Dieter Wellershoff

from Wikipedia, the free encyclopedia
Dieter Wellershoff (2014)
Signature Dieter Wellershoff, 1972

Dieter Wellershoff (born November 3, 1925 in Neuss ; † June 15, 2018 in Cologne ) was a German writer . His varied work includes novels, short stories, short stories , radio plays, plays, scripts and poetry . These works are accompanied by numerous essays on literary, art and contemporary history topics. With autobiographical works he has created contemporary historical documents.

Strongly shaped by the experience of accidental death and survival as a young soldier in World War II , Wellershoff repeatedly questioned apparent certainties in his writings. He saw the meaning of his writing as “the expansion and deepening of the perception of life.” “A 'rehearsal stage of life' should be his fictional stories, a literary simulation space in which one can look at risky careers almost safely, without the often fatal price the protagonist having to pay for it. "

In addition to the recognition that Wellershoff has received as a writer, he has earned the reputation of an important literary theorist and lecturer in the scientific and literary field.

Life

Autograph session on the occasion of a reception by the city of Cologne on his 90th birthday (2016)

Dieter Wellershoff was born in 1925 as the eldest son of Walter and Cläre Wellershoff. In 1930, after the birth of his brother Hans-Walter von Neuss, the family moved to Grevenbroich am Niederrhein, where Dieter grew up and started school in 1932. His father was a district builder in Neuss and Grevenbroich. In his memoirs An omnipotent dream and its end , Wellershoff reports on an orderly life in a civil servants' household in which the mother was “responsible for the house and social life”. During the Second World War he was drafted into the Reich Labor Service and volunteered for the Hermann Göring Panzer Division in 1943 . Shortly afterwards, his mother died of biliary surgery. In 1944 he was wounded in Lithuania. In 1945 he fled west with other soldiers from dispersed troops and was taken prisoner by the US . He processed his war experiences in the autobiographical book Der Ernstfall (1997) and in the audio CD Look at this, this is the war. Dieter Wellershoff tells his life as a soldier (2010).

A membership card of the NSDAP made out in his name was found in the Berlin Federal Archives in 2009 , a corresponding signed application for membership was not found. Wellershoff said: “... in contrast to the Wehrmacht, which I idealized as a teenager like almost all of my peers in the first years of the war, I always had an aversion to the party's 'brown bigwigs' that bordered on contempt. ... All this time it would have been a completely absurd thought for me to join the party. ”He emphasized that he had never applied for membership.

After the end of the war, he made up his Abitur and from 1947 studied German , art history and psychology at the University of Bonn . In 1952 he married his fellow student Maria von Thadden, the marriage had three children. Also in 1952 he published his highly regarded dissertation on Gottfried Benn , whose collected works he later edited together with his wife Maria. From 1952 to 1955 he worked as an editor for the German student newspaper published by the Association of German Student Associations and wrote a play, several radio features and radio plays. He received his first literary award - the "Radio Play Prize of the War Blind" - for the Minotaur , a play that deals with abortion, which was still forbidden at the time.

In 1959, Wellershoff was asked by the publishing house Kiepenheuer & Witsch to develop a scientific program for the publishing house. Two series of publications were created, "the 'Neue Wissenschaftliche Bibliothek' and the 'Studienbibliothek', one in bright yellow covers, one in bright red, through which generations of students of economics, sociology, psychology, history, literary studies and Philosophy received basic knowledge of their subjects. [...] Many of these 'readers', well over 100 in total, edited by Dieter Wellershoff in collaboration with important scientists such as Jürgen Habermas , Hans-Ulrich Wehler , Alexander Mitscherlich or René König are standard works to this day, through which the sciences of the young Federal Republic reached an international level again after the gloom of the Nazi era, "wrote the publisher Helge Malchow and continued:" In addition to this full-time activity, Dieter Wellershoff made the publishing house one of the top addresses for new German literature in a very short time who have favourited K&W despite the large but singular Heinrich Böll, whose books Dieter Wellershoff also edited, had not been before. " Wellershoff brought young authors such as Rolf Dieter Brinkmann , Nicolas Born and Günter Wallraff into the publishing house.

Wellershoff took part in Group 47 meetings from 1960 onwards . In 1965 he initiated a “ new realism ”. The loose grouping that emerged from this became known as the " Cologne School of New Realism ". In the mid-1960s, Wellershoff reduced his publishing work and began writing his own novels. There were z. B. A beautiful day (1966), the portrait of a family, between conflicts, a lack of communication and a sham idyll; and Invitation to All (1972) the multi-perspective portrayal of a criminal hunt as mass entertainment and a lonely struggle for existence, as well as The Siren (1980), the story of an unusual seduction or self-seduction by means of a mysterious telephone voice.

Wellershoff developed his literary theory parallel to his literary work. "You were not only faced with an extremely productive author who wrote radio plays, screenplays, short stories and novels, but also an ambitious literary scholar who also edited books for a publisher and who regularly spoke out on discussions on literary history."

Since 1981 he has lived as a freelance writer in the southern part of Cologne . With The winner takes everything (1983) he wrote a critical business novel based on the experiences of his younger brother, who had become an entrepreneur. It is about the fictional character “Ulrich Vogtmann, a climber par excellence, shaped by the Second World War and the upheaval in values ​​in the post-war period”, who is fascinated “by the omnipotent dream of great success. He takes life as a challenge, trusts in his vitality, his ingenuity, his luck. He pursues his goal ruthlessly, driving his surroundings into ruin and himself into total isolation. ”A few years later, his younger brother died of leukemia. Wellershoff describes his shocking death in the autobiographical book View of a distant mountain (1991).

Again and again Wellershoff wrote autobiographical texts such as Die Arbeit des Lebens (1985) or the already mentioned book Der Ernstfall (1995) on his war experiences. There are also texts on literature such as The Novel and the Experience of the World (1988) or The Ordered Chaos. Essays on Literature or The Disturbed Eros. On the literature of desire (2001). He set a focus on literary theory with a series of lectures at the University of Frankfurt entitled The Shimmer of the Snake Skin. Existential and formal aspects of the literary text. Frankfurter Poetik-Vorlesungen (1996) was published.

Dieter Wellershoff (right) at a performance of the film adaptation of his novel “Der Liebeswunsch”, with the actresses Jessica Schwarz, Barbara Auer u. a.

He achieved a particular success with critics and audiences in 2000 with the bestselling novel Der Liebeswunsch , which is about the network of relationships of friendship, longings, but also the insults of two middle-class couples, through the love wish of a young woman who gives her wants to escape a life that is perceived as wrong, being torn from its apparent balance - with fatal consequences. The book was made into a film in 2006.

Wellershoff continued to write in old age, a novel about a pastor who has lost the certainty of faith, Heaven is No Place (2009), or he invited people to take an individual look at art, as in What the Pictures Tell. A tour through my imaginary museum (2013). He also reflected on his own aging, his own death, in the audio CD Towards the End. Dieter Wellershoff talked about aging and dying (2014) and showed himself to be someone who, curiously, wants to observe, explore and understand life until the end. This work was also awarded as “Audiobook of the Year 2014”, like many of his other works before and the entire work. His work has been translated into 15 languages.

Wellershoff has received numerous appointments as a lecturer , guest lecturer and writer in residence at universities in Germany and abroad. He was a member of the Academy of Sciences and Literature in Mainz and the PEN Center Germany . In 2018, the City of Cologne, together with the Literaturhaus Köln, set up two Dieter Wellershoff scholarships , in which a total of 24,000 euros are awarded annually to support Cologne authors.

Grave in the Melaten cemetery (June 2018)

With a contribution What does the Cologne Mosque stand for? Wellershoff intervened in the FAZ in June 2007 in the dispute over the DITIB mosque in Cologne and formulated his own reservations about the controversial mosque construction, partly in contrast to the critical positions of Ralph Giordano .

His wife Maria Wellershoff , b. von Thadden, is a sister of Adolf von Thadden (1921–1996) and half-sister of Elisabeth von Thadden (1890–1944) and Reinold von Thadden (1891–1976), the founder of the German Evangelical Church Congress . His daughters Irene and Marianne Wellershoff , who came from this marriage, are also active as authors, and their son Gerald Wellershoff is a doctor.

Wellershoff died in his hometown of Cologne at the age of 92. On June 27, 2018, he was buried in the Melaten Central Cemetery in Cologne (Hall 64a No. 227/228).

Quotes

  • About the person: "I could have become a lot: a doctor, psychotherapist, dance teacher, philosophy professor, architect, criminal, detective, mentally ill, and maybe I became everything indirectly by becoming a writer."
  • About art: “Poetics, the doctrine of poetry, is, according to our current understanding, not only about the creation of a literary work, but also about our self-creation, self-realization, self-knowledge and, inseparably from this, the creation of our world. ... We assure ourselves of the world and immerse ourselves in our lives by staging life and world on the stage of the text with the full scope of their possibilities, tensions and differences. ... All of this has become particularly explosive since we are no longer told what the meaning and the right order of life is. ... A tremendous tension has built up from two interconnected and simultaneously opposing processes: the progressive dissolution of boundaries in the world is answered by the subjectification of the personal gaze. That is the inner tension of the historical epoch that we call modernity. "
  • About life: “This is a view of life that does not count on fixed possessions and paved paths, and certainly not on existential security in a superordinate sense. Rather, it presupposes a world that is there for itself, alien and opaque, with indifferent factuality, and repeatedly permeated by chance, which gives everyone a handful of blindly mixed luck and misfortune cards with the request, even compulsion, his own Order to make one's personal life pattern. It is a game of life and death with unequal chances from birth, highly susceptible to illusion and threatened by self-destructive tendencies, in which luck and misfortune, success and failure stand side by side, but sometimes become contradictory or complicated and unstable connections such as luck in Mixing misfortune or failure in success, a game that is fascinating because of its dangerousness, which chance at the cost of often blatant injustice saves it from becoming paralyzed and predictable. "
  • Regarding writing: For Wellershoff, as a writer, there is no reason to "turn away from life and exchange the sight of its jungle-like density, its contradictions and unpredictability for the schematism of constructed world models or the illusions of artificial paradises." Regarding the writer's specific work, he notes: " Represent real people, [...]. Never moralize. Only the suffering of the people themselves. The phenomena contain everything. [...] No help for the reader, do not take him by the hand "

plant

The nine-volume Wellershoff complete edition from 1996/2011 comprises almost 8,000 pages - not including the books he wrote afterwards

“Like most writers of his generation called 'skeptical', Wellershoff was also shaped by the Second World War. But unlike Böll (whom he supervised as a lecturer), he never derived the obligation to point a warning from this. Like the representatives of the Nouveau Roman, Wellershoff wanted to show what is rather than explain how it should be. 'For me, literature was neither a means of transport for moral educational goals nor political ideas, nor the corresponding opposite of an exclusive play of language and forms that was decoupled from reality'. "Wellershoff's ideology is deeply suspect after the mass madness of National Socialism and moralizing too. The prejudice-free individual view of the reality of life counts, writing as a form of existence in order to explore the world in its foreignness and to look for its place in it. Art as a playful end in itself or a transcendent creation of meaning has no place here.

Anything can happen in Wellershoff's novels and stories, a sex scene suddenly turns into manslaughter, the reader has to be composed: “Suicides, murderers, people who fail professionally, project makers who fall into the trap of their own imagination, others who getting stuck in a wrong life ”, noted Dirk Knipphals, who attested Wellershoff at the same time a“ love for life ”and stated:“ There is also a pull of seduction towards life in his books, this game of life and death as Understanding challenge and adventure ”- one could probably even go one step further and say 'welcome' this game. He sees "the many amorous entanglements that pervade his novels and stories" as an indication of "being in love with life". The critic Marcel Reich-Ranicki assessed the amorous entanglements in the novel Der Liebeswunsch as follows: "I have seldom experienced - in our contemporary literature that love is so visualized".

But with Wellershoff none of his characters can “be sure of what has been achieved, there are always points with him that threaten their love and even their life from within.” In a remarkable parallelization of Wellershoff's war experience and the stories he writes, explained Knipphals: “You think you can hear the grenade that seriously injured the 19-year-old Wellershoff in October 1944 in a senseless counterattack on the Russian positions ... you can still hear the whistle in all of his books. It can hit the ground all the time, even ... during a completely harmless party conversation, one remark is sometimes enough to destroy an entire marriage and thus a whole life. ... Wellershoff himself once referred to this as the 'volcanic' content of his books. "

In an obituary for the writer, Werner Jung explains that for Wellershoff literature always had to be "dangerous" if it was supposed to be good, otherwise it would remain trivial ready-made goods that could be sold and consumed well, but then disappear again completely. in the best case in and as waste paper. “Literature that is worth something is dangerous,” he quotes Dieter Wellershoff, “because it touches the explosives of human existence. It can be dangerous for the reader because it confronts him with experiences which he usually tries to avoid in the routines and limitations of his everyday life. And above all it is dangerous for the author, who [...] goes on a journey through hell in its service, but enjoys a powerful protection in it. Because in it he also transforms the errors, failures and injuries of his life into an experience of competence. "

"Dieter Wellershoff escalates things, exacerbates the conflicts to existential crises in which something can suddenly appear: an intuitive realization, the insight that something has gone completely wrong, that a life plan turns out to be an illusion, that the romantic idea of ​​love (you or none) a painful deception and the biography planning aimed at prosperity was rather a single grandiose disaster. For the heroes, however, this insight usually comes too late as an experience. Only we, authors and readers, are lucky enough to have these (or other) experiences and then return to real life enriched from the text. ”Werner Jung assesses the effect on readers. The descriptions of existential life crises in Wellershoff's texts, emphasizes Jung, also say something about the state of social sensitivities and provide information about life itself, which happens for us in the “darkness of the moment we live”, as Ernst Bloch refers to its formulations Wellershoff often resorted to, expressed.

Wellershoff himself wrote in 1968 with reference to his novels and radio plays: “I have always portrayed people who are so disturbed in their behavior, their self-image, their relation to the environment that they get caught up in an unforeseeable crisis that can change everything. The disturbed social roles, the unstable outlines of the person, the ruptures between the inner and outer world are the places where new experiences can arise. ”And new and existential experience - made with the help of literature - was the focus of the writer against routine and fear of life, against a schematic, pre-cut life and thinking. Without breaks and disturbances, he was sure, life would freeze “into habit”, life would “become deaf” and “blind” to itself.

In the following, Joke and Petra Frerichs examine the literary work under the motto “Life needs no justification”: Dieter Wellershoff uses the example of the life paths of his protagonists to show a whole spectrum of life possibilities; But above all: how precarious the social conditions in which they operate are. There is practical life, everyday life, which forces adaptation and insight into what is necessary; there are the virtues acquired through education, socialization, and habit. And there is the world of feelings, love, sexuality, for which there is often not enough time in the usual everyday processes, so that the fantasies, dreams or longings return as unlived life. Wellershoff shows how they develop their effect and begin to lead a life of their own; how they survive as something repressed and unconscious and how they are updated by unforeseeable events; to what extent they achieve reality as human impulses or are bent over and lead to pathologies or aggression. In Wellershoff's works, possible and contradicting options for action are shown and played out as virtual life plans. This broadens the horizon of our perceptions and insights. One could speak of Wellershoff's basic theme, which he traces in all possible ramifications and constellations.

Social and individual crises are the norm for Wellershoff. Crisis situations are particularly valuable because they enable experience to be expanded; but at the same time they testify to the dangers to which our existence is exposed. Whether they break out is a question of often coincidental events and constellations. Contingency would be the appropriate term to characterize the basic situation of humans in modern society: There are always more possibilities than can be realized. People have a choice to make, and often they fail to see through the circumstances in which they are acting. His characters often fall into the trap of their own fantasies, driven by illusions and passions, and chance often plays the decisive role.

Wellershoff sees literature as a medium for expanding and deepening the perception of our life. In ever new variations, he plays through the fragile life situations to which his protagonists are exposed. Their everyday life is characterized by routines, uniformity, apathy, repetition and boredom and they try to escape this housing of bondage (Weber). But most of them fail when trying to break out of their everyday lives. Wellershoff shows us the possibility of alternative life concepts, but at the same time also the reasons for the failure of his characters: Modern society, with its promises of freedom and consumer goods, awakens an excess of demands and desires, from which people flee in fantasy and dream worlds because of them very often they lack the means to realize their longing for a happy life. Then they end where they began: in the shelter of everyday habits and routines, which at least offer them a minimum of security and familiarity.

reception

Wellershoff's reception has changed significantly over the years, in chronological outline the development from a relative outsider in the literary business to an undoubtedly recognized writer:

  • R. Hinton Thomas judged in 1975: "Even as a theoretical author Wellershoff has consciously and constantly written against the current." Wellershoff took a different position when the politicization of literature was demanded in the Federal Republic of Germany, because in his opinion literature has changed To dedicate not only to the social and political problems, but also to the private sphere of life with its "intimate constraints and the hidden unconscious misfortune".
  • B. Happekotte described in a study from 1996: “The literary work of the writer Wellershoff can be characterized as that of an unknown right up to the present day.” Even with the reception of his theses on a “New Realism” in the mid-1960s a pattern of reception solidifies, according to which “the public defense against an unpleasant view of literature led to the underestimation” of his “literary work”. To this day, Wellershoff is regarded as a "'special case" of West German literature "and is in" an undeserved isolation ".
  • In 2005, Dirk Knipphals asked himself why he was only now discovering the writer Wellershoff for himself. The reason he names with sympathy “that Dieter Wellershoff, in terms of his entire habitus and intellectual tailoring, is pretty much the opposite of a great German writer.” Wellershoff is far from superficial “genius poses that still help a literary career in Germany convey. ”He, Knipphals, would have found other authors“ hotter ”beforehand because he could have worked on them in“ the heavy German art tradition ”. But “hard hitting the shit” and “world damnation judgments” are not available with Wellershoff. "... I now see it that way, by ignoring it, I fell for a remnant of genius cult ..."
  • According to Peter Henning (2015), Wellershoff has in almost 60 years: "produced a multifaceted oeuvre consisting of powerful novels, clairvoyant essays, novellas, poems and volumes of short stories". And at 75 he wrote his late bestseller Der Liebeswunsch , in which Marcel Reich-Ranicki recognized “his masterpiece”. The fact that at the age of thirty he revolutionized young German literature by prescribing a new approach to writing as a lecturer at the Cologne publishing house Kiepenheuer & Witsch, such as Rolf Dieter Brinkmann, Nicolas Born, Günter Seuren and Günter Steffens, reads after his career as a writer “meanwhile how a biographical side note. "
  • For Richard Kämmerling and Marc Reichwein (2015) Wellershoff shaped "post-war literature history in a diverse way like no other of its generation". He did that as an author, editor, editor and contemporary witness.

Awards and honors (selection)

Publications

As an author

  • Gottfried Benn , phenotype of this hour. Cologne et al. 1958.
  • In the imprecise place. Wiesbaden 1960.
  • Anni Nabel's boxing show. Cologne et al. 1962.
  • The indifferent. Cologne et al. 1963.
  • Construction of an arbor. Neuwied et al. 1965.
  • A beautiful day. Cologne et al. 1966.
  • The supplicants. The shadows. Stuttgart 1968.
  • Fiction and practice. Mainz 1969.
  • Literature and change. Cologne et al. 1969.
  • The shadow border. Cologne et al. 1969.
  • Tall pillars, glowing fog. About love, sexuality and passion. Collage of about 40 texts by other authors, from Jonas Alt to Tom Wolfe, from 600 years of literature from Dante to Wellershoff, which result in a new ore. In: Renate Matthaei (Ed.): Trivialmythen. March, Frankfurt 1970, pp. 219-228; again in: March texts 1 & trivial myths. Area, Erftstadt 2004, ISBN 3-89996-029-7 , p. 539 ff.
  • The screaming of the cat in the sack. Cologne et al. 1970.
  • Invitation to everyone. Kiepenheuer & Witsch, Cologne 1972, ISBN 3-462-02259-8 .
  • Literature and the pleasure principle. Cologne 1973.
  • Double exposed seascape and other texts. Cologne 1974.
  • The dissolution of the concept of art. Frankfurt am Main 1976.
  • The beauty of the chimpanzee. Cologne 1977, ISBN 3-462-02966-5 .
  • Fortune seekers. Cologne 1979.
  • The siren. Cologne 1980, ISBN 3-462-02202-4 .
  • Disappearance in the picture. Cologne 1980.
  • The truth of literature. Munich 1980.
  • with André Gelpke: Escape thoughts. Munich et al. 1983.
  • The winner takes everything. btb, Cologne 1983, ISBN 3-442-72851-7 .
  • The work of life. Cologne 1985.
  • The historical and the private. Stuttgart 1986.
  • The bodies and the dreams. Kiepenheuer & Witsch, Cologne 1986, ISBN 3-462-02316-0 .
  • Fleeting acquaintances. Cologne 1987.
  • Perception and imagination. Cologne 1987.
  • Franz Kafka. Paderborn 1988.
  • The novel and the experience of the world. Cologne 1988.
  • Pan and the angels. Views of Cologne. Kiepenheuer & Witsch, Cologne 1990, ISBN 3-462-02062-5 .
  • View of a distant mountain. Kiepenheuer & Witsch, Cologne 1991, ISBN 3-462-02118-4 .
  • Double, alter ego and shadow ego. Writing and reading as a mimetic cure. Droschl, Graz et al. 1991, ISBN 3-85420-225-3 .
  • The orderly chaos. Essays on literature. Cologne 1992, ISBN 3-462-02217-2 .
  • In the land of the alligator. Floridan Notes. A travel report. Droschl, Graz et al. 1992, ISBN 3-85420-318-7 .
  • with Stephan Geiger: Island life: for example Juist. Weilerswist 1993.
  • Dance in black. Weilerswist 1993.
  • In between. Poems. Weilerswist 1993.
  • The adventures of the moment. Weilerswirst 1993.
  • The emergency. Kiepenheuer & Witsch, Cologne 1995, ISBN 3-462-02398-5 .
  • Cicada shrieks. Novella. Cologne 1995, ISBN 3-462-02444-2 .
  • The shimmer of the snakeskin. Existential and formal aspects of the literary text. Frankfurt poetics lectures . Suhrkamp, ​​Frankfurt am Main 1996, ISBN 3-518-11991-5 .
  • Works. Cologne, ISBN 3-462-02636-4 and ISBN 978-3-462-04345-7
    • Volume 1. Novels. 1996.
    • Volume 2. Novels, short stories, short stories. 1996.
    • Volume 3. Autobiographical Writings. 1996.
    • Volume 4. Essays, Articles, Marginalia. 1997.
    • Volume 5. Lectures and Talks. 1997.
    • Volume 6. Radio plays, scripts, poems. 1997.
    • Volume 7. Novels, Stories. 2011.
    • Volume 8. Speeches, Conversations. 2011.
    • Volume 9. Early Writings, Miscellaneous, Letters. 2011.
  • The Cain's Mark of War. Weilerswist 1998.
  • The making of a novel. Stuttgart 2000.
  • The love wish. btb, Cologne 2000, ISBN 3-442-72826-6 .
  • The disturbed Eros. To the literature of desire. btb, Cologne 2001, ISBN 3-442-73015-5 .
  • The question of the meaning . Speech to the high school graduates born in 2003. Gollenstein 2003, ISBN 3-935731-48-5 .
  • Normal life. Stories. Kiepenheuer & Witsch, Cologne 2005, ISBN 3-462-03608-4 .
  • Heaven is not a place. Novel. Kiepenheuer & Witsch, Cologne 2009, ISBN 978-3-462-04134-7 .
  • What the pictures tell. A tour through my imaginary museum. Kiepenheuer & Witsch, Cologne 2013, ISBN 978-3-462-04555-0 .
  • In the thicket of life. Selected stories. Kiepenheuer & Witsch, Cologne 2015 ISBN 978-3-462-04914-5 .
  • Capture the enormous diversity of the world. Published by the Cologne City Library on Wellershoff's 90th birthday. Selected, compiled and edited by Gabriele Ewenz and Werner Jung. Verlag der Buchhandlung Klaus Bittner, Cologne 2015, ISBN 978-3926397249 .

As editor

  • Gottfried Benn : Collected works. Limes-Verlag, Wiesbaden.
    • Volume 1. Essays, speeches, lectures. 1959.
    • Volume 2. Prose and Scenes. 1958.
    • Volume 3. Poems. 1960.
    • Volume 4. Autobiographical and Mixed Scriptures. 1961.
  • A day in the city. Cologne et al. 1962.
  • Weekend. Cologne et al. 1967.
  • Something is coming to an end. Cologne 1979.
  • Gottfried Benn: Collected works. Zweiausendeins, Frankfurt am Main, ISBN 978-3-86150-610-2 , 2003. (3 volumes)

Audio CD

  • Invented life . Miniature prose and poetry by Dieter Wellershoff, staged by Heinz Ratz, spoken by Dieter Wellershoff, Heinz Ratz, Anja Bilabel. HörZeichen, Gerichshain 2003, ISBN 978-3-934492-27-1
  • Look at this, this is the war. Dieter Wellershoff tells his life as a soldier. Concept / Direction: Thomas Böhm and Klaus Sander. supposé, Berlin 2010, ISBN 978-3-932513-95-4 .
  • Come to the end. Dieter Wellershoff tells about aging and dying. Concept / Direction: Thomas Böhm and Klaus Sander. supposé, Berlin 2014, ISBN 978-3-86385-009-8 . Awarded the audio book of the year 2014 .

Film adaptations

literature

  • R. Hinton Thomas (ed.): The writer Dieter Wellershoff. Interpretations and analyzes . Kiepenheuer and Witsch, Cologne 1975, ISBN 3-462-01082-4 .
  • Eike H. Vollmuth: Dieter Wellershoff. Novel production and anthropological literary theory. Munich 1979.
  • Hans Helmreich: Dieter Wellershoff. Munich 1982.
  • Dieter Wellershoff. edition text + criticism, Munich 1985, ISBN 3-88377-207-0 .
  • Manfred Durzak : literature on the screen. Analyzes and discussions with Leopold Ahlsen, Rainer Erler, Dieter Forte, Walter Kempowski, Heinar Kipphardt, Wolfdietrich Schnurre, Dieter Wellershoff . In: Media in Research and Education. Serie A . tape 28 . Niemeyer, Tübingen 1989, ISBN 3-484-34028-2 , chapter "The novelist and television: Conversation with Dieter Wellershoff" and "Bringing in the legacy of literature: To Dieter Wellershoff's television game Glücksucher and his literary reflection texts", p. 69-118 .
  • Ulrich Tschierske: Happiness, death and the "moment". Realism and utopia in Dieter Wellershoff's work. Niemeyer, Tübingen 1990, ISBN 3-484-32053-2 .
  • Joachim Jaeger: Realism and Anthropology. Frankfurt am Main et al. 1990.
  • Jan Sass: The magical moment. Fantasy structures in Dieter Wellershoff's work. Stauffenburg, Tübingen 1990, ISBN 3-923721-48-X .
  • Keith Bullivant, Manfred Durzak, Günter Helmes , Hartmut Steinecke (eds.): Dieter Wellershoff. Studies on his work . Kiepenheuer & Witsch, Cologne 1990.
  • Torsten Bügner: Life simulations. Wiesbaden 1993.
  • Mechthild Borries (Ed.): Dieter Wellershoff. Munich 1994.
  • Bernd Happekotte: Dieter Wellershoff - received and isolated. Frankfurt am Main 1995, ISBN 3-631-48421-6 .
  • Carl Paschek (Ed.): Dieter Wellershoff. Frankfurt am Main 1996, ISBN 3-88131-080-0 . (Booklet to two exhibitions in 1996)
  • Klaus Torsy: Our daily madness. On the concept of communication at Dieter Wellershoff. Tectum, Marburg 1999, ISBN 3-8288-8014-2 .
  • Werner Jung: In the darkness of the lived moment. Dieter Wellershoff - narrator, media author, essayist. Schmidt, Berlin 2000, ISBN 3-503-04966-5 .
  • Elisabeth Hollerweger: Wishes for love as fears of life - To Dieter Wellershoff's novel “The wish for love”. Freiburg 2004. (online at: freidok.uni-freiburg.de )
  • Werner Jung (Ed.): Literature is dangerous. Dieter Wellershoff on his 85th birthday. Aisthesis, Bielefeld 2010, ISBN 978-3-89528-822-7 .
  • Joke Frerichs, Petra Frerichs: Life and writing - what else? A foray through Dieter Wellershoff's work edition. Books-on-Demand- Verlag, Norderstedt 2014, ISBN 978-3-7357-4166-0 .
  • Marianne Wellershoff: People who are not like the others. Obituary for my father Dieter Wellershoff . Der Spiegel No. 26 of June 23, 2018, p. 120
  • Joke Frerichs, Petra Frerichs: A special kind of encounter. Memories of Dieter Wellershoff. Norderstedt 2018. ISBN 978-3748-1299-98

Film and audio interviews with Wellershoff

Individual evidence

  1. ↑ Author of "Der Liebeswunsch" Dieter Wellershoff is dead. In: DER SPIEGEL. June 15, 2018, accessed June 15, 2018 .
  2. ↑ Literaturport: Dieter Wellershoff , accessed on May 1, 2017.
  3. ↑ Gisa Funk: The double-exposed life. In: FAZ , October 29, 2007, page 34.
  4. ↑ Dieter Wellershoff: Works, Volume 3, Cologne 1996, p. 83.
  5. ^ Wellershoff was a member of the NSDAP. In: FAZ.net , June 9, 2009.
  6. ↑ Malte Herwig: When we were young. In: The time. August 10, 2009, accessed December 15, 2015.
  7. ↑ Dieter Wellershoff: Manipulation in the downfall. A look at the last years of the war. In: Der Spiegel , 25/2009, accessed on January 19, 2017.
  8. ^ Funeral speech by Helge Malchow for Dieter Wellershoff Kiepenheuer and Witsch, accessed on June 29, 2018
  9. ↑ Gisa Funk: The double-exposed life. In: FAZ , October 29, 2007, p. 34.
  10. ↑ Randomhouse: The winner takes everything. Retrieved May 2, 2017.
  11. ^ Academy of Sciences and Literature Mainz: Deaths 2018, accessed on April 8, 2019
  12. ^ City of Cologne: Dieter Wellershoff Scholarships , accessed on July 22, 2018.
  13. ^ Faz.net
  14. ↑ Concentrated calamity in straightforward language. Deutschlandfunk, accessed April 30, 2017
  15. ↑ Dieter Wellershoff: The shimmer of the snake skin. Existential and formal aspects of the literary text. Frankfurt am Main, 1996, page 7.
  16. ↑ a b c d e Dirk Knipphals: Seduction to Life. on: taz.de , accessed on May 1, 2017.
  17. ↑ Wellershoff quoted from Gabriele Ewenz and Werner Jung in the introduction of: Hold on to the enormous diversity of the world. Published by the Cologne City Library on Wellershoff's 90th birthday. Verlag der Buchhandlung Klaus Bittner, Cologne 2015. Page 7
  18. ↑ Gisa Funk: The double-exposed life. In: FAZ , October 29, 2007, p. 34.
  19. ↑ Marcel Reich-Ranicki in the Literary Quartet, without a date
  20. ↑ a b Werner Jung: It is as it is. Literature that educates about life in our present: On the death of the writer Dieter Wellershoff . In: nd. Retrieved June 29, 2018
  21. ↑ Dieter Wellershoff: The Petitioners. The shadows. Radio plays. Stuttgart 1968. Page 92 f.
  22. ^ Section after Joke and Petra Frerichs. Petra is a section author (see literature)
  23. ^ R. Hinton Thomas: The writer Dieter Wellershoff. Interpretations and analyzes. Cologne 1975. page 11.
  24. ↑ B. Happekotte on his study: Dieter Wellershoff, received and isolated. Bern 1995. Quoted from Dieter Wellershoff. Booklet accompanying the exhibition at the City and University Library Frankfurt am Main. January 17 - February 27, 1996. page 80.
  25. ↑ Peter Henning: At the end of a long flight. An encounter with the Cologne writer Dieter Wellershoff, who will be 90 years old on November 3rd. In: Frankfurter Allgemeine Sonntagszeitung , November 1, 2015.
  26. ↑ Richard Kämmerling, Marc Reichwein: Each of us needs experiences of failure. In: Die Welt , November 3, 2015.
  27. ↑ Deutschlandfunk: For him, literature was life's rehearsal stage , accessed on December 2, 2018.

Web links

Commons : Dieter Wellershoff  - Collection of pictures, videos and audio files
personal data
SURNAME Wellershoff, Dieter
BRIEF DESCRIPTION German writer
DATE OF BIRTH November 3, 1925
PLACE OF BIRTH Neuss
DATE OF DEATH June 15, 2018
Place of death Cologne