 the couple moved into a two-room apartment in the Greiff-Werke estate in Greiffenberg. In addition to the work in the textile factory, Schmidt dealt with the creation of seven and ten-digit log tables . This work kept him busy until 1945, but he couldn't find a publisher for it in the post-war period. He also wrote poems and a fragment that remained, the first story ( Die Insel ). In 1938 Schmidt traveled abroad to England, where he not only visited second-hand bookshops in London , but also the grave of Charles Dickens , on whom he later wrote a radio essay. The money for the trip came from Clara Schmidt, who had sold her Laubaner house in 1938 and moved to Quedlinburg .

In 1940 Schmidt was called up by the Wehrmacht to the light artillery in Hirschberg , followed in 1941 a garrison period in Hagenau in Alsace and finally from 1942 to 1945 the assignment in the Norwegian Romsdalsfjord , which he spent mostly in a clerk's room with the calculation of shot tables. It was during these years that the poets' talks in the Elysium , published only posthumously, and other stories that were published together in 1988 as Juvenilia ( Bargfelder issue I / 4) were created. In 1945, Schmidt volunteered to go to the front to get another vacation by organizing his wife's escape from the advancing Red Army to the west. A large part of his library was lost, including a valuable autograph by E. TA Hoffmann . After a short combat mission in Lower Saxony, Schmidt was a British prisoner of war near Brussels from April 16 to December 29, 1945 . As a prisoner of war and subsequently until the early 1950s, he gave his birth year falsely with 1910, probably to escape the heavy forced labor, were divided to all prisoners of war under thirty, and to re- convene to prevent.

The resettlers: 1945–1958

The Cordinger mill with the miller's house

At the end of 1945 Schmidt was released to Cordingen , a small village in the Lüneburg Heath . There he lived with his wife in a sparsely furnished room in the mill yard of the Cordinger mill . In Schwarze Spiegel , Schmidt describes his apartment at the time, into which he lets the first-person narrator break into:

“This time I came into the Mühlenhof from behind; […]: Poor furnishings: a bed with a wooden floor, no pillows or duvets, just 5 blankets. A tattered desk, on top of which were twenty accumulated books in corrugated cardboard boxes as shelves; a cracked tiny stove (well, it couldn't heat the big wet hole either!) […]. Paper in the drawers; Manuscripts; 'Massenbach fights for Europe'; 'The house on Holetschkagasse'; ergo a literary hunger, he had scolded Schmidt. "

Schmidt initially worked as an interpreter in the auxiliary police school in Benefeld . After its dissolution at the end of 1946, he decided to live as a freelance writer from now on. The following years - as for a large part of the German population - were marked by a poverty that found its way into his work, especially the story Brand's Haide, which was written in Cordingen . Without the CARE packages from his sister, who lives in America, he would have “starved to death”, he admitted in a dedication. 20 years later he still complained: “We didn't even have screaming paper in those years, right after '45; my ‹Leviathan› is noted on Telegram forms ”. In 1946 Schmidt wrote the stories Leviathan and Enthymesis , in 1948 Gadir , which Rowohlt Verlag accepted for publication in 1948. To conclude the contract, the Schmidts, who could not afford a train ride, took the tandem to Hamburg. Even the contract with Rowohlt Verlag, which was itself in financial difficulties, and the publication of the first Leviathan in 1949 could not end Schmidt's financial distress. It was exacerbated by rent disputes.

In 1950, together with four colleagues, he was awarded the Great Academy Prize for Literature from the Mainz Academy , which he was able to accept from the hands of his role model Alfred Döblin . The prize money of DM 2,000 temporarily eased the financial situation. Meanwhile the Schmidts were moved to Gau-Bickelheim near Mainz, d. H. resettled in the French occupation zone , an experience that Schmidt later shaped in Die Umsiedler (1953). This is where the story Black Mirrors originated . In 1951 the couple moved to Kastel an der Saar . Hans Werner Richter , Martin Walser , Alfred Andersch and Schmidt's temporary publisher Heinrich Maria Ledig-Rowohlt urged Schmidt to take part in the meetings of Group 47 in 1949 and 1953, but Schmidt also declined when Ledig-Rowohlt suggested he could win the prize the group received: “I am not suitable as a mannequin ; Let me […] I prefer to nourish myself honestly and quietly from translation than from literary work ”.

Arno-Schmidt- Hain in Ahlden (Aller)

In 1954, as part of the resumed Fouqué studies, he and his wife traveled to East Berlin via Ahlden for a few days . Schmidt processed observations of this journey, which his wife noted in her diary, in his novel Das steinerne Herz . Alice Schmidt's diaries from the mid-1950s, whose literary qualities were discovered late, were edited by Susanne Fischer.

As Schmidt in 1955 after the publication of his linguistically permissive Seascape with Pocahontas for blasphemy was reported and dissemination of indecent publications, he moved - with the active support of the painter Eberhard Schlotter - from Catholic Kastel Protestant Darmstadt where the proceedings against him the following year as hoped was discontinued. In the big city of Darmstadt, however, Schmidt missed the loneliness he needed to work (more on this: The artists' colony as a fly glass ):

"Experience has shown that any contact with others lowers my performance and disturbs me for days - my last attempt in this relationship, my‹ three years in Darmstadt ›, finally taught me about it."

An emigration to Ireland , which Heinrich Böll helped him to prepare , failed because Schmidt could not provide evidence of a secure medium-term income. Schmidt then oriented himself towards the north German lowlands . In connection with his novel project Lilienthal or the astronomers , which was to take place in the municipality of the same name in the district of Osterholz , Schmidt sought to move to the local district of St. Jürgen. In October 1957 he applied for a position as sexton of the local evangelical parish , which would have provided him with the associated official apartment, and wrote to the pastor that he was "nothing less than a 'militant atheist' " and assumed that one would become "- stimulating and interesting frictions are not excluded - getting along well with each other. ”Pastor Schulz, however, decided on another applicant.

Home of the Schmidts in Bargfeld.
Schmidt's grave in his garden in Bargfeld.

Bargfeld: 1958-1979

At the end of November 1958, the couple moved to Bargfeld in Lower Saxony , the poet's last place of residence. This phase of his life is described by the German scholar Wolfgang Albrecht as "unfettered self-development": Schmidt rarely left Bargfeld on day trips or to visit relatives for several days; one such exception was the trip in August 1962 when he and his wife drove again to East Berlin . After several years of preparatory work, Schmidt published his magnum opus Zettel’s Traum in 1970 , which earned him cult status : after just a few months, the first edition - 2000 autographed copies of the eight kilogram facsimile of Schmidt's A3 typescript - sold out, pirated prints were in the feature pages of most Newspapers published reviews of what is literally “the largest and most difficult book in German literary history”. Numerous readers and the curious traveled to Bargfeld in the hope of being able to experience the author personally, whereupon Schmidt only withdrew further. In 1973 he received the Goethe Prize from the city of Frankfurt am Main; The acceptance speech in the Paulskirche was read by his wife, as he was unable to travel for health reasons. In it he polemicized against the cultural policy of the GDR :

“Such a presumptuous waged workers 'and peasants' war against the imagination (...) can actually only end in a productive literature that is as fertile as it is sterile . (And that the popular Marxist formulation of the ' writing worker ' basically means a defamation of the professional writer - as if one could do this kind of thing even without a lifelong, arduous training after work - let it be said. "

Then Schmidt accused the German citizens of being lazy :

“Be it out of date and unpopular; but I know, as the only panacea , to always only call 'Die Arbeit' against everything; And as far as that is concerned, our whole people, at the top of course the youth, are not overworked, rather typically underworked: I can no longer hear the gossip about the '40 hour week': my week always has 100 hours had. "

Arno Schmidt died on June 3, 1979 in the hospital in Celle as a result of a stroke. The prose work Julia, or the paintings , remained unfinished.


After 1945, Arno Schmidt was on friendly terms with Alfred Andersch , Wilhelm Michels , Eberhard Schlotter and Hans Wollschläger . He was in contact with Max Bense , to whom he dedicated a (literary) equestrian statue in the “ Scholars' Republic ”.

Shortly before his death, he found a patron in Jan Philipp Reemtsma , who supported him financially in 1977 with 350,000 DM, the amount of the Nobel Prize for Literature , and thus freed him from material worries.

His widow Alice founded the Arno Schmidt Foundation with Jan Philipp Reemtsma in 1981 ; she died in Bargfeld in 1983. Dave Winer , the “forefather of blogging ”, is a great-nephew of Arno Schmidt.

Literary work

Typewriter and glasses by Arno Schmidt in the Bomann Museum , Celle

Arno Schmidt is one of the most important writers in the German-speaking area after the Second World War. In his story Leviathan, written in 1946, he showed himself to be a radically experimental avant-garde with a high level of linguistic artistry, who takes no account of orthography and syntax in the phonetically accurate mapping of everyday language . He repeatedly combined this attitude with traditional storytelling, which explains his special position in German-language literature in the second half of the 20th century.

First-person narrator

The focus of his narrative work is always a dominant first-person narrator who resembles his author in many ways. In Leviathan, for example, the nameless protagonist leaves Lauban in front of the advancing Red Army on the same day as its author; in Brand's Haide , the first-person narrator shares with Schmidt both the name and the experience of a British prisoner of war, Joachim Bomann in a seascape with Pocahontas is like Schmidt is a writer, and like Schmidt he lives on the Saar, Walter Eggers im Steinerne Herzen is like Schmidt the son of a policeman, Karl Richter in KAFF also Mare Crisium , like Schmidt previously, is a stock accountant by profession and lives like him in the Lüneburg Heath; Daniel Pagenstecher also lives there in Zettel's dream , who, like his author, is a writer, expert on Edgar Allan Poe and inventor of the etym theory. The only exception is Georg Düsterhenn in Caliban about Setebos , who, like Schmidt, is a writer, but unlike him, an “opportunistic trivial writer”. All of the protagonists have in common the opinions and preferences of Schmidt: They are book people who live alone in literature, they despise the restoration of the Adenauer years and are determined atheists.

Prose forms

Schmidt developed new forms of prose for his narrative texts , with which he wanted to reproduce processes of consciousness more realistically than the traditional forms of novels , novellas or dialogues could. The majority of his early works are based on the so-called “ Raster ” or “Pointillier Technique”, which Schmidt explains in his “Calculations 1”. The storyline and the monologues of the first-person narrator are not presented in a continuum, but in short and shortest prose fragments, which are identified in the layout by paragraphs with hanging indents and beginning in italics . What happens or is thought between these fragments must be reconstructed by the reader in this highly elliptical narrative style. With this form, Schmidt wanted to make his thesis clear that human perception and memory itself are also highly fragmented: He lets the protagonist of the novel formulate this " musical existence" of man on the first page of the Faun published in 1953 :

" My life? ! : is not a continuum! (Not just broken into white and black pieces day and night! For even during the day there is someone else with me who goes to the train station; sits in office; books; stilts through groves; mates; chatters; writes; thinker of the thousands; fan falling apart; he runs; smokes; feces; listens to the radio; 'Herr Landrat' says: that's me!) a tray full of glittering snapshots. "( Arno Schmidt :)

Whether these reflections by the first-person narrator, which make up the text for long periods, are internal monologues is a matter of dispute in literary studies. Schmidt himself did not appreciate this term. The Germanist Maren Jäger points out that in Schmidt, unlike in Ulysses by James Joyce , the mediator of a narrator is always present, who reports on her thoughts, memories and perceptions in the first person singular and in the past tense . Others, like the Germanist Peter Risthaus, see the inner monologue as a central element of Schmidt's poetics .

Schmidt used a different narrative form for Seelandschaft with Pocahontas and Die Umsiedler : The “Photo Album”: Since every memory begins with an optically coded highlight, the “Photo”, which is then followed by further, “fragmentary” memories in text form, each of the begins Chapter with a typographically separated, framed short text that presents visual and, in some cases, acoustic memories in a spotlight. The actual chapter is then told, albeit discontinuously, in the form of an internal monologue or brief dialogues.

A third form of prose is the “longer mind game”. Schmidt proceeded from the observation that “in every human being, objective reality is constantly overlaid by thought games ”. You are actually constantly somewhere else with your thoughts. With people in difficult life situations - Schmidt spoke of the “bound” type - these daydreams increased to the escapism of a lengthy mind game: Instead of their painful reality, they lived in fantasies in which they imagined themselves to be successful, heroic, sexually fulfilled, etc. In order to depict this phenomenon of consciousness in a literary way, Schmidt suggested laying out a novel text in two columns. In one column the objective reality of the protagonist is portrayed, what he sees, hears or says, in the second his fantasy, the longer thought game. As an example of this form, Schmidt also presented Mare Crisium to KAFF in 1960 , one column of which takes place in the real world of the heath village of Giffendorf in 1959, the other tells a science fiction story that takes place on the moon in 1980 and that of the protagonist Karl Judge tells his girlfriend.

A fourth narrative form that Schmidt announces in Calculations II , but does not develop, is the dream . According to the literary scholar Ralf Georg Czapla, this prose form is played out in the stories in the volume Cows in Half Mourning.

Etym theory

Type area of Zettel's Traum , paperback edition, Suhrkamp Verlag 2010

From around 1960 he was intensively concerned with Sigmund Freud's psychoanalysis , which he applied to literature. According to this, the unconscious expresses itself not only in pictorial symbolism, but also linguistically in its “own roguish Esperanto ” consisting of amphibolias , puns , assonances , etc., in order to express secondary meanings - mostly sexual - alongside the manifest level of meaning . Words with this function, such as the English whole - "whole", which has the same sound value as the sexually understood hole - "hole" he called "Etym". On the basis of this theory, Schmidt's analysis of the works of Karl May ( Sitara and the way there , 1963) came to the conclusion that the creator of Winnetou was latently homosexual .

But Schmidt also applied the etym theory to his own work: He claimed that older writers could gain access to this language of the unconscious and shape it because the super-ego was weakened - the id could make its instinctual claims because of the impotence that set in yes no longer implement anyway. This constellation gives rise to an additional fourth instance of psychological events : the ingenious writer who masters the language of the unconscious via the etyms and makes it accessible to the reflection of the ego. Schmidt explained and illustrated this idea in his monumental work Zettel's Traum , where he expanded upon the previously tried and tested multiple columns of the text: Now there are three columns, the middle one depicts the real actions, experiences and speeches of the characters in the novel, the quotes on the left offers from the works of Edgar Allan Poe that the characters of the novel have in mind, and the right the etyms, that is the personal ideas, associations and mind games of the protagonist Pagenstecher. This typeface could no longer be with the former technical means set technically realize why the novel as a photomechanical copy of the 1330 A3 pages of typescript was published. It was not until 2010 that Suhrkamp Verlag brought a set edition onto the market. Friedrich Forssman had created the sentence over several years .


Schmidt translated numerous works from English: first novels by contemporary authors ( Hammond Innes , Peter Fleming , Neil Paterson , Hans Ruesch ) on behalf of various publishers, then writings by Stanislaus Joyce and finally poems and prose works by Edgar Allan Poe (together with Hans Wollschläger) , a volume of early stories by William Faulkner and novels by Wilkie Collins , Edward Bulwer-Lytton, and James Fenimore Cooper .


Schmidt's works are saturated with the everyday things of an average contemporary citizen of the Federal Republic of Germany. His language is often based on dialects. The typeface looks unusual at first glance, as Schmidt does not necessarily adhere to the Duden spelling, especially in his later works , but uses his own spellings based on pronunciation.

Schmidt was an expert on the literature of the 18th and 19th centuries, especially the German-speaking area. Accordingly, there are many references, particularly to German and English literature. E.g. for Abend mit Goldrand (1975) such remote poems as the Martina by Hugo von Langenstein , a work that was written at the end of the 13th century, could become a constitutive element.

He was particularly interested in authors whose literary quality was misunderstood and / or forgotten. His radio essays , produced by Süddeutscher Rundfunk, were pleadings brought into dialogue for the re-edition of numerous “unfinished business” in literary history. Based on these suggestions, the Haidnian Antiquities series was later created .


Arno Schmidt's work has received praise, sometimes praise, in journalism and literary studies, but also doubts. For example, Walter Jens reports in a feature section from 1950 that he initially considered Schmidt's writing style to be “nonsense” and was annoyed about it, but then felt delighted with Schmidt's pictures, his snobbery and his lively expressionism. In 1973, Karl Heinz Bohrer called Schmidt both a realist and a phantasy and praised his humor. This humor, the puns and puns inherent in Schmidt's linguistic style were also emphasized in his obituaries. The writer Walter Kempowski also mentioned the youthfulness and freshness in everything he wrote, while Ludwig Harig emphasized his decidedly democratic partisanship.

Dieter E. Zimmer, on the other hand, reports in his review of Zettel's Traum , which appeared in Die Zeit in May 1970 , of conflicting reading experiences: “It could well be that Zettel's Traum contains the literary masterpiece of the century; it could be some kind of full-size matchstick Eiffel Tower, made by a hobby berserk for the cost of his life. Maybe both. "( Wolfgang Martynkewicz :)

In 1971 Wolf-Dieter Bach vehemently criticized Schmidt's fixation on Karl May's alleged anality and homosexuality in Sitara and the way there . Bach on Schmidt after several clear criticisms in his May essay Fluchtlandschaften : “... the funny man has the wrong theory.” Bach's friend Oskar N. Sahlberg also thought Schmidt's thesis of May's homosexuality was wrong: “What Arno Schmidt as Mays Interpreted homosexuality, should be rooted in this narcissism [explained in more detail by Sahlberg] . "

In 1979, Oswald Wiener stated that Schmidts had an “ascertainable overestimation”. The decisive factor for this vote was Schmidt's “staid nature” and the many “backward-looking work by this author”, which is also reflected in the style: “Now, however, ZETTEL'S DREAM […] is an imitation of FINNEGANS WAKE, in the technique of narration is an imitation of ULYSSES, and in the theory presented it is an offshoot of a very popularly understood psychoanalysis ", and he complained:" Schmidt is increasingly taking the place in public opinion that is due to real experimental literature [...] "

Whether Schmidt stands up to critical examination in his political judgments is controversial. In his contempt for the masses and his idolization of his native landscape, according to his critic Dieter Kuhn, residues of conservative, even ethnic and anti-democratic thoughts can always be found. In particular, Schmidt's acceptance speech for the Goethe Prize in 1973 caused disquiet among supporters on the left of the political spectrum. Gerhard Zwerenz commented in the journal that because : "Too bad about the man. Here a gifted person goes to the dogs because he no longer gives his gifts. Deformed by himself and the blasé arrogance of his self-appointed pagan disciples. If he has no idea of ​​the workers who are pissed off all the more, his knowledge of living writers is no more exclusive. The poet shouldn't go with the poet either, he says, one only disturbs one another. Might be. Anyone who is so unashamedly called a poet has honestly earned his honest § 51. "( Gerhard Zwerenz :)

It has repeatedly been found that Schmidt's protagonists always embody the same type with always the same opinions, dislikes and preferences and always the same strong self-confidence, regardless of whether they are called Heinrich Düring, Walter Eggers or Charles Henry Winer. The Germanist Wilfried Barner does not see any disadvantage in this: it was precisely this type that was a prerequisite for Schmidt to prismatically reflect German society in his narration.

In 1992, Martin Henkel published a polemic against Schmidt's supporters, who ascribed him a comprehensive education. There were numerous replies to this polemic. Klaus Theweleit writes : “Henkel himself falls for the scholarship of ... (Arno Schmidt), that's the joke. It is he who believes that the quality of writing depends on the level of education. But if it were an educational level that made the Schmidt lines so attractive: then we would have disappeared here long ago. "

In the personal foreword of his selection volume for the transmissions by Edgar Allan Poe, Patrick Roth illustrates the congeniality of the translator Arno Schmidt. He secretly competed with Poe, often surpassing him in evoking uncanny effects.

Schmidt's own narrative work, which was long regarded as untranslatable, has increasingly received an international reception since it was translated by John E. Woods into English and Claude Riehl into French.

Schmidt's Bargfeld house is the starting point for a journey by Gerhard Henschel and Gerhard Kromschröder, described in the hiking diary “Land surveying” . The writer, journalist and photographer describe their hike through the Lüneburg Heath, which begins in Bargfeld and ends in Nartum , where Walter Kempowski lived . For this they were inspired by Kempowski, who said: "A tour that starts in Bargfeld should end in Nartum".

Honors and commemorations



Street names

The Arno-Schmidt-Platz in Hamburg with sculptures by Stephan Balkenhol

In 2004, by a resolution of the Senate of the Free and Hanseatic City of Hamburg , the place in front of the central library of the Hamburg public library, Hühnerposten, was renamed Arno-Schmidt-Platz. Schmidt's death town, Celle, also has an Arno-Schmidt-Platz. There is an Arno-Schmidt-Weg in Eschede .
Further Arno Schmidt streets are in Eldingen , Lilienthal and Wildenfels .


In 2004 the main belt - asteroid (12211) Arnoschmidt, discovered in 1981, was named after Arno Schmidt. The blog of the anonymous blogger Zettel, Zettels Raum , is named after Arno Schmidt's main work.


A complete list of works with all first and new prints can be found on the Arno Schmidt mailing list.


With a few exceptions, the personal and literary estate is preserved in Bargfeld ; both parts of the estate as well as the house and property are looked after by the Arno Schmidt Foundation . In the adjoining (converted) "old forge" there is an Arno Schmidt Museum and a research facility. Preparatory work for the Fouqué biography is kept in the German Literature Archive in Marbach .


Short stories, novels and other poetic works

Literary history and theoretical work

Articles in magazines and books

  • Atheist ?: Yes! ; in: Karlheinz Deschner (Ed.): What do you think of Christianity? List, Munich 1957
  • Seascape with Pocahontas ; in issue 1 of Alfred Andersch 's magazine Texte undzeichen ; 1955
  • Eberhard Schlotter, The Second Program. In: protocols. Viennese half-yearly publication for literature, fine arts and music, published by Otto Breicha in conjunction with the Museum of the 20th Century. Issue '76 / 1, Verlag Jugend und Volk, Vienna and Munich, pp. 206–228


Around 2500 photographs (paper prints or negatives and slides in 4 × 4 format) by Arno Schmidt have been preserved.

  • Arno Schmidt: Four times four. Photographs from Bargfeld. ed. v. Janos Frecot ; Bargfeld 2003.
  • Arno Schmidt: Black and white recording. ed. v. Janos Frecot ; Suhrkamp 2009.
  • Exhibition catalog for the exhibition Arno Schmidt - The writer as landscape photographer in the Altona Museum : Arno Schmidt as photographer. Development of an image awareness . Hatje Cantz publishing house, Ostfildern 2014, ISBN 978-3-7757-3149-2 .


  • Bargfelder edition (1986ff.), In four sections and with supplement volumes (abbreviated: BA):
  • The Bargfelder edition on CD-ROM ; developed by Günter Jürgensmeier , 1998; consisting of:
    • CD-ROM: Arno Schmidt: Works and Concordance . System requirements and a .: Windows from version 3.1
    • Günter Jürgensmeier, manual for the CD-ROM "Arno Schmidt: Works and Concordance". The Bargfelder Edition ; Bargfeld 1998.
  • Arno Schmidt Brief Edition (1985 ff.):

Special editions

  • Zurich cassette. The narrative work in 8 volumes with booklet ; Haffmans, Zurich 1985 ISBN 3-251-80000-0
    • Part 1:
      • Enthymesis or LIKE
      • Gadir or Know Yourself
      • Alexander or what is truth
      • Kosmas or From the mountains of the north
    • Volume 2:
      • Leviathan or The Best of the Worlds
      • The resettlers
      • Seascape with Pocahontas
    • Volume 3:
      • From the life of a faun
      • Brand's Haide
      • Black mirrors
    • Volume 4: The stone heart
    • Volume 5: The learned republic
    • Volume 6:
      • Tina or about immortality
      • Goethe and one of his admirers
      • From the island road
        • Drummers with the tsar
        • Key exchange
        • The day of the cactus blossom
        • Neighbor, death and solidus
        • The gypsy life is funny
        • The cautious
        • Strange days
        • Rolling night
        • What should I do?
        • Rivals
        • On the telescope
        • Tales from the Isle of Man
        • School trip
        • Counter chant
        • Side moon and pink eyes
        • Told on the back
      • Stürenburg stories
        • A life ahead
        • The howling house
        • Summer meteor
        • Little war
        • The water lily
        • He was too like him
        • Black hair
        • Long Grete
        • Little gray mouse
    • Volume 7: Kaff also Mare Crisium
    • Volume 8:
      • Cows in half mourning
      • The waterway
      • Windmills
      • Caliban over Setebos
  • Second Zurich cassette. The essayistic work on German literature in 4 volumes ; All night programs and essays. An edition by the Arno Schmidt Foundation. Haffmans, Zurich 1988 ISBN 3-251-80050-7
    • Part 1:
      • Barthold Heinrich Brockes
      • Johann Gottfried Schnabel
      • Friedrich Gottlieb Klopstock
      • Christoph Martin Wieland
      • Johann Gottfried Herder
      • Johann Karl Wezel
    • Volume 2:
      • Johannes von Müller
      • Karl Philipp Moritz
      • August Heinrich Julius Lafontaine
      • Wilhelm Friedrich von Meyern
      • Ludwig Tieck
    • Volume 3:
      • Samuel Christian Pape
      • Friedrich de la Motte Fouqué
      • Leopold Schefer
      • Carl Spindler
      • Adalbert Stifter
    • Volume 4:
      • Karl Ferdinand Gutzkow
      • Heinrich Albert Oppermann
      • Theodor Fontane
      • Karl May
      • Paul Scheerbart
      • Gustav Frenssen
      • Gottfried Benn
      • Ernst Kreuder
      • Rudolf Krämer-Badoni
      • Alfred Andersch
      • Arno Schmidt
  • Third Zurich cassette. The essayistic work on Anglo-Saxon literature in 3 volumes ; Haffmans, Zurich 1994 ISBN 3-251-80075-2
    • Part 1:
      • Lady Mary Worthley Montagu
      • Laurence Stars
      • James Fenimore Cooper
      • Edward George Bulwer
      • Joseph Smith
      • Edgar Allan Poe
    • Volume 2:
      • Charles Dickens
      • Charlotte, Emily, Anne, Branwell Brontë
      • Wilkie Collins
      • Lewis Carroll
      • Stanley Ellin
      • James Jones
      • Jules Verne
    • Volume 3:
      • James Joyce
      • Stanislaus Joyce
  • Arno Schmidt's “Seascape with Pocahontas”. Note and other materials ; Haffmans, Zurich 2000


  • Ernst Krawehl (ed.): Portrait of a class. Arno Schmidt in memory . (Memories of the high school in Hamburg-Hamm) S. Fischer, Frankfurt am Main 1982, ISBN 3-10-070608-0 .
  • Jan Philipp Reemtsma , Bernd Rauschenbach (eds.): “Wu Hi?” Arno Schmidt in Görlitz Lauban Greiffenberg . Edition of the Arno Schmidt Foundation by Haffmans Verlag, Zurich 1986, ISBN 3-251-00029-2 .
  • Alice Schmidt: Diary from 1954 . Edited by Susanne Fischer . Suhrkamp, ​​Frankfurt am Main 2004, ISBN 3-518-80220-8 .
  • Alice Schmidt: Diary from 1955 . Edited by Susanne Fischer . Suhrkamp, ​​Frankfurt am Main 2008, ISBN 978-3-518-80230-4 .
  • Alice Schmidt: Diary from 1956 . Edited by Susanne Fischer . Suhrkamp, ​​Frankfurt am Main 2011, ISBN 978-3-518-80330-1 . (With a recording of Arno Schmidt's only public reading on February 18, 1956 in the Waldschülerheim Schönberg im Taunus on two CDs.)
  • Joachim Kersten (Ed.): Arno Schmidt in Hamburg . Edition of the Arno Schmidt Foundation, Hoffmann and Campe, Hamburg 2011, ISBN 978-3-455-40345-9 .
  • Guido Erol Öztanil: Silent light signals . Arno Schmidt and the cinema , Wehrhahn Verlag, Hanover 2012, ISBN 978-3-86525-266-1 .
  • And now on, to the post bus! Letters from Arno Schmidt. Edition of the Arno Schmidt Foundation, Suhrkamp, ​​Berlin 2013, ISBN 978-3-518-80370-7 .
  • Michael Ruetz : Arno Schmidt Bargfeld (photo book), with texts by Arno Schmidt, Jan Philipp Reemtsma, Michael Ruetz u. a., Verlag Zweiausendeins, 1993, ISBN 3-86150-009-4 .
  • Heinrich Droege: meeting with Arno Schmidt. (With pictures, letters and facsimiles) BrennGlas Verlag, Assenheim 1985, ISBN 3-924243-12-3 .
  • Jürgen Manthey : Arno Schmidt. In: Genius and Money. On the livelihood of German writers. Published by Karl Corino. Verlag Rowohlt, Reinbek 1991. ISBN 3-499-18835-X

Historical recordings of the radio essays

  • Arno Schmidt: News from books and people. Eleven original radio essays. 12 audio CDs with 16-page booklet; cpo , Osnabrück; Recordings by Süddeutscher Rundfunk 1955–1961. ISBN 978-3-935840-02-6 .
    • Nothing is too small for me. (Berthold Heinrich Brockes)
    • Klopstock or Know Yourself
    • The men of terror. (Karl Philipp Moritz)
    • Wieland or the forms of prose
    • Dya Na Sore - blondest of the beasts
    • The penultimate grand mystic (Karl May)
    • Report from the non-murderer (Charles Dickens)
    • Angria and Gondal. The dream of the dove-gray sisters (Brontë)
    • 1770–1870: Heinrich Albert Oppermann's Time and Life Pictures
    • Fifteen or the child prodigy of futility (Ludwig Tieck)
    • The Triton with the Parasol (James Joyce)
  • Arno Schmidt: Messages from books and people 2. Seven original radio essays. 9 audio CDs with 24-page booklet; cpo, Osnabrück, 2006; Recordings by Süddeutscher Rundfunk 1956, 1958–1960, 1963, 1969, 1974. ISBN 3-935840-04-7
    • Meeting point for magicians (Johann Gottfried Schnabel)
    • Herder or Vom Prime Number Man
    • Johannes Müller or the brain animal
    • The Imst Bird Dealer (Carl Spindler)
    • What will he do with it? (Edward Bulwer-Lytton)
    • An unfinished business (Gustav Frenssen)
    • The Secret of "Finnegans Wake" (James Joyce)

Audio recordings

  • Preliminary to Zettel's dream ; Record cassette with 2 long-playing records and a facsimile addition, S. Fischer Verlag 1977; a transcription of the lecture is included.
    • A conversation between Arno Schmidt and Dr. Christian Gneuss (NDR) on the creation,
    • Structure and intention of his typescript book "Zettels Traum".
    • Completed by a private recording by Alice Schmidt.
    • Schmidt reads three sections from the book:
      • Pages 1159-1161
      • Pages 1131-1133
      • Pages 11-13
  • Arno Schmidt reads . All tape recordings 1952–1964. (6 CD) Zweausendeins Verlag 1992
    • Gadir or know yourself (excerpt)
    • Gadir or know yourself (2nd version)
    • Leviathan or The Best of the Worlds
    • Cows in half mourning
    • Brand's Haide (detail)
    • The resettlers (excerpt)
    • Neighbor, death and solidus
    • Strange Days (1st version)
    • Strange Days (2nd version)
    • On the telescope
    • School trip
    • I'm only sixty
    • Long Grete
    • Story told on the back
    • Shifted continents (1st version)
    • Shifted continents (2nd version)
    • What should I do? (1st version)
    • What should I do? (2nd version)
    • The cautious
    • Counter chant
    • Meeting with Fouqué
    • Second job: poet
    • Escape from the plant
    • What does “conformism” mean in literature today?
    • Modern literature and the German audience
    • "Siope" by Edgar Allan Poe
    • "Finnegans Wake" by James Joyce
    • Death penalty in the sunshine

Audio recordings by third parties

  • Kaff also Mare Crisium . Read by JP Reemtsma (10 CD) HoCa Verlag 2004
  • Reading is awful! (1 CD)
    • What should I do? (read by B. Rauschenbach)
    • Little War (read by J. Kersten)
    • Drummers at the Tsar's (read by B. Rauschenbach)
    • Strange days (read by J. Kersten)
    • From Brand's Haide (read by JP Reemtsma)
    • Neighbor, Death and Solidus (read by J. Kersten)
  • Shifted continents . Read by J. Kersten, B. Rauschenbach, JP Reemtsma (4 CD)
  • SWR audio book 6 . read by JP Reemtsma (2 CD) Chlodwig Verlag 1999
    • Tina or about immortality.
    • Goethe and one of his admirers
  • Zettel's dream and others . Verlag FJ Knape 1991 (1 MC)
    • from Zettel's dream (read by J. Kersten, B. Rauschenbach, JP Reemtsma)
      • The beginning up to note 10
      • From the 3rd book, the 'Radioszene' sheet 467–471
      • The departure from the 8th book
    • Neighbor, Death and Solidus (read by J. Kersten)
    • What should I do? (read by B. Rauschenbach)
    • Finnegans wake transmissions (read by JP Reemtsma)

Radio play adaptations



  • Hans-Michael Bock : Bibliography Arno Schmidt 1949–1978 . 2nd, improved and supplemented edition. edition text + kritik, Munich 1979, (standard edition).
  • Karl-Heinz Müther and others: Arno Schmidt (1914–1979). Bibliography and audio-visual testimonies to life, work and impact CD-ROM; Aisthesis publishing house 1995.
  • Karl-Heinz Müther: Bibliography Arno Schmidt 1949–1991. Bielefeld 1992.
  • Robert Weninger: Arno Schmidt - selection bibliography. Scientific secondary literature by title and subject. 2nd, expanded edition. Munich: edition text + kritik , 2006.

Overall representations

Periodicals on Arno Schmidt

The Arno Schmidt Foundation (Bargfeld) publishes the research booklets on individual topics .

Individual examinations

  • Georges Felten: explosions in the open. Narration, description and their aesthetic-political implications in two texts by Arno Schmidt and Peter Weiss. Aisthesis, Bielefeld 2012. ISBN 978-3-89528-921-7
  • Hendrike Witt: Arno Schmidt and the Holy Scriptures. Bible reception and criticism of religion in the early work. Aisthesis, Bielefeld 2018. ISBN 978-3-8498-1294-2


Web links

Commons : Arno Schmidt  - album with pictures, videos and audio files


Arno Schmidt societies

About Arno Schmidt's work

Individual evidence

  1. Also: Luzie or, after emigrating to America, Lucy. During the Lauban period she called herself Lucie, cf. in addition the excerpt from the Lauban address book in: Rudi Schweikert: Arno Schmidts Lauban. The city and the district. Images and data , edition text + kritik, Munich 1990, pp. 19, 24.
  2. Wolfgang Martynkewicz: Arno Schmidt with self-testimonies and photo documents . Rowohlt, Reinbek 1992, p. 10; Joachim Kersten (Ed.): Arno Schmidt in Hamburg . Edition of the edition of the Arno Schmidt Foundation, Hoffmann and Campe, Hamburg 2011, p. 111.
  3. ^ Arno Schmidt: My memories of Hamburg-Hamm. In: Ernst Krawehl (Ed.): Portrait of a class. Arno Schmidt commemorating , S. Fischer, Frankfurt am Main 1982, pp. 139–170, here p. 146; Wolfgang Martynkewicz: Arno Schmidt with self-testimonials and photo documents . Rowohlt, Reinbek 1992, p. 16.
  4. ^ Letter from Alice Schmidt dated October 19, 1973. In: Jan Philipp Reemtsma and Bernd Rauschenbach (eds.): "Wu Hi?". Arno Schmidt in Görlitz Lauban Greiffenberg . Edition of the Arno Schmidt Foundation by Haffmans Verlag, Zurich 1986, p. 187.
  5. Jan Philipp Reemtsma and Bernd Rauschenbach (eds.): "Wu Hi?". Arno Schmidt in Görlitz Lauban Greiffenberg . Edition of the Arno Schmidt Foundation in Haffmans Verlag, Zurich 1986, p. 242, note 1 (here the quote); Wolfgang Martynkewicz: Arno Schmidt with self-testimonials and photo documents . Rowohlt, Reinbek 1992, p. 25.
  6. During school days cf. summarizing Michael Matthias Schardt, Arno Schmidt - a biographical approach , in: Michael Matthias Schardt, Hartmut Vollmer (ed.): Arno Schmidt. Life - work - effect , Rowohlt, Reinbek 1990, p. 15–61, here p. 26–29, and Wolfgang Martynkewicz: Arno Schmidt with self-testimonies and photo documents . Rowohlt, Reinbek 1992, pp. 21-26. The letters to Jerofsky can be found in: Jan Philipp Reemtsma and Bernd Rauschenbach (eds.): “Wu Hi?”. Arno Schmidt in Görlitz Lauban Greiffenberg . Edition of the Arno Schmidt Foundation in Haffmans Verlag, Zurich 1986, pp. 53–89, on this for example Wolfgang Martynkewicz: Arno Schmidt with self-testimonies and photo documents . Rowohlt, Reinbek 1992, p. 29.
  7. Jan Philipp Reemtsma and Bernd Rauschenbach (eds.): "Wu Hi?". Arno Schmidt in Görlitz Lauban Greiffenberg . Edition of the Arno Schmidt Foundation in Haffmans Verlag, Zurich 1986, p. 61 ff.
  8. ^ Arno Schmidt: Biographical sketch . In: the same Bargfelder edition. Supplements , Volume 1: Fragments. Prose, dialogues, essays, autobiographies . Bargfeld 2003, p. 329.
  9. Jan Philipp Reemtsma and Bernd Rauschenbach: Documented? . In: the same (ed.): "Wu Hi?". Arno Schmidt in Görlitz Lauban Greiffenberg . Edition by the Arno Schmidt Foundation published by Haffmans Verlag, Zurich 1986, pp. 172–183; Wolfgang Martynkewicz: Arno Schmidt with self-testimonials and photo documents . Rowohlt, Reinbek 1992, p. 27; Marius Fränzel: Julian Days in Lilienthal ( Memento from March 19, 2012 in the Internet Archive ) (PDF; 63 kB), 2004, p. 28.
  10. ^ Bernd Rauschenbach: Brother-in-law Rudy . In: Robert Weninger (ed.): Repeated reflections. Eleven essays on the work of Arno Schmidt . edition text & kritik, Richard Boorberg Verlag, Stuttgart 2003, p. 13 ff.
  11. Johannes Schmidt: "... those dark Greiffenberg years" . In: Jan Philipp Reemtsma and Bernd Rauschenbach (eds.): “Wu Hi?”. Arno Schmidt in Görlitz Lauban Greiffenberg . Edition of the Arno Schmidt Foundation published by Haffmans Verlag, Zurich 1986, p. 156.
  12. ^ Wolfgang Albrecht: Arno Schmidt . JB Metzler, Stuttgart and Weimar 1998, p. 4 f.
  13. Undated letter from 1937. In: Jan Philipp Reemtsma and Bernd Rauschenbach (eds.): “Wu Hi?”. Arno Schmidt in Görlitz Lauban Greiffenberg . Edition of the Arno Schmidt Foundation published by Haffmans Verlag, Zurich 1986, p. 71.
  14. Johannes Schmidt: "... those dark Greiffenberg years" . In: Jan Philipp Reemtsma and Bernd Rauschenbach (eds.): “Wu Hi?”. Arno Schmidt in Görlitz Lauban Greiffenberg . Edition of the Arno Schmidt Foundation published by Haffmans Verlag, Zurich 1986, p. 140.
  15. Wolfgang Martynkewicz: Arno Schmidt with self-testimonies and photo documents . Rowohlt, Reinbek 1992, p. 33.
  16. Wolfgang Martynkewicz: Arno Schmidt with self-testimonies and photo documents . Rowohlt, Reinbek 1992, p. 47.
  17. Tom all Alone's. Report of the not = murderer , where Schmidt also refers to the visit to the grave: "I too stepped in front of it, the filthy felt in my hand ..." ( Bargfelder Edition II / 2, p. 401).
  18. In August 1938 Alice Schmidt reported in detail about the trip to England in a letter to a friend. In: Jan Philipp Reemtsma and Bernd Rauschenbach (eds.): “Wu Hi?”. Arno Schmidt in Görlitz Lauban Greiffenberg . Edition of the Arno Schmidt Foundation in Haffmans Verlag, Zurich 1986, p., “Wu Hi?” , Pp. 92–121.
  19. On Schmidt's stay in Norway Daniela Mett, »(only ‹historically› interesting)«. Traces of Arno Schmidt in Norway. In: note box. Articles and works on the work of Arno Schmidt 22, 2003, pp. 9–26; Friedhelm Rathjen , The Norway Connection. A biographical touristic self-experiment , in: Bargfelder Bote , Liefer 271–272, February 1, 2004, pp. 3–16.
  20. Schmidt dealt with the captivity of war in the fragment of the novel Brussels from 1947/1948. Arno Schmidt, Brussels. The firing position. Two fragments , facsimile of the manuscripts with transcription, edited by Susanne Fischer , Edition of the Arno Schmidt Foundation in Suhrkamp Verlag, Frankfurt am Main 2002.
  21. Jan Philipp Reemtsma and Bernd Rauschenbach: Documented? . In: the same (ed.): "Wu Hi?". Arno Schmidt in Görlitz Lauban Greiffenberg . Edition by the Arno Schmidt Foundation published by Haffmans Verlag, Zurich 1986, pp. 177–183; Wolfgang Martynkewicz: Arno Schmidt with self-testimonials and photo documents . Rowohlt, Reinbek 1992, p. 44.
  22. Schmidt, Schwarze Spiegel , in: BA I / 1, pp. 199–260, here p. 218.
  23. ^ "Schmidt, Arno" . In Munzinger Online / Personen - Internationales Biographisches Archiv , retrieved from Bücherhallen Hamburg on January 9, 2018.
  24. He dedicated his debut Leviathan to “MRS. LUCY KIESLER, New York, USA, my sister, without whose never missing help I would have starved to death ”(Arno Schmidt, Leviathan , Rowohlt, Hamburg / Stuttgart / Berlin / Baden-Baden 1949, unpag. [P. 7]).
  25. ^ Arno Schmidt, address to thank you for the Goethe Prize 1973. In: BA III / 4, pp. 462–466, here p. 463.
  26. In one process, Schmidt was sentenced to pay his landlady DM 226.96, a sum that he could not afford (documented in: Jan Philipp Reemtsma, Georg Eyring (ed.): In things Arno Schmidt ./. Processes 1 & 2 , Zurich 1988).
  27. ^ Helmut Böttiger : The group 47. When German literature made history . DVA, Munich 2012, p. 187.
  28. Ulrich Baron: “Arno bends my wings again.” In: Cicero of June 3, 2009, accessed on May 4, 2017.
  29. Alice Schmidt. Diary from 1956. In: Suhrkamp Verlag , 2011.
  30. Marianne Diedel-Käßner, No clubs! , in: Bargfelder Bote. Lfg. 137 (April 1989), p. 7.
  31. ↑ In addition Friedhelm Rathjen , "Schmidt as Küster an St. Jürgen!" , In: Friedhelm Rathjen, Die Kunst des Lebens. Biographical research on Arno Schmidt & Consorten , Edition ReJoyce, Scheeßel 2007, pp. 9–28.
  32. ^ Wolfgang Albrecht: Arno Schmidt . JB Metzler, Stuttgart and Weimar 1998, p. 56.
  33. a b "Schmidt, Arno" . In Munzinger Online / Personen - Internationales Biographisches Archiv, retrieved from Bücherhallen Hamburg on January 9, 2018.
  34. ^ Speech manuscript on the Arno Schmidt Foundation website
  35. Volker Ullrich : A portrait of the patron Jan Philipp Reemtsma. In: Die Zeit of May 3, 1996.
  36. ^ Scott Gilbertson: A DIY Data Manifesto . In: Webmonkey . February 3, 2011. Retrieved May 23, 2012.
  37. Bernd Rauschenbach : A tray full of glittering snapshots. Preliminary considerations for a biography of Arno Schmidt . Lecture at the conference of the Society of Arno Schmidt Readers in Ahlden on October 2, 2004 (accessed on September 8, 2012).
  38. ^ Wolfgang Albrecht: Arno Schmidt . JB Metzler, Stuttgart and Weimar 1998, p. 69; Sabine Kyora, on the other hand, believes in an identity of Düsterhenn and Schmidt: Psychoanalysis and prose in the 20th century . JB Metzler, Stuttgart and Weimar 1992, p. 261.
  39. Hartwig Suhrbier : On the prose theory by Arno Schmidt . Special delivery Bargfelder Bote , Edition Text and Criticism, Munich 1980.
  40. Arno Schmidt, Bargfelder Edition, group of works III: Essays and Biografisches , Vol. 3, p. 167ff; on-line
  41. Bargfeld Edition, Work Group I: Novels, Stories, Poems, Juvenilia , Haffmans Verlag, Zurich 1987, Volume 1, p. 301.
  42. ^ Maren Jäger: The Joyce Reception in German-Language Narrative Literature after 1945. Max Niemeyer, Tübingen 2009, ISBN 978-3-484-97113-4 , p. 141 f. (accessed via De Gruyter Online).
  43. Peter Risthaus: Schmidt, Arno (1914 to 1979) . In: Monika Schmitz-Emans, Uwe Lindemann, Manfred Schmeling (eds.): Poetiken. Authors - texts - terms . Walter de Gruyter, Berlin 2009, ISBN 978-3-11-021596-0 , p. 369 (accessed via De Gruyter Online).
  44. Photo album on the Arno Schmidt Foundation website (accessed on September 2, 2012).
  45. Bargfelder Edition III / 1, pp. 275–284, the quotation p. 276.
  46. Bargfelder Edition III / 1, p. 284.
  47. Ralf Georg Czapla: Myth, Sexus and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993.
  48. Also on the following Ralf Georg Czapla: Myth, Sexus and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993, pp. 35-46.
  49. ^ Arno Schmidt: Zettel's dream . Bargfeld edition, work group IV, volume 1, p. 32 ( online on the Arno Schmidt Foundation website, accessed on November 25, 2012).
  50. ^ Arno Schmidt: Zettel's dream . Bargfeld edition, group of works IV, volume 1, p. 912 f.
  51. Wolfgang Martynkewicz: Arno Schmidt with self-testimonies and photo documents . Rowohlt, Reinbek 1992, pp. 147f.
  52. Arno Schmidt with testimonials and photo documents. Rowohlt, Reinbek 1992, pp. 147f.
  53. Bach: Escape landscapes , in: Jb CMM 1971, p 39-73, here p 54 ( online version ).
  54. Sahlberg: The "grand mystic" Karl May. The conception and birth dreams of the son and the father. "In the realm of the silver lion". “Ardistan and Dschinnistan” , in: Meredith McClain, Reinhold Wolff (eds.): Karl May im Llano estacado (on the symposium of the Karl May Society in Lubbock / USA 2000). Hansa Verlag, Husum 2004, pp. 243–275, here especially p. 266 ff.
  55. ^ A b Oswald Wiener: We would also like to benefit from the Arno Schmidt Year , 1979, ISBN 3-88221-305-1 , pp. 31–33.
  56. ^ Oswald Wiener: We would also like to benefit from the Arno Schmidt Year , 1979, ISBN 3-88221-305-1 , p. 14.
  57. Dieter Bänsch: The fifties. Contributions to politics and culture . Gunter Narr, Tübingen 1985, p. 349f.
  58. Dieter Kuhn: The misunderstanding. Polemical reflections on Arno Schmidt's political position . edition text + kritik, Munich 1982.
  59. Views of a Snob . In: Jan Philipp Reemtsma, Bernd Rauschenbach (ed.): The raven. Magazine for all kinds of literature , No. 12, Haffmans Verlag, Zurich 1985, p. 40.
  60. ^ Guido Graf: Arno Schmidt. Life in the factory . Königshausen & Neumann, Würzburg 1998, p. 29.
  61. ^ Wilfried Barner, Helmut de Boor: History of German literature from 1945 to the present. 2nd Edition. CH Beck, Munich 2006, p. 186.
  62. Martin Henkel: BLUFF, also mare ignoratiae or Des king! s new clothes. A study of the nature, work and effects of Arno Schmidt . Kellner, Hamburg, 1992, p. 13 and passim
  63. ^ Klaus Theweleit : "You give me fever": Arno Schmidt. 'Seascape with Pocahontas' . Stroemfeld / Roter Stern 1999, ISBN 978-3-87877-754-0 , pp. 305f.
  64. Edgar Allan Poe. Shadow . In the broadcast by Arno Schmidt. Edited and provided with a foreword by Patrick Roth . Insel, Frankfurt am Main 2006, ISBN 3-458-34868-9 , p. 10.
  65. ^ Vestibule of Nienburg Town Hall. Exhibition "Arno Schmidt's Life & Work". In: Heinrich-Albert-Oppermann-Gesellschaft , June 2003 calendar.
  66. Arno Schmidt? - Indeed! In: German Literature Archive Marbach , 2006.
  67. ^ Events: Exhibition "Arno Schmidt in Hamburg". ( Memento of October 6, 2012 in the Internet Archive ). In: Hamburg Public Library , September 27, 2012.
  68. ^ Exhibition: Arno Schmidt | Photographs.  ( Page no longer available , search in web archivesInfo: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. @1@ 2Template: Toter Link /   In: Landesportal Niedersachsen , 2013, with 19 photos and opening of the exhibition “Photographs” by Arno Schmidt. In: Radio Bremen , April 12, 2013.
  69. ^ Arno Schmidt 100. In: Bomann Museum Celle , 2014.
  70. Arno Schmidt - 2200 photographs. In: Arno Schmidt Foundation , 2014, leaflet, (PDF; 3.55 MB).
  71. ^ Susanne Rothe: Exhibition: Arno Schmidt on the 100th birthday. In: University Library of the Free University of Berlin , January 17 to April 25, 2014, (PDF; 4 p., 199 kB).
  72. dpa / keh: Altonaer Museum shows photographs by Arno Schmidt. In: c't Fotografie , February 28, 2014, with seven photos.
  73. ^ Eberhard Schlotter - Arno Schmidt: An artist friendship. In: Bomann Museum Celle , 2014.
  74. ^ Arno-Schmidt-Platz. In: Hamburger Abendblatt dated December 27, 2004, beginning of the article ; see. Hammerbrook. Chicken Post, Arno-Schmidt-Platz. In: .
  75. 1012211 JPL data In: NASA , 2004.
  76. ^ Cora Stephan : Mother state threatens our freedoms. In: Die Welt from November 20, 2012, interview with blogger “Z”.
  77. Complete list of works with all first and new prints on the Arno Schmidt mailing list
  78. Nobodaddy's Children - From the Life of a Faun. In: BR radio play Pool , January 24, 2014.
  79. Nobodaddy's Children - Brand's Haide. In: BR radio play Pool , January 31, 2014.
  80. Nobodaddy's Children - Black Mirrors. In: BR radio play Pool , January 17, 2014.
  81. Radio play - Seascape with Pocahontas . In: Deutschlandfunk . ( [accessed on January 27, 2018]).
  82. The bibliography is regularly updated with additional annual deliveries. The basic work is available as a PDF file on the GASL website , where subsequent deliveries are also offered as PDFs with a delay of about a year.
  83. ^ Review by Hans-Jürgen Linke: TV review by Arno Schmidt. In search of the time running out. In: Frankfurter Rundschau , January 16, 2014.
      Martin Hatzius: The nerd. Arno Schmidt - »My heart belongs to the head«. In: Neues Deutschland , January 14, 2014.