Hermann Hakel

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Hermann Hakel (born August 12, 1911 in Vienna ; † December 24, 1987 there ) was an Austrian poet , narrator , editor , publisher and translator .


I was born in August of the year 5671 Jewish and 1911 Christian calendar. I am a Jew and grew up among Christians; namely in Roman Catholic Vienna. My childhood coincided with the so-called First World War and is closely linked to the memory of it. I was just three years old when my father, a simple master painter, was called to arms as a simple soldier. The reason I remember it so clearly is because I got sick at the same time: I got joint inflammation and had to have an operation . […] While my father [Benjamin Hakel, 1886 Chernivtsi - 1950 Tel Aviv] was somewhere at the front, my younger brother was born [Arnold Hakel, 1914 Vienna - 1988 Buenos Aires; Architect], soon developed diphtheria and I, infected by him, went blind for almost a year. That was in 1915 . […] In the summer of 1916, brought to a Jewish children's home, I fell so unhappy that the old joint inflammation recurred and I spent three years languishing from one operation to another . [... From his grandmother he received his second book,] which has accompanied me on all walks, through all countries, cities and prisons: It is a thick book with over a thousand pages and is called: Old and New Testament, translated by Martin Luther . I was a very bad student and was called Hupferl because I limped . [...] I didn't want to learn anything and instead of going to school in winter, I went to museums and libraries for months , [...] "

After his youth and school days on the " Mazzesinsel ", Hakel attended the arts and crafts school in Vienna and stayed with relatives in Bukovina for a long time in the early 1930s , namely in Czernowitz and Sereth . There he got to know Yiddish and Hasidism . In 1931 he began to keep a diary, which he continued - with only a few interruptions - until 1986. Today they form the most important and productive part of his estate and after his death some of them were published as books: Dürre Äste Welkes Gras (1991), Der incurable Wahn (1993) and Walking through the Red Sea (1995). From 1934 he lived as a freelance writer in Vienna and joined the Association of Young Austrian Authors with their regulars' table in Café Dobner. From 1935 to 1938 he worked as a lecturer at the Vienna publishing house Anzengruber, where his first work was published in 1936: the poetry collection An Art Calendar in Poems . He also wrote for the left-wing socialist underground magazine "Rote Vorhut". He was on friendly terms with his fellow writers Jean Améry , Friedrich Bergammer , Hans Friedrich Enk, Rudolf Felmayer , Johann Gunert , Ernst Lissauer , Paula von Preradović , Theodor Sapper and others.

The “Anschluss” of Austria meant a turning point for Hakel and all of Austria's Jews. The regulars' tables in Café Dobner and Zentral were closed.

Vienna is full of swastikas. The Viennese are intoxicated with victory parades and healing roars, with beer and wine consumption . [...] The Jews already feel they are in the ghetto . […] Now the 'Aryan' masses rule, hysterics and unemployed people who have become hysterical. […] In the main avenue , on the street, every hundred steps you can read in letters meters high: 'Judah verrecke!' I'm jew So I'm supposed to die. The daily free fun of the mob: Jews have to rub streets, frog hopping and eating dog dirt . There are three of us and we talk about arrests and exit options. Every Jew has tragedy on their face. Lively conversations. You have to close the window. Whenever the bell rings, you get frightened. The atmosphere is full of dullness and fear . A stranger grabs my hair and punches me in the left eye with the other hand. I endure the punch without a sound . This pathetic fear! That gagging in the throat! [...] Since this morning Jewish men have been taken out of their homes at random. One phone call after another alarms me and reports terrible things . […] Every step in my boot in the courtyard scares me. How many such pogrom days will I endure? A senseless martyrdom. "

After he was beaten half to death by the Nazis in June 1939 , he managed to escape to Italy on June 24th, where he stayed in Rijeka and Trieste before traveling to Milan . With the support of a Jewish aid committee, he was able to survive for a while until he was arrested in 1940. Until 1943 he was interned in various camps in southern Italy: in Civitella in Val di Chiana near Arezzo , in Oliveto Citra near Eboli , in Alberobello , in Tarsia near Cosenza and finally as an "internato libero" (free intern) in Rotonda in Basilicata . During this time he met the Russian writer Nicolaus Ozupe . He later destroyed the texts he had written at the time, and he organized amateur plays and cabaret evenings with other inmates.

They never knew why they had to lock us Jews up . [...] We starved and froze, but never an Italian insulted us or even hit us . [...] You could live wonderfully with them, which you can't with Germans and Austrians. "
Late in the evening, in the large dormitory, the Chernivtsi doctor B. played Russian folk songs on the accordion . […] To my left is the hunchbacked Pole and fanatical communist W., a former Spain fighter , and to the right is the one-armed blond J. from Danzig, an enthusiastic Zionist. "

When he found out about the events in the concentration camps of the “Third Reich” from an American newspaper after his liberation by the Allies , he suffered a heart attack and spent six months in the hospital. In 1944 he met Franz Theodor Csokor and Alexander von Sacher-Masoch in Ancona and was then a member of the "Free Austrian Movement" and employee of the British Palestine Office in Bari . In March 1945 Hakel went to see his parents in Palestine .

The Jewish settlements that we pass are surrounded by bars, overgrown with dense greenery and parceled out. Now the English fortresses appear along the road. Loudspeakers, searchlights and machine guns are mounted on the corner towers. In between herds of black cattle and goats. A verse from the Song of Songs comes to mind: '... they are like black curls in the dazzling yellow of the sand ...' "

In 1947 Hakel left the country again and returned to Vienna in the autumn after a stay in Rome.

I'm getting the impression that much more trouble has happened to the people here than the Jews who are returning home. My problem is homelessness. I spent my childhood and youth in Vienna, but now I have to realize that I am no longer at home here. In Palestine I found myself not at home, only my mother was my home there . […] And then the adults who have always been at home here - only now do I feel what they have done to us. The years of persecution and annihilation have gaps between us . [...] I came home as a homeless person . "

From 1948 to 1950 he was a member of the board and lecturer of the Austrian PEN Club , where he founded a campaign to promote young authors (“The PEN Introduces” campaign). From 1948 to 1951 and 1979 to 1986 he published the magazine Lynkeus in order to " remember what has been forgotten, approach what is distant, make known what is foreign, and critically examine and publish young authors ".

“Hakel gathered a circle around him, partly made up of Plan authors. In 1948/49 Hakel published the magazine 'Lynkeus', with foreigners, emigrants and again: young Plan-Hakel authors. Here started, among other Jeannie Ebner and Hertha Kräftner . In 1949/50 the Hakel-Kreis ran out of business, partly it went over to the second important youth sponsor Hans Weigel , who now developed his main activity in the famous Café Raimund. [... A] 'second hook circle' presumably existed from 1951 to 1958, a uniform phenomenon with changing cast. [...] at least now the Hakel seances were a kind of brainwashing, at the end of which one felt small and harmful, gave up writing or was ready to love some big brother. This big brother was of course not Stalin, but a projection of Hakel against the Milky Way, with features of Moses, Dante, Goethe, full of Kafkaschian judicial rigor punishing for the difficult to understand guilt of being myself and being fashionable. "

Hakel thus became a mentor and sponsor of young writers such as Ingeborg Bachmann , Gerhard Fritsch and Marlen Haushofer , who were able to publish their texts here for the first time. Other employees were u. a. Christine Busta , Bertrand A. Egger, Reinhard Federmann , Ernst Fischer , Erich Fried , Johann Gunert , Josef Kalmer , Alexander Lernet-Holenia , Friederike Mayröcker and Wilhelm Szabo . He had done for them "what he could, entertaining them, lending them money or giving them as gifts, arranging jobs, printing their work, etc. In this respect he was extraordinarily caring." Hakel was particularly committed to Gerhard Amanshauser , who once described him as follows:

“Hakel was unusually small and limped forward. As a result of an early accident and an unsuccessful operation, one foot was about 10 cm shorter than the other, which was compensated for by a shoe with a particularly high heel. His face was very Jewish; the mouth was pleasant, the nose profane and without delicacy, one eye beautiful, full of deep expression, the other clouded by illness. The forehead had an exceptionally beautiful curve. The skin, however, looked pale and sickly. The physical defects of this man were so evident that it is difficult to gauge how much he suffered and to what extent - a fact which he himself sometimes stressed - his rebellious thinking assumed it.
The disadvantages of his physical appearance could be completely forgotten when he began to speak. [...] His voice was loud, clearly colored by the Viennese dialect, strongly accentuated, coarse and sometimes vulgar in expression. The formulations were extremely original. He dominated almost every conversation and was never at a loss for an answer by an astonishing presence of the spirit. He used this gift tyrannically and hardly let the others have their say. "

During his marriage (1949–1958) to Erika Danneberg , the friendship with Berthold Viertel began . His wife was neighborhood secretary; after his death in 1953 both worked on the estate together. The failure of the marriage led to both an interruption of their literary work. In 1958/59 he was the editor-in-chief of the Sefer publishing house in Vienna and subsequently worked as a lecturer at adult education centers in Vienna ( Urania ) and Munich. As part of this “author's studio” with the subtitle “How and what to write”, Hakel held a weekly evening lecture in the Urania from 1953 to 1964, with a few interruptions.

“He was always curious about young people, wanted to know what they thought and had to say in the decade after Hitler. During my first visit he spoke at length of his conviction that writing could, to a certain extent, be learned. He started from the sensual perception that what you write down, you have to 'see, hear, smell or taste', since only then can the desired intensity of expression be achieved. He believed that a well-written sentence should be understandable for everyone. [... Once he gave a lecture] in the course of which Hakel criticized Hesse and Wein Leber in his own way . He aroused the displeasure of a young listener who finally jumped up and said: 'You ... you Goethe from the Novaragassen !' left the hall. […] On Hakel's 70th birthday […] he [di Roman Rocek] told me that he […] had established this connection between Goethe and Novaragasse back then in Urania. [... He gave me books and] each volume was in turn accompanied by 'introductory words' that often took hours because they not only consisted of a detailed biography of the respective author, but also dealt with the most difficult questions of style. These monstrous monologues were bearable only because of the brilliance with which they were performed, so that it was always a pleasure to listen ”.

“Most of the time, Hakel talked and philosophized about God and the world, Goethe and Schiller, Proust and Joyce , Montaigne and Valéry , Rilke , but also about the demon in Mörike , the grotesque with Emily Dickinson , the brass orchestra character with Richard Wagner (his only musical allergy), the relative 'humanity' in the Italian Jewish concentration camp and so on - and everything plastic, pointed, slightly amused or clarified, and always devoid of any aggression or resentment.
His 12 books of world literature, which he absolutely suggested to us: Dante: Divina Comedia , Boccacchio: [sic!] Dekamerone , Cervantes: Don Quixote , Montaigne: Essais , Pascal: Pensées , Swift: Gullivers Reisen , Goethe: Faust , Tolstoy: War and Peace , Flaubert: Bouvard and Pécuchet , Stendhal Red and Black , Gogol: The Coat , Andersen: Fairy Tales ”.

In 1959 he got a place at the Austrian Cultural Institute in Rome for a year . As culture editor he edited numerous anthologies by Viennensia and Judaica and wrote articles for the magazines “Die Schau”, “ Das Jüdische Echo ” and “Illustrierte Neue Welt”. From 1961 to 1964 Hakel worked for the Forum Verlag, for which he published numerous anthologies as editor.

After the death of his mother Charlotte (born Springer, 1887 Vienna - 1978 Tel Aviv) he withdrew “more and more clearly from the public. He didn't write anything new, but worked on his poems every day: he was no longer interested in publications. The modern cultural scene as he saw it was disgusting to him. For him everything was in a state of dissolution. In addition, his relationship with the artists, and here especially with the writers, had always been very ambivalent; [...] he has often spoken of how difficult it has always been for him to endure the vanity, egoism and megalomania of small and great poets ”.

In 1980 he was honored with the silver medal of the federal capital Vienna .

What I still feel now is my age, my illness and the knowledge of the threatening future of the world, which shows no prospect of salvation and survival whatsoever. I am not thinking of myself, but - to which I am deeply connected - of my family and my people. "(Diary note 1983)

After Hakel's death in 1988 a. a. by Emmerich Kolovic , founded the Hermann Hakel society, his longtime confidant who ordered his extensive estate, supervised, founded the Lynkeus publishing the edition of Hakel works and in February 2004 the Austrian Literature Archive handed the Austrian National Library.


“[...] He was a poet, literary connoisseur, magazine editor, friend of poets. A wise old Jew with the critical temperament of a youth. The poet Hakel was admired by important colleagues all his life, but was underestimated by the literary world. He didn't impose himself, he was sure of himself and his cause. [...] And he was a great reader, a literary connoisseur like no other today. He led a literary existence, regardless of success. He obeyed the Jewish command to live the word. [...] He didn't get a prize or a title. What does not give the literary life of Austria a good report. But he was always out of fashion. It wouldn't have suited him. He was the hook, authority for a line of verse, authority for remote quotations, for authors from all literatures, with a love for Yiddish and Viennese. I think that with him the last man of letters died, but also one of the last Viennese Jews. "( Hans Heinz Hahnl )

"At the center of Hakel's thinking, clarifying, speaking and writing was what has been done to the Jews, his people, in this century". ( Hans Raimund )

"Hakel's short stories represent a new-impressionism that consciously goes beyond Altenberg's behavior: the suffering experienced personally and collectively, the hardship of the times press these often banal stories into the transcendent - at least in the marginal zone in which real contemporary poetry is at home today." ( Friedrich Army )

“Hakel was an outsider in the guild, always knew better - and often he was even right. A polemicist of grades, Hakel hardly accepted anything from his presence. Even the household gods of his literary pantheon, from Goethe downwards, were not spared from Hakel's obsessive detailed criticism. He was posthumously recognized by the volume ' Dürre Äste. Welkes Gras ' (1991) more popular than during his lifetime: Compared with these attacks against authors and fashions in literature, Thomas Bernhard's tirades once tasted like chamomile tea: harmless and easily digestible. "( Ulrich Weinzierl )

"Hermann Hakel was 'an injured and hurtful person' ( Karl Markus Gauß ), who suffered badly from his failure as a writer and, in return, so to speak, thought little or nothing of most successful writers." (David Axmann)


" The only art there is is the art of living ..."
I don't have a name.
I'm a Jewish child.
Don't know where we came from
and where the parents are.
I speak many languages,
forget them again;
for what we endure
all languages ​​are mute.
Each of my many contemporaries is a torment, a disappointment, a banality - and yet a person. "
I don't like this messing around with me, not even as a Jew. I suspect every man, every think that goes beyond a certain amount of abstraction. You can build incredible things with words - and then take them down again. And there are people who use words, catchphrases, formulas - and believe that this is intended . "


  • An art calendar in poetry . Poetry collection. Anzengruber, Vienna 1936.
  • And picture becomes word ... poems. Schmeidel, Vienna 1947.
  • On board the earth . Poems. Erwin Müller, Vienna 1948.
  • Stopover. 50 stories. Cover design by Carry Hauser . Willy Sales , Stuttgart-Vienna-St. Gallen 1949.
  • 1938-1945. A dance of death . Willy Sales, Stuttgart-Vienna-St. Gallen 1950.
  • Here and there . Poems. With 6 pen drawings by Anton Lehmden . Desch, Munich 1955.
  • The high song in German love songs . With 15 drawings by Anton Lehmden. Afterword by Gerhard Amanshauser. Sefer, Vienna 1959.
  • Major and Mollert. Viennese women in those days . Publisher Forum, Vienna 1961.
  • Drought branches withered grass. Encounters with writers. Notes on the literature . Foreword by Hans Raimund. Lynkeus, Vienna 1991, ISBN 3-900924-04-X .
  • The incurable madness. Thought processes . Edited by Gerhard Amanshauser. Lynkeus, Vienna 1993, ISBN 3-900924-06-6 .
  • On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 .
  • The Taoist Powidl mood of the Austrians. Correspondence 1953–1986 . Gerhard Amanshauser and Hermann Hakel. Edited by Hans Höller. Publication PN ° 1 - Library of the Province, Weitra 2005, ISBN 3-85252-636-1 .
  • Escape to Italy. Selected diary entries 1938–1945 . Boldt-Literaturverlag, Winsen / Luhe 2005, Winsener Hefte; Issue 22, ISBN 3-928788-53-1 .
  • The grumbling Rebbe. Critical records . Ed .: Hans Raimund. Lynkeus, Vienna 2007, ISBN 978-3-900924-08-9 .
  • I know of Perceptions of a writer . Lynkeus, Vienna 2011, ISBN 978-3-900924-11-9


  • Yiddish stories from all over the world . Pen drawings by Günter Bruno Fuchs. Horst Erdmann, Tübingen 1967.
    The man who slept through Judgment Day. Yiddish stories from all over the world . dtv, Munich 1971, ISBN 3-423-00742-7 . (Paperback edition)
  • I dip my pen in the red drops. Yiddish poems of the 20th century . Ed. Armin Eidherr. Theodor Kramer Society , Vienna 2001, ISBN 3-901602-06-2 .


  • 1935 yearbook . Anthology. Verlag "Das Werk" Hans Beer, Vienna 1935.
  • New seal . Magazine. Anzengruber, Vienna 1936.
  • Voices of the time. Five poets: Friedrich Bergammer , Fritz Brainin , Rudolf Felmayer , Johann Gunert , Hermann Hakel . Anzengruber, Vienna 1938.
  • Vienna A to Z . With drawings by Otto Fielhauer. Wiener Verlag, Vienna 1953.
  • From Rothschild, Schnorrern and other people. Jewish jokes . Publishing house Hermann Klaus / Erich Seemann, Freiburg i.Br. 1957.
    Oi, am I smart! Jewish jokes . With pictures by Claus Arnold. New edition. Südwest Verlag, Munich 1965
    Oj, I'm clever! Eastern Jewish humor . New edition. Löcker, Vienna 1996, ISBN 3-85409-263-6 .
  • The Bible in the German poem of the 20th century. Schwabe, Stuttgart 1958.
  • My colleague the monkey. A cabaret with Fritz Grünbaum , Peter Hammerschlag , Erich Mühsam , Fritz Kalmar , Anton Kuh , Mynona . Compilation: Hermann Hakel. Epilogue: Rudolf Weys . Illustrations: Elisabeth Bauer. Sefer, Vienna 1959.
  • Frieda Hochstim: Kosher Ambrosia. A Jewish cookbook . With illustrations by Gerhard Swoboda. Sefer, Vienna 1959.
  • Viennese world. Joke, satire, parody then and now. Forum, Vienna 1961.
  • Johann Nestroy : The world is definitely no longer standing long. Couplets and monologues . Forum, Vienna 1962.
  • Richard the only one. Satire, parody, caricature on Richard Wagner. Forum, Vienna 1962.
  • Wigl Wogl. Cabaret and variety show in Vienna. Forum, Vienna 1962.
  • Anton Kuh : From Goethe downwards. Aphorisms - Essays - Little Prose . Forum, Vienna 1963.
  • The Vienna School - Painting of Fantastic Realism . Brewers - Fuchs - Hausner - Hutter - Lehmden . With contributions by Albert Paris Gütersloh , Wieland Schmied and Hermann Hakel. Forum, Vienna 1964.
  • Walk into old Vienna. Cheerful satirical stories from the Danube Monarchy by Daniel Spitzer . Horst Erdmann, Herrenalb / Black Forest 1967.
  • The Bible in German Poems . Kindler, Munich 1968.
  • When the Rebbe laughs. Anecdotes . Illustrated by Kaplan Anatoly Lvovich . Kindler, Munich 1970.
  • The Jewish joke . Schuler, Munich 1971.
  • The old Hagada and other Israeli narratives . Horst Erdmann, Tübingen 1972, ISBN 3-7711-0763-6 .
  • Polemic against all. From Eipeldauer to Götz von Berlichingen . Assistance: Richard Kovacevic. Jugend und Volk, Vienna 1975, ISBN 3-7141-6091-4 .
  • Lynkeus. Poetry. Art. Criticism. Issues 1–8, Vienna 1948–1951 and issues 9–38 and two special issues, Vienna 1979–1986.


  • A special person. Memories of Hermann Hakel . With contributions by Alexander Sacher-Masoch, Friedrich Heer , Gerhard Amanshauser, Andreas Okopenko , Hans Raimund , Hermann Schreiber , Evelyn Adunka and others. a. Ed .: Hermann Hakel Society. Lynkeus, Vienna 1988.
  • Evelyn Adunka : Hermann Hakel and the "New World" . In: Joanna Nittenberg (Ed.): Changes and breaks. From Herzl's “World” to the “Illustrated New World”. 1897-1997 . Edition INW, Vienna 1997, ISBN 3-9500356-1-3 , p. 231f.
  • Siglinde Bolbecher , Konstantin Kaiser (in collaboration with Evelyn Adunka, Nina Jakl, Ulrike Oedl): Lexicon of Austrian exile literature . Deuticke, Vienna 2000, ISBN 3-216-30548-1 .
  • Hans Raimund : "I am the last rhyme". About Hermann Hakel . In: Hans Raimund: The rough in me. Essays on literature and autobiography 1981–2001 . Literature edition Lower Austria, St. Pölten 2001, ISBN 3-901117-53-9 .
  • Susanne Blumesberger, Michael Doppelhofer, Gabriele Mauthe: Handbook of Austrian authors of Jewish origin from the 18th to the 20th century. Volume 1: A-I. Edited by the Austrian National Library. Saur, Munich 2002, ISBN 3-598-11545-8 .

Web links

Individual evidence

  1. A special person. Memories of Hermann Hakel Ed .: Hermann Hakel Society. Lynkeus, Vienna 1988, p. 15 f.
  2. On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 , p. 67.
  3. On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 , p. 70.
  4. On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 , p. 73.
  5. On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 , p. 75.
  6. On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 , p. 80.
  7. Alexander Sacher-Masoch in: A special person. Memories of Hermann Hakel . Ed .: Hermann Hakel Society. Lynkeus, Vienna 1988, p. 40.
  8. a b Drought branches withered grass. Encounters with writers. Notes on the literature . Foreword by Hans Raimund. Lynkeus, Vienna 1991, ISBN 3-900924-04-X , p. 8 f.
  9. On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 , p. 129.
  10. On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 , p. 153.
  11. ^ Return of the poet Hermann Hakel from emigration In: Rathauskorrespondenz from April 30, 1947.
  12. On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 , p. 169 f.
  13. Andreas Okopenko in: A special person. Memories of Hermann Hakel . Ed .: Hermann Hakel Society. Lynkeus, Vienna 1988, p. 75 f.
  14. a b Gerhard Amanshauser in: A special person. Memories of Hermann Hakel . Ed .: Hermann Hakel Society. Lynkeus, Vienna 1988, p. 47 ff.
  15. His parents' apartment was at 44 Novaragasse.
  16. a b Heinrich Leopold in: A special person. Memories of Hermann Hakel Ed .: Hermann Hakel Society. Lynkeus, Vienna 1988, p. 81 f.
  17. ^ Heinrich Leopold in: A special person. Memories of Hermann Hakel Ed .: Hermann Hakel Society. Lynkeus, Vienna 1988, p. 92.
  18. On foot through the Red Sea. Impressions and dreams . Edited by Richard Kovacevic. Lynkeus, Vienna 1995, ISBN 3-900924-07-4 , p. 244.
  19. ^ New AZ Wiener Tagblatt from January 13, 1988, p. 26.
  20. ^ The furrow of March 25, 1950
  21. "In a nutshell, 'The grumbling Rebbe'" In: Die Zeit, February 9, 2008.
  22. "Hakel, Hermann: The grumbling Rebbe. Injured and hurtful “In: Wiener Zeitung of February 2, 2008  ( page no longer available , search in web archivesInfo: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / support.wienerzeitung.at  
  23. A special person. Memories of Hermann Hakel Ed .: Hermann Hakel Society. Lynkeus, Vienna 1988, p. 94.
  24. Jewish child 1945 . In: Lynkeus . Special issue 2. Vienna 1986.
  25. Drought branches withered grass. Encounters with writers. Notes on the literature . Foreword by Hans Raimund. Lynkeus, Vienna 1991, ISBN 3-900924-04-X , p. 19.
  26. the desk . Literary magazine. St. Pölten 1982.
  27. a b This book was published by Hermann Hakel; in the book itself, however, his name is not mentioned due to disputes with the publisher. (Information: Emmerich Kolovic)