Kristof Magnusson

from Wikipedia, the free encyclopedia
Kristof Magnusson, 2020

Kristof Magnusson (born Kristof Weitemeier-Magnusson ; born March 4, 1976 in Hamburg ) is an Icelandic - German writer and translator . He lives in Berlin .


Magnusson grew up bilingually in Hamburg as the son of a German mother and an Icelandic father, a teacher couple, and flew to Iceland every year for the summer holidays. After graduating from high school, he did his other service abroad with the Action Reconciliation Peace Services in New York , where he worked with homeless people and Holocaust survivors. He then completed an apprenticeship as a church musician at the Evangelical Church in Northern Elbe . He was fascinated by the breadth and versatility of the training, but as a lifelong career perspective it was not enough for him, so he tried creative writing while doing so . Therefore, he then studied at the German Literature Institute in Leipzig , scenic writing at the Berlin University of the Arts and "Icelandic literature" for a year at the University of Reykjavík .

Magnusson has received many awards, residency and work grants both as a writer and as a translator. In the summer of 2006 Magnusson was city clerk at the Goethe Institute in Pune / India . In autumn 2008 he was Writer in Residence at the University of Iowa , 2010 at Grinnell College in Iowa, 2013 at Queen Mary University of London and in spring 2014 at the Massachusetts Institute of Technology (MIT). In autumn 2010 he was Translator in Residence at the European College of Translators in Straelen. In the winter semester 2012/2013 and in the winter semester 2016/2017 he held a visiting professorship at the German Literature Institute in Leipzig and taught literary writing. In the 2015/2016 winter semester, Kristof Magnusson was a poetics lecturer at the RheinMain University of Applied Sciences .

He is a member of the PEN Center Germany .


Kristof Magnusson's work includes short stories, essays and reports in domestic and foreign newspapers and magazines as well as novels and plays. There are also numerous translations from Icelandic and a book on Iceland. The tone of his works is always characterized by humor, lightness and entertainment. The author's view of the characters, who often find themselves on bizarre astray, is “sarcastic, but loving”. What is striking is the extensive detailed knowledge of the most varied of living environments, which is often based on intensive research. In literary criticism he is considered to be a “highly realistic and milieu trained writer” whose style is “punchy and confident in dialogue”.

Magnusson first emerged as a playwright . Quick-witted, pointed dialogues are also always an important element in his prose, so far three novels with plot emphasis and fast-paced narration. All three novels were published by the Munich publishing house Antje Kunstmann .


Magnusson was first known for his comedy Männerhort (2002), which premiered at the Schauspiel Bonn in 2003 and became a cult hit there in a very short time. In November 2005 the play also premiered at the Theater am Kurfürstendamm in Berlin, with Bastian Pastewka , Christoph Maria Herbst , Michael Kessler and Jürgen Tonkel in the leading roles. Men's day care center , which is about a men's retreat (Man Cave or men's garden) in a shopping center, has now been shown at over 80 theaters in Germany and abroad, for example at the Deutsches Theater Göttingen , the Hessian State Theater Wiesbaden , and the Komödie im Bayerischer Hof in Munich , at VAT Teater Tallinn, Teatr Capitol Warsaw and in Studio DVA Prague. The piece has been translated into Low German, French, English, Swedish, Turkish, Bulgarian, Estonian, Slovak, Marathi , Czech and Polish , among others .

In October 2014, the same film came Männerhort released in Germany, based on the screenplay Kristof Magnusson's play.

In front of Männerhort , Magnusson wrote the play Enge im Haus und im Sarg in 2000 , which was created as part of an author's project at the Berliner Volksbühne accompanied by improvisations by the homeless ensemble Ratten 07 , a "utopian parable" or a "entwined (s) Anti-fairy tale ”. The plot alternates between a forest without animals in a timeless state, where jobless hunters pass the time with resigned conversations, and the contemporary city, in which two hungover boys and four punk girls are looking for a missing friend, that princess, the disappearance of which the hunters also mourn. The piece deals with "questions of identity and freedom, violence and longing for love"

In the same year the farce Der totale Kick was released , which premiered in November 2001 under the direction of Hans Falár at the Staatsschauspiel Dresden . In it, a young woman breaks into the apartment of an old lady, who tries to "finally do something really Tarantino-esque", together with her anxious fiancé, who is defending herself against the amateur burglars together with three coffee-party friends puts.

Ten years later the comedy Sushi for Everyone followed , which premiered in March 2011 at the Dortmund Theater under the direction of Oliver Dominique Endreß. In it, a father who is believed to be terminally ill tries to find a successor for himself in a bachelor, as a partner for his wife, who is not very interested in family, and as a father for his two neurotic children. The play is “a turbulent comedy full of punch lines about the search for happiness in private, about the last little tricks of escaping the family, and about abysses that open up behind the façades of intact family worlds”.

In April 2010 the theater adaptation of the novel at home was premiered in a version by Ronny Jakubaschk at the Volkstheater Rostock , who in December of the same year also adapted Kristof Magnusson's second novel, That Wasn't Me , for the stage and premiered at the Theater Basel .

His pieces are regularly played on German-speaking stages. Magnusson is also a successful playwright abroad. He also translates drama from Icelandic into German.

At home

In August 2005 Magnusson published his debut novel at Home , with which he was invited to the Ingeborg Bachmann Competition in Klagenfurt that same year .

The plot revolves around Lárus Lúðvígsson, late twenties, early thirties, who struggles with adulthood, prefers forgetting and repressing to remembering and thus not only offends his childhood friend, Matilda, again and again. Just left by his ex-boyfriend Milan, Lárus travels from Hamburg to Reykjavík during the Advent season . Instead of long, enjoyable nights out on the Laugavegur and a contemplative and harmonious pre-Christmas period in a secluded environment with his chosen relatives, strange events await him there in rapid succession. It starts with Lárus having to discover that the Icelandic registration office has registered him as dead. He and his best friend Matilda hardly have anything left to say to each other that they don't argue about. He tries to comfort himself over his lovesickness with a liaison with the eccentric Dagur, son of one of the most powerful families in Iceland. This love affair and Dagur's sudden death drag him so much into his family history that Lárus has to remind himself more from day to day than is right for him. By initially involuntarily and then researching the foreign family secret, Lárus decrypts an intertwined secret of his own childhood. Finally he returns to Hamburg, reconciled with Matilda and a little more mature, "badly injured like a saga hero, but undefeated and also in possession of a secret handwriting".

At home , Magnusson humorously combines elements of rogue , coming-of-age or development novels , crime and road movie stories and myths from the Icelandic sagas with various quotes from pop songs.

In April 2010, the theater adaptation of the novel was premiered in a version by Ronny Jakubaschk at the Volkstheater Rostock , who in December of the same year also adapted Kristof Magnusson's second novel, That Wasn't Me , for the stage and premiered at the Theater Basel .

At the suggestion of Klaus Nüchtern , Kristof Magnusson was invited to the Ingeborg Bachmann Competition in summer 2005 with his prose debut. The controversy of the jury at the time shows in a condensed way the two poles between which the reception of Magnusson's works in the feature pages has moved again and again since then. The audience was enthusiastic, and part of the jury also praised the great entertaining quality of the text, while the other part judged the novel to be “too flat”.

The author himself attributes such controversial reactions to the “… outdated separation between underground and electronic art. Humor is an important and legitimate form of perceiving and explaining the world. You don't have to play it off against other spellings. Humor doesn't mean that you keep patting yourself on the thigh. Humor encourages you not to surrender yourself to things straight away, but to look at them differently and not accept them as they appear or as they are sold to you ”, as he said in an interview in the Berliner Zeitung.

In the same interview, Irene Bazinger asked: "Why do you polarize with your light, amusing, yet serious literature to this day?" Answer of the author: “Well, the jury was divided exactly at that time: Half thought their home was totally stupid, the other half great. For the fact that I write neither aesthetically bold nor full of steep theses, I was surprised by the contradicting echo itself ”.

That was not me

Magnusson's second novel Das Was ich nicht followed in January 2010. It is about the investment banker Jasper Lüdemann, the bestselling author Henry LaMarck and the literary translator Meike Urbanski, from whose perspective the events are alternately told. All three are on the brink of a personal crisis that is just looming or has already begun. They meet each other through coincidences, some of which are provoked by themselves, and get into an adventurous dependence on each other, which is largely determined by love and money. With sharpness and wit, paired with sympathy, the author depicts the characters' very own conceit, the vanities and needs. As in the previous home , he lets the protagonists hit Volten, drives them around between Chicago , Hamburg's Schanzenviertel , a hamlet in the Ruhr area and the northern German rural wasteland behind the dike, in order to finally have a happy ending, not without irony, ready for them after breathless turbulence . At the same time, That Wasn't a sarcastic and amusing novel about the banking and financial crisis , which, according to one review, is illuminating “for those who always wanted to know how money burning and derivatives work without subscribing to the Financial Times. It is, so to speak, last year's novel ”.

That was not me was both on the Spiegel bestseller list and on the SWR best list in its 2010 release .

In December 2010, the theater adaptation of the novel was premiered in a stage version by Ronny Jakubaschk at the Basel Theater. Jakubaschk had previously realized the adaptation from home at the Rostock Volkstheater .

It wasn't me has been translated into several languages, including French, Italian, Icelandic, Dutch, Slovenian, Bulgarian and Vietnamese.

Doctor novel

The most recently published novel by Kristof Magnusson, Arztroman , published in August 2014, received a lot of media attention and was also on the Spiegel bestseller list. Magnusson, who has lived in Berlin for many years, presented his first work, the plot of which is set in this city. Mind you, it is not a humorous parody of the genre of trivial novels, but a contemporary novel that has been thoroughly researched for the coherence of the medical and technical aspects.

The heart and starting point is the rescue center of the Kreuzberg Clinic Am Urban , where the emergency doctor Dr. Anita Cornelius works. The novel describes their professional and private conflicts and casually deals with topics such as health care or the phenomenon of gentrification .

Instructions for use for Iceland

In March 2011, Kristof Magnusson's Instructions for Use for Iceland appeared in the series Instructions for Use for… by Piper Verlag . The publications in this series go beyond the format of the usual travel guide literature. Magnusson also approaches his subject in an essayistic way, combines observations and anecdotes about the curiosities and the everyday, impressions and facts about the history and culture of the small island state and looks at the attraction that this "geological teenager" with his "scanty charm" exercises on travelers from all over the world. He refutes (or affirms with a wink) many of the clichés that prevail in popular ideas. As a half-Icelandic writer and translator, the author and translator knows, "our man for German-Icelandic understanding (...), who fortunately has a considerable sense of humor and is therefore exactly the right person to make the madness of the island on the northern edge of Europe understandable", much to report about the island state and its population, a “reading and writing nation”, as well as about the great importance of literature; also this in a cheerful, very vivid and playful manner full of surprising comparisons and conclusions. The result is "a very successful analysis of the Icelandic mentality and an ideal introduction for those new to Iceland".


In May 2020, the volume Nostalgie, edited by Magnusson, was published in Akzente . He gathers texts on the upswing of the sentimental, among others by Margarete Stokowski and Steinunn Sigurdardóttir . In an interview with Anne Haeming ( Spiegel ), Magnusson points out how strong nostalgia is as a model of thought and which blind spots it accompanies. Magnusson says, “The past is an incredible self-service store. As long as it stays with personal nostalgia, I think that's wonderful. It becomes problematic as soon as it is deduced that we as a society have to return to this imaginary past. Right-wing populists cannibalize that. "

Activity as a translator

In addition to his work as a novelist and playwright, Kristof Magnusson translates from Icelandic and Old Icelandic into German. Some of the works he has transferred come from the beginnings of Icelandic literary history and extend to texts of contemporary Icelandic literature. He translates prose as well as drama and poetry. Magnusson has written new translations of the medieval saga texts and translated works by Einar Kárason , Hallgrímur Helgason , Sigurbjörg Þrastardóttir and Þorvaldur Þorsteinsson, among others .

Magnusson commented on his translation approach in an interview as follows: “I favor the so-called 'equivalent effect'. A text should have the same effect on the German reader as the original on an Icelandic reader. And that's why I would always translate a word newly invented in Iceland like 'tölva' (number witch) as 'computer' so that one would have the same associations in Germany . I wouldn't paraphrase or explain how neologisms work in Icelandic. Icelandic doesn't have these many influences from Greek, Latin, or French. If you only use the German word and translate customs instead of tradition or clan instead of family, then the German language style will become antiquated. This means that you have to work with the full range of German, including foreign words. I make sure that I do not use foreign Germanic vocabulary. "

Commenting on his bilingualism, Magnusson remarked: “Although I spoke a lot of Icelandic with my father and therefore grew up bilingual, German is clearly my mother tongue. (...) So I could only write in German, not Icelandic, as much as I like to translate from Icelandic. "

Awards and grants




  • Confinement in the house and in the coffin . Author's project at the Volksbühne am Rosa-Luxemburg-Platz with the homeless ensemble Ratten 07. World premiere on November 7th, 2000 in Berlin, directed by Christine Umpfenbach and Antje Wenningmann (C&A).
  • The total kick . Play. Verlag der Autor, Frankfurt am Main 2000. First performance on November 1, 2001 at the Dresden State Theater, director: Hans Falár.
  • Men's nursery . Comedy. Publishing house of the authors, Frankfurt am Main 2002, ISBN 3-88661-286-4 . First performance on October 19, 2003 at the Schauspiel Bonn, director: Kay Voges.
  • Sushi for everyone . Comedy. Publishing house of the authors, Frankfurt am Main 2010, ISBN 978-3-88661-337-3 . World premiere on March 11, 2011 at the Schauspiel Dortmund, director: Oliver D. Endreß.
  • Home . Stage version by Ronny Jakubaschk. World premiere at the Volkstheater Rostock, April 30, 2010, directed by Ronny Jakubaschk.
  • I wasn't . Stage version by Ronny Jakubaschk. World premiere at Theater Basel, December 16, 2010, directed by Ronny Jakubaschk.

Iceland book

Instructions for use for Iceland . Piper, Munich / Zurich 2011, ISBN 978-3-492-27588-0 .

Translations of Kristof Magnusson's works into other languages

At home

  • Translated into French by Sébastian Gravier: Retour à Reykjavík . Gaïa Éditions, Montfort-en-Chalosse 2008, ISBN 978-2-84720-119-2 .

That was not me

  • Translated into French by Gaëlle Guicheney: C'était pas ma faute . Éditions Métailié, Paris 2011, ISBN 978-2-86424-840-8 .
  • Translated into Italian by Bice Rinaldi: Non sono stato io . Pozza, Vicenza 2011, ISBN 88-545-0427-0 .
  • Translated into Icelandic by Bjarni Jónsson: Það var ekki ég . Mál og Menning, Reykjavík 2012, ISBN 978-9979-3-3308-1 .
  • Translated into Dutch by Hilde Keteleer: Ik was heet niet . De Geus, Breda 2011, ISBN 978-90-445-1737-8 .
  • Translated into Slovenian by Ana Jasmina Oseban: Nisem bil jaz . Modrijan, Ljubljana 2012, ISBN 978-961-241-681-2 .
  • Translated into Bulgarian by Ljubomir Iliev: Ne bjach az . Atlantis, Sofija 2012, ISBN 978-954-9621-55-6 .

Men's nursery

  • Translated into French by Johannes Honigmann and Sandrine Aumercier: Crèche pour hommes . Manuscript 2005.
  • Translated into Swedish by Teaterhögskolan: Manskällaren . Stockholm, 2005.
  • Translated into Bulgarian by Boian Ivanov: Галерия на представлението . 2005.
  • Translated into Estonian by Eili Heinmets: Meeste varjupaik . 2006.
  • Translated into Turkish by Sibel A. Yeşilay: Erkek Parkı . Istanbul 2009.
  • Translated into Low German by Arne Christophersen: Männerhort or Een Platz för Keerls . Verden 2010.
  • Translated into Slovak by Katarína Motyková: Aj muži majú svoje dni . 2011.
  • Translated into Czech by Iva Michňová: Kutloch . 2012.
  • Translated into Polish by Izabela Rozhin: Klub mężusiów . 2013.

Instructions for use for Iceland

  • Translated into Hungarian by Judit Balla: Használati utasítás Izlandhoz . Magistra 2017.

Doctor novel

  • Translated into French by Gaëlle Guicheney: Urgences et sentiments . Éditions Métailié 2018.

Translations by Kristof Magnusson from Icelandic into German


Literature in simple language

In 2016/2017 Kristof Magnusson took part in the project “Frankfurt, your story. Literature in Simple Language ”of the Frankfurter Literaturhaus, the Historisches Museum Frankfurt and the Office for Inclusion of the City of Frankfurt. Six authors, in addition to Magnusson Henning Ahrens, Mirko Bonné, Nora Bossong, Olga Grjasnowa and Alissa Walser, wrote texts on Frankfurt history in simple language and developed a set of rules. In an article about the project in the FAZ, Magnusson wrote about the effect of the catalog of rules: “The rules on easy language, which seem to drive out any literary character from a text, suddenly act like an artistic manifesto when a group of authors formulates them before writing that makes minimalism a virtue ”. He advocated “looking for areas with more effort in which we can sensibly break down language barriers. Then we will see that easy language can enrich us: as an opportunity for a fairer society, as an invitation to reflect on language, to artistic experiment, to play. ”For some years now, Magnusson has been looking at the possibilities, including those eight million functional ones Illiterate people in Germany and the other twelve million who live far from education and literature may be partially reached. Mind you, it is not about commercial goals, but about social inclusion, also not about expressing everything that has been created in literary terms in a simpler way, but rather creating new (narrative) texts that are not only accessible to people with an educational background.

more publishments

  • Vollertsen . With linocuts by Wolfgang Jörg. Berliner Handpresse, Berlin 2007. First publication of the story in: Language in the technical age (1999), issue 151.
  • You poets, write! We want to read . Essay on the lyricists Johann Sebastian Bachs, Gewandhaus-Magazin (2000).
  • Singers and orchestra plotting against me . Essay on Albert Lortzing's time in Leipzig, Gewandhaus-Magazin (2000).
  • Summer of Love , in: Spit on by the fish. Stories, Ed .: Katja Lange-Müller, Kiepenheuer & Witsch, Cologne 2001, ISBN 978-3-462-03073-0 .
  • Me, the drama and Robert McKee . Essay published in: How do I become a damn good writer? Reports from the workshop , ed .: Josef Haslinger, Hans-Ulrich Treichel, Suhrkamp, ​​Frankfurt am Main 2005, ISBN 978-3-518-12395-9 .
  • When things couldn't get any worse, Beethoven arrives . Radio feature about music and its “wordings” in literature, SWR, 2006.
  • Inflation wants to pay . Essay on the Background of the Icelandic Financial Crisis, Financial Times, 2008.
  • As editor: Danes don't lie: curious stories from Scandinavia . Piper, Munich 2009, ISBN 978-3-492-05268-9 .
  • Berlin alone . Literary city walk, 2009, audio file online .
  • As speaker: The saga recordings . Gretti's saga. 2 CDs. supposé, Berlin 2011, ISBN 978-3-86385-002-9 .

Literature on Kristof Magnusson

  • Timo Driver: Kristof Magnusson: “It wasn't me” . Bergmoser + Höller, Aachen 2014.


Kristof Magnusson said in an interview on the occasion of his inaugural lecture as a poetics lecturer at the RheinMain University of Applied Sciences: “Writing is the attempt to somehow get a handcrafted grip on a chaotic, unplanned inspiration process. You keep certain rules in order to please fate. "

In an interview Kristof Magnusson talked about researching his novel “That wasn't me”. Getting access to the dealership was initially difficult. “Then I said quite honestly: I want to write about this topic, and without research I could only write about the clichés, I could only write about some bankers who drive their Porsche to work in the morning from the strip club, coke and so on. And I didn't want that. And when I wrote that, there was an immediate reaction and people invited me. ”Magnusson also reported that the British investment banker Nick Leeson was also a source of inspiration for him, in particular that he had done his first crooked business, to compensate for mistakes made by a colleague.

Kristof Magnusson in an interview about humor: “For me, humor is (...) a very important way of looking at the world. (...) I think not to trust people who have no sense of humor is not a bad idea at all if you look around at what is going on in political rhetoric at the moment. Humor is always a form of sensitive perception, but at the same time also a form of distancing oneself. That means, if you have a sense of humor, you cannot be manipulated so easily. And what all totalitarian regimes really have in common is that they are extremely humorless. "

After the surprising success of the Icelandic national football championship and the sympathetic jubilation of the Icelandic fans during the European championship 2016 , Kristof Magnusson was interviewed by several media about his view of the importance of sport for the country, clichés and Icelandic peculiarities. He told the evening newspaper: “In Iceland you are always a hero in quotation marks. Society is so small that you always know someone who snoggled with the sister of the 'hero' in secondary school. In addition, you meet him all the time shopping, you see each other or you are immediately related to each other. So that about being aloof and heroic will be difficult, but you will always remember the team. "

Web links

Individual evidence

  1. a b intermediate tones with Kristof Magnusson from October 13, 2019 (music shortened, mp3 format), accessed October 13, 2019
  2. Music and personal questions: The writer Kristof Magnusson , accessed October 13, 2019
  3. ↑ Portrait of the author on, accessed October 13, 2019
  4. 17. Kristof Magnusson - RheinMain University. (No longer available online.) In: Archived from the original on March 28, 2017 ; accessed on March 27, 2017 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot /
  5. Quoted from the ORF film contribution to the Bachmann Prize 2005
  6. Is he getting through? In: The time . October 14, 2014.
  7. Kristof Magnusson In: .
  8. All NEWSS: Verlag der Autoren. Men's nursery? that was not me! In: Retrieved March 29, 2017 .
  9. a b c Theater authors Details: Verlag der Autor. Kristof Magnusson. (No longer available online.) In: Archived from the original on December 13, 2016 ; accessed on March 29, 2017 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot /
  10. L'Arche Editeur - Agence - Répertoire des pièces. (No longer available online.) In: Archived from the original on August 13, 2018 ; accessed on March 29, 2017 (French). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot /
  11. a b Kristof Magnusson… - Look into the blue. In: April 22, 2011. Retrieved March 29, 2017 .
  12. Yollarda - Cultural Bridges - Events - Goethe-Institut. In: March 3, 2010, accessed March 29, 2017 .
  13. ^ Plovdiv, Bulgaria - April program. In: April 2, 2007, accessed March 29, 2017 .
  14. VAT Theater. In: October 2006, accessed March 29, 2017 .
  15. Kutloch "Kutloch aneb I muži mají své dny" Studio DVA divadlo. In: July 2012, Retrieved March 29, 2017 (Czech).
  16. Kristof Magnusson, KLUB MĘŻUSIÓW, tytuł oryginalny: Männerhort ( Memento from June 27, 2014 in the Internet Archive ) (, Polish)
  17. Ulrich Seidler: Die Ratten 07 play again on the third floor of the Volksbühne: At home: the homeless. In: Berliner Zeitung . November 17, 2000. Retrieved March 29, 2017 .
  18. a b Eva Behrendt: More beer. In: November 13, 2000. Retrieved March 29, 2017 .
  19. Portfolio of Oliver D. Endress. (PDF; 1.2 MB) In: December 6, 2014, accessed March 29, 2017 .
  20. The punk retro look of the tufted duck In: Süddeutsche Zeitung . February 13, 2006.
  21. Three texts were unanimously approved - Bachmann Prize. In: Retrieved March 29, 2017 .
  22. a b Who is sick? Who is healthy In: Berliner Zeitung . 4th / 5th October 2014
  23. ^ The rock stars of the investment banks In: New Germany . February 4, 2010.
  24. The impossible land In: Welt am Sonntag . April 3, 2011.
  25. Magnusson, Kristof: Instructions for use for Iceland In: Frankfurter Allgemeine Zeitung . August 11, 2011.
  26. Island for eccentrics In: Die Welt . October 1, 2011.
  27. ^ Hot off the press: "Instructions for use for Iceland" by Kristof Magnusson ( Memento from January 9, 2012 in the Internet Archive ) In: ARD . September 25, 2011.
  28. Mr. Magnusson, are we all too nostalgic? In: Spiegel . May 25, 2020.
  29. Attention for Iceland In: Buchkultur No. 137, pp. 20 f., August / September 2011.
  30. ^ Iceland for beginners In: Wiesbadener Kurier . August 31, 2011.
  31. ^ Foundation Lydia Eymann: Scholarship holders. In: 2005, accessed March 29, 2017 .
  32. ^ Prize winners - The Euregio reads. (No longer available online.) In: Archived from the original on September 23, 2016 ; accessed on March 29, 2017 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot /
  33. Stefan Dege: Kristof Magnusson: "For me, writing in simple language is an artistic experiment". In: January 27, 2017. Retrieved March 29, 2017 .
  34. ^ Literaturhaus Frankfurt: Frankfurt, your story - literature in simple language. In: December 13, 2016, accessed March 29, 2017 .
  35. Our dogma is simple. In: January 4, 2017, Retrieved March 29, 2017 (paid article).
  36. Bastian Reisch: "I need variety rather than rituals" - Poetics lecturer Kristof Magnusson will give his inaugural lecture on October 22nd. In: October 20, 2015, accessed March 27, 2017 .
  37. a b Conversation with Kristof Magnusson: The novel “That wasn't me”. In: SWR Mediathek. February 5, 2017, accessed on March 27, 2017 (10:25 am. Available until: January 31, 2018).
  38. Kristof Magnusson: "We can now also football" , In: , June 28, 2016.
  39. Flexible and spontaneous. The writer Kristof Magnusson explains Icelandic success and daily life with the Viking style and under the volcano. , In:, June 28, 2016.
  40. AZ-EM interview writer Kristof Magnusson: “Vikings? Absurd! " , In: Abendzeitung, June 27, 2016.