Manfred Hausmann

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Signature of Manfred Hausmann, 1946
First edition of the novellas by Manfred Hausmann, 1924
Special stamp from 1998 for the 100th birthday of Manfred Hausmann

Manfred Georg Andreas Hausmann (born September 10, 1898 in Kassel ; † August 6, 1986 in Bremen ) was a German writer , journalist and lay preacher . After neo-romantic beginnings, he turned to Christianity in the early 1930s. In the 1920s he had many followers because of his "vagabond novels"; after the Second World War thanks to his numerous essays, poems, the much-read "Martin Stories" and, last but not least, his sermons.


Manfred Hausmann, son of a Göttingen factory owner, attended high school and joined the Wandervogel movement at an early age . In 1916 he passed his secondary school diploma as a soldier in the First World War . After the war he studied German, philosophy and art history in Göttingen and Munich . In 1922 he was promoted to Dr. phil. PhD. In the spring of 1923 he worked for a while with Friedrich Gundolf in Heidelberg as a habilitation candidate and at the same time as the dramaturge of the Hohentwiel Festival .

1923/1924 - meanwhile married to the mathematics student Irmgard Schmidt - Hausmann completed an apprenticeship in Bremen. In 1924 the twins Wolf and Tjark were born. In 1924 and 1925 Hausmann was the features editor of the Weser newspaper , and novellas by him appeared for the first time. He dedicated the book edition with the first two novellas, Die Frühlingfeier and Holder , to “Mascha” - that was the nickname of Martha Vogeler (1905 to 1993), the third daughter of the Worpswede artist Heinrich Vogeler .

In 1924 Hausmann founded in Bremen together with Wilhelm Scharrelmann , Hans Friedrich Blunck , Hans Franck , Alma Rogge u. a. Die Kogge , an association of authors primarily anti-modern, more conservative to z. Some folkish-nationally minded authors of the Low German movement .

At the end of 1925 he quit the Weser newspaper and spent a year as a tramp through Germany, from which his first novel (Lampioon kisses girls and little birches) emerged, which was a success.

Due to his success, Hausmann was able to live as a freelance writer from 1927. He settled in the Worpswede artists' colony near Bremen. In 1929 he went on a trip to America. His daughter Bettina was born in 1930. As a result of an intensive examination of the Bible and the writings of Karl Barth , Kierkegaard and Dostojewski , Hausmann turned to Christianity around 1933. When the (Jewish) publisher Samuel Fischer died in 1934 , Hausmann gave the funeral oration. In 1936 his son Martin was born. In 1938 his first volume of poems, Years of Life, was published .

Hausmann is said to have reported for military service in 1939, but soon had to quit because of his old injury. He lived withdrawn during the war .

From 1945 to 1950, Hausmann sat on the Worpswede municipal council for the SPD , as he did before the war from 1929 to 1933 . In 1950 he moved from Worpswede to Bremen-Rönnebeck into a new house that he had built on the steep bank of the Weser, designed by the architect Rolf Störmer . He worked in Bremen from 1945 to 1952 as head of the feature pages at Weser-Kurier .

Hausmann's grave is in the Protestant cemetery of the Rönnebeck-Farge church ; he worked here as a preacher.

time of the nationalsocialism

According to experts like Arn Strohmeyer and Karl Müller, Hausmann's "loyal to the regime" during the Nazi era is often ignored. In his work on Manfred Hausmann entitled Der Mitläufer , Strohmeyer assumes that during the war, Hausmann was “at times much closer to the regime and its ideology than the general public knew.” Between 1933 and 1945, Hausmann published around a dozen books , as well as many poems, short stories, novellas, travel and landscape descriptions as well as political articles. These texts also appeared in publications loyal to the regime.

Examples of work that can be put forward for his ideological proximity to National Socialism are, for example, his contribution to the Olympic newspaper 1936:

The development of mankind undoubtedly goes from ancestors to knowledge, from instinct to technology. (...) That is why the possibilities of the white race, which is mainly the bearer of knowledge, cannot be foreseen. And that is why the colored men, contrary to certain pessimistic prophecies, have no chance in this world.

In Das Reich , Hausmann had to report in 1940 about the speech that Kurt Hesse , the literary representative of the High Command of the Wehrmacht , had given at the second Weimar poets' meeting , and did his job in the propagandistic style that was expected of him:

Who did not yet know to what extent this current war is a total war, could find out here. Not only all military forces, not only all economic powers, not only all propagandistic possibilities are called up and intercepted, but also all, but also really all streams of force that arise from historical, political, technical, philosophical and poetic literature. (...) It must have been very clever and far-sighted men who recognized and pursued this transformation of spirit into clout. Seldom has the incalculable importance of the spirit, of the spiritual world, for performance on the battlefield been emphasized as emphatically as in this paper. (...) In Germany in 1940 the book belongs to the sword, the sword to the book, the poet belongs to the soldier and the soldier to the poet. ("Greater German Poets Meeting in Weimar", in: Das Reich , November 3, 1940)

The Weser-Kurier reported in 2003 that the Scholl siblings visited Worpswede and they met Hausmann and Martha Vogeler. Hausmann tried to survive with his family and had to accept substantive interventions. The novel Salut towards Heaven also had to accept some cuts. Hausmann himself says in a television film that the best information about his behavior during the rule of the National Socialists could be provided by those with whom he had contact in Worpswede. “They would say the right thing.” He was “not gifted to be a martyr.” Hausmann's behavior during the time of National Socialism was ambivalent. There are both indications that he distanced himself clearly from the ideology of the rulers and signs of questionable compromises that he entered into and later regretted.

Arn Strohmeyer writes about Hausmann's predilection for hiking and gliding: "After 1933 he kept doing exercises in the Hitzenhain glider camp in the Rothaargebirge , where mainly Hitler Youths as well as SA and SS men learned to fly." his essay Sport und Krieg , published by numerous newspapers, explains that war is "the consummation of what constitutes the deep secret of sport."

As Strohmeyer (with Jean Améry ) notes, it was not just his enthusiasm for sport that made Hausmann the "wanderer bird" a supporter of the regime and war (which is still a mere assertion by Strohmeyer). After all, Hausmann is rooted in a mystical, anti-rational “connection between romanticism and youth movement”, which is a good breeding ground for folk ideology and power cult, Strohmeyer continues. In this context, Strohmeyer also sees the striking "light metaphysics" of the Worpswede writer. He also liked the already mentioned “sword”. On September 29, 1940, he wrote in Goebbels' weekly newspaper Das Reich that in today's Germany “the book belongs to the sword, the sword to the book”. Hausmann himself wrote in an essay in 1941, entitled On the threefold nature of the book, the following sentence: “Every time a thing, whatever it may, comes into the power of man, it becomes evident that it is under the sign of the Ambiguity stands. In profound equanimity it is acceptable to be turned for good as well as evil, for construction as for annihilation, for blessing as for curse. "

Poet and "servant of God"

For Strohmeyer, it seems strange when Hausmann appears successfully after the war “as a Christian-inspired 'soul comforter' of the war generation” without ever showing remorse or even making self-criticism. That this judgment is too harsh shows u. a. Hausmann's letter from 1947 to Brigitte Bermann Fischer, the daughter of the publisher Samuel Fischer. There it says: “We are dirty. But I never forget why we're dirty. And I never forget that I am also to blame for it. Please believe me! And please remember that everything I write to you has a feeling of guilt as a prerequisite and as an underlying reason. ”This admission of guilt is not the only thing. Similar words from Hausmann can be found both in public statements and in personal letters.

In 1947 he publicly chalked Thomas Mann out of his intention not to settle again in Germany - after all, in 1933 Mann had “begged” the Minister of the Interior Frick from Switzerland to be allowed to return to the “Reich”. Strohmeyer judges that Hausmann's accusation was an allegation contrary to the facts, if not a distortion, because he was annoyed by Mann's disdain for German “literature” published during National Socialism. At that time, Günther Schwarberg was a volunteer at the Weser-Kurier . As the later well-known Stern reporter Schwarberg reported in his memoirs, he had spoken to Hausmann about his "shabby behavior" in the dispute with Mann. Hausmann had fobbed him off with the remark that one could certainly have different opinions about this, that was okay.

Hausmann was a member of the jury for the award of the literature prize of the city of Bremen . When the latter proposed Günter Grass for the 1960 Literature Prize at a meeting that Hausmann did not attend in 1959 , Hausmann publicly opposed this decision and terminated his membership in the jury. In fact, the Bremen Senate decided against Grass, and the prize was not awarded for 1960.

In addition to stories, novels, songs and poems, Hausmann's wide-ranging work includes essays, dramas, theological writings and a literary reworking of Solomon's Song of Songs . He also translated early Greek, Chinese and Japanese poems into the German language. However, the preaching moved increasingly to the fore of his work. In 1968 he was ordained elder preacher of the Bremen Evangelical Church . Hausmann took on many preaching and lecturing activities and spoke at radio events and church conventions. In addition, he “supplied the literary market with edifying prose miniatures”, which ensured him a loyal readership, according to a recent radio portrait. He published these “meditations on 'time and eternity'” in anthologies with programmatic titles: One must watch , the decision , comforting signs , behind things . They always showed the pose of the poet who not only wanted to write but also to proclaim. He described his ideological and religious point of view in those years as follows.

If I am looking for something that will give meaning to my life in the workings of the world, then it has to be a power that stands above this world. What can give meaning to life? So what do I believe in? I believe in freedom. Only God is free, in the true sense of the word. But miraculously, man can participate in God's freedom because God has turned to man in his free grace. Participation takes place through faith and obedience. When a person no longer desires his own freedom, but becomes a servant of God in faithful obedience, he wins freedom.

Since his turn to Christianity, Hausmann lived in a constant conflict between his calling as a poet on the one hand and as a theologian on the other. The attempt to proclaim “poetically” was unsatisfactory for both him and his readership. Only with the ordination as an elder preacher did he find a solution. He separated art and preaching from one another: his sermons are not poetry, and his later poems are devoid of the preaching character.

Numerous books by Hausmann are still being published; sometimes they reach print runs of well over a hundred thousand. Martin was particularly successful . Stories from a happy world .


In an obituary from 1986 it says: “With novels that became favorite books of a generation in the late twenties and early thirties - Lampioon kisses girls and young birch trees , Salut skywards , Abel with the harmonica - Manfred Hausmann presented himself as a descendant of the young Hamsun , the young Hesse , as a romantic with fresh emotional bliss and good-for-nothing charm. "

Arn Strohmeyer assumes that Hausmann has a “great affection for everything military”, which, despite his serious wounds in the war, never died down. This contrasts with the largely unpublished early works by Hausmann, especially poems and stories, as a clear sign of his traumatization through the experiences of the First World War, which led to a rejection of all violence.

Hausmann's positive comment in a circular from the Walter Flex Circle of Friends from 1978 on the "war poet" Walter Flex , died in 1917, and Strohmeyer interprets his poetry as a sign of a fundamental agreement with his nationalism. He also interprets Hausmann's doctoral thesis from 1922, art poetry and folk poetry in the German soldier's song of 1914/18, as a result of Hausmann's alleged predilection for warfare - caused by the lasting impression that Hausmann's experiences during the First World War would have left. At that time, Hausmann had already written poems himself, such as Das Schwert , in which he “practically glorified killing,” said Strohmeyer. This and other poems by Hausmann can easily be interpreted as a kind of “woe call” about the fateful fascination that power exerts on people and the horror of one's own abysses.

In his autobiographical résumé from 1931, Hausmann confessed that, as a young soldier, he initially understood “next to nothing about the nature and meaning of war”. It was not until the summer of 1918 that he “opened his eyes a little” in the hospital.


Hausmann received numerous other awards, including

A bronze sculpture of Abel with the harmonica was erected in front of the Bremen-Blumenthal city ​​library .

Works (selection)

  • Art poetry and folk poetry in the German soldiers' song 1914–18. Dissertation Munich 1922.
  • The spring celebration. Novellas, Bremen 1924.
  • Organ Kaporgel. Stories. Bremen 1925.
  • Old Holland town houses. (Introduction), 1926.
  • The lost ones. Two novellas, Leipzig 1927.
  • Mary Child. A game of legends in 5 pictures, Berlin 1927.
  • Lampioon kisses girls and little birches. Novel. 1928.
  • Gardens by Fr. Gildemeister. 1928
  • Lilofee. A dramatic ballad, version 1, 1929.
  • Salute to heaven. Novel. 1929.
  • Little love for America. A young man is strolling through the States. 1930.
  • Abel with the harmonica. Novel. Berlin 1932, also Berlin 1934 and Leipzig 1941, filmed in Germany in 1933 and 1953.
  • The pine . S. Fischer, Berlin 1933.
  • Ontje Arps. Narrative. S. Fischer, Berlin 1934.
  • Lilofee. A dramatic ballad, completely reworked in 1936.
  • The encounter. Stories. With an afterword by Wilhelm Scharrelmann , Leipzig 1936.
  • Farewell to the youth. Novel. Schünemann, Bremen 1937 (later under the title Farewell to the Dream of Young People ).
  • Demeter. Stories. S. Fischer, Berlin 1937.
  • Years of life. Poems. S. Fischer, Berlin 1938.
  • Moon behind clouds. Narrative. With an afterword by Franz Hammer , Röth Verlag, Eisenach 1938.
  • One has to watch. Consideration. Recklinghausen 1939 (comparison of two sculptures of the Christ-Johannes group type ).
  • Beloved Bremen. Some kind of confession. Publishing house Die Waage, Berlin 1939.
  • Secret of a landscape - Worpswede. A consideration. S. Fischer Verlag, Berlin 1940.
  • Quarters with Magelone: ​​From the papers of Lieutenant Skram. S. Fischer, Berlin 1941.
  • Old music. Poems. S. Fischer, Berlin 1942.
  • The Worpsweder Hirtenspiel. Göttingen 1946.
  • For each other. Poems. Berlin 1946.
  • Foreplay. New attempts. Suhrkamp, ​​Berlin 1947. (Contains the parable of the snail that led to the scandal at the 2014 Matura in Austria.)
  • On the threefold nature of the book. Munich 1948.
  • The poems. 1949.
  • The awakening. 1949.
  • Martin. Stories from a happy world. Olten 1949.
    • New edition with the title: Martin. Stories from a happy world. with drawings by Eva Kausche-Kongsbak . Sigbert Mohn Verlag, Gütersloh 1953.
  • One has to watch. Considerations. Letters. Thoughts. Talk. 1950.
  • The dark dance. A mystery game. Frankfurt / Main, 1951.
  • Love, death and full moon nights. Transcription of Japanese Poems, 1951.
  • The raid. Collected stories. 1952.
  • Isabel. Stories about a mother. Gütersloh 1953.
  • Lovers live on forgiveness. Novel. Frankfurt / Main 1953.
  • The encounter. Two stories, with an autobiographical afterword. Stuttgart 1953.
  • Harbor bar. Comedy. Munich 1954.
  • Behind the bead curtain. Translation of Chinese poems, 1954.
  • The Fischbeck tapestry. A legend game. Frankfurt / Main 1955.
  • Walt Disney: The desert is alive. Described from the film, 1955.
  • Bremen. Face of a Hanseatic city. Pictures by Hans Saebens, 1955.
  • The decision. New reflections, letters, thoughts and speeches. Frankfurt / Main 1955.
  • What doesn't belong to you. Narrative. Frankfurt / Main 1956.
  • Consolation in the desolate. Commemorative speech at a ceremony of the Volksbund Deutsche Kriegsgräberfürsorge on the day of national mourning in 1956 in the Bonn plenary hall. Frankfurt / Main 1956.
  • Andreas. Stories about Martin's father. with drawings by Eva Kausche-Kongsbak . Sigbert Mohn Verlag, Gütersloh 1957.
  • Riots in the market church. A reformation game. Frankfurt / Main 1957.
  • Edinburgh's best driver. A humorous story. Paris 1958.
  • The song of songs attributed to King Solomon. Transfer, 1958.
  • The sorceress of Buxtehude. Play. Frankfurt / Main 1959.
  • Comforting signs. Speeches and reflections. Frankfurt / Main 1959.
  • Prophets, apostles, evangelists. (Text), 1959.
  • Madness of love. Poems. Frankfurt / Main 1960.
  • Mirror of life. Speech for the 60th anniversary of the German Football Association. Frankfurt / Main 1960
  • Call of the plover. Transfer of Japanese poetry, together with Kuniyo Takayasu, 1961.
  • Even today. Narrative. Hamburg 1962.
  • The Bremen Town Musicians. 1962.
  • Small star in the dark stream. Novel. Frankfurt / Main 1963.
  • City on the river. 1963.
  • Loosened hair. Japanese poems by Toyotama Tsuno. (Pseudonym of MH), 1964.
  • Two in a million. About love and marriage. Hamburg 1964.
  • Kassel. Portrait of a city. Hanover 1964.
  • And like music in the night. 1965.
  • Brotherly world. Renewal of the church through the Holy Spirit. Neukirchen-Vluyn 1965.
  • And it happened. Thoughts on the Bible. Hamburg 1965.
  • Star telling. 1965.
  • A rainy night. 1965
  • Reflection of eternity. 15 picture meditations. Hamburg 1966.
  • Mirror of life. Thoughts on the 1966 football game .
  • Holy Evening. A Christmas present. Zurich 1967.
  • Behind things. Considerations. Kassel 1967.
  • To the parents of a confirmand. 1968.
  • Circles around a center. Essays. Neukirchen-Vluyn 1968.
  • Unreasonable third. Three stories.
  • Word of the word. Eight sermons. Neukirchen-Vluyn 1968.
  • God's yes. Nine sermons. Neukirchen-Vluyn 1969.
  • The gold interwoven veil. Poems about Aphrodite. Frankfurt / Main 1969.
  • Nobody knows the hour. Stories from five decades. 1970.
  • The deep secret. Fifteen sermons. 1972.
  • Forgiveness. Marbunrg / Lahn 1972.
  • When this is all laziness. With pictures by Horst Lemke . 1972.
  • Small encounters with great people. Thank you. Neukirchen-Vluyn 1973.
  • The human being in the encounter with the Bible. 1973.
  • The night of the nights. A Christmas book. 1973.
  • Two times two in the department store. a game for children. Frankfurt / Main 1973.
  • Years of life. 1974.
  • In the mirror of memory. Portraits. Neukirchen-Vluyn 1974.
  • The Nienburg Revolution. A play. Nienburg 1975.
  • Sobriety. Sermons. Neukirchen-Vluyn 1975.
  • Man before God's face. Attempts to interpret Rembrandt paintings. Neukirchen-Vluyn 1976.
  • To the north of Jan Mayen. Stories between Copenhagen and the pack ice. Neukirchen-Vluyn 1978.
  • Andreas, Viola and the new star. Novel. Gütersloh 1975.
  • Unreason for three. A student story. Neukirchen-Vluyn 1977.
  • World of light and ice. ( Svalbard ). Neukirchen-Vluyn 1979.
  • From the riches of life. Reflections, questions, answers. Basel 1979.
  • God's closeness. Sermons. Neukirchen-Vluyn 1981.
  • The hut fox. Narrative. Frankfurt / Main 1983.
  • The unexpected. Cities and Landscapes. 1988
  • Worpsweder calendar sheets. Days, hours, moments; from the estate. Worpswede 1990.


  • Reiner Bredemeyer : Spring bride song fear. (1965), cantata for 3 sopranos, 3 flutes, percussion and double bass. Text: Manfred Hausmann.
  • Theophil Laitenberger : And don't end in complaints ... (1970), cantata for medium voice, strings, small choir, based on texts by Manfred Hausmann a. a.
  • Felicitas Kukuck : Four songs for soprano and piano. (1982) based on texts from the Hohenlied Salomonis, transferred by Manfred Hausmann.


  • Christine Bourbeck: Creation and the image of man in German poetry around 1940. Hausmann, Peters, Bergengruen. Berlin, 1947.
  • Siegfried Hajek: Manfred Hausmann (= poetry and interpretation, volume 5). E. Müller Verlag, Wuppertal 1953.
  • Fritjof Eberhard Korn: The motif of the youth movement in Manfred Hausmann's work. Dissertation, Munich 1958.
  • Karlheinz Schauder: Manfred Hausmann (= poetry and interpretation, booklet 8). Wuppertal 1963.
  • Carl Peter Fröhling: Language and style in Manfred Hausmann's novels. Bonn 1964.
  • Manfred Hausmann. Festschrift for his 70th birthday. Verlag S. Fischer, 1968.
  • Harald Klucaric: Studies on the imagery and motif language of Manfred Hausmann. Dissertation, Graz 1969.
  • Siegfried Bein: Faith in reason and wisdom in the work of Manfred Hausmann. In: Welt und Wort 28, 1973, pp. 278–285.
  • Klaus Seehafer : The Eros in Manfred Hausmann's work. Diploma thesis, Stuttgart 1971
  • Virginia May Anderson: The Christian Author's Perception of His Task in Twenthies-Century Germany. Dissertation, Boston College, 1976.
  • Karlheinz Schauder: Manfred Hausmann. Way and work. 2nd Edition. Neukirchen-Vluyn 1979.
  • Ursula Homann: Manfred Hausmann, poet and Christian. In: Der Literat 28, 1986.
  • Arn Strohmeyer : The fellow traveler. Manfred Hausmann and National Socialism. Bremen 1999.
  • Arn Strohmeyer: Unwanted? The writer Manfred Hausmann in the time of National Socialism. In: Strohmeyer, Artinger, Krogmann: Landscape, Light and Low German Myth. The Worpswede art and the National Socialism. Weimar 2000.
  • Regina Jung-Schmidt: Are the longing so cursed? The desperate search for God in the early work of the poet Manfred Hausmann. Neukirchen-Vluyn 2006.
  • Ulrich Kriehn: Between Art and Annunciation. Manfred Hausmann's work between literature and theology. Marburg 2008.
  • Hans Sarkowicz , Alf Mentzer: writers under National Socialism. A lexicon. Insel, Berlin 2011, ISBN 978-3-458-17504-9 , pp. 311-315.

Web links

Individual evidence

  1. ^ A b c Manfred Hausmann: Art poetry and folk poetry in the German soldier song 1914/18 . Dissertation. Ludwig Maximilians University, Munich March 22, 1922, DNB  570297559 ( [PDF; 426 kB ; accessed on May 1, 2020] excerpt).
  2. a b c Hinrich Jantzen: Names and Works . Biographies and contributions to the sociology of the youth movement. tape 2 . Dipa-Verlag, Frankfurt (am Main) 1974, ISBN 978-3-7638-1252-3 , pp. 148 ( limited preview in Google Book search).
  3. This is an example of Hausmann's “ambivalent” relationship to National Socialism, which even critic Strohmeyer does not overlook ( Unerwünscht? P. 201). Other examples of courageous behavior can be found in Klaus Seehafer , accessed on January 29, 2012.
  4. Strohmeyer: Unwanted? P. 204.
  5. ↑ A prominent example of this recess: Brockhaus Enzyklopädie. 19th edition, Volume 9 from 1989, p. 547.
  6., May 12, 2014 , accessed on May 19, 2014
  7. Salzburger Nachrichten, May 9, 2014 , accessed May 19, 2014
  8. ^ Arn Strohmeyer: The fellow traveler. Donat Verlag, Bremen 1999.
  9. Strohmeyer writes of "a total of nine books" and refers to Karl Heinz Schauder: Weg und Werk. In none of his books and publications are “ideologically disguised” ideas.
  10. Strohmeyer: Unwanted? P. 197.
  11. ^ Ernst Klee : The culture lexicon for the Third Reich. Who was what before and after 1945. S. Fischer, Frankfurt am Main 2007, ISBN 978-3-10-039326-5 , p. 224.
  12. Hans Sarkowicz , Alf Mentzer: Literature in Nazi Germany. A biographical lexicon. Extended new edition. Europa-Verlag, Hamburg / Vienna 2002, ISBN 3-203-82030-7 , p. 22 f.
  13. ^ Weser-Kurier dated February 23, 2003.
  14. ^ Manfred Hausmann, Ensemble 5. A tribute to the writer and biography. Humboldt Society for Science, Art and Education V., 1978, pp. 98, 94.
  15. Strohmeyer: Unwanted? . P. 202.
  16. Strohmeyer: Unwanted? P. 205.
  17. Strohmeyer: Unwanted? P. 198.
  18. Strohmeyer: Unwanted? P. 200.
  19. Manfred Hausmann: One must watch. Essays. Neukirchener Verlag. Some of the essays summarized in this volume were published earlier under the title One must wake up (Copyright 1941 by S. Fischer Verlag Berlin / 1950 by S. Fischer Verlag Frankfurt a. M.), p. 74ff.
  20. Radio Bremen: Portait - Manfred Hausmann. (No longer available online.) August 1, 2011, archived from the original on November 22, 2012 ; Retrieved January 29, 2012 .
  21. Brigitte B. Fischer: You wrote to me or: What became of my poetry album. dtv, Munich 1981, p. 306.
  22. There are a number of investigations into the dispute with Thomas Mann and the letter mentioned. In any case, there was never any mention of “begging”. Hausmann had quoted a passage from his memory from Thomas Mann's letter to the Reich Ministry of the Interior from 1934, in which Thomas Mann had stated that he would not remain in exile voluntarily, but that he hoped this condition would remain temporary. The letter was found and published in parts - Thomas Mann was rehabilitated and Manfred Hausmann was accused of defamation. This controversy cannot be described in two lines. This includes extensive research.
  23. ^ Ernst Klee: The culture lexicon for the Third Reich. Who was what before and after 1945. S. Fischer, Frankfurt am Main 2007, p. 224.
  24. Radio Bremen: Portait - Manfred Hausmann. Soul comforter of the war generation. (No longer available online.) August 2011, archived from the original on November 22, 2012 ; Retrieved January 29, 2012 .
  25. Günther Schwarberg: I'll never forget that. Göttingen 2007, p. 122. On p. 94, Schwarberg mentions Hausmann's earlier commitment to the Olympia-Zeitung . Before 1945, Hausmann liked to call himself a “poet under the steel helmet”.
  26. ^ Frankfurt am Main 1958.
  27. a b c Radio Bremen: Portrait - Manfred Hausmann. Bremen-Rönnebeck. (No longer available online.) August 4, 2011, archived from the original on November 22, 2012 ; accessed on January 29, 2012 : “A book that appears in 1949 and becomes a bestseller of the 1950s tells of intimate family life: 'Martin - Tales from a Happy World'. A book with cheerful episodes from the childhood of the youngest son Martin, whose evocation of 'Heiler Welt' is a coveted reading of the Adenauer era "
  28. ^ Spiegelm 33/1986 , accessed on January 29, 2012.
  29. Arn Strohmeyer: Unwanted? The writer Manfred Hausmann in the time of National Socialism. In: Strohmeyer, Artinger, Krogmann: Landscape, Light and Low German Myth. The Worpswede art and the National Socialism. Weimar 2000, p. 199.
  30. Regina Jung-Schmidt: Are the longing so cursed? The desperate search for God in the early work of the poet Manfred Hausmann. Neukirchner Verlagshaus, 2006, p. 66.
  31. a b Strohmeyer: Unwanted? P. 200.
  32. Strohmeyer: Unwanted? P. 199.
  33. R. Jung-Schmidt: Are the longing ... p. 29.
  34. Abel with the harmonica., accessed on October 6, 2015 .
  35. This novel cannot do without pathos and clichés, says Kindler's New Literature Lexicon (Munich edition, 1988). "House's attempt to Taugenichts -Figur Eichendorffs modernize" reach to capture with all your strength, resigned moods and to describe natural processes, "nowhere the level of poetic reflection on one's own time." The Nazi journalist Kurt ground squirrel condemned the book in 1935 "Pornographic trash", which Klaus Seehafer throws into the scales in favor of Hausmann on his website. Hausmann's revealing defense against Ziesel makes no mention of sea oats. According to Strohmeyer ( Unerwünscht? P. 201) and the Saale-Zeitung of November 9, 1935, which he cited , Hausmann mainly defended himself against Ziesel's accusation that he had opportunistically "converted" after Hitler came to power. Hausmann actually found such a change "disgusting" - only he didn't need it at all. At that time, after hard internal struggles, he made his peace with National Socialism. However, his books were so “hopelessly German” that they didn't need any “conversion” “to survive in the new Germany”. This is well known in the broadest of National Socialist circles. Hausmann gave Ziesel an ultimatum for an apology, saying that "the personal honor of every national today enjoys special protection".
  36. Direction of the UFA film: Erich Waschneck , premiere November 15, 1933.
  37. Kindler's Neues Literaturlexikon calls this novel “cheerful-painful”, Günther Schwarberg calls it “enthusiastic” (p. 94)
  38. ^ Critical comments on this from Hausmann supporter Klaus Seehafer , accessed on January 29, 2012.
  39. See Hausmann about traveling in the time of March 1, 1968 , accessed on January 29, 2012.
  40. Here , accessed on January 29, 2012, Seehafer gives a very detailed Hausmann portrait, including a replica to Strohmeyer.
  41. According to Strohmeyer ( Unerwünscht? P. 197), Schauder's work on Hausmann should be viewed with caution. Schauder claims, untruthfully, that Hausmann's books were burned in the “Third Reich”.