Rolf Haufs

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Rolf Haufs (2013)

Rolf Haufs (* 31 December 1935 in Dusseldorf , † 26. July 2013 in Berlin ) was a German poet , prose - writer and radio journalist .

Life

Rolf Haufs was born on New Year's Eve 1935 in the Evangelical Hospital in Bilk , his mother's hometown, and was baptized by the Protestant theologian and pastor Joachim Beckmann . Rolf was the oldest child of Hans, an employee of Deutsche Bank AG, and Charlotte Haufs, who lived in Rheydt .

Rolf Haufs completed an apprenticeship as an industrial clerk from 1953 to 1956 after attending the Städtisches Neusprachliches Gymnasium (today Hugo-Junkers-Gymnasium) in Mönchengladbach-Rheydt. From 1956 to 1960 he was employed as an export salesman in various industrial companies, including at Schorch, Elektro Maschinen und Antriebe (Großmotoren) GmbH in Rheydt (now Mönchengladbach), and for a year at the Swiss company Brown, Boveri & Cie. , in their branch in Düsseldorf and for another year at Vorax in Giesenkirchen.

In 1960, at the age of 24, he moved from Rheydt to West Berlin . The divided city exerted a magical attraction on him. He explored it with curiosity and finally found that it was "a mirror of his own inner conflict". He even settled temporarily in the West Berlin exclave Steinstücke , where borderline experiences were commonplace. His "Eastern contacts" in the middle of the Cold War aroused suspicion, so that he was even arrested by the police once. Since then, Haufs has moved to various districts in West Berlin and lived as a freelance writer in the German capital, which was reunified since the fall of the Berlin Wall, until his death in 2013.

From 1962 to 1967 he was a member of Group 47 founded by Hans Werner Richter . From 1972 to 1999 he worked as the leading editor for literature at Sender Freies Berlin (SFB). Since 1970 he has been a member of the PEN Center for the Federal Republic of Germany. In 1996 he resigned as part of the reunification with the PEN Center East. Since 1987 he has been a member of the Berlin Academy of the Arts , where he was deputy director of the literature section from 1997 to 2009.

From 1970 to 1972, Haufs was an honorary lecturer at the Wichernkolleg in the Evangelical Johannesstift in Berlin-Spandau. In the winter semester 1984/85 he taught at the University of Duisburg-Essen as a visiting professor.

Grave of Rolf Haufs in the Pankow III cemetery

On July 26, 2013, Rolf Haufs died in Berlin at the age of 77 after long and severe suffering to body and soul, which he had faced years before with the means of his poetry, of acute pneumonia. His first marriage to Elisabeth, geb. Harenberg, married. From this marriage a son was born. His second wife Christa-Maria, geb. Brodersen passed away in 1995. This marriage has a daughter. He entered into a third marriage with the writer and poetics lecturer Kerstin Hensel .

Act

Rolf Haufs was best known as a versatile poet, author of prose works, children's books and radio plays. The extensive directory of his publications includes 13 volumes of poetry (1962 to 2010), 4 volumes of prose, 3 children's books and 4 radio play productions. It impressively documents the breadth of his work.

The following selection of reviews of Haufs' works may suffice to show that the author “is one of the great anthologists who have given him plenty of consideration in their 'flower readings'.” But it is primarily intended here to go into the content of the individual volumes of poetry in more detail and to work out the essential elements of Haufs' poetry first in the mirror of the opinions of these "anthologists".

Lyrical agenda by Haufs in the mirror of literary criticism

Even the titles of the first three volumes of poetry (1962–1967) reveal that dealing with Berlin and life there was a key thematic focus of his early poetry. The volumes are long out of print. Only road to Kohlhasenbrück was reissued in 2000. However, a selection of the early poems in the volume Growing Distance (1979) was made accessible again to the reading public.

In fact, numerous texts such as Steinstücke, Havelsee, Landposten in Kohlhasenbrück and the Olympiastadion reflect observations and experiences, "the Haufs, equipped with a special ability to perceive the apparently trivial, inconspicuous, inconspicuous, in their everyday surroundings, with the people in his proximity, by consciously experiencing the city of Berlin. ”In addition, the author still feels closely connected to his old home on the Lower Rhine, to which he dedicated the titles Niederrheinische Ebene and Letter to GS in his first volume of poetry from 1962 .

There on the Lower Rhine, in Rheydt and in Düsseldorf, his first professional workplace a. a. at Brown, Boveri & Cie (BBC), he had spent the first third of his life. From there in 1960, at the age of 24, Haufs “left for Steinstücke”, to the divided city of West Berlin, which he made his new adopted home. He rented a small, now dilapidated house from the painter and architect Prof. Johannes Niemeyer (1889–1980), where he wrote his first prose work in 1968, Das Dorf S. The latter is characterized by Haufs as a "document". It once again describes in much more detail in prose the author's journey from Rheydt to Steinstücke (p.) And the first period of his stay in that small district of Berlin whose unusual location established its unique position: The exclave was and was on the territory of the GDR from West Berlin from the district of Zehlendorf-Kohlhasenbrück can only be reached via a sometimes more, sometimes less blocked corridor, "1247 m long and 212 cm wide". The story, which is told in 28 sections, is fixed in time and thus acquires a political-historical dimension: It ends on August 13, 1961. It was the day on which the border around Steinstücke was marked in such a way that the GDR had a barbed wire fence built. In terms of protocol, Haufs describes the successive events precisely with the utmost degree of discipline and personal restraint. Only a few sentences, which are repeated as a leitmotif, and “memory protocols” scattered over the text reveal the author Haufs' self a little, betraying his fears, his dismay and his scruples. The first of various Berlin residences marked himself particularly in the life and work of Haufs. The lines quoted (note 23) betray the poet Haufs and reveal a laconic, concise style of speech which, according to a formulation by JP Wallmann, sometimes reaches “the density of a lyrical shorthand”.

In this way, Haufs gives an impression of everyday life in this small spot, a total of 12 hectares and 67 acres in size, between the fronts of East and West, in troubled days of trouble spots in world history, in quiet days an idyll amid paradisiacal seclusion. At the same time, Haufs comments on the division of Germany as the political event from which Steinstücken's situation resulted. From the perspective he has chosen and experienced, he interprets the event as a grotesque, absurd, even deadly threat to his existence. As in his early poems, “Haufs portrays himself here in his first - with a lyrical touch - prose work as trapped in the tiny village ..., a western exclave located in GDR territory, which was almost hermetically sealed off by the border fortifications of the eastern police state . “With these words M. Braun characterizes the lyrical agenda of the early works. They would read "like defiantly high-spirited as well as deathly decayed contributions to the cultural history of melancholy." And looking at the same volume of poetry, Michael Krüger probably provided the most precise description of the early poems. There are attempts to escape an existential grip and "to evade a claustrophobic situation." The constant wandering between skepticism, resignation and utopian hopes is a constant of almost all texts by the author, who remained true to himself despite all changes in time and life circumstances was. This judgment comes from R. Hartung and applies to Hauf's volume of poems Growing Distance from 1979.

But since June's farewell (1984), the “poet of grim laconism” has increasingly abandoned himself to the “holy game of melancholy” with death-addicted verses, where he summarizes his conflict in the simplest of verses and, as always, “garnished with sarcastic humor”: “My life is in Pieces I want / also no rest / you can stab to the end / I will not take revenge / whatever I do now… ”But it does not seem to be a retreat from all collective obligations into the enclave of poetry, rather the poetic memory work promotes findings come to light that are not only individually valid, but also express a general collective attitude towards life. The band Allerweltsfieber from 1990 , for example , does not reveal a melancholy self-stylization of a sentimental author . Rather, it believably portrays a torn subjectivity that is under the spell of an incurable melancholy when the Holderlin Prize winner speaks of the horrors of everyday life and uses bare, terse verses Create a hopeless scenario of depression.

In the volumes Felderland (1986) and Vorabend (1994) the basic motif of the inexorably flowing time of life is in the foreground. Its inescapable power can only be temporarily suspended at the moment of writing.

Already in the volume of poetry with the same title (1976) the melancholic misses "the speed of a single day" in order to "end up with the same vanitas feeling and the horror of emptiness."

Also August Fire (1996) opposes all such books of poetry since June parting of the still existing in the previous volumes of poetry "hidden utopia." Illness, separation and nahendes age increasingly determine the subject matter. This reflects a changed situation of the author, "which has made the gaze more ruthless, the pessimism more fearless and existential." These are texts that - free from sentimentality and from the style of age-old sentences - are neither ideological nor obliged to philosophical thinking. Instead, the author sarcastically emphasizes the role of self-irony and self-distance. Therefore “the verses” in their artistry and existentiality “do not act as confessions. They work from a literary distance, ”as Jan Koneffke described his impression in a review of Augustfeuer . Illness, depression and catastrophe are part of the normality of daily horror, which has long since lost its drama through self-irony and grotesque comedy. Behind the attitude of the message “Everything is accessories” and the at first glance indifferent gesture “After us the flood” hide “injuries and desperate humor, weapon and self-protection of the unhappy melancholic.” But the last word is not about desolation and resignation rather, the volume of poetry ends in an almost serene calm and serenity. In the final poem Now in peace and quiet smoke tobacco / English , Haufs defines the self-image and the location of his poetry, while still under the spell of “the horrors of history”, he delineates the limits of his own perspective and his own impact in casual, relaxed skepticism: “Be brave. Swim out to sea / Or the woods. Or the dizziness. / We have understood and remain / Totally in the horror of history. / Are we disturbing? We interfere / with civil complaints. ”Once again the characteristic of Hauf's poetry proves to be true: inconsolable, but never desolate!

The volume “Aufgehelte Letters” was published in 2001 by Hauf's long-time editor Christoph Buchwald . It contains a selection of older poems, which have been increased by new ones. H. Hartung saw in it "the balance sheet of a man in his mid-sixties and thus something like a life's work or at least an extract from thirteen volumes of poetry and lyrical prose."

In the following year, Haufs was awarded the Peter Huchel Prize for the volume of poetry Levels of the River (2002) . Nico Bleutge wrote under the title Die Freude des Torklers bei der Kopfstand that the poems collected there gain “their own openness”, “by running back and forth between fragile moods and rebellious impulses.” “Their virtuosity” is revealed “in self-deprecation Verse that is able to name the opposites in one breath ”. As in the late poems in general, here too at the beginning there is “confusion, irritation about the state of affairs in this world, pain and hurt into which we have got ourselves”. But Hauf's “melancholy mood” ultimately transforms the outrage about it, the struggle against it into the “serene brightness” of an “unexcited speech” “in the manner of an ironically toned aside speaking”, but in such a way that “the lyrical self” stands behind the "contemporary we" in solidarity.

In his last collection of poems, “Tanzstunde auf See” (2010), his own traumatic experiences are combined in partly elegiac, but often sarcastic and ironic diction with the supra-personal experience of old age, illness and death. The experience is "alienated in the acid bath of lack of words and the abbreviation of expressions and made recognizable in a surprising way." In the first section we are dealing with a patient, the poet's alter ego. He got caught in the mill of a hospital and describes his bad experiences partly sarcastically, partly slightly amused. He speaks of "six smacking suction cups," "decomposed body parts," "precious blood" and "thick bandages," of a "mega-germ " and "the whistle from the last hole." And yet Haufs does not put the "cut leg" like a shock weapon, but rather playfully and ironically: When asked by his "joking" interlocutor, obviously a pastor, what should be done with the amputated body part, he replies: "In the vestibule as a roast of Satan, where else / in tow the bride Three devil's hair like a streak. ” On the devastating diagnosis of the attending physician that he had to be “ isolated ”because his “ mega germs that have no defense ” follows the sarcastic consolation: “ But you carry the germ with dignity like the BVK ( = Federal Cross of Merit), which was awarded to you for merit. / People and fatherland must now wait / until the germ has asked you three times again / has left. “The germ defies all attempts by therapists to defeat it. He “stays hard, he tears wounds, he has a bad character. So let's let him go he's a fraudster. ” In the opinion of the reviewer P. Engel“ Haufs does not use the clinical vocabulary… to simply reflect actual experiences in the hospital, it rather serves to name and incorporate existential moments and certain borderline situations to leave in idiosyncratic language. ”This is how the author proceeds in the other two large chapters: “ 2. Puppet dancing ” and “ 3. Was not suitable for their war. ” In the poem “ Arctic ” , Hauf's “ need for passion music ” , more precisely that of his lyrical alter ego, seems to be covered. He no longer feels like “making Kaspar” , looking for Easter eggs in a colorful shirt. The search for the “heart tablets” is more important. Burst is "the rubber ball at the Angel " like so many dreams and illusions. It is “the little soul” that lets the poet in the collective form of “we” hop away with “arctic resentment” and defies the will to “warm to this planet.” The final rejection of love in the poem “ Once and for all ” ends with the irritating final line: “ Keep up the good work / The living whisper you into the earth. ” Childhood experiences are brought up again. In two of them, Haufs recalls his early years “in a body in a plaster cast” , which he showed everyone. It is a traumatizing memory of a plaster corset that Haufs had to wear for a year at the age of 12 to stabilize the spine, and which now appears again in the poems of old age as a lifelong pain. An anti-hymn to his hometown Düsseldorf bears the main title and first title verse : “The city of Düsseldorf has nothing to say to me,” only to be taken back suddenly in the surprising paradox of the second verse: “But when I think of it in Berlin ... “ Regardless of the complaints about illnesses and ailments that are increasing with age, he also gains beautiful sides from the present: When he walks by the side of his then young partner and current wife Kerstin Hensel “ across Schönhauser Allee ”, where“ people laugh at French people Des-sous and have a coffee. "The reviewer Peter Engel was particularly impressed by Haufs' ironic contribution in the poem " Auf dem Oberböckberg or Die Verballung des Landes " . The verses would probably make a “real” fan stand on end; A “Brazilian with thinking feet” he might still like something, but the “bone-collecting body” or the “straddle dogs” will send an ice-cold shiver down his spine, as it is obviously in the satirically exaggerated intent of the author. An author who, by the way, is committed to being a supporter of the first division club Borussia Mönchengladbach from his youth until today . W. Segebrecht also seems to like that the poems in the volume “Tanzstunde auf See ” never lapse into pathos in their “ambiguity even in existential emergencies”. It is true that the patient only speaks cautiously in the first person. “ We ”, he says in general terms, “ hold out our heads. "" We " are the patients, and the clinic is the sick world in which they are played badly by the nursing staff, civilians, therapists and especially the doctors: Your " friendly grin lets us hope for a cure. They have written us off long ago. ” So the disease comes with humiliation, so that the patient's late jokes can be interpreted as self-defense against it: “ Secretly they think / What concern of the old people / Didn't they have a good life " (From the poem " Kladow 3 " , p. 28). M. Lüdke acknowledges Hauf as one of the “most important” contemporary poets with a view to the same volume. He also recalls the volumes of poetry “The Speed ​​of a Single Day” and “June Farewell” and attests that he discovered everyday life for poetry in the 1970s and 1980s. The poems are often attached to everyday life, even primed autobiographically, but nonetheless always "puzzling."

The great response that Hauf's literary work has found among specialist colleagues proves that he is regarded as one of the most important contemporary poets. It "is certainly not too much of an honor," writes Jürgen Gressel-Hichert in his obituary for the death of R. Haufs on the RBB's cultural radio, that he was already "a classic of contemporary poetry" during his lifetime, as the Berliner Literaturwerkstatt wrote a series in which poets had their say, "without whom German-language poetry would not be what it is today." "And it is also true: Nobody played the" holy game of melancholy "he invented and named in German Contemporary poetry as persistent and virtuoso as him. " In his personal dealings, too, recalls Friedrich Christian Delius in his commemorative address for Hauf's funeral on August 7, 2013, “there was a good dose of melancholy behind his smile, but he never peddled this melancholy. He put all his quiet energy into finding the right, precise language for it. ”On the same occasion, Richard Pietraß also confessed that he had witnessed and alleviated his emotional turmoil and melancholy days. But that didn’t hurt Haufs’s productivity. "On the contrary. He was -doleo, ergo sum- born Lazarus. "

But what the numerous anthologists have stated about Hauf's poetry in their “flower readings” is one thing. What he has personally revealed about it is very little, however, and therefore all the more important.

Lyrical agenda in Hauf's own reflections

R. Haufs firmly takes the view that the author has to disappear behind his work and that his opinions are completely uninteresting for the readership about his own work. What he has to say is in his poems, so that there is no need for any self-comment. His private and subjective experiences, which he believes do not concern anyone, are transcended into something general, “super-personal” and thus become experiences of general human existence. These experiences are embedded in a contemporary historical context, as if “they also wanted to put the smells of an era on paper.” History runs “parallel” to life, to the biography, and therefore it cannot be excluded. In addition, there are descriptions of a landscape (e.g. "Lower Rhine Plain," "Rivers," "Bilker Kastanien," "City Forest", "Near North Sea", "Winter Park"), the bird / animal (e.g. dogs , Wolves, chickens, crows, blackbirds, blue tits, wren, turkish pigeon) and the flora (such as mistletoe, birch, chestnut, colorful botany, acacia) as well as periodic natural phenomena (such as the cycle of the seasons). But they are not inserted into poetry for their own sake. Rather, these descriptions "always have to do with time and biography, with very concrete contexts, but never with an aesthetic that is limited to describing a beautiful or ugly landscape."

Haufs once formulated the tension between the “lyrical and the biographical self” as follows: “My self is marked by experiences that go back a long way. What does the child ego do when it is grown up? Does it come out from under the rubble? Is it defiant, angry, does it resist? Literature bears the burden of years gone by. Literature is the greatest effort of thinking, dealing with language, the ability to abstract. Literature is pain. ” In his speech of thanks for being awarded the Peter Huchel Prize, Haufs goes into greater detail on the intention of his poetry: “ Poems create a second present, so to speak, time and memory are suspended and merge into a single present. The poem is a remembered life story, is an expression of sensitivities ... ” . Then he comes to speak of a central motif of his poetry: “If memory wants to be true, it has to be precise, even radical. She must be able to endure the pain, she must not capitulate to the linguistic public volatility. Memory is also always irritation . Irritation is another way of speaking against simplification and absorption. If you don't want to say everything in one line, you give yourself up to poetic integrity. Anyone who loves to write with the simplifiers has given up the claim to follow the impetus of poetry. "

In his poetry, Haufs does not find salvation from the pain of existence in the form of a help in life, but rather a gain in knowledge. In a discussion after a reading he said: “Much written down to deal with the pain.” One could also add: “Inconsolable, but never desolate.” Man is the only being without a natural hold in existence. In art in general, and Haufs in particular, he seeks to create a kind of emergency balance between pain / melancholy and lust for life. In reflecting on essential questions about the world, time and existence, the work of art serves him “as an orientation, as a landmark, as a beacon on the coast.” Haufs creates his hold in existence by searching for the knowledge of what is autobiographical, historical, and typical of the landscape and the fate of the world as a whole holds together in its innermost a constant principle of order in the rhythm of growth and decay, birth and death, pain and joy and seems to offer hope of salvation in every crisis: for him it is the search for the right order , for straightness and truth, combined with a Sisyphean work that occasionally shatters all illusions / dreams with which the poet hopes to improve life on this planet a bit. “You can ... have as many experiences as you want in your life,” his friend Christoph Buchwald lets him say in a fictional interview, “in the end you don't know anything, nothing, null, nada, you kick like a beetle in Jam bucket and somehow try to get up again, ... but the more you stamp, the deeper you get into the jam. "According to Wulf Segebrecht," this ironic so-called Haufs paradox between the lifelong and vital effort and the infinite futility of this effort hits exactly his poetic process and the basic mood of his work: We find poetry in pieces / And pick up everything that falls in free fall ”, as it is written on the back cover of the volume of poetry“ Allerweltsfieber ”(1999). With this intention, R. Haufs joins the tradition of his great poet models Gottfried Benn and above all Georg Trakl. Finally, it should be noted: What characterizes his entire literary work also characterizes the author: laconic, funny, sarcastic and above all melancholy.

Awards and recognition in public space

Awards

Appreciation in public space

In a press release from the State of Berlin, State Secretary for Cultural Affairs André Schmitz justified the award of the Order of Merit in 2007 with the outstanding importance of Rolf Haufs for contemporary literature, but also with his diverse social commitment in the functions of radio editor and deputy director of the literature section of the Academy of Arts. Haufs is “an important and extraordinarily diverse German poet, storyteller, translator, children's book and radio play author. Critics see him as one of the most important pioneers of modern poetry in Germany, which he sought to combine with European traditions. Without pathos, with a high degree of sensitivity, sometimes strict and then again casual in form, his work reflects the war and the post-war period in a very personal way. ”With the medal, Haufs is also honored for a commitment that he exercised in various functions for the benefit of fellow authors have; because as the leading editor for literature at Sender Freie Berlin he succeeded in getting a wide audience enthusiastic about texts that were difficult to convey in themselves. In this way he supported many young authors with his work who found a forum for their work on the radio for the first time. In addition, he always tried to guarantee the authors' rights - also materially. Not least in his function as Deputy Director of the Literature Section of the Academy of Arts, he fought to improve the living and working conditions of his professional colleagues. In the obituary of the Akademie der Künste Berlin on the death of Rolf Haufs, it is particularly emphasized that “he was very much appreciated for his numerous contacts with authors, especially authors from the GDR.” He has invited many writers to readings on his programs. The writer Friedrich Christian Delius paid tribute to Rolf Haufs on rbb's cultural radio on the same occasion. He was a highly sensitive person and “quiet ironic.” “He had a very sharp, fine eye for things.” And was someone who “never wanted to be in the front row.” Stephan Abarbanell was also head of culture for RBB Haufs one of the most important German poets of the 20th century. “In the SFB he was also a literary journalist who was looking for his own kind for three decades. For listeners in East Berlin, his work was often the only way to keep up to date with West German literature and the literary scene. ” Gregor Dotzauer praised him in his obituary in the Berlin“ Tagesspiegel ”as“ one of the most reserved and at the same time most distinctive figures of the German post-war poetry. "Haufs developed an unmistakable tone between lacony and irony" as a landscape poet, who increasingly exchanged memories of his childhood and youth in the Lower Rhine region for Prussian regions [...]. For him, the roar of history was hidden in every idyll, and melancholy about the all too ephemeral was nested in the sensuality of his memory images, which was often only invoked "

Works

Poetry

  • Road to Kohlhasenbrück. With 4 full-page woodcuts by Günter Bruno Fuchs . Luchterhand, Neuwied 1962; New edition: Lyrikedition, Munich 2000.
  • Sundays in Moabit. Luchterhand, Neuwied 1964.
  • Suburban confession. With pen drawings by Günter Bruno Fuchs. Luchterhand, Neuwied 1967.
  • The speed of a single day . Rowohlt, Reinbek 1976.
  • Increasing distance . Poems 1962 to 1979. Rowohlt, Reinbek 1979.
  • June farewell . Rowohlt, Reinbek 1984.
  • Field country. Hanser, Munich 1986.
  • Everyday fever. Hanser, Munich 1990.
  • Eve. Hanser, Munich 1994.
  • August fire. Hanser, Munich 1996.
  • Repealed letters. Selected and new poems, compiled by Christoph Buchwald . Hanser, Munich 2001.
  • Plain of the river. To Klampen, Lüneburg 2002.
  • Dance lesson at sea. Edition Lyrik Kabinett at Hanser, Munich 2010.

prose

  • The village of S. and other stories. Luchterhand, Neuwied 1968.
  • The left-handed or fate is a harsh word . Novel. Piper, Munich 1970.
  • Mr. Hat. Not Mr. Mithut. Not Mr. Ohnehut. Always Mr Hat. With illustrations by Patrick Couratin . Middelhauve, Cologne 1971 (children's book).
  • Panda's great discovery. Adaptation of the children's book by Michael Foreman . Middelhauve, Cologne 1977 (children's book).
  • Believe it or not. Children's stories. With drawings by Jürg Furrer . Huber, Frauenfeld 1980.
  • Self image. Hanser, Munich 1988.
  • We are way out. Speech. In: Friedrich Hölderlin Prize. Speeches for the award ceremony on June 7, 1990 , ed. v. Magistrate of the City of Bad Homburg vd Höhe, Bad Homburg 1990, pp. 46–50.
  • Eucalyptus tree and mulberry tree. Portrait of Peter Huchel. Acceptance speech for awarding the Peter Huchel Prize. In: die horen , Volume 210, Issue 2, Bremerhaven 2003, pp. 175–178.
  • Three lives and a second. Incidence. Wunderhorn, Heidelberg 2004.

Editing

  • The world of the machine. Essays and speeches (with Nicolas Born ). Rowohlt, Reinbek 1980.
  • Between two nights (with Christoph Buchwald). Claassen, Düsseldorf 1981 (= Claassen Yearbook of Poetry, Volume 3).
  • Leftovers, layers (with Christoph Buchwald). Luchterhand, Darmstadt 1989 (= Luchterhand yearbook of poetry 1989/90).

Radio plays

  • We will see. Norddeutscher Rundfunk / Süddeutscher Rundfunk 1964.
  • A hopeless case. RIAS Berlin 1965.
  • The sleepers. Norddeutscher Rundfunk / Süddeutscher Rundfunk 1965.
  • Harz trip. Norddeutscher Rundfunk / Süddeutscher Rundfunk 1968.

literature

  • Alexander von Bormann: words like in water depth . In: Die Zeit, September 14, 1984 (on: June farewell ).
  • Alexander von Bormann: Paradise / the rift through the earth . In: Akzente 1985, No. 4, pp. 292-299.
  • Alexander von Bormann: The delivered subject . In: Neue Zürcher Zeitung, July 15, 1988 (to: Selbst Bild ).
  • Michael Braun: Quick instant . In: Die Zeit, October 10, 1986 (on: Felderland )
  • Michael Braun: The glowing postcard . In: Die Zeit, April 6, 1990 (on: Allerweltsfieber )
  • Michael Braun: When the planet freezes. The poet Rolf Haufs turns 70 . In: Neue Zürcher Zeitung, December 31, 2005 ( online ).
  • Peter Engel: Clinically accurate and linguistically sophisticated. About Rolf Hauf's “dance lesson at sea” . In: Fixpoetry, April 13, 2012 ( online ).
  • Eckhard Goldberg: Rolf Haufs: Berlin poet from Rheydt . In: Der Obsidian, October 8, 2010, pp. 1–4 ( online ).
  • Gregor Laschen: What is written illuminates the world ... Speech on Haufs and the location of his poem . Laudation for the award of the Peter Huchel Prize 2003. In: die horen 2003, issue 2, pp. 165–173.
  • Wulf Segebrecht, Hans Ulrich Wagner (Ed.): Information from and about Rolf Haufs . Footnotes to more recent German literature, Issue 10, Bamberg 1986.
  • Wulf Segebrecht: We're deaf already . In: Frankfurter Allgemeine Zeitung, September 5, 1990 (on: Allerweltsfieber ).
  • Wulf Segebrecht: The turmoil as a way of life . On the death of the poet Rolf Haufs. In: Frankfurter Allgemeine Zeitung, features section of July 28, 2013.
  • Gert Ueding: Saving poetry through everyday speech. On the poetry of Rolf Haufs . In: Friedrich Hölderlin Prize. Speeches for the award ceremony in June 1990, ed. from the city administration of Homburg vd Höhe, Bad Homburg 1990, pp. 18–43.
  • Gert Ueding: The night face of calm . In: Frankfurter Allgemeine Zeitung, August 11, 1984 (on: June Farewell ).
  • Gert Ueding: A storm from the never-possessed paradise of childhood . In: Frankfurter Allgemeine Zeitung, November 18, 1986 (on: Felderland ).
  • Heinrich Vormweg: Come on. We talk! In: Süddeutsche Zeitung, November 24, 1979 (on: Speed ).
  • Jürgen P. Wallmann: Everyday grotesque stone pieces . In: Der Tagesspiegel, October 13, 1968 (on: Dorf S. ).
  • Jürgen P. Wallmann: The coexistence of things . In: Die Tat, June 12, 1971 (on: Left-Handers ).
  • Jürgen P. Wallmann: Free from the plague of myself . In: Christ und Welt, October 7, 1977 (on: Speed ).

Web links

Individual evidence

  1. Poet Rolf Haufs died , Berliner Zeitung , July 26, 2013
  2. R. Haufs, "The city of Düsseldorf has nothing to say to me," in: "Tanzstunde auf See," Munich 2010, 88, chap. 1, verse 3. For better differentiation, the titles of the works by R. Haufs and the quotations from them are given in quotation marks and italics, the titles of the secondary literature and quotations from them are only given in quotation marks
  3. R. Haufs, op. O. 90, chap. 6, verses 1-2
  4. R. Haufs uses in: "Abandoned letters. Selected and new poems, " compiled and with an afterword by Chr. Buchwald, Munich-Vienna 2001, p. 25: " The family " his poetic freedom to add another fictional one to his only actual sister
  5. Wulf Segebrecht, "On the death of the poet Rolf Haufs. Zerrissenheit als Lebensform," in: Frankfurter Allgemeine, Feuilleton from July 28, 2013.
  6. See Richard Pietraß, "The solid castles fall barely audibly." Memories of Rolf Haufs, in: Der Tagesspiegel of August 9, 2013 [1]
  7. Engel, op. OS 1.
  8. Haufs, Rolf. In: Munzinger, Online / Personen-Internationales Biographisches Archiv, Ravensburg URL .: http://www.munzinger.de/document/00000016833 (accessed on April 18, 2013), p. 1.
  9. ^ R. Haufs: Increasing distance. Poems 1962 to 1979. Reinbek near Hamburg 1979, 1–73.
  10. ^ R. Haufs: Road to Kohlhasenbrück. 1962, 12 f., Reprinted in: Greater Becoming Distance. 1979, p. 11 f.
  11. ^ R. Haufs: Straße nach Kohlhasenbrück, p. 32 (= increasing distance . P. 10.)
  12. ^ R. Haufs: Vorstadtbeichte. 1967, p. 25 (= increasing distance. 1979, p. 53).
  13. R. Haufs: Vorstadtbeichte, p. 47 (= increasing distance. P. 60).
  14. H. Korte and R. Mielke, Rolf Haufs in: Kritisches Lexikon der Deutschensprachigen Gegenwartsliteratur (KLG), via Munzinger Intranet Archive, Ravensburg (PDF file) 2013, p. 1.
  15. ^ R. Haufs: Road to Kohlhasenbrück. P. 45 f. (= "Increasing distance". ) P. 22 f. GS stands for the poet Gerd Semmer (1919–1967).
  16. ^ R. Haufs: Road to Kohlhasenbrück. P. 45: Letter to GS Z. 13 f.
  17. R. Lorenzen: Paradise between the fronts. Twelve hectares make history. A report from Berlin (West). In: Jungle World No. 45, November 5, 2009. Pre-printed with the kind permission of Verbrecher-Verlag, Berlin 2009 on the website: http://www.jungle-world.com/artikel/2009/45/39734.html , P. 2 and 10.
  18. ^ R. Haufs: The village S. and other stories. Neuwied-Berlin 1968, p. 9 f .: “This is a document. Recorded on the way from Rheydt to Zoologischer Garten from Zoologischer Garten to Wannsee, from Wannsee to Stölpchensee from Stölpchensee to Wannsee, from Wannsee to Kohlhasenbrück from Kohlhasenbrück to Steinstücke, hereinafter referred to as S. "
  19. ↑ On this and the following H. Korte, R. Mielke: Rolf Haufs. 2013, p. 5.
  20. ^ R. Haufs: Das Dorf p . 25.
  21. It was not until June 4, 1971, after twenty-five years of isolation, as part of an area correction that had been agreed in a treaty between the Senate of Berlin and the government of the GDR, that Steinstücke finally got free uncontrolled access: Lorenzen, a. OS 1.
  22. R. Haufs, op. OS 15 and 20: “But it's not a journey. No trip from Rheydt / to S. and back. Suddenly everything becomes too much. "
  23. R. Haufs, op. OS 44: “Remain in your memory / He looks out the window the whole day / The police will fetch him (...) He talks uselessly / So get away from here / Just get away from here / Barbed wire is drawn around S.. / The fourth is gone. Nobody can get in here. "
  24. E.Goldberg: Rolf Haufs , "Berliner poet from Rheydt. Irrevocable truths - uncanny objectivity. "2013, p. 2.
  25. ^ Wallmann: Everyday grotesque stone pieces. 1968.
  26. Rolf Haufs, op. OS 23: “(...) a sandy path, rising, at one end / a barrier, red and white, closed / don't turn around death stands behind you / two flags / one black, red and gold with the emblem / the one others red / We stand firmly on the ground of the first German workers and farmers state. / In front of the signs, in front of the barrier, behind the / signs, behind the barrier, under the emblem, / two soldiers. / One sees through binoculars across the border / where a policeman is standing, who is standing through binoculars / the border where a soldier is standing. ”For details of the historical reality behind this, cf. Lorenzen, a. OS 2 ff.
  27. M. Braun: The planet freezes. The poet Rolf Haufs turns 70. In: Neue Zürcher Zeitung of December 31, 2005/1. January 2006.
  28. M. Krüger in Braun, op. O.; see. also Hans Nerth: Enclave S., not far from Kurfürstendamm. In: The world of literature. September 19, 1966; Heinz Ludwig Arnold: death at the optician's. In: Christ und Welt, November 19, 1968, and Heinz Mader: Strich-Männchen. In: Stuttgarter Zeitung, January 4, 1969.
  29. ^ Rudolf Hartung: When in doubt, constant. In: Frankfurter Allgemeine Zeitung, January 5, 1980.
  30. : At this leitmotif R. Haufs in June parting, the poem S. 12: state , V. 1-2: "How often describe how often / Played sacred game melancholy"
  31. Braun, op. O.
  32. R. Haufs: June goodbye. 1984, poem: three stanzas. P. 84, lines 1-5.
  33. ^ So M. Braun: The glowing postcard. In: The time April 6, 1990, where he the author against the charge of Swiss author Urs Allemann, in: Time April 6, 1990, taking into custody, "held up a schäkernde with yourself bourgeois" of Haufs' poems and the The step towards the “great peace agreement” with civil society was inevitable; see. also the Munzinger-Online Internationales Biographisches Archiv (2013), p. 1 Braun agrees.
  34. M. Braun: Rapidly quick moment. In: Die Zeit, April 6, 1990, on Felderland; see. also G. Ueding: A storm from the never-possessed paradise of childhood. In: Frankfurter Allgemeine Zeitung, November 18, 1986; Matthias Greffrath: Survivors as long as we live. In: Süddeutsche Zeitung, December 6, 1986; Marleen Stoessel: Shame that survives. In: Neue Zürcher Zeitung, February 27, 1987; Jürgen P. Wallmann: Patience brings profit. In: Der Tagesspiegel, Berlin, March 8, 1987, and Alexander von Bormann: Forward / No Protection. In: Frankfurter Rundschau, July 28, 1987. On the previous evening also M. Braun: Schwarze Idyllen. In: Die Zeit, February 3, 1995; Sibylle Cramer : I am a shaggy dog. In: Süddeutsche Zeitung, 24./25. September 1994; Elsbeth Pulver: The cooling room. In: Neue Zürcher Zeitung, September 30, 1994; Heinz Czechowski: Hiked in the Milky Way. In: Die Welt, 8./9. October 1994; Manfred Dierks: Too warm for the season. In: Frankfurter Rundschau, March 18, 1995, and Rüdiger Görner: No more resolution. Poetic punchlines by Rolf Haufs. In: Die Presse, Vienna, February 11, 1995.
  35. M. Braun: The planet freezes. See also JP Wallmann: Frei von der Ich-Pest. In: Deutsche Zeitung / Christ und die Welt, October 7, 1977; Rainer Wochele : Troubled word trail. In: Stuttgarter Zeitung, December 14, 1976; Peter Demetz: Blooming gardens of poetry. In: Frankfurter Allgemeine Zeitung, March 5, 1977, and Walter Helmut Fritz: Through-Looked Things. In: Nürnberger Nachrichten, September 26, 1977.
  36. On the meaning of the “hidden utopia” cf. H. In advance: So come on. We talk. See also H. Korte-R. Mielke, a. OS 6 f.
  37. Korte-Mielke, op. O. 7, and Munzinger Online Archive, p. 2.
  38. Korte-Mielke, op. O. 10 f. using the example of the poems by R. Haufs: Aufgehelte Briefe 2001. pp. 51–54: Operation Operation. P. 88: Orale Chirurgie , and ibid. P. 65–70: Six Vita- (excerpts) with the heading: End of life sale .
  39. Jan Koneffke: Christ hang glider. Desperate comedy. In: Friday, October 4, 1996; see. also Munzinger Online-Archiv, p. 2. Further reviews by Sibylle Cramer: Bürgerliche Klagen als Kapuzinerpredigte. In: Süddeutsche Zeitung, October 1, 1996; Thomas Zabka: Flash in the pan, repetitions. In: Frankfurter Rundschau, November 9, 1996; Rüdiger Gömer: Tomorrow's snow. In: Die Presse, Vienna, December 28, 1996; Roman Buchell: Farewell with the engine running. In: Neue Zürcher Zeitung, January 3, 1997, and Dorothea von Törne: Butterfly collector, hair picker and aesthetic. In: Neue Deutsche Literatur, 1997, No. 2, pp. 169–172.
  40. See R. Haufs: Augustfeuer. Pp. 65 and 70 as well as Korte-Mielke, op. OS 11.
  41. ^ R. Haufs: August fire. P. 75, with the four closing verses of the poem Das Land has made itself : “Eternal life? Eternal addiction? / Snoring on the first floor? / After us the tide. We set sail / Ahoy! It's all accessories "
  42. Korte-Mielke, op. Cit., P. 11.
  43. ^ R. Haufs: August fire. P. 90, v. 9-15; on this, Korte-Mielke, op. Cit., P. 11.
  44. Harald Hartung, "Seelenwagen und Reifenpanne," in: Frankfurter Allgemeine Zeitung, February 12, 2002; further reviews by Nadine Schmahl, “The death begins in the head or inne Fööß,” in: General-Anzeiger, Bonn, November 16, 2001 and Kurt Oesterle, “Der Zeitfühlige,” in: Süddeutsche Zeitung, 5./6. January 2002.
  45. ^ Nico Bleutge, in: Süddeutsche Zeitung, May 6, 2003.
  46. ^ Gregor Laschen: What is written illuminates the world. P. 2 f .; see. also Michael Braun: Broken German (6): The punctual ignition of the world. In: Basler Zeitung, November 8, 2002, and Gerd Kolter: Der Lebensnippes in Schorben. In: die Horen, 2003, issue 3, p. 152 f.
  47. P. Engel, “Exklusivbeitrag,” 2012, p. 1
  48. R. Haufs, op. O. Part 1: “You my soul,” pp. 7–42
  49. Haufs, op. OS 8: "Golden angel and anthracite," verse 1.
  50. Haufs, aOS 10: “Hallo Zivi,” V. 3.
  51. Haufs, op. OS 16: "The Doctors" , V. 12
  52. Haufs, op. O. 21: “Roles 2,” v. 6 f.
  53. Haufs, loc. Cit., P. 32: “The germ, ” verses 1,4 and 15 and ibid. P. 33: “The exit of the germ to Zehlendorf,” verses 4 and 10
  54. Haufs, op. OS 22: "Roles 2" , v. 6 f.
  55. Haufs, op. OS 14: “Blasphemous Schimpf, ” verses 2-4.
  56. Haufs, loc. Cit. P. 32: “Der Keim, ” v. 1-8.
  57. Rauf, aos 33: "The exit of the germ to Zehlendorf," V. 10-13.
  58. Engel, op. OS 2.
  59. Haufs, op. OS 45-64.
  60. Haufs, op. OS 67-94.
  61. Haufs, loc. Cit., P. 48: Arktisch ,” V. 1–14. Cf. Chrysostomos, “And a burst rubber ball on the fishing rod: Rolf Haufs asks for a“ dance lesson at sea ”. In addition to an invitation to passion concerts in Würzburg and Bamberg, “Bamberger Onlinezeitung from March 10, 2013, 1-3 = http://www.bamberger-onlinezeitung.de/2013/03/10/und-an-der-angel -a-burst-rubber-ball-rolf-haufs-asks-to-a ...
  62. Haufs, a O p 50, V. 1 and 9-10.
  63. Haufs, loc. Cit. P. 81: “Reisen,” V. 11 f. and p. 83: “City and the caterpillar,” v. 7 f.
  64. Haufs, a O p 88, V. 1 and 2. FIG.
  65. Haufs, loc. Cit. P. 61: “Kerstin Hensel runs across Schönhauser Allee” , v. 2-3.
  66. Haufs, loc. Cit. P. 91, v. 4.
  67. Haufs, aOS 91, verse 14 and 25.
  68. Haufs, aO S. 91, V. fourteenth
  69. Engel, loc. Cit. P. 2.
  70. Oral communication to the author of these lines from May 16, 2013.
  71. Wulf Segebrecht, "Crying no longer helps," in: Frankfurter Allgemeine Zeitung, September 22, 2011.
  72. Wulf Segebrecht, “Zerrissenheit als Lebensform”. On the death of the poet Rolf Haufs, in: Frankfurter Allgemeine Zeitung, features section of July 28, 2013.
  73. Martin Lüdke, "Fog comes on cats feet," in: Frankfurter Rundschau, December 31, 2010/2. January 2011.
  74. Jürgen Gressel-Hichert, "Obituary Rolf Haufs-1935 to 2013," in: Kulturradio RBB from July 26, 2013.
  75. R. Haufs June parting, S. 12; to Braun, "The planet is freezing."
  76. Delius, “The solid castles fall barely audibly.” Memories of Rolf Haufs, in: Der Tagesspiegel from August 9, 2013 [2] .
  77. Pietraß, op. O., in: Der Tagesspiegel from August 9, 2013 [3] .
  78. R. Haufs, “Aufgehobenbriefe” in the afterword by Chr. Buchwald “Poetisches Paradoxon,” p. 135.
  79. Buchwald, op. OS 136.
  80. R. Haufs, “Aufgehobenbriefe” , p. 110: “Niederrheinische Ebene. "; Ders., “Tanzstunde auf See ”, p. 74: “River courses” ; P. 75: “Bilker Kastanien ”; P. 76: "Stadtwald"; P. 64: "Near the North Sea;" P. 35: "Winter Park,"
  81. R. Haufs, “Tanzstunde auf See, ” p. 35: “Winterpark,” v. 4: “Crows and mistletoe, birch rusted chestnut” ; ibid. p. 29: "Kladow 4," V. 3: "Colorful botany" and V. 7: "Blue tits;" P. 26: "Kladow 1, " V. 11: "Dogs" and V. 12: " Chicken; "P. 24: " roles "5 , v. 2-4: " birch trees, mistletoe, the wren; " p. 27: " Kladow 2, " v. 4: " the blackbird ; "p. 25: " roles 6 , " V. 2-4: " Birch trees .. mistletoe ... the wren; " p. 21: " Rolls 2, " v. 3-4; "The birds ... the turkish dove;" p. 14: "Blasphemous Schimpf, " v. 11: "Wolves; "P. 8: " Golden angel and anthracite, " V. 4 :. "Duck " and v. 6: "Dogs."
  82. ^ R. Haufs, "Tanzstunde auf See," p. 13: "Die quavollen houses" , section 4, v. 2: "The seasons. Beginning and end. "
  83. R. Haufs (or alter ego Malte) in Chr. Buchwald, op. 141.
  84. ^ Topic of the lecture and seminar that R. Haufs held in the winter semester of 1984/1985 at the University of Duisburg-Essen in the German language and literature department
  85. Quote from Haufs in an interview with E. Goldberg, "Rolf Haufs: Berliner Dichter aus Rheydt," p. 3.
  86. R. Haufs, "Eukalyptusbaum und Maulbeerbaum," p. 176; see. also Der., "We are far out," p. 48, where the term "simplifier" is specified in more detail: "... with the takers who make ideological, political, aesthetic postulates."
  87. Quotation from Goldberg, op. O. 4.
  88. On this goal of art Achim Freyer, in: Kerstin Decker, "Der Opernmaler," Tagesspiegel No. 21676, May 2, 2013, p. 3.
  89. ^ So R. Haufs (or his alter ego Malte) in Chr. Buchwald, a. O. 140.
  90. Cf. R. Haufs, "Vorstadtbeichte" (1967), p. 24: "Song of the Lord of the Diligence," v. 9: "Order brings everything into order."
  91. Particularly clear in the poem from the volume: "Tanzstunde auf See," 2010, p. 48 with the title "Arctic."
  92. Buchwald in: R. Haufs, Aufgehoben Briefe, 2001, 140.
  93. W.Segebrecht, “ To the death of the poet Rolf Haufs. Tornness as a way of life, "in: Frankfurter Allgemeine Zeitung, features section of July 28, 2013.
  94. For more details on this, Buchwald, op. OS 145 f. Regarding Gottfried Benn as a role model, cf. Segebrecht, op. Using the example of the poem “ Come on, let's talk ” from the volume of poetry “ Growing Distance ” 1979, p. 113.
  95. ^ Press releases from the State of Berlin on November 13, 2007 .
  96. "Rolf Haufs d. The quiet lyric poet with the fine eye" in: "Die Welt," Nachrichten Kultur from July 26, 2013.
  97. ^ Poet and journalist Rolf Haufs dies , Rundfunk Berlin-Brandenburg from July 26, 2013.
  98. ^ Haufs died; art251,1073976 of July 27, 2013.
  99. Just a moment , Tagesspiegel No. 21761 of July 28, 2013, p. 25. Following his obituary, the author quotes the poem by R. Haufs Noch ein Moment from the volume of poetry published in 1984, June Farewell , p. 60.