Martin Walser

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Martin Walser, Frankfurt Book Fair 2013
Walser Signature.jpg

Martin Johannes Walser (born March 24, 1927 in Wasserburg (Lake Constance) ) is a German writer . Walser became known for his portrayal of the inner conflicts of the antiheroes in his novels and stories .


Martin Walser's birthplace at the train station in Wasserburg on Lake Constance
Portrait sculpture by Martin Walser, 2006 by Wolfgang Eckert created

Walser's parents ran the station restoration and a coal shop in Wasserburg on Lake Constance. The milieu of his childhood is portrayed in the novel A jumping fountain . From 1938 to 1943 he attended secondary school in Lindau ; then he was drafted as a flak helper. According to documents from the Berlin Federal Archives, Walser is listed in the NSDAP's central file with the entry date January 30, 1944, as a 16-year-old at the time. However, Walser denies ever having completed an application for membership. After the Reich Labor Service he experienced the end of the Second World War as a soldier in the Wehrmacht .

After the war, he made 1946 in Lindau on Lake Constance School , the High School and then studied at the Philosophical-theological University of Regensburg and the Eberhard Karls University of Tuebingen literature, history and philosophy. In 1950 he married Katharina "Käthe" Neuner-Jehle. The daughters Franziska , Johanna , Alissa and Theresia emerged from this marriage . With Maria Carlsson , the then partner and later wife of the Spiegel founder Rudolf Augstein , he also has a son, Jakob Augstein . He is also the father-in-law of the writer Sascha Anderson , who is married to his daughter Alissa, and the actor Edgar Selge , who is married to his eldest daughter Franziska.

During his studies in 1949, Walser began working as a reporter and writing radio plays for the newly founded Süddeutscher Rundfunk (SDR). In the meantime, a permanent position at SDR enabled him to do his doctorate in Tübingen with a dissertation on Franz Kafka in 1951 . Together with Helmut Jedele , he formed the core of the “team of geniuses” at Stuttgart radio and, as a freelancer, helped set up the station's television section. He directed radio plays and in 1953 worked on the book of the first television film production on German post-war television. At the same time, he deepened his contacts with the literary scene as a radio editor and author.

Since 1953 Walser has been regularly invited to the meetings of Group 47 , which honored him in 1955 for the story of Templone's end . His first novel, Marriage in Philippsburg , was published in 1957 and was a great success. From then on, Walser lived with his family as a freelance writer, first in Friedrichshafen and then in Nussdorf on Lake Constance.

In the 1960s, like Günter Grass and other left-wing intellectuals, Walser campaigned for Willy Brandt to be elected Chancellor. In 1964 he was a listener at the Auschwitz trial in Frankfurt. He campaigned against the Vietnam War , traveled to Moscow and was (including his publisher Siegfried Unseld ) a sympathizer of the DKP in the 1960s and 1970s, although he was never a member; he was with Ernst Bloch , Robert Steigerwald a . a. friends. In 1988, Walser gave a speech as part of the speeches about his own country series , in which he made it clear that he saw the division of Germany as a painful gap that he did not want to come to terms with. He made this material the subject of his story Dorle and Wolf . Even if Walser explicitly emphasized that his attitude has not changed over time, some observers speak of a change of heart on the part of the author.

An unusual clause in publishing contracts enabled Walser to switch all of his works from Suhrkamp Verlag to Rowohlt Verlag after the death of Siegfried Unseld in 2004 . According to his own statement, the publisher's lack of positioning in the dispute over his controversial novel Death of a Critic played a role. In this context, Walser attacked the literary critic Marcel Reich-Ranicki on the one hand as a person and on the other as a symbol of an allegedly dishonest cultural scene. Frank Schirrmacher , among others, criticized a “game with anti-Semitic clichés” in this regard .

Walser is a member of the Academy of the Arts in Berlin , the Saxon Academy of the Arts , the German Academy for Language and Poetry in Darmstadt and the PEN Center Germany .

In 2005, the Literaturhaus München showed the exhibition 'Martin Walser', curated by Armin Kratzert and Jörg Magenau . Nothing is true without its opposite '.

2007 Martin Walser has much of his manuscripts as a premature legacy to the German Literature Archive in Marbach given. Parts of it can be seen in the permanent exhibition in the Museum of Modern Literature in Marbach, including the manuscripts of marriages in Philippsburg , Das Einhorn and Ein jumpingenden Brunnen .

In 2009 Jakob Augstein announced that Martin Walser was his biological father, which he learned from his mother in 2002 after the death of Rudolf Augstein . Walser and Augstein have met frequently since then. About late fatherhood, Walser noted in 2017: "I just noticed that this visiting fatherhood was always too little".

On Walser's 90th birthday, the ARD broadcast a 90-minute documentary entitled "Mein Thiseits - Unterwegs mit Martin Walser" (written and directed by Frank Hertweck ), in which Denis Scheck and Martin Walser highlight the important stages in his life on Lake Constance visits, such as his birthplace, which is now a ballet school.

Literary work

A recurring motive for Walser is failure in life: his heroes are not up to the demands that their fellow men place on them or themselves; the inner conflict they have to deal with because of this can be found in all of the great Walser novels. Martin Walser is a typical representative of German post-war literature (like Heinrich Böll , Peter Handke or Siegfried Lenz ) and sets him in opposition to the Anglo-Saxon literary tradition, in that the fights only simmer in the soul of his heroes, while the external action is mostly a minor matter which is far more important to the advancement of an external act.

Walser was also successful at the theater. His first play, The Detour , had over fifty productions in the 1960s. Oak and Angora was Walser's first artistic examination of the Nazi era . The way in which the Swabian grotesque, according to Hellmuth Karasek, was “driven with horror” led to a controversial reception in the critics, but also to an initial international theatrical success in Vienna, Zurich, Basel, Rotterdam, Skopje, Edinburgh and for over a year continuously in Paris.

Marcel Reich-Ranicki praised the author with the words: “Walser's early stories are time-critical diagnoses and protests against a condition that prevents the individual from developing, makes him wither and ruin. This also applies to Walser's later prose. Even if by other means, he repeatedly demonstrates the absurdity of an existence in which the courage of a savings bank robber is actually indispensable for every profession, using the fates of various figures. And he does this in the awareness of his own impotence. "


Dispute with Deutsche Bank

In the run-up to a process that the Chairman of the Supervisory Board of Deutsche Bank Hermann Josef Abs led against the GDR historian Eberhard Czichon and his West German publisher Manfred Pahl-Rugenstein because of several false allegations of fact about Abs' activities during the Nazi era, Walser published on August 24 In 1970, a detailed review of the centenary of the bank was published in Spiegel magazine . In it he recommended Czichons book, justified the theory of the State Monopolistic capitalism and criticized the commemorative playing down the democratically illegitimate power of the Bank: "If the German bank naive?" The press department of Deutsche Bank forced a reply . On September 14, 1970, board member Wilhelm Vallenthin polemicized under the heading “Is Martin Walser naive?” Against the fact that he had mocked the continuity of banking activities across all regime changes in German history: a bank is a service company that works for one A change of government could not stop his activity. Walser's presentation was " Leninism of the purest water", an understanding with him was therefore not possible.

Paulskirche speech 1998

When Walser gave a speech in the Paulskirche in Frankfurt on the occasion of the award of the Peace Prize of the German Book Trade on October 11, 1998 , in which he rejected the "instrumentalization of the Holocaust ", there were controversial discussions and sometimes protests.

“But when this past is held up to me every day in the media, I notice that something in me is resisting this permanent presentation of our shame. Instead of being grateful for the incessant presentation of our shame, I start looking away. I want to understand why this decade is presenting the past like never before. When I notice that something in me is resisting it, I try to listen to the motives being held up against our shame, and I am almost happy when I think I can discover that more often than not, the motive is not remembrance, not being allowed to forget, but rather the instrumentalization of our shame for present purposes. Always for good causes, honorable ones. But instrumentalization. [...] Auschwitz is not suitable for becoming a threatening routine, a means of intimidation that can be used at any time, or a moral club, or even just a compulsory exercise. What comes about through ritualization is of the quality of lip prayer [...]. "

- Martin Walser : Speech in the Paulskirche on October 11, 1998
Der Bodenseereiter (1999), an artistic response by Peter Lenk to Martin Walser's Paulskirche speech from 1998, who is shown here in Überlingen with ice skates on a horse

Walser's statements, which some felt were linguistically complex, were often interpreted as follows: The National Socialist crimes were misused by some people to support political and financial claims against Germany. Also, those who constantly broach these crimes feel that they are morally superior to their fellow human beings. The topic of Auschwitz should not degenerate into a “moral club”, precisely because of its great importance. The speech was also seen as a reaction to Marcel Reich-Ranicki's criticism of Walser's book Ein springender Brunnen . Reich-Ranicki had criticized that Auschwitz was not mentioned in the book, whose plot took place during the Nazi era.

In his speech, Walser had also called for the condemned GDR spy Rainer Rupp to be pardoned . Lars Rensmann assessed this as part of the "national self-reconciliation" of the Germans propagated by Walser: Just as Walser wanted to draw a line under the memory of the Holocaust in his speech , he also wanted to see the GDR pardoned with Rupp.

After Walser's speech, there was general standing applause from those present, with the exception of the chairman of the Central Council of Jews in Germany Ignatz Bubis , his wife Ida and Friedrich Schorlemmers . Bubis later accused Walser of wanting to “look away” and described the speech as “spiritual arson”. Bubis later took the latter back. Walser was also accused of referring to right-wing revisionists who wanted to block this sensitive issue. Walser countered this criticism by saying that he did not intend to use his "very personal view" for political purposes and that he only spoke of his subjective feelings.

At a meeting with Bubis organized by the FAZ in December 1998 , Walser raised the accusation of the “permanent presentation of our shame” and a “cruel remembrance service” no longer against “opinion soldiers” and “the media” but (according to Matthias N. Lorenz ) against the victim group itself. Walser said to Bubis 'address, "I was busy in this field (= the Federal Republican reappraisal of the past ), you were busy with completely different things." Walser also referred to Bubis' remarks on the right-wing extremists and racist attacks in Germany in the early 1990s as "immediately tied back to 1933 ".

In 2015, he explained in an interview with Spiegel that he did not mean an instrumentalization of Auschwitz in German-Jewish relations, but rather one in German daily politics, as it is e.g. B. was practiced by Günter Grass in his rejection of German reunification or by Joschka Fischer in his support for German intervention in the Kosovo war . He regretted that he had given the speech and hit Bubis with it.

The social and political scientist Samuel Salzborn said in 2018 that Martin Walser said in his Paulskirchen speech "something very similar to what Björn Höcke now also formulated", for which Höcke was "rightly criticized", whereas the reactions to Walser's speech Were "rather ambivalent".

Attitude to Judaism

After the debates about the Paulskirche speech, Walser's alleged or actual turn to the "bourgeois" side again became a public issue when he appeared as a guest speaker at the CSU's closed conference in Wildbad Kreuth. When he criticized the literary critic Marcel Reich-Ranicki on the one hand as a person and on the other hand as a symbol of an allegedly dishonest cultural scene, in his key novel Death of a Critic , there were protests. Frank Schirrmacher then criticized his "playing with anti-Semitic clichés". Reich-Ranicki commented in an interview with Spiegel in May 2010 :

“I don't think he's an anti-Semite. But it is important for him to point out that the critic who allegedly tortured him the most is also a Jew . He expects his audience to follow him in it. You see, there was never an anti-Semitic line or comment from Grass , not a single one. And I have certainly not only written positively about his books. "

The cultural scientist Matthias N. Lorenz examined Walser's life's work in his dissertation “Auschwitz urges us to one spot” on the representation of Jews and the Auschwitz discourse. In his work he documents the consistent occurrence of the well-known anti-Semitic stereotypes. The suffering of the Jews is clearly equated with the suffering of "Germans". The sensitive portrayal of Germans who felt themselves to be “losers of history” is often found: undignified, stigmatized, robbed of their identity.

The Holocaust memorial in Berlin was disparagingly described by Walser during the planning phase as a “football field-sized nightmare in the heart of the capital” and a “wreath dropping point”; after completion, however, he made positive comments about the monument.

Works (selection)

Original editions

  • Description of a shape. Attempt on the epic poetry of Franz Kafka. Dissertation at the University of Tübingen February 9, 1952 ( DNB 480348650 ).
  • A plane over the house and other stories. Suhrkamp, ​​Frankfurt am Main 1955, ISBN 3-518-39288-3 (1997 edition).
  • Marriages in Philippsburg . Novel. Suhrkamp, ​​Frankfurt am Main 1957.
  • Halftime. Novel. Suhrkamp, ​​Frankfurt am Main 1960 (first volume of the Anselm Kristlein trilogy).
  • As editor: The alternative or do we need a new government? , Rowohlt Paperback, 1961.
  • Oak and angora. A German chronicle. Suhrkamp, ​​Frankfurt am Main 1962.
  • Lies . Suhrkamp (es 81), Frankfurt am Main 1964.
  • Our Auschwitz . In: Hans Magnus Enzensberger (Ed.): Kursbuch Nr. 1, 1965, pp. 189-200.
  • Experiences and reading experiences. Suhrkamp (es 109), Frankfurt am Main 1965.
  • The Unicorn. Novel. Suhrkamp, ​​Frankfurt am Main 1966 (second volume of the Anselm Kristlein trilogy, number 1 on the Spiegel bestseller list from October 3 to 16, 1966 ).
  • Local lore . Essays and speeches. Suhrkamp (es 269), Frankfurt am Main 1968.
  • Fiction. Narrative. Suhrkamp, ​​Frankfurt am Main 1970.
  • Gallistl's disease. Novel. Suhrkamp, ​​Frankfurt am Main 1972.
  • The fall. Novel. Suhrkamp, ​​Frankfurt am Main 1973 (third volume of the Anselm Kristlein trilogy).
  • Beyond love . Novel. Suhrkamp, ​​Frankfurt am Main 1976.
  • A fleeing horse . Novella. Suhrkamp, ​​Frankfurt am Main 1978.
  • Soul work . Novel. Suhrkamp, ​​Frankfurt am Main 1979.
  • The swan house . Novel. Suhrkamp, ​​Frankfurt am Main 1980.
  • Confidence and irony. Frankfurt lectures. Suhrkamp (es 1090), Frankfurt am Main 1981.
  • Letter to Lord Liszt . Roman, Suhrkamp, ​​Frankfurt am Main 1982.
  • Declarations of love. Suhrkamp, ​​Frankfurt am Main 1983.
  • Surf . Novel. Suhrkamp, ​​Frankfurt am Main 1985.
  • Messmer's thoughts. Suhrkamp, ​​Frankfurt am Main 1985.
  • Confession in installments. Suhrkamp (es 1374), Frankfurt am Main 1986.
  • The America trip. Try to understand a feeling. (With André Ficus ). Kunstverlag, Weingarten 1986.
  • Dorle and Wolf. A novella. Suhrkamp, ​​Frankfurt am Main 1987.
  • Hunt . Novel. Suhrkamp, ​​Frankfurt am Main 1988.
  • Talk about Germany. Suhrkamp (es 1553), Frankfurt am Main 1988.
  • Defending Childhood . Novel. Suhrkamp, ​​Frankfurt am Main 1991.
  • Without each other . Novel. Suhrkamp, ​​Frankfurt am Main 1993.
Martin Walser, Cologne 2010


  • The detour. The room battle . (2 pieces, written 1961 and 1962/1963/1967). Suhrkamp (es 205), Frankfurt am Main 1967.
  • The sofa. A farce. (written 1961). Suhrkamp, ​​Frankfurt am Main 1992.
  • Oak and angora. A German chronicle. Suhrkamp, ​​Frankfurt am Main 1962.
  • Larger than life Mr. Krott. Requiem for an immortal. Suhrkamp (es 55), Frankfurt am Main 1964.
  • The black swan . Suhrkamp, ​​Frankfurt am Main 1964.
  • We'll act. (First performance in 1968 under the title The Black Wing .)
  • Child's play . Piece in two acts. Suhrkamp (es 400), Frankfurt am Main 1970.
  • From the vocabulary of our struggles. Scenes. With 16 graphics by Peer Wolfram. Hermit Press, Stierstadt 1971.
  • The game. Scenes from the 16th century. Suhrkamp, ​​Frankfurt am Main 1975.
  • In Goethe's hand. Scenes from the 19th century. Suhrkamp, ​​Frankfurt am Main 1982.
  • A fleeing horse. Play. Collaboration with Ulrich Khuon. Suhrkamp, ​​Frankfurt am Main 1985.
  • The slap. Suhrkamp, ​​Frankfurt am Main 1986.
  • Nero sends his regards or a self-portrait of the artist as emperor: a monodrama. Edition Isele, Eggingen 1989.
  • Cashmere in Parching. Scenes from the present ... Suhrkamp, ​​Frankfurt am Main 1995.
  • A loving man. Rowohlt Theaterverlag, Reinbek 2010.

Collective editions

  • Three pieces. Oak and angora. Larger than life Mr. Krott. The black swan. With an afterword by Werner Mittenzwei. Construction, Berlin / Weimar 1965.
  • 17 stories. Ex libris, Zurich 1969.
  • Collected pieces. Suhrkamp (st 6), Frankfurt am Main 1971.
  • Which was to be doubted. Essays and speeches 1958–1975. Selected by Klaus Schuhmann. Construction, Berlin / Weimar 1976.
  • Collected stories. Suhrkamp (White Program in the 33rd year), Frankfurt am Main 1983.
  • Pieces. Suhrkamp, ​​Frankfurt am Main 1987.
  • A murderer's finger exercises . Twelve stories (chosen by the author). Suhrkamp (st 2324), Frankfurt am Main 1994.
  • Spells and Counterspells. Essays and poems. Isele, Eggingen 1994.
  • Playing with the heaviness. Reader, selected by Hans Christian Kosler. Suhrkamp, ​​Frankfurt am Main 1995.
  • Works in twelve volumes. Ed. V. Helmuth Kiesel . Suhrkamp, ​​Frankfurt am Main 1997.
  • I trust. Cross country. Speeches and essays. Suhrkamp, ​​Frankfurt am Main 2000.
  • The great novels. 6 volumes. Suhrkamp, ​​Frankfurt am Main 2002.
  • Always up-to-date - given the occasion. Rowohlt, Reinbek bei Hamburg 2017. Edited and with an afterword by Thekla Chabbi


  • Self-portrait as a detective novel , p. 270, from: Martin Walser, works in twelve volumes, ed. by Helmith Kiesel and Frank Barsch. Volume 8, prose. Suhrkamp Verlag Frankfurt am Main, 1997


  • Maria Menz: Letters - Volume I. Correspondence with Martin Walser. Isele, Eggingen 2005, ISBN 978-3-86142-362-1 .

Radio plays


In Peter Lenk's sculpture Bodenseereiter in Überlingen (1999), Martin Walser is depicted as a rider.


Comprehensive introductions to life and work
Conversations with Walser
Experience report
Walser in literary studies and literary didactics
  • Jan Bathsien , Hansgeorg Schmidt-Bergmann (ed.): Martin Walser. Life and novel worlds. Ev. Baden Academy, Karlsruhe 2008, ISBN 978-3-89674-553-8 .
  • Anita Gröger: 'Told doubts about memory'. A narrative figure in the German-language novel of the post-war period (1954–1976). Ergon-Verlag, Würzburg, 2016. ISBN 978-3-95650-149-4 .
  • Hilmar Grundmann : "Professional work makes you sick". Didactic literary reflections on the relationship between work and private life in Martin Walser's novels. Peter Lang, Frankfurt am Main 2003, ISBN 3-631-38806-3 .
  • Kerstin Koblitz: "The empty walls speak with their mouths full". Things and thinginess in Martin Walser's narrative work. Röhrig Universitätsverlag, St. Ingbert, 2015, ISBN 978-3-86110-582-4 .
  • Ana-Maria Pǎlimariu: "Chemnitz teeth". Irony in Martin Walser's work in the 1970s and 1980s. Hartung-Gorre, Konstanz 2007, ISBN 3-86628-125-0 .
Critical, sometimes polemical, arguments with Walser
  • Joachim Rohloff: "I am the people". Martin Walser, Auschwitz and the Berlin Republic. KVV-Konkret, Hamburg, 1999. ["If we could cope with Auschwitz, we could turn back to national tasks." (Martin Walser, 1979) - Joachim Rohloff's book examines Martin Walser's literary and political career.]
  • Martin Dietzsch , Siegfried Jäger , Alfred Schobert (eds.): Finally a normal people? On the right understanding of Martin Walser's peace prize speech. A documentation. DISS-Duisburg, 1999. [The documentation by the Duisburg linguists shows how the press of the extreme right was able to enjoy Walser's speech without having to bend either itself or Walser's text.]
  • Matthias N. Lorenz : "Auschwitz pushes us into one spot" - representation of Jews and Auschwitz discourse with Martin Walser. Metzler, Stuttgart 2005, ISBN 978-3-476-02119-9 .
  • Peter Schwiderowski: About a political self-talk. Comments on Martin Walser's peace prize speech in 2000. In: Thursday books , 3rd Old Synagogue (Essen) 2000, ISBN 3-924384-34-7 , p. 24ff.

Audio books

Together with Günter Grass :

Film adaptations

For the German film drama Das Unheil by Peter Fleischmann , which appeared in 1972, Walser wrote the script and the dialogues together with the director.

In 1978 the Austrian director Peter Patzak filmed Das Einhorn with Peter Vogel and Gila von Weitershausen as the Kristlein couple.

The third and last part of the Anselm Kristlein trilogy Der Sturz was filmed in 1979 by Alf Brustellin with Franz Buchrieser , Hannelore Elsner , Wolfgang Kieling , Kurt Raab and Kurt Weinzierl as actors.

A Fleeing Horse has been filmed twice, first in 1985 as a TV film directed by Peter Beauvais and based on a script by Ulrich Plenzdorf . In 2007, a remake with director Rainer Kaufmann and the actors Ulrich Noethen as Helmut, Ulrich Tukur as Klaus, Katja Riemann as Sabine and Petra Schmidt-Schaller as Hel came into the cinemas, see article A fleeing horse (2007) .

Together with Asta Scheib , Walser wrote the screenplay for the 1989 Tatort episode Armer Nanosh . The book was published as a detective novel in the same year.

On the occasion of his eightieth birthday, in March 2007 ZDF broadcast a television adaptation of his novel Without Each Other . His daughter Franziska played the main role, Diethard Klante directed.

Web links

Commons : Martin Walser  - Collection of images, videos and audio files

Individual evidence

  1. Dieter Hildebrandt is said to have been in the NSDAP. In: Die Welt , June 30, 2007.
  2. ^ Walser, Lenz and Hildebrandt: All these NSDAP index cards. Frankfurter Allgemeine Zeitung , July 1, 2007.
  3. Martin Walser is Jakob Augstein's biological father . Welt Online from November 26, 2009.
  4. Edgar Lersch, Reinhold Viehoff: Radio, Politics, Literature. Martin Walser's early experience with Süddeutscher Rundfunk between 1949 and 1957 . In: Yearbook Media and History . 2, 2002, pp. 213-257.
  5. Title: One recovers. A summer holiday feuilleton. First broadcast in 1955. See Harald Keller: The poet as a television pioneer - A supplement to Martin Walser's 85th birthday. In: Funkkorrespondenz , March 29, 2012, ZDB -ID 525657-4 . And Jörg Magenau: Martin Walser. A biography. Updated and expanded new edition, Rowohlt, Reinbek 2008, ISBN 978-3-499-24772-9 , pp. 103-106.
  6. ^ Carlo Schellemann and Martin Walser: Stations in Vietnam. Röderberg-Verlag, Frankfurt 1968.
  7. Press report on the press portal.
  8. Ulrike Simon: Walser is the true father of the Augstein son. Frankfurter Rundschau, November 27, 2009, accessed on February 18, 2020 .
  9. Volker Weidermann, DER SPIEGEL: Jakob Augstein and Martin Walser on their father-son relationship - DER SPIEGEL - culture. Der Spiegel, November 25, 2017, accessed on February 18, 2020 .
  11. Jörg Magenau: Martin Walser. A biography. Updated and expanded new edition, Rowohlt, Reinbek 2008, ISBN 978-3-499-24772-9 , pp. 180-183.
  12. ^ Review by Marcel Reich-Ranicki at, accessed on May 9, 2017.
  13. Martin Walser on Fritz Seidenzahl: "Hundred Years of Deutsche Bank": Is Deutsche Bank naive? In: Der Spiegel from August 24, 1970 ( online , accessed November 30, 2018).
  14. William Valle Thin: Is Martin Walser naive? In: Der Spiegel from September 14, 1970 ( online , accessed November 30, 2018), quoted from Sebastian Brünger: History and Profit. How German corporations deal with their Nazi past . Wallstein, Göttingen 2017, p. 173 f.
  15. Lars Rensmann : Beheading of Medusa. On the historical reconstruction of the Walser debate in the light of political psychology. In: Micha Brumlik , Hajo Funke & Lars Rensmann (eds.): Contested forgetting. Walser debate, Holocaust memorial and recent German historical politics. 2nd expanded edition. Schiler, Berlin 2004, ISBN 978-3-89930-240-0 , p. 36 f.
  16. Matthias N. Lorenz: "Experiences while writing a Sunday speech (Martin Walser, 1998)." In: Wolfgang Benz: Handbuch des Antisemitismus. Hostility to Jews in the past and present. De Gruyter, Berlin 2015, p. 103 ff.
  17. Martin Doerry & Volker Hage : Spiegel talk: "You are lonely anyway" . In: Der Spiegel . No. 19 , 2015, p. 136 ff . ( online ).
  18. "An anti-Semite is always wrong.", May 25, 2018
  19. I wanted to assert myself , Marcel Reich-Ranicki in conversation with Volker Hage , Spiegel , May 22, 2010, accessed on April 19, 2020.
  20. Reviews of Auschwitz urges us on a spot with Perlentaucher
  21. Conscience and the public - a suggestion for interpretation of the Walser-Bubis controversy - article by Georg Pfleiderer in the magazine for evangelical ethics, issue 4 1999
  22. "Eisenman is a genius" - article by Claudia Keller in Der Tagesspiegel , edition of May 10, 2006 (accessed on November 8, 2009)
  23. First performed in 2010 in a production by Ansgar Haag at the Meininger Theater in the presence of the author. "A loving man" premiered. Schwäbische Zeitung from October 2, 2010
  24. ^ Peace Prize of the German Book Trade 1998 - Martin Walser. ( Memento from June 18, 2013 in the Internet Archive ) Laudation by Frank Schirrmacher and acceptance speech by Martin Walser. (PDF; 180 kB)
  25. ^ Alemannic Literature Prize. City of Waldshut-Tiengen, archived from the original on May 4, 2013 ; Retrieved December 14, 2010 .
  26. Portrait: Martin Walser on the occasion of the award of the Weishanu Prize. ( Memento from May 19, 2014 in the Internet Archive ) Goethe-Institut China, December 2009.
  27. ^ Prize of the German Society to Walser and de Bruyn - Tabula Rasa magazine. Retrieved December 11, 2017 (German).
  28. Without each other. Internet Movie Database , accessed June 10, 2015 .