Christian Kracht

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Christian Kracht (2015)

Christian Kracht (born December 29, 1966 in Saanen ) is a Swiss writer , screenwriter and journalist .

Life

Christian Kracht's father, the publishing manager Christian Kracht , was for several years the chief representative and first deputy chairman of the supervisory board of the Axel Springer Group . Kracht grew up in Switzerland, the USA, Canada and the south of France. He attended several international boarding schools, including the Schloss Salem School and the Canadian Lakefield College School . As he reported at a poetics lecture at Frankfurt University in May 2018 , he was sexually abused by a pastor in Lakefield when he was twelve. Kracht graduated from Sarah Lawrence College in Bronxville , New York, USA in 1989 . After graduating, he initially worked as a volunteer and from 1991 as an editor for Tempo magazine. He caused a scandal when he wrote a report about Rudolf Scharping without actually being there.

In the mid-1990s, Kracht went to New Delhi . As the successor to Tiziano Terzani , he worked as India correspondent for Spiegel . The magazine ended the collaboration after Kracht tried to hide the death of Mother Teresa from the editorial staff of Spiegel. As Kracht admitted in an interview, he tried to “trick” the news magazine.

He then lived for several years in the former Yugoslav embassy in Bangkok . From there he traveled to various other Asian countries. His travel reports were first published in the Welt am Sonntag and published in 2000 under the title The Yellow Pencil by Kiepenheuer & Witsch .

From autumn 2004 to June 2006 Christian Kracht published the magazine Der Freund in Kathmandu , later in San Francisco because of the political unrest in Nepal , in collaboration with the writer Eckhart Nickel with a total of eight issues . In March 2006 the magazine was awarded the “bronze nail” of the Art Directors Club for Germany (ADC) in the “Magazine Design” category and the LeadAward in gold in the “Cover of the Year” category. In 2006 Kracht was a lecturer at the Science Academy in Berlin .

From mid-November 2006 to the end of October 2007, Kracht was a permanent columnist for the Frankfurter Allgemeine Zeitung . His column, which appeared every second Saturday, was entitled "Letter from ..." (sometimes also "Conversation with ..."). According to Kracht, the intention was to deal with "self-referentiality" in the column for a year.

During this time Kracht published in the FAZ u. a., together with the American businessman David Woodard , a report about Aleister Crowley's residence in Cefalù .

At the end of February 2007, as the result of a Kilimanjaro ascent in collaboration with Ingo Niermann , the work Metan appeared , in which the planet earth is inhabited and ruled by an invisible form of civilization. The two authors Kracht and Niermann came into contact with this form of civilization and until then were witnesses to phenomena that were not considered conceivable and not even imagined. The first reviews turned out to be negative or even astonished: “What the two poets rant together in the aftermath of this trip about the renewal of the human race from the spirit of the fart is really disturbing. Or simply: big nonsense. "Another reviewer recognized in the supposed conspiracy theory, however," a parody of the alarmistic, human-educating large non-fiction book "and said:" If you take this book for a joke, then maybe it's not a bad one. "

Around 2015 Christian Kracht lived with his wife, the director Frauke Finsterwalder , and their daughter in Los Angeles . In 2019 he lived in India. In 2020 he moved back to Switzerland due to the corona crisis . Kracht is a member of the PEN Center for German-Speaking Authors Abroad .

In 2019 Christian Kracht handed over his personal archive to the Marbach Literature Archive.

Novels

In 1995 Kracht published his debut novel Fiberland . He deals with contemporary consumer culture, the decline of the so-called harmonious bourgeois society of the post-war period and individual and national identity crises.

Kracht received international recognition for his novel 1979 , published in September 2001 . He describes the fragility of a Western upper-class value system, described as decadent, and its powerlessness in relation to the Eastern totalitarian models of Islamism and Maoism . The novel was published in close proximity to the September 11, 2001 attacks , which attracted additional attention.

Christian Kracht's third novel was published in September 2008 under the title I will be here in the sunshine and in the shade . It belongs to the genre of alternative world stories and is about a "Swiss Soviet Republic (SSR)", which a. a. with a large part of the rest of Europe. It is a dystopia , a story of the end times of all civilization. An inspiration for the book was The Oracle of the Mountain by Philip K. Dick , to which Kracht refers with several allusions.

With Empire , the fourth novel Kracht was released in February 2012 found. Imperium retells the story of August Engelhardt who left Nuremberg. Engelhardt traveled to what was then the colony of German New Guinea at the beginning of the 20th century to buy and operate a coconut plantation. His goal: to be an avowed vegetarian exclusively from the coconut to eat. Based on this historically documented figure, Kracht tells a mixture of a South Sea ballad, fantasy of longing and a story of dropouts. August Engelhardt saw himself as a world saver, wanted to found a new religion, found his own kingdom and save the whole world with a crude coconut philosophy. Imperium tells of new beginnings, of hopes, disappointments and the grandiose failure. The reader follows a spiral of madness that anticipates the upheavals of the 20th century. The hero goes down in the end. He goes from being a vegetarian to a cannibal , from being a world saver to an anti-Semite, and from a healthy ascetic to a physical wreck.

The novel Die Toten followed in 2016 . The motif of lifelessness refers in the text u. a. on forms of media that are being displaced by new forms of mediation to which they hand over the power to steer social self-perception. This tradition is illustrated using the example of the rise of Hollywood film studios in the 1930s. The cultural workers in Japan and the German Reich - two regions that will soon bring death and annihilation to the world - want to counter the influence of American films with their own co-production. The decision falls on the genre of horror film , which of all things the Swiss director Emil Nägeli, who is depicted as inexperienced, is supposed to produce in Japan.

Reception and effect

The author says of his books, translated into 30 languages ​​(as of 2018), that they are just light entertainment . However, behind this statement lies Kracht's own claim: “After architecture, the highest achievable in culture is comedy. I understand my works humorously ”.

Kracht's first novel, Faserland (1995), is described by some critics as a pioneering key work of German-language pop literature from the mid-1990s, others drew parallels to Bret Easton Ellis' work or even saw Kracht's text as plagiarism .

Kracht himself was aloof from the term pop literature . For example, he had refused to print his texts in an anthology on the subject in his publishing house Kiepenheuer & Witsch .

Fiber country is also placed in the tradition of the German educational novel, for which u. a. the multitude of intertextual references is used. The literary play with Thomas Mann's death in Venice , with the Charon mythology, with Goethe's Faust I and Auf dem See as well as with Klopstock's friendship code Der Zürchersee is particularly striking.

Kracht's books also contain allusions to Thomas Mann's Der Zauberberg , Jean Baudrillard's The Symbolic Exchange and Death , the work of Ernst Jünger and David Lynch , the softly ironic travelogues of Robert Byron , Hugo Pratt's South Sea Ballade around Corto Maltese and Hergé's The Adventures of Tintin . In the style of the ligne claire developed by Hergé, the illustrations by Dominik Monheim in the first edition of the holidays published by Kiepenheuer & Witsch in Cologne in 1998 are also kept forever , a breviary written together with Eckhart Nickel on “the most pleasant places in the world”.

In 1999 Kracht stated: “I have no idea what that is supposed to be: pop literature.” In an interview on the publication of I will be here in the sunshine and in the shade , Kracht said: “But I feel [...] too old to care about consumer goods and mentioning brand names in my books. [...] At first I thought I wanted to add a slight bow to the media construct of pop literature, one last rebellion at the mention of the Parisienne cigarette, but what's the point? Luckily I underlined it - nothing should remind you that I was once accused that ten to twelve brand names appeared on the very first page of Fiberland. "

The cover design of his books, however, suggests far more branched connections to pop than Kracht claims. The cover of the novel 1979 was z. B. designed by British graphic artist Peter Saville , founder of Factory Records and influential designer of album covers for various music groups such as Joy Division , New Order and Suede . The audio book version from 1979 was designed by British graphic artist Mike Alway, head of the legendary El record label ( Momus , The Monochrome Set ) and Cherry Red Records. Furthermore, two of his books depict paintings by the contemporary Norwegian painter Odd Nerdrum , who claims that his pictures should not be understood as art, but as kitsch. Nevertheless, the critics rated Kracht's 1979 novel as a swan song for pop literature. One saw Kracht on the way "towards real seriousness".

I'll be here in Sunshine and Shade , published in 2008, is the literary invention of an alternative course in world history since the First World War . When asked whether his third novel was also his last, Kracht replied: “Fiberland, 1979 and now the new one certainly form a kind of triptych that now seems to be finished. The problem is certainly the fate of the artist who cannot stop and then never reaches his heyday again. "

“To say a sentence about Christian Kracht's novel Imperium is like trying to engrave Goethe's conversations with German emigrants in an orange pit. Maybe in a coconut? The Kokovore on its South Sea island would eat it up at some point and the writing would then be gone. But in the background, shadowy mountains of destiny would still unfold: the German story behind the dropouts, who made them by escaping it when the evil train of fate stopped for a moment. An adventure novel. No doubt. That it still exists, ”said Elfriede Jelinek about Christian Kracht's fourth novel, which was also published in early 2012 by Kiepenheuer & Witsch.

In his acceptance speech for the 2012 Wilhelm Raabe Literature Prize, Kracht identified the authors J. D. Salinger , Bret Easton Ellis , Paul Bowles , Ernst Jünger , Thomas Pynchon and Joseph Conrad as influences. As part of his Frankfurt poetics lecture, he added T. S. Eliot , Walter Benjamin , W. G. Sebald , Hubert Fichte , Fritz J. Raddatz , Eckhart Nickel , Alice Schwarzer , Christoph Schlingensief , Klaus Theweleit , Paul Celan and Christoph Ransmayr to the list in 2018 .

Controversy

Kracht, who considers himself a cosmopolitan, has repeatedly sparked controversy. His interview statements are rarely clear. Thus, Krachts' statements on current affairs that are often perceived as provocative are to be taken cum grano salis or to be understood in their context. This applies, for example, to the interview shortly after the attacks of September 11, 2001 , in which he described the Taliban as “ camp ”. The moral valuation took a back seat to the media aesthetic. It may be similar with Kracht's foreword to the illustrated book Die totale Freude (2006), in which North Korea v. a. as a gigantic staging, as a simulacrum conveyed for propaganda purposes , whereby the supposed disregard of actual suffering has annoyed some commentators.

A minor controversy arose in September 2007 on the occasion of an interview that Kracht gave to the Neofolk magazine Zwielicht , whereupon the Süddeutsche Zeitung accused him of approaching the positions of the New Right and Satanism . The FAZ described the allegations in a gloss as nonsense.

In a review of the novel Imperium , Georg Diez wrote in Der Spiegel magazine that Christian Kracht was the Celine of his generation. The work is "permeated by a racist worldview". Using Kracht's example, “you can see how anti-modern, anti-democratic, totalitarian thinking finds its way into the mainstream.” Jan Küveler contradicted in Die Welt : “Now, however, Diez must be recognized as a pioneer of freedom from irony. Most of the quotes that Diez maliciously takes out of context for his denunciating pamphlet are at best evidence of Kracht's humor. ” Richard Kämmerling's positive appreciation could also be read in the world . Felicitas von Lovenberg spoke in the Frankfurter Allgemeine Zeitung of the “attempt to destroy a new literary publication with an entirely unliterary reading.” Julia Encke also opposes blanket criticism in the FAZ . Lothar Schröder becomes clearest for the Rheinische Post : “This accusation is intellectually shameful. He is insanely and on top of that unjust a book against that since Kehlmann's Measuring the World is one of the best, wittiest and most eloquent German novels "The. Time replies Thomas Assheuer out:" Many critics consider Christian Kracht Roman Empire 'for nice gimmick. That is a mistake. [...] There are many ways to hold up a mirror to modern society, but Kracht has chosen the sharpest variant, namely Gnostic dualism. "

International reception

While in 2003 Kracht mainly enjoyed the " provocation " (Nora Fitzgerald), the New York Times wrote in 2015 when his novel Imperium was published in the USA that it was reminiscent of the early works of T. Coraghessan Boyle . The Danish daily Politiken, however, saw him in the same line as cultural pessimists like Michel Houellebecq and Botho Strauss . In France, Le Monde wrote that his heroes, carried by his poetic and biting script, would have a penchant for pathological ideas and a certain sense of self-destruction.

Stage versions

From 2004 to 2008, a stage version ran from 1979 at various German-speaking theaters under the direction of Matthias Hartmann - at the Schauspielhaus Zurich , the Schauspielhaus Bochum and the Lower Saxony State Theater in Hanover . From 2009 a stage version ran at the Burgtheater Vienna .

Various stage versions of I will be here in the sunshine and in the shade by various directors - including Armin Petras - were shown at the Staatstheater Stuttgart , Theater Basel , Stadttheater Bern and Maxim Gorki Theater in Berlin.

A stage version of the novel Faserland premiered in April 2012 at the Hanover Theater.

The drama Imperium was premiered in 2015 at the Thalia Theater in Hamburg under the direction of Jan Bosse .

The play Die Toten was performed for the first time at the Stadttheater Bern in 2017 , directed by Claudia Meyer .

Scripts

Kracht wrote the screenplay for the feature film Finsterworld together with Frauke Finsterwalder and received both the German Film Critics Award and the nomination for the best screenplay of the German Film Award 2014.

Works

Novels

Other works

Editing

Audio books

Awards

literature

  • Norman Ächtler: The abortion of pop literature: Kracht, war, cultural criticism. In: Carsten Gansel , Heinrich Kaulen (eds.): War discourses in literature and media after 1989. V & R Unipress / Vandenhoeck & Ruprecht, Göttingen 2011, ISBN 978-3-89971-811-9 .
  • Klaus Bartels: Vanishing Point Kathmandu. Global nomadism at Christian Kracht. In: Hans Richard Brittnacher , Magnus Klaue (Hrsg.): Unterwegs. On the poetics of vagabondness in the 20th century. Böhlau Verlag, 2008, ISBN 978-3-412-20085-5 .
  • Moritz Baßler : "The friend". On the poetics and semiotics of dandyism at the beginning of the 21st century. In: Alexandra Tacke, Björn Weyand (Ed.): Depressive Dandys. Game forms of decadence in pop modernism. Böhlau, Cologne / Weimar / Vienna 2009, ISBN 978-3-412-20279-8 .
  • Moritz Baßler: Have a nice apocalypse! Parahistoric storytelling by Christian Kracht. In: Reto Sorg, Stefan Bodo Würffel (Ed.): Utopia and Apocalypse in the Modern Age. Wilhelm Fink Verlag, Munich 2010, ISBN 978-3-7705-5059-3 .
  • Lothar Bluhm: Between extinction and salvation. Intertextual ambivalences in the beginning of Christian Kracht's novel “Fiberland”. In: Lothar Bluhm, Achim Hölter (eds.): Productive reception. Contributions to literature and art in the 19th, 20th and 21st centuries. WVT Wissenschaftlicher Verlag, Trier 2010, ISBN 978-3-86821-278-5 , pp. 91-104.
  • Thomas Borgstedt: Pop men. Provocation and pose with Christian Kracht and Michel Houellebecq. In: Claudia Benthien , Inge Stephan (ed.): Masculinity as a masquerade. Cultural presentations from the Middle Ages to the present. Böhlau, Cologne 2003, ISBN 3-412-10003-X , pp. 221–247.
  • Sven Glawion, Immanuel Nover: The empty center. Christian Kracht's 'Literature of Disappearance'. In: Alexandra Tacke, Björn Weyand (Ed.): Depressive Dandys. Game forms of decadence in pop modernism. Böhlau Verlag, Cologne / Weimar / Vienna 2009, ISBN 978-3-412-20279-8 .
  • Christian Heger: Tim, Struppi and the Barbour jacket. About Christian Kracht and the postmodern Ennui. In: In the shadow realm of fictions: Studies on the fantastic history of motifs and the inhospitable (media) modernity. AVM Verlag, Munich 2010, ISBN 978-3-86306-636-9 .
  • Stefan Hermes: gloomy global. Intra- and intercultural foreignness in Christian Kracht's novels. In: Olaf Grabienski, Till Huber, Jan-Noël Thon (Eds.): Poetics of the Surface. The German-language pop literature of the 1990s. de Gruyter, Berlin 2011, ISBN 978-3-11-023764-1 .
  • Brigitte Krüger: Intensity Spaces. Mapping space in the utopian discourse of postmodernism: Christian Kracht's “I will be here in the sunshine and in the shade”. In: Gertrud Lehnert (Ed.): Space and Feeling. The spatial turn and the new research on emotions. Transcript-Verlag, Bielefeld 2011, ISBN 978-3-8376-1404-6 .
  • Richard Langston: Escape from Germany: Disappearing Bodies and Postmodern Space in Christian Kracht's Prose. In: The German Quarterly. Volume 79, Issue 1, January 2006, pp. 50-70, Duke University, Department of Germanic Languages ​​and Literature, Durham, North Carolina, USA.
  • Nils Lehnert: Refus from calculation ?! To Christian Kracht's TV appearances . In: Stefan Greif, Nils Lehnert, Anna-Carina Meywirth (eds.): Pop culture and television. Historical and aesthetic points of contact. transcript, Bielefeld 2015, ISBN 978-3-631-64827-8 , pp. 133–166.
  • Iris Meinen: Wertherland. Krachts fiber land in the tradition of Werther. In: Helga Arend (Ed.): “And who are you who are looking at me?” Popular literature and culture as aesthetic phenomena. Aisthesis Verlag, Bielefeld 2010, ISBN 978-3-89528-814-2 .
  • André Menke: Failed seriousness: References to camp sensitivity in Christian Kracht's “I will be here in the sunshine and in the shade”. In: Ders .: The pop literature after its end. To prose Meinecke, Schamonis, Krachts in the 2000s. Posth-Verlag, Berlin 2010, ISBN 978-3-9810814-5-9 .
  • Immanuel Nover: Request for reference. Language and violence with Bret Easton Ellis and Christian Kracht. Böhlau Verlag, Cologne / Weimar / Vienna 2012, ISBN 978-3-412-20947-6 .
  • Sonja Petersen: Failed sophistication. Cosmopolitanism and criticism of Germany in Christian Kracht. In: Germanica. 55, 2014, pp. 161-174.
  • Christian Rink: Christian Kracht and the 'total memory.' To convey the 'memory discourse' as a task of intercultural literary studies. In: Christoph Parry, Edgar Platen (ed.): Borders of fictionality and memory. Autobiographical writing in contemporary German-language literature. Volume 2, Iudicium Verlag, Munich 2007, ISBN 978-3-89129-191-7 .
  • Arnim Seelig: Irony and Narrative Subtext in the Novel 1979 by Christian Kracht. In: Jill E. Twark (Ed.): Strategies of Humor in Post-Unification German Literature. Cambridge Scholars Publishing, Newcastle upon Tyne 2011, ISBN 978-1-4438-2703-4 .
  • Björn Weyand: The Infinite Circulation: Christian Kracht's novel "1979" (2001) and the political economy of signs in pop modernism. In: Ders .: Poetics of the Brand. Consumer culture and literary practices 1900–2000. de Gruyter, Berlin 2013, ISBN 978-3-11-030117-5 , pp. 287-345.
  • Frédéric Beigbeder : 'Fin de party' by Christian Kracht (2001). In: Premier bilan après l'apocalypse. Essay. Grasset, Paris 2011, ISBN 978-2-246-77711-3 .
  • Fabian Dietrich: Article about Christian Kracht. In: De: Bug , 10/06
  • Literature: The Kracht method . In: Der Spiegel . No. 7 , 2012 ( online ).

Monographs

  • Matthias N. Lorenz (Ed.): Christian Kracht. Catalog of works and annotated bibliography of research. (= Bibliography on German literary history. Volume 21). Aisthesis Verlag, Bielefeld 2014, ISBN 978-3-8498-1062-7 .
  • Stefan Bronner: From the staggering self to the true superhuman: The cryptic subject in Christian Kracht's novels “Fiberland”, “1979” and “I'll be here in the sunshine and in the shade” . A. Francke Verlag, Tübingen 2012, ISBN 978-3-7720-8461-4 .
  • Johannes Birgfeld, Claude D. Conter (Eds.): Christian Kracht. To life and work . Kiepenheuer and Witsch, Cologne 2007, ISBN 978-3-462-04138-5 .
  • Immanuel Nover: Request for reference: Language and violence with Bret Easton Ellis and Christian Kracht. Böhlau Verlag, Cologne 2012, ISBN 978-3-412-20947-6 .
  • Christoph Kleinschmidt (Ed.): Christian Kracht . In: text + kritik , Heft 216, Munich 2017, ISBN 978-3-86916-611-7 .
  • Matthias N. Lorenz , Christine Riniker (eds.): Christian Kracht revisited. Irritation and reception . Frank & Timme Verlag, Berlin 2018, ISBN 978-3-7329-0323-8 .
  • Stefan Bronner, Björn Weyand (eds.): Christian Krachts Weltliteratur . De Gruyter Verlag, Berlin 2018, ISBN 978-3-11-053215-9 .
  • Heinz Drügh, Susanne Komfort-Hein (Ed.): Christian Krachts Aesthetics . JB Metzler Verlag , Stuttgart 2019, ISBN 978-3-476-04729-8 .

Web links

Commons : Christian Kracht  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b Anne Backhaus: "I heard him opening his pants behind me" . Spiegel Online , May 16, 2018
  2. ↑ a b Christian Kracht in conversation: The worst journalist of all. June 30, 2000, accessed July 3, 2019 .
  3. ^ Stephan Maus: Christian Kracht in the jungle of Paraguay. Oh how beautiful is Paraguay. German decadence dandies on a Nietzean jungle utopia from 1887. (Article) In: SZ. March 20, 2006, accessed October 26, 2014 .
  4. ↑ See Kracht: Letter from the Past, last part . In: FAZ , October 20, 2007.
  5. ^ Christian Kracht and David Woodard, Cefalù or the spirit of the golden twilight. (PDF; 367 kB) In: FAZ , March 24, 2007.
  6. ↑ See also the photo report by Kracht and Niermann: Kilimanjaro. In: Qvest , No. 23, Dec. 2006 / Jan. 2007, pp. 59–71.
  7. ↑ So Harald Peters: About small and large stinkers . In: Welt am Sonntag , March 4, 2007
  8. ↑ Volker Weidermann . In: Frankfurter Allgemeine Sonntagszeitung , March 4, 2007, p. 30.
  9. ↑ Christoph Bartmann: A great world breath theory. In: Süddeutsche Zeitung , April 16, 2007, p. 16.
  10. ↑ flavorwire.com
  11. ↑ a b Alexandra Endres: Christian Kracht: “Fiberland” author gives his archive to Marbach. In: Zeit Online . October 11, 2019, accessed October 12, 2019 .
  12. ↑ a b Pascal Mathéus: Interview: On a cigarette with Christian Kracht. In: Unfold. July 1, 2020, accessed August 17, 2020 .
  13. ^ Christian Kracht . exilpen.org; accessed on August 12, 2018.
  14. ↑ Heike Schmoll : Terrifying . Review. In: FAZ , August 2, 2013, p. 7.
  15. ↑ Christian Kracht's novel "Die Toten": Who sees evil . NZZ.ch . September 11, 2016. Retrieved November 13, 2016.
  16. ^ Christian Kracht . Author's website at Kiepenheuer & Witsch; accessed on August 12, 2018.
  17. ↑ Interview with Volker Weidermann and Edo Reents , “I would like to have a ban on images”, in the Frankfurter Allgemeine Sonntagszeitung on September 30, 2001.
  18. ↑ Interview by Daniel Arnet: Kim Jong Kracht . In: Facts , September 21, 2006.
  19. ^ Ina Hartwig : Standpoint, veiled. Frankfurter Rundschau , December 23, 2003, accessed December 18, 2012 .
  20. ↑ See Kerstin Gleba , Eckhard Schumacher (Ed.): Pop since 1964. Kiepenheuer & Witsch, Cologne 2007, p. 398.
  21. ↑ Interview, together with Benjamin von Stuckrad-Barre: “We wear size 46.” In: Die Zeit , No. 37/1999.
  22. ↑ a b "I always think about the war" . In: Neon , October 2008, interview.
  23. ↑ According to Stefan Zweifel: Trash Total. In: Facts , April 7, 2005.
  24. ↑ Empire . Publishing site at Kiepenheuer & Witsch; accessed on August 12, 2018.
  25. ↑ Frankfurt poetics lecture by Christian Kracht - "Everything that takes itself too seriously is ripe for parody". Retrieved March 7, 2019 .
  26. ^ Adrian Schulz: Column young and stupid: Kracht as appearance . In: taz . May 30, 2018, ISSN  0931-9085 ( taz.de [accessed March 7, 2019]).
  27. ↑ Christoph Schröder: Christian Kracht: "I am deeply afraid to speak in front of you" . Zeit Online , May 16, 2018; accessed on March 7, 2019.
  28. ↑ See Björn Weyand: The guided look . In: Friday , April 18, 2008.
  29. ↑ Daniel Herbstreit: The love of concrete . In: Der Tagesspiegel , September 14, 2006.
  30. ^ Nietzsche and Wagner in the jungle. David Woodard and Christian Kracht in Nueva Germania . In: Zwielicht 2/2007; sezession.de (PDF)
  31. ^ Markus Tillmann: Unholy Alliances - Christian Kracht, David Woodard and the New Right . In: Süddeutsche Zeitung , September 13, 2007, p. 16.
  32. ^ FAZ September 14, 2007.
  33. ↑ Georg Diez: The Kracht method . In: Der Spiegel . No. 7 , 2012 ( online ).
  34. ↑ Jan Küveler: Critic cries Nazi murder against Christian Kracht . Welt Online , February 13, 2012.
  35. ↑ Richard Kämmerling: The only true God is the coconut . Welt Online , February 13, 2012.
  36. ↑ Felicitas von Lovenberg : No scandal about Christian Kracht Frankfurter Allgemeine Zeitung, February 15, 2012.
  37. ↑ Felicitas von Lovenberg : A cultic admirer of coconut and sunshine . In: FAZ , February 10, 2012.
  38. ↑ Lothar Schröder: "Imperium" - the great novel by Christian Kracht . In: Rheinische Post , February 16, 2012.
  39. ↑ Thomas Assheuer: Irony? Laughable . In: Die Zeit , No. 9/2012.
  40. ↑ Nora Fitzgerald: For Young German Writers, All is Ich. nytimes.com, July 24, 2003; Retrieved May 6, 2012.
  41. ↑ nytimes.com
  42. ↑ politiken.dk
  43. ^ Nicolas Weill: "Fiber country", de Christian Kracht: road trip éméché à travers l'Allemagne réunifiée. «Fiber country», premier roman de 1995 et ouvrage-culte pour la jeunesse allemande privilégiée post-chute du Mur, est traduit en français. In: Le Monde. November 3, 2019, accessed on May 12, 2020 (French).
  44. ↑ konzerttheaterbern.ch ( Memento from December 9, 2014 in the Internet Archive ) Stadttheater Bern, June 12, 2014.
  45. ↑ I will be here in the sunshine and in the shade ( Memento from December 8, 2014 in the Internet Archive ) Staatstheater Stuttgart, July 2, 2010.
  46. ↑ I will be here in the sunshine and in the shade ( memento from September 13, 2012 in the web archive archive.today ), Theater Basel, May 8, 2010.
  47. ↑ fiber country. State Theater Hanover; Retrieved May 11, 2012.
  48. ↑ All nominations at a glance
  49. ↑ The abuse of the German forest. In: Frankfurter Allgemeine Sonntagszeitung . September 4, 2016, p. 47.
  50. ↑ Finsterworld , distribution site Alamode Film Austria, accessed on August 12, 2018.
  51. ↑ daserste.de
  52. ^ Canton of Bern honors controversial author Kracht Südostschweiz Kultur, accessed on June 11, 2012.
  53. ^ Wilhelm Raabe Literature Prize 2012 for Christian Kracht ( Memento from March 3, 2016 in the Internet Archive ) Bücher.at.
  54. ^ Prize of the German Film Critics 2013. Association of German Film Critics e. V., February 10, 2014, accessed on March 16, 2014 : "Frauke Finsterwalder and Christian Kracht shared the award for the best screenplay for their work on 'Finsterworld' (D: Frauke Finsterwalder)."
  55. ↑ Christian Kracht receives the Hermann Hesse Literature Prize. In: FOCUS Online. Retrieved October 12, 2016 .
  56. ^ Roman Bucheli: Christian Kracht receives the Swiss Book Prize. Neue Zürcher Zeitung , November 13, 2016, accessed on November 13, 2016 .
  57. ^ Bavarian Book Prize 2016: The nominated books. Retrieved November 13, 2016 .
  58. ↑ dublinliteraryaward.ie
personal data
SURNAME Kracht, Christian
BRIEF DESCRIPTION Swiss writer and journalist
DATE OF BIRTH December 29, 1966
PLACE OF BIRTH Saanen , Canton of Bern, Switzerland