Man appears in the Holocene
The Human Appears in the Holocene is a short story by the Swiss writer Max Frisch that first appeared in 1979. For her protagonist, who lives in isolation, a storm that lasts for days in a cut-off Swiss mountain village becomes a parable of their own decay and death. He fights against the progressive loss of memory by collecting lexical information on countless pieces of paper that he hangs up in his house before he realizes after an aborted attempt to escape into the valley that the world doesn't need his memory.
In contrast to the United States , where The Man appears in the Holocene was celebrated as a masterpiece, the story received little response when it appeared in German-speaking countries . Many critics rated it as autobiographical , an attribution against which the author protested. The meaning of Man appears in the Holocene in Max Frisch's late work , for which the story with its themes of old age and death, formal reduction and linguistic scarcity is considered exemplary, is generally recognized.
action
A storm that lasts for days in early autumn cuts off a Ticino mountain village from the environment. Heavy rains have already caused slopes to slide down. Mr Geiser, a 73-year-old pensioner from Basel , who has spent his old age in isolation in Ticino since the death of his wife, fears that the incessant rain could cause the whole mountain to slide and spill the village. Since the gardening, with which he usually passes his time, is no longer possible, he builds pagodas out of crispbread in his house and develops a categorization of thunder with terms such as “rumble thunder”, “bang thunder” or “kettledrum” -Thunder".
From the modest library that is available to him in his house, but at least includes a twelve-volume Brockhaus , Mr. Geiser begins to collect knowledge. He copies everything that seems remarkable to him and pins it on the walls with thumbtacks so that he can always fall back on what he knew. But even though Mr Geiser spends hours on the one hand following the passing time on the dial of his watch, on the other hand he fears that he has too little time for his work. So he soon simply cuts the articles out of the books. The initially randomly collected knowledge, such as how to construct a golden ratio, soon focuses on the Ticino area, natural disasters up to the biblical flood as well as the history of the earth , dinosaurs and the origin of humans.
Mr. Geiser also reads about poor memory , a symptom that affects him more and more. While at the beginning there are small things that he forgets, like buying matches or eating his soup, later on he cannot even remember the name of his grandchild. In his behavior, too, Mr. Geiser shows signs of the onset of dementia . In order to be able to better reach the cobwebs above the stairs, he dismantled the securing handrail of the stairs, and he kept wearing a hat in his apartment without knowing when and why he put it on. Geiser's only companions are a cat, whose flattering closeness he cannot bear, and which he ends up roasting in the fireplace without being able to eat, and a fire salamander that nests in his apartment. Although Mr. Geiser has the feeling that he is developing more and more into an amphibian himself , he confirms that knowing his appearance still distinguishes him from an amphibian.
Finally, with his rucksack packed, Mr. Geiser undertakes a well-planned attempt to break out of the cut-off valley, reaching the next valley via the pass, where the bus connection to Basel is already close. But then he wonders what he's supposed to do in Basel. In the twilight that has fallen in the meantime, he makes his way back, which leads him to the edge of his capabilities, before he arrives at home completely exhausted and with the resolution not to tell anyone about his trip. The hike evokes memories of a mountain tour on which he and his brother climbed the Matterhorn and were in mortal danger. But he has told the story to others so often that nobody wants to hear it anymore.
When the storm subsided and worried neighbors looked after him, Mr. Geiser didn't open the door to anyone and threw cups at the visitors because he was ashamed of the notes on the walls. After a faint, which he attributes to a fall, he is also physically affected. First his eyelid, then the corner of his mouth remain paralyzed. A cut-out note comments on his condition: stroke . When one can reach the valley again, the worried daughter of Mr. Geiser arrives and unlocks his house. Geiser wonders why she has tears in her eyes and why she talks to him like a child. But he realizes that the notes no longer make sense. Nature does not value his knowledge, she does not need his memory. After the storm, life in the valley continues as usual. Only Mr. Geiser is no longer mentioned.
shape
The narration is part of the “reduction” program, which characterizes the narrative framework, the number of people, the plot and motifs as well as the actual narrative, in which the reduction is not only described but implemented stylistically. The prose is “extremely condensed”, linguistically “seems frozen in its repetitions, its sober objectivity, monosyllabic and incorruptible objectivity.” The narrative is not conveyed by any authorial narrator , it is neither commented nor reflected. The personal narrator takes the protagonist's perspective, only knows what Mr. Geiser knows, told in an experienced speech in the present tense that is reminiscent of an internal monologue . The intention of the narrative process is to create an impression of immediacy, the direct presentation of actions and thoughts. While the rest of the narrative is heavily fragmented, broken up again and again by single-line paragraphs, the inserted self-contained Matterhorn story with long passages in the past tense and past perfect tense offers a strong "break in style". The conclusion of the narrative also changes style: in the static natural tableau of the valley, the personal reference dissolves, the narrative loses its perspective: Geiser, who previously lost everything, is now “lost from history”.
The most striking feature of the story is its collage technique , with which Frisch further "radicalized" the assembly technique from his diaries or the Montauk story . In the actual narrative text , the handwritten notes of Mr. Geiser are mounted as fictitious facsimiles as well as the cut-out illustrations and book texts in the respective printing set , sometimes Fraktur , sometimes Antiqua : Mr. Geiser's notes are to a certain extent "glued in". The reader learns directly from the foreign texts what Mr. Geiser is reading. Again the goal is to convey immediacy and directness. Only through the arrangement of the texts is there a comment, which the author refrains from in the text. So at the end of a lexicon excerpt on the keyword "stroke" comments on the condition of Mr. Geiser, about which he is not clear himself.
interpretation
title
The statement man appears in the Holocene is wrong from a scientific point of view. A lexicon entry is mounted in the narrative, in which it is explained: “In the → Pleistocene , according to the previous view, man appears (Paleolithic); the geological The present takes place in the → Holocene . ”On the hike to Basel, however, Mr. Geiser repeats his knowledge with the words:“ Man appears in the Holocene. ”This shift in content can be explained in several ways:
- Mr. Geiser confuses the lexicon facts. The title thus refers to the loss of his memory. This is the most likely explanation, according to Jürgen H. Petersen, as it is consistent with the motives of aging and decay that determine the narrative.
- Mr. Geiser makes a conscious correction: the “real person” only arises for him in and with his presence.
- The title refers to the utopia of a future human whose appearance is still pending. The current human has not yet realized a “humane human life and death”. "[T] he new man" as the actual main character of the story does not appear in it at all.
In addition, the title has its own reversal: "The Holocene Appears in Man". To the same extent that man names history, in which it appears, so to speak, in him, he also appears in history by naming himself.
Mr. Geiser's disaster
Mr. Geiser's exaggeration of the storm into an almost apocalyptic catastrophe and his fear of memory loss are an expression of his fear of death. He wears a hat in his house without knowing why, because something in him suspects that he is on the move. He reacts to the premonition of death with “interpretation of the world”, he deals with the history of his kind, himself carries out the “human cultural step towards writing ”, which manifests itself in the knowledge he has gathered and which he uses to paper his house. In this step, his consciousness becomes the consciousness of all people, his living room becomes the knowledge store for all of humanity. But his attempts to order the world through knowledge lead to chaos. As a result of Mr. Geiser's declining memory and his confusion of facts, world knowledge shrinks to the chance knowledge of an old man with whom it is lost, the end of the world becomes a parable of its own end times. Geiser reacts to his feeling of departure to death with a final attempt to escape into life, the escape to urban Basel. But the question “What is Mr. Geiser doing in Basel?” Remains unanswered. Something is "decided in his head". Mr. Geiser turns back. It is a "return to death". Mr. Geiser finds " his death [...] by approaching him with all the rest of his life force."
The story of Mr. Geiser goes beyond the personal meaning of his fate and becomes a mirror of "an epochal constitution" in which forms of meaning and meaning recede in favor of quantifiable knowledge. From the individually human, Mr. Geiser's gaze is directed towards the entire species. He removes the picture of his deceased wife from the wall to make space for snippets of knowledge. He tries to classify the unclassifiable thunder instead of worrying about his "last questions of life".
Nature and order
Mr. Geiser's greatest fear is the loss of memory. He knows: “Without memory, there is no knowledge.” His behavior suggests the addition: And without knowledge, there is no being. Knowledge does not always help in practice: “At the moment, Mr. Geiser doesn't need a golden ratio, but knowledge is reassuring.” Even Mr. Geiser's biography is broken down into individual pieces of information: “What he was is on the tax slip.” “To make order once “Is Mr. Geiser's resolution. But soon he asks himself “what he actually wants to know, what he expects from knowledge”. When his daughter opens the window, the pieces of paper are torn from the walls: “A jumble that makes no sense.” Geiser's will to order is subject to nature's contingency : “What is the Holocene! Nature doesn't need names. Mr. Geiser knows that. The rocks don't need his memory. ”Mr. Geiser realizes:“ Man remains a layman. ”He sees himself at the mercy of nature's unconscious:“ Only man knows catastrophes, provided he survives them; nature knows no catastrophes. ”In the end, the will to order of the modern gives way to the equanimity of the postmodern , the limits of the encyclopedic and the information society are shown.
After Mr. Geiser's disappearance, history also disappears from nature. “Like in the Middle Ages” the Ticino valley lies there, “like in the Stone Age”, without history. The counterpart to Ticino is Iceland , which Mr. Geiser got to know on a trip: a "world like before the creation of man." For Mr. Geiser - his name already refers to Geysir - this symbolizes "transfiguration and longing", but for him it becomes the prehistory to the object of study and the dinosaurs to the figure of identification, until he realizes that he himself “looks like an amphibian.” In his attempt to create meaning and meaning, he too belongs to a species that is dying out.
background
Man appears in the Holocene has often been viewed as a continuation of Frisch's autobiographical story Montauk . This was supported by the protagonist's age and his withdrawn way of life in Ticino. Frisch himself had lived in Berzona in the Valle Onsernone for several years and shared with Mr. Geiser the fear of memory loss that had accompanied him throughout his life since he suffered severe hepatitis in 1959. He had picked up on this episode in Montauk : “I'm forty-eight and have never been in a hospital, I enjoy the admission, everything is white and with service. But then the fear of losing my memory. For the first time this fear. ”Another similarity is the paralysis of the left eyelid, which occurs in Mr. Geiser as a result of a stroke, but which Max Frisch himself“ has always plagued ”. For Gerhard Kaiser , even in the resemblance of Mr. Geiser to a Lurch, “the self-caricature of Frisch's physiognomy was unmistakable. Mr. Geiser is Mr. Frisch and yet not Mr. Frisch either. "
Max Frisch himself resisted the suspected autobiography. He wrote directly to Volker Hage : “Calling the Geiser story 'autobiographical' is nonsense.” In an interview with Fritz J. Raddatz he continued: “This Mr. Geiser in the story is not much older than Frisch , Mr. Geiser is dying in Ticino, and Max Frisch has a small house there after all, please, if that's not autobiographical! And so private! [...] Authentic, autobiographical, private, indiscreet or irrelevant and so on ... "In fact, Frisch knows the hike that Mr. Geiser undertakes personally, but the actual role model for the character in the novel was not himself:" There was a man in the valley named Armand Schulthess , formerly a civil servant, a hermit, who now, in old age, suddenly wanted to know everything. "Like Mr. Geiser, he gathered lexical knowledge and his own findings," he wrote everything on tin can lids and nailed them to the tree trunks on his Terrain, […] and when you approached, he threw stones, he wanted to be lonely in his encyclopedia forest and died a few years ago. "
History of origin
Since 1972 Max Frisch has been working on the narrative in different versions and narrative perspectives, which found its final form in The Man Appears in the Holocene . The first version was entitled Regen and, in its form as a “report” by a “writer” in first person and man form, was reminiscent of the narrative position of Homo faber . In its fourth version, the story was entitled Climate and was included in the Suhrkamp Verlag program in 1974 before Frisch withdrew it. Only a 12-page fragment of a short story that Frisch presented on December 1, 1973 at a reading at the Berlin Academy of the Arts , and which was later included in his collected works in chronological order, has survived from this version . The you-form used to address the narrator directly to his protagonist was unusual: "You have been standing at the open window for an hour or more, Mr. Geiser, no one contradicts you, you are at home alone." Frisch wrote about this version in his autobiographical Short story Montauk : “A literary story set in Ticino has failed for the fourth time; the narrator position is not convincing. "
After the number of versions of the story had risen to twelve, Frisch submitted the final print version in the autumn of 1978. It was not until August 1978 that he incorporated central parts of the story with Geiser's attempt to break out and the Matterhorn story. He established the title Man Appears in the Holocene in October 1978. The story was published by Suhrkamp Verlag for the Leipzig Book Fair in March 1979.
Position in Frisch's oeuvre
For Jürgen H. Petersen, Man appears in the Holocene is part of the author's late work, which begins with the parallel play Triptych and also includes the later story Bluebeard . While Montauk previously revealed “the poetic play with variation” and thus in the context of My Name Be Gantenbein and Biography: A game belongs, Frisch's late work is determined by the themes of old age and death: “Everything has passed, thus unchangeable, rigid and inanimate. ” The human being appears in the Holocene exemplifies the style of Frisch's late work:“ Reduction in the thematic. Emergence of the Elemental ”. For Volker Hage, on the other hand, the last three stories of Max Frisch “formed an underground unit, not in the sense of a trilogy , [...] but in the sense of a harmonic chord . The three books complement each other and yet are independent units. [...] All three books have the tenor of the balance sheet, the conclusion - right down to the form that only allows the most essential things: tight, buttoned. "
While Frisch dealt with death in his second published diary 1966–1971, according to his own assessment, rather “from the outside”, his treatment in Man appears in the Holocene is an “inner perspective”. Walter Schmitz saw the story as a correction of the " pathos of his early works". Frisch, who has meanwhile “become historical” himself, does not give up his ideals, but the “literary swing of idealism”. Heinz Ludwig Arnold also saw the story as "a negation of hope and utopia", which had honored Frisch's speech in 1976 when he was awarded the Peace Prize of the German Book Trade . For Klaus Müller-Salget the story was “Frisch's most resigned text”. In retrospect, in an interview with Philippe Pilliod, Frisch himself said that he was “by far the best” in his oeuvre The man appears in the Holocene . From this, Lübbert R. Haneborger derived that Frisch had “sought and found the conclusion and overcoming of the core problems that preoccupied him for life” in the story, especially his need “for personal identity”.
reception
At the time of publication, the human appears in the Holocene did not receive a great response from the public or critics. The story was dismissed as a side work of the author, keywords like “autobiographical” and “old age” were mentioned in reviews. In addition, in Switzerland and Germany it was perceived as “not sufficiently political” and not socially relevant. Marcel Reich-Ranicki was silent when the story was published, but he later commented: “I disliked the title, I was amazed and angry. It was immediately clear to me that I shouldn't write about this book ", which he felt was" strange, laboriously prepared ". Urs Jenny spoke positively of the story, which he called “serious and moving”: “This book doesn't show off for a moment. Clearly and cautiously, laconic out of love, Frisch describes a secluded valley in Ticino […]. Casually in the tone of notes, and yet very consciously playing out leitmotifs, refrains, resonances [...], on this small terrain he develops a story that, beyond its ridiculous banality, has a lonely, icy size. "
In contrast to Frisch's native language, the English translation of Man in the Holocene was received very positively in the United States . The New York Times Book Review's critics unanimously voted Man in the Holocene the most interesting and important tale of 1980 on their annual list of the most important books published in the United States in 1980. George Stade's verdict on the tale was: “They has something of a classic about it [...] through its clarity and elegance of form, its strict impersonality, its restraint and its generality. [...] This luminous parable of indefinable meaning is a masterpiece. "
With some time after the publication, Der Mensch appears in the Holocene also gained in importance in the German-speaking area. Gerhard Kaiser confessed that he had to grow old himself before “this story of an old man, written by a bitterness aging man, got close to him.” Then he saw in the story that was waiting to be discovered “that artistically arranged Mixture of everyday life and human perspective, [...] the narrative reflection of the oppositions between being and consciousness, nature and spirit, history as process and meaning ”. Volker Hage called the story "not at all gloomy, but rather humorous grace." Hannes Hintermeier felt touched by the "wonderful economy of language, because contrary to the customs of the species it makes people small and nature great." The story is "[ e] wrested laconically triumph, the passage of time with each word. " Hans Mayer looked at the" end time story, written by one who does not believe in end times, "one" of the most important texts was this important author. "in 2005, People First Holocene included in the 20-volume Swiss library of the weekly magazine Das Magazin , in contrast to Marcel Reich-Ranicki, who preferred the short story Montauk in his canon of German literature .
The human appears in the Holocene was filmed in 1992 by Heinz Bütler and Manfred Eicher under the title Holocene . Erland Josephson took over the role of Mr. Geiser . In the same year, the film won the special jury prize at the Locarno International Film Festival . The Lexicon of International Films commented: “Max Frisch, from whose story the film was made, worked on the production until his death. His text was imagined cinematically with the inherent musicality; a subtle montage connects images of extraordinary presence, so that Frisch's basic question of human identity is posed with a new focus. "
A stage adaptation of the story was created in a co-production by Stephan Roppel and the Theater im Kornhaus Baden . The Swiss director Thom Luz staged Frisch's story in 2016 at the Deutsches Theater in Berlin . Ulrich Matthes took over the leading role and was awarded the Golden Curtain for this role the following year .
literature
Text output
- Max Frisch: Man appears in the Holocene . Suhrkamp, Frankfurt am Main 1979, ISBN 3-518-02850-2 (first edition)
- Max Frisch: Man appears in the Holocene . Suhrkamp, Frankfurt am Main 1981, ISBN 3-518-37234-3 (the page numbers given refer to this version)
Secondary literature
- Georg Braungart : “Only humans know catastrophes, provided they survive them”. Max Frisch, Peter Handke and geology . In: Carsten Dutt / Roman Luckscheiter (ed.): Figurations of literary modernity. Festschrift for Helmuth Kiesel . Winter, Heidelberg 2007, pp. 23–41 ( online at the University of Tübingen ).
- Michael Butler: Paint the demons on the wall. On Max Frisch's late work: "Triptych" and "Man appears in the Holocene" . In: text + kritik 47/48 (1983), pp. 88-107.
- Robert Cohen : Impositions of late modernism. Max Frisch's "Man Appears in the Holocene". In: Weimar Contributions , Vol. 54, Issue 4/2008, pp. 541–56.
- Claus Erhart: "Mr. Geiser is not a Lurch": Apocalyptic things about Max Frisch . In: Claus Erhart (ed.): Visions de la fin des temps. L'apocalypse au XXe siècle; discours et representations . Université de Provence, Aix-en-Provence 2006 ( Cahier d'études germanique , vol. 51), pp. 159-171.
- Lübbert R. Haneborger: Max Frisch - The late prose work . Books on Demand, Norderstedt 2008, ISBN 3-8370-2985-9 , pp. 57-78.
- Dietmar Jacobsen: “Death in Ticino. Max Frisch's story 'Man appears in the Holocene' ” . In: Weimarer contributions 42/3 (1996), pp. 399-417.
- Gerhard Kaiser : Endgame in Ticino: Max Frisch's undiscovered story “Man appears in the Holocene” . In: Swiss Monthly Issues for Politics, Economy, Culture 82/83 (2002/2003), pp. 46–52.
- Jürgen H. Petersen: Max Frisch . Metzler, Stuttgart 2002, ISBN 3-476-13173-4 , pp. 168-175.
- Karlheinz Rossbacher: Reading processes: To Max Frisch's story Man appears in the Holocene . In: Paul Michael Lützeler (ed.): Zeitgenossenschaft. On German-language literature in the 20th century. FS for Egon Schwarz for his 65th birthday . Athenaeum, Frankfurt a. M. 1987, pp. 252-265.
- Walter Schmitz : Max Frisch: Das Spätwerk (1962–1982). An introduction . Francke, Tübingen 1985, ISBN 3-7720-1721-5 , pp. 140-148.
Individual evidence
- ↑ Haneborger: Max Frisch - Das Prosa- Spätwerk , p. 64
- ↑ See section: Petersen: Max Frisch , pp. 170–175
- ^ Kaiser: Endgame in Ticino , p. 49
- ↑ Klaus Müller-Salget: Max Frisch . Reclam, Stuttgart 1996, ISBN 3-15-015210-0 , p. 35
- ↑ See Petersen: Max Frisch , pp. 170–171
- ↑ Frisch: Man appears in the Holocene (1981), p. 28
- ↑ a b Frisch: The human appears in the Holozän (1981), p. 103
- ↑ a b Petersen: Max Frisch , pp. 169–170
- ↑ a b Lioba Waleczek: Max Frisch . Deutscher Taschenbuch Verlag, Munich 2001, ISBN 3-423-31045-6 , p. 149
- ^ Schmitz: Max Frisch: Das Spätwerk (1962–1982) , p. 148
- ^ Kaiser: Endgame in Ticino , p. 47
- ↑ See the section: Kaiser: Endspiel im Tessin , pp. 47–48
- ↑ Frisch: Man appears in the Holozän (1981), p. 105
- ↑ Frisch: Man appears in the Holozän (1981), p. 104
- ↑ See the section: Kaiser: Endspiel im Tessin , pp. 51–52
- ↑ See section: Kaiser: Endspiel im Tessin , pp. 48–49
- ↑ Frisch: Man appears in the Holocene (1981), p. 14
- ↑ Haneborger: Max Frisch - Das Prosa- Spätwerk , p. 62
- ↑ Frisch: Man appears in the Holozän (1981), p. 20
- ↑ Frisch: Man appears in the Holocene (1981), p. 33
- ↑ Frisch: Man appears in the Holocene (1981), p. 76
- ↑ Frisch: Man appears in the Holocene (1981), p. 117
- ↑ Frisch: Man appears in the Holozän (1981), p. 137
- ↑ Frisch: Man appears in the Holozän (1981), p. 139
- ↑ Frisch: Man appears in the Holozän (1981), p. 80
- ↑ See the section Haneborger: Max Frisch - Das Prosa- Spätwerk , pp. 66–71
- ↑ Frisch: Man appears in the Holozän (1981), p. 142
- ↑ Frisch: Man appears in the Holozän (1981), p. 143
- ↑ Frisch: Man appears in the Holocene (1981), p. 70
- ↑ Frisch: Man appears in the Holozän (1981), p. 124
- ↑ See section: Kaiser: Endspiel im Tessin , pp. 50–52
- ↑ Max Frisch: Montauk . Suhrkamp, Frankfurt am Main 1981, ISBN 3-518-37200-9 , p. 143
- ↑ a b Heinz Ludwig Arnold: What am I? About Max Frisch . Wallstein, Göttingen 2002, ISBN 3-89244-529-X , p. 58
- ↑ a b Kaiser: Endspiel im Tessin , p. 50
- ↑ a b Volker Hage: Max Frisch , Rowohlt, Hamburg 1997, ISBN 3-499-50616-5 , p. 117
- ^ Schmitz: Max Frisch: Das Spätwerk (1962–1982), pp. 141–142
- ↑ a b Schmitz: Max Frisch: Das Spätwerk (1962–1982), p. 141
- ↑ Max Frisch: Collected works in chronological order. Anniversary edition in seven volumes . Suhrkamp, Frankfurt am Main 1986, Volume VI, ISBN 3-518-37906-2 , p. 522
- ↑ Frisch: Montauk , p. 21
- ↑ See section: Petersen: Max Frisch , p. 152
- ↑ Waleczek: Max Frisch , p. 147
- ↑ Petersen: Max Frisch , p. 160
- ↑ Petersen: Max Frisch , p. 175
- ↑ Hage: Max Frisch , pp. 119–120
- ^ Schmitz: Max Frisch: Das Spätwerk (1962–1982), p. 147
- ↑ Klaus Müller-Salget: Max Frisch . Reclam, Stuttgart 1996, ISBN 978-3-15-015210-2 , p. 23
- ↑ Haneborger: Max Frisch - Das Prosa- Spätwerk , p. 114
- ↑ a b Kaiser: Endspiel im Tessin , p. 46
- ^ Beatrice von Matt: Art against slogans in: Neue Zürcher Zeitung from 23 August 2008
- ↑ Marcel Reich-Ranicki: Max Frisch . Ammann, Zurich 1991, ISBN 3-250-01042-1 , p. 106
- ↑ Urs Jenny: Mr. Geiser's natural disaster . In: Der Spiegel . No. 19 , 1979 ( online ).
- ↑ "it has about it the aspect of a classic, [...] because of its lucidity and elegance of form, its severe impersonality, its restraint, its universality. […] This luminous parable of indeterminable purport is a masterpiece. ”In: Goerge Stade: A Luminous Parable . In: The New York Times Book Review, June 22, 1980
- ↑ Hannes Hintermeier: My favorite book: Man appears in the Holocene . In: Frankfurter Allgemeine Zeitung of July 14, 2004
- ^ Hans Mayer : Fresh and Dürrenmatt . Suhrkamp, Frankfurt am Main 1992, ISBN 3-518-22098-5 , p. 160
- ↑ Mayer: Frisch and Dürrenmatt , p. 184
- ↑ Page no longer available , search in web archives: Swiss Library - The judgment . Conversation with Marcel Reich-Ranicki
- ↑ Holocene in the Internet Movie Database (English)
- ^ Holocene in the Lexicon of International Film .
- ↑ André Mumot, Gabi Wuttke: "Man in the Holocene" at the Deutsches Theater . In: Deutschlandfunk Kultur, September 23, 2016.
- ^ Golden curtain for Ulrich Matthes and Dagmar Manzel at Berlin Bühnen , September 1, 2017.