Matto rules

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Matto rules in the edition of the Limmat Verlag , 1995

Matto rules is the third Wachtmeister Studer novel by the Swiss author Friedrich Glauser . This crime thriller, written in 1936, is next to Gourrama the most autobiographical novel, as Glauser addresses his repeated internments in psychiatric clinics in it . Matto rules is regarded as Glauser's key novel and triggered a scandal in the Bernese healthcare system when it was published in 1937 .

Beginning of the novel

One was woken up in the morning, at five o'clock, at night, that is, by the shrill of the telephone. The cantonal police director was on the line and the dutiful call was made: Sergeant Studer. You were still in bed, of course, you still got at least two hours of sleep. But then you were told a story that was difficult to understand with a half-awake brain. So it happened that you had to interrupt the story of your high-ranking officer from time to time with How? and with what? - and that you finally got to hear that you were a tubule and that you'd better get loose!

content

Starting position

Early in the morning, Sergeant Studer was roused from his sleep by a phone call: A patient named Pierre Pieterlen broke out in the Randlingen Sanatorium and the director, Ulrich Borstli, was also missing. Shortly afterwards, the sergeant is taken over by Dr. Ernst Laduner, the deputy director of the psychiatric clinic, was picked up. When he arrives in Randlingen, Studer is introduced to the premises during his morning visit and gets to know the senior doctors as well as some nurses and patients. After lunch, the investigator discovers the director's body in the boiler room of the main building. It turns out that a folder with documents and 1200 francs that the dead man was carrying is missing.

detection

«After the gate that led inside, there were steps again. (...) It smelled of pharmacy, dust and floor wax ... A strange smell that Studer was supposed to haunt for days. "
Entrance to the Münsingen Psychiatric Center (PZM), 1895

Over the course of the next four days, Studer penetrated deeper and deeper into the secrets of the clinic and his roommates and discovered that the investigation was a lot more difficult than he is used to. There is the missing patient Pieterlen, who murdered his newborn child nine years ago and who would have had a strong motive to kill the director of the institution: Borstli prevented his release and flirted with the nurse Irma Wasem, with whom Pieterlen had fallen in love. The nurse Gilgen was threatened with dismissal because he had stolen clothes from patients. Dr. Laduner himself had been in conflict with Borstli for a long time because he rejected his new treatment methods. The department nurse Max Jutzeler would also have benefited from the death of the head of the institution, as he was also threatened with dismissal because he had instigated a strike among the nurses. For Studer, the matter becomes even more complicated emotionally when he realizes who the young man is in psychoanalysis at Dr. Laduner is: Herbert Caplaun is the son of Colonel Caplaun, who had quickly ended Studer's career a few years ago in the bank affair, so that the then commissioner at the Bern city police had to start again at the bottom as a constable. Instead of clear facts and circumstances, Studer is confronted with a network of psychological abysses in the “realm of madness”. Little did he know that his investigation would lead to suicide and he got into increasing conflict with his host, Dr. Laduner.

resolution

On the fourth evening, Studer realizes that the missing Pieterlen is hiding in the house of the carer Gilgen. When he got there, he overheard a conversation between Irma Wasem and Pieterlen: The two are really a couple and want to flee to France. Three more people arrive at Gilgen's house in the next 45 minutes, and Studer has to intervene to prevent another murder. When he spoke to Dr. Laduner wants to explain the course of events and the resolution of the case, it turns out that the sergeant was deceived.

Emergence

Glauser in the "realm of madness"

The literary scholar Bernhard Echte writes in his afterword to Matto reigns : «Glauser did not carry a book around with him for so long; no other material came so close to his special life experiences - but in no other topic did he see so much supra-personal significance. " In fact, Glauser came into contact with "being crazy " at an early age . Because of his addiction to morphine , Glauser regularly committed criminal offenses by stealing and falsifying prescriptions. In 1917, Glauser's father applied for a psychological examination of his son, and a year later he was incapacitated and first admitted to a psychiatric clinic : the Bel-Air clinic in Geneva diagnosed “ dementia praecox ”. In 1920 the next medical report followed: "Moral nonsense". Glauser was interned in the Holligen insane asylum in Bern , whereupon he fled, not for the last time. Being different and outcast accompanied Glauser his entire life and fits the words that Dr. Laduner reigns in Matto speaks: «We will never be able to draw the line between insane and normal ... We can only say that a person can adapt socially, and the better he can adapt socially, the more he tries to meet his fellow men understand how to help him, the more normal he is. " And the writer Alex Capus said in an interview: " Matto rules is one of my favorite books because Wachtmeister Studer explores the border regions between reason and madness, which are not as far away from us as we would like to believe."

"Matto's Puppet Theater"

The painful experience of belonging to the "insane" was first dealt with by Glauser in 1919/1920 in his mini-drama Mattos Puppet Theater , which allows various people (including Glauser himself and his father) to perform in an asylum. There he personifies the madness and gives it a name: «Matto» (Italian for «crazy»). He makes him appear as a long, pointed figure, the outlines of which are constantly changing, the face is indistinct, becomes thin, puffs up, takes on diverse forms and speaks in a high-pitched voice. The piece has five lifts, during which the figure of Matto appears several times. Glauser probably began writing it down in 1919 in the Münsingen Psychiatric Center . Matto's puppet theater seems slightly surreal, which is probably due to Glauser's time in the Zurich Dada scene of 1916/1917. On the manuscript there is a dedication on the 35th birthday of the writer Bruno Goetz , a friend of Glauser's Ascones days . In addition to Matto's puppet theater and Matto reigns , the madhouse material found its way into three other short stories: Ghosts in the Madhouse (1933), A Doomsday (1933) and In Kollegen (1936/1937).

«Matto» in the Waldau

“Through the wide-open door that opened before him, the sergeant saw huge boilers that were heated with steam. They were crooked. "
PZM's kitchen, 1895

In 1931 the idea of ​​writing a madhouse novel seems to have surfaced for the first time with Glauser: In a letter to his Münsingen doctor Max Müller he remarked: “Now I hope that I can finish a few things here, a long story that maybe it's going to be a novel about this nurse-doctor story. Of course, according to my bad habit, the whole thing will probably amount to a description of the atmosphere of the madhouse. " In February of the following year he wrote to Gertrud Müller (Max Müller's wife) from Paris: “I have a great novel about Münsingen in my head, but I'm afraid to answer it. It would have to be a kind of cross-section, with the ‹tenants and aboutissants› [French. for "connections"] of the occupants of such a building. "

When Glauser was interned in the Waldau Psychiatric Clinic , he began to write it down in January 1936 and had written almost all 26 chapters by the end of May. On January 17, he reported to his long-time pen friend and patron Martha Ringier about the problems with the beginning of the novel: “I have started my madhouse novel six times so far. I haven't caught the tone yet. That's always the hardest part. But I think I'm on the trail. [...] Perhaps no publisher will want it, and when it is in print the elite will say: 'It's just a detective novel'. That doesn't matter. " And on February 6th he wrote to her: «Why, I beg you, why shouldn't one even try to give a kind of mirror image of humanity by showing a closed institution, this anthill in which human ants spray themselves with poison , bite, are jealous of each other, and treat them very decently every now and then. [...] It's going to be a detective novel, but I don't see any other way for people to swallow things that they would otherwise not swallow dry. " In mid-March he got back to Martha Ringier: “I'm having a strange time with the book. It was supposed to be an undemanding, a bit malicious book about sacred psychiatry, a detective novel like there are many, and suddenly the whole thing turns around, it becomes poetic (derisive! Please!). "

A central chapter of the novel is "The demonstration object Pieterlen", although it is not relevant to the plot of the crime novel. Because he was very quick at typing on the typewriter, Glauser was commissioned to make copies of files during his stay in Münsingen in 1931. In doing so, he came across the dossier of a man who had killed his newborn child. Five years later Glauser took over the story of this patient practically 1: 1 and made the fate of the "demonstration object Pieterlen" out of it. What is remarkable is that Glauser uses this infant murder to raise the open question of hasty conviction and “guilt”. Hardy Ruoss wrote: «For him [Glauser] - and in all his narrative work, especially in the detective novels - guilt is never something clear. That is why man should also be careful not to become a judge of his fellow human beings (the Bible phrase 'Do not judge ...!' Appears in Glauser's work on various occasions ). " It would take more than 70 years until after Matto ruled , the criminal defense attorney Ferdinand von Schirach, an author who brought the often double-edged question of true guilt back to the center of his stories.

“And at the back, two men stepped out of a single, two-story building. (...) And a black stretcher with a coffin swayed between them. Studer turned away. "
Former PZM death house, 2016

16 years after Matto's puppet theater , Glauser also let the figure of "Matto" reappear. The patient Schül explains to Sergeant Studer that Matto's head keeps shooting back and forth out of the attic window above Studer's room: «Matto, whose realm extends across the globe […] Matto! He is powerful. He takes on all forms, now he is short and fat, now slim and tall, and the world is his puppet theater. People don't know that he plays with them like he does with his puppets… ”On May 2nd, Glauser wrote to journalist and friend Josef Halperin why Matto was moving forward so quickly:“ The novel is funny. Do you believe me I've been dragging him around for five years? That's why I was able to knock him off like that. And Matto is exactly - wait a minute - 16 years old. The poem that Schül wrote was committed by votre serviteur at the time. And he is honored that you think it's beautiful and crazy ... ”Also on this day, a letter was sent to Glauser's guardian Robert Schneider with the information that he had sent the first 120 pages to Hans Oprecht (who published the novel in the newspaper Der public Service ). On May 4, Glauser quarreled with the end of the story; he wrote to Martha Ringer: “I still have to kill Caplaun, in my novel, and don't know if he should drown or put a bullet in his gring [pejorative for the head]. But he has to finish, not the Caplaun, but the Roman. "

On May 18, Glauser was released from the Waldau; As a condition for this, he had submitted his written declaration of incapacity to marry to the guardianship authority on April 21, including the obligation to voluntarily return to the hospital in the event of a relapse. On the day of his discharge, the doctor Otto Briner wrote: «Just finished the 'mad house novel' in which the director is murdered by a patient so that the senior physician who is admired by this patient can become director! Seems to be successful in that it was immediately accepted by the Oprecht publishing house. Is full of confidence, says that he has become more mature and that now, having achieved such literary successes, he no longer craves opiates . " The end of the novel was then written in Basel at the end of May, shortly before Glauser traveled to France with his partner Berthe Bendel. However, Glauser found it difficult to resolve the plot. He had thought the plot out too little, too many coincidences led to the solution of the case. Possibly the upcoming trip to France was one of the reasons that the end of Matto ruled is not fully convincing. Looking back at the end of the novel, Glauser wrote to Hugo Marti on April 5, 1937: "You are quite right, the end to his massacre is bad, more than bad - it's botched."

Biographical background

Locations

While Die Fieberkurve was still waiting for a number of locations in different countries, Matto rules on one place, the Randlingen Psychiatric Clinic. Glauser illuminates its microcosm with all its inhabitants and processes like a chamber play . The fact that he himself had lived in clinics for years predestined him to be the author of an insane novel. The literary historian Martina Wernli writes in her dissertation : “It is clear that Glauser's writing developed further after the Burghölzli diary [1920] and that the places of internment and the people he met shaped this writing, as well as reading to have." And further: "Glauser is one of the few inmates who, thanks in part to his reading of specialist literature, sees through the mechanisms of the psychiatric operation, who deals critically with it and is also able to write about it."

Psychiatric clinics

On October 10, 1936, he wrote to Martha Ringier that Glauser himself was a connoisseur of the “realm of madness”: “... the ' Schlumpf' can, with a little technique, be imitated by one or the other. But not the 'Matto'. There is too much experience in it that only I was able to experience. " Glauser's life was a vicious circle of addiction to morphine , lack of money, and crime against acquisitions and ended up in hospitals again and again; until the next discharge, until the next suicide attempt, until the next attempt to escape. Self-employment seemed impossible. And maybe you can interpret his hospital stays as an “escape from life”, in which he could find peace and find time to write. Glauser himself mentions Morphium in his autobiographical story in 1932 : "I was actually always satisfied when I was in prison or in a madhouse." Glauser spent a total of eight years of his life in clinics (the years in the following list refer to the time of admission to the clinic):

Friedrich Glauser in Münsingen, 1931

Münsingen Psychiatry Center

The "insane asylum" in Münsingen started operations in March 1895 with 500 beds. In 1930 it was renamed "Heil- und Pflegeanstalt", 1967 into "Psychiatric Clinic", and since 2000 it has been called " Psychiatriezentrum Münsingen ". With 710 employees and a little over 500 patients, PZM is now the largest employer in Münsingen and one of the largest clinics in Switzerland. In addition to Glauser, the PZM also had other prominent patients, such as the artists Ernst Bollin , Heinrich Anton Müller , Walter Arnold Steffen , the writer Raeto Meier and the dancer and choreographer Vaslav Nijinski .

The Münsingen Psychiatric Center played a special role in Glauser's life, as he spent almost six years there. So it made sense that he chose this location for Matto to rule . Glauser suspected what he would trigger with his new Studer novel and therefore spoke of the fictional Randlingen institution in the "Necessary preface" (the preface was omitted in later editions):

Entrance front of the PZM, 2008

“Telling a story that takes place in Berlin, London, Paris or New York is safe. However, telling a story that takes place in a Swiss city is dangerous. It happened to me that the Winterthur football club protested against one of my stories because it contained a bake. I then had to confirm to the boys and other fellows that they were not meant. The endeavor to tell a story that takes place in a Bernese sanatorium is even more dangerous. I see protests raining. That is why I would like to state the following from the start: There are three institutions in the canton of Bern. - Waldau, Münsingen, Bellelay . - My Randlingen institution is neither Münsingen, nor Waldau, nor Bellelay. The people who appear are fictitious. My novel is not a key novel . A story has to take place somewhere. Mine is set in the canton of Bern, in an asylum. What next? ... one will probably still be able to tell stories? "

Otto Briner, the attending physician in the Waldau, wrote to Glauser shortly after the novel was published (December 1936): «The design of the novel, the somewhat unfortunate foreword and, above all, the stupid laundry slip made the entertainment novel a sensational piece and caused very bad blood to the local government. I only found out afterwards that, contrary to what you said, it was a roman clef and that you can recognize the individual people down to the last detail. Unfortunately, National Councilor Oprecht immediately rushed to explain to the government that the novel was written under our (i.e. mine) censorship and approval. And now the management and I have to eat the soup. " Three days later, Glauser from Angles in France wrote to his guardian in this regard: “He is being accused [of the novel] of being a key novel - and the fable is so deliberately improbable that I had hoped they would accuse me save up."

In 2013, the Münsingen Psychiatry Center, this time positively, became the focus of interest again when, on the occasion of the 75th anniversary of Friedrich Glauser's death, the “ Criminale ”, the largest crime festival in Europe, took place for the first time in Switzerland from May 17 to 21 guested. Over a hundred events took place at several locations in the cantons of Bern and Solothurn . One of those places was the PZM. As part of the literature festival, the clinic remembered its famous patient by honoring the psychiatric thriller Matto reigns in an exhibition . "We're proud of Glauser," said Mike Sutter, spokesman for the psychiatric center. "His novel offers an insight into psychiatry 80 or 100 years ago as it actually was." The Bernese Summer Theater took the Criminale as an opportunity to stage Walter Millns' theater adaptation of the Fieberkurve under the direction of Arlette Zurbuchen in the psychiatry center; the special venue of the insane asylum at that time was also a homage to Glauser. The premiere of the «crime comedy based on Friedrich Glauser» took place on April 17th (at the same time as the opening of «Criminale 2013») in the PZM's casino.

characters

Charles Pierre Glauser

The figure of Colonel Caplaun in Matto reigns unmistakably represents Glauser's father; Glauser himself can be recognized in parts of Herbert Caplaun. The real relationship between Glauser and his father Charles Pierre remained a central and at the same time conflict-laden topic throughout his life. This is also documented by the extensive correspondence between the two. The problems started when Glauser was four years old and the mother died. The father seemed unable to replace Friedrich's maternal security and instead demanded performance, to which the son reacted with increasing rebellion. From 1917 the father-son relationship was characterized by a repetitive pattern: Driven by morphine addiction , Glauser repeatedly committed criminal offenses, betrayed friends and acquaintances, committed thefts, falsified prescriptions and had to be interned. The once more disappointed father distanced himself from his son. Mutual repentance, renewed rapprochement, and forgiveness followed until the next crash. In Matto governs Glauser comes to speak of this vicious circle: “The little vagabonds only know one eternal cycle: failure, punishment, failure, punishment. The protest is provoked by punishment, and the protest ventilates by encouraging new 'atrocities'. " When Glauser was 21 years old, his father refused for the first time to continue paying his debts. He switched on the official guardianship , had the son examined psychologically and incapacitated him. Another attempt followed in 1921 to get the son on the right track: Glauser joined the Foreign Legion on the advice of his father ; but this experiment also failed. And in 1932, after several other disasters, the father finally applied for lifelong custody .

For years Glauser tried to escape dependence on his own father, but always failed and instead processed his frustration in literature or in letters. On October 1, 1936, for example, he wrote to Martha Ringier: “I feel like saying something like that from my father, who always told me when I was little that I would end up in prison. Such words continue to have an effect, completely below the surface - until you are in Witzwil . " Glauser repeatedly took up the central "father-son drama" in his stories. In his first extensive novella Der Heide (1917/1920) he addressed the detachment of the abused son from his father. And in Matto's puppet theater (1919/1920) the father even had the “depraved subject” (his son) interned; This autobiographical central scene can be found in the fourth act, where Glauser obviously lets himself (The young man) and his father (The National Council ) appear:

The potbelly: you know where you are?
The young man: In the madhouse.
[...]
The pot belly: Now tell me what is wrong with you!
The young man (dryly): Nothing.
The potbelly: I beg you, nothing! That is not an answer. Your father brought you here. He'll know why.
The young man: Call him.
The pointed belly presses the bell, whereupon the father appears in the door, tall, white-bearded. He never turns to the son, ignores him. Exclusively to the director.
The pointed belly: Well, Mr National Councilor , maybe you want to tell me in the presence of your son why you want him to be interned?
The father (low voice): Because he's a depraved subject. Here follow the father's allegations: lost student, borrowing money, lies, immorality.
[...]
The pointed belly: Head guard, patient in department five.

In the further course of the play, the father mentions the expertise of a neurologist «Dr. Stralo Wasser », which demands internment as soon as possible. This «Dr. Stralo Wasser »is an allusion to the report of the psychiatrist Dr. Charlot Strasser on August 3, 1920, who diagnosed Glauser with “moral nonsense”. If the father appears in Matto's puppet theater tall and with a white beard (like Glauser's father) as a member of the National Council, the figure of Colonel Caplaun in Matto rules is described in a very similar way: “A white patriarch's beard , the skin of the face of unhealthy paleness and a red cucumber nose in the middle of the face many buds and buttons. " And here, too, the father complains about the son: «... when, like me, you can say with a clear conscience that you have made the heaviest sacrifices for your only son in order to guide him on the right path, if you like me has become white in honor and has to experience that the name that one bears is dragged in the dirt by a failed element, then one cannot condemn it enough when a doctor, a soul doctor, the son's party against a father seizes… » Matto rules is full of swipes at his own father. So Glauser also lets Dr. Laduner said several times: “I am treating young Caplaun. [...] No wonder with the father! " On page 165: “People used to be closed crookedly as a punishment. Herbert Caplaun's soul was also closed crookedly in his youth ... [...] You saw the Colonel ... And then everything else is not difficult to understand. " And once again Laduner: “The matter is deeper. You will know that images we took in our childhood have a life of their own within us; that the image of the father, as it was burned into the soul in childhood, continues to have an effect in the subconscious of the adult. " Sergeant Studer doesn't find any sympathy for Colonel Caplaun either: "Poor Herbert Caplaun, thought Studer, if he couldn't get along in the world, it's not surprising with his father!" And pity for the botched Herbert seized him ... »

Glauser's father died on November 1, 1937 in Eimeldingen . A lifelong stressful relationship came to an end. Charles Pierre Glauser was cremated three days later at 10:00 a.m. in Freiburg im Breisgau . Glauser's father's widow informed his guardian Dr. Robert Schneider also said that she had expressed the wish that Friedrich Glauser did not come to his father's funeral, for reasons that were widely understood. On November 7th, Glauser wrote to Schneider among other things: “Of course, I know, the relationship with my father was not always as it would have been for a son to his father. There is no point in discussing guilt or not guilt now, enough, my father's death hit me hard. [...] I have not yet been able to get over the incident. The whole childhood comes back to life, the years in which I lived alone with him and in which he replaced my mother for me. [...] Yes, I would have liked to go to his funeral, but that wasn't possible. " The father's will was then another heavy blow to Glauser: He was not mentioned at all. Glauser's stepmother inherited the entire fortune.

Ulrich Brauchli

Ulrich Brauchli was director of the Münsingen Psychiatric Center from 1912 to 1938 . Glauser built him into Matto ruled as a murder victim and renamed him Ulrich Borstli. However, this did not prevent the real director and the Münsingen setting from being recognized behind the character in the novel. For Max Müller, senior physician in Münsingen, it was immediately clear “that Glauser had written a novel in the clef about Münsingen in which he [Max Müller] played the leading role in the generation conflict between the advancing, new planning senior physician Dr. Laduner and the backward, incompetent director stuck to his chair ».

"And in the heater, at the foot of the iron ladder that leads to the fire hole, the director lies with a broken neck ..."
PZM boiler room, 1939

In all the years that Glauser was in Münsingen, he did not hold back what he thought of Brauchli. As early as 1919 he wrote to Robert Binswanger: "The next time the anger overtakes me again, I might commit murder." Glauser then carried out this murder, if only in literary form; The reason for the choice of the boiler room as the crime scene was that he was temporarily employed as a stoker in Münsingen and therefore knew this place well. That Glauser didn't like Brauchli is also shown by the many negative descriptions of Borstli. It begins with Studer trying to remember the name of the director of the institution: “What was the name of the director of Randlingen? Würschtli? No ... [...] Bürschtli? ... No ... Ah yes! Borstli! " And on page 21, Dr. Laduner: “Twice a month the director drank himself a drink. [...] The director had a preference for pretty nurses [...] and expressed his admiration for the curves of their shapes with a gentle paw. " It also fits that Borstli secretly reads Casanova's erotic memoirs and the nurse Gilgen describes him on page 60 as an “old goat”. The war-wounded patient Schül accuses Brauchli of evading money: “Who pays the pension? The director! But this cursed soup dealer will get his wages… ”The resident Neuville also adds another character:“ Il a, comment vous dire, il a… oui.… Il a… eh bien, il a pété ( French for farted) tout le temps. " And last but not least, on page 243, Laduner diagnosed Brauchli with “senile dementia ”.

It is therefore not surprising that when the book was published, Brauchli's post office was checked for fear of his reaction and attempts were made to withhold the work from him. Glauser's "literary revenge" had several consequences; Martina Wernli describes one of them in her text about the cantonal insane asylum in Waldau: “What is extraordinary is the fact that Matto ruled and reversed the post control in the asylum. Now it is suddenly the director who is unknowingly affected by it. "

Max Muller

Group photo during a course in the PZM, 1948.
Max Müller seated, third from the left

Behind Doctor Laduner is none other than Max Müller , doctor and later head of the Münsingen Psychiatry Center (1939 to 1954). When he succeeded Brauchli in 1939, the Münsingen sanatorium and nursing home developed into a “Mecca of psychiatry” thanks to his initiative. The fact that Müller was a progressive doctor became apparent as early as 1926 when he ran courses for nursing staff two evenings a week on his own initiative.

Max Müller met Glauser in 1925 when he was interned in Münsingen for the second time. At that time, the doctor lived in the main building on the 3rd floor (on the left as seen from the stairwell) and was one of Glauser's most important people to relate to until 1933, as he carried out psychoanalysis with him during this time , supported him in his literary projects and even followed up with him granted in one's own family. This fact also finds its way into the novel, where Laduner says of Pieterlen: “Well, I tried to make Pieterlen's fate easier. He was allowed to draw, I often spoke to him, sometimes I invited him to my apartment. I lent him books. When he asked for work [...] and he wanted to go to the painter's group, I also gave my consent, although I knew why he wanted to go to this group. He had fallen in love ... "Also the repeated description of Laduner's hair," cut back, a strand stuck out from the back of the head like a feather on a heron, "corresponded Max Müller. On page 142 Glauser even quotes Müller's book Prognosis and Therapy for the Mentally Ill . In Matto reigns he describes the ambivalence of the Glauser-Müller relationship (patient-analyst) very aptly and transfers it to the characters Laduner and Studer. Studer is often torn between admiration and irritation about the doctor. A suitable symbol for this may be the repeated description of “Laduner's mask smile that looks as if it was stuck on in front of a mirror”. Ms. Laduner, on the other hand, (Müller's wife Gertrud Müller) appears trusting, cordial and shows understanding for Studer without losing much words; this description also applied to Gertrud Müller's relationship with Glauser, with whom he continued to write letters after the break with Max Müller.

In total, Glauser was in Münsingen five times during Müller's time. After eight years, however, there was an increasing distance between the two, which was also reflected in the fact that Glauser was jeopardizing the trust of his doctor, analyst and pen friend by forging a prescription in Müller's name in early August 1933. As a result, Müller suggested Glauser's transfer to the Waldau Psychiatric Clinic . Müller comments: “Since the institution and the patient had become allergic to each other and it was difficult to communicate, a step was taken that had already been considered several times and which Glauser also wanted: the transfer to Waldau. »

Berthe Bendel

"Sometimes she came to the window and waved, the woman over there." View over the inner courtyard of the PMZ

With the figure of the nurse Irma Wasem, Glauser paid homage to his longtime partner Berthe Bendel (1908–1986). In Matto reigns their getting to know each other is described in such a way that the patient Pieterlen is transferred to the group of painters and has to paint the walls in the women's B department. There he meets Irma Wasem, and the two fall in love. The patient Schül explains to Studer: «‹ Pieterlen had his treasure over there, and he often stood here by the window. Sometimes she came to the window and waved, the woman over there. ›». In fact, Glauser had met Berthe Bendel, who worked as a nurse in the Münsingen psychiatric institution, in 1933 in the same way. The couple knew that the mesalliance between a patient and a nurse had to be kept secret. They began to secretly hide letters from each other in certain books in the prison library. They received help from Glauser's friend, the nurse Werner Niederhäuser, who helped to keep the Glauser-Bendel relationship a secret. As a thank you, Glauser then seems to have portrayed Niederhäuser as "Pfleger Gilgen" in Matto . Nevertheless, there was institutional gossip, which led to a discussion with Director Brauchli. The couple stuck to the relationship, and so Berthe Bendel quit her job in Münsingen in November 1933. In autumn 1934 Glauser wrote the short story Sanierung, a romantic variation on the Glauser-Bendel relationship, which was filmed in 1979 under the title "The kiss on the hand - A fairy tale from Switzerland".

→ Detailed chapter: Glauser and Berthe Bendel

adventures

Psychoanalysis

Max Müller, portrayed by Fred Stauffer . Oil on canvas, 1952

Friedrich Glauser's psychoanalysis with Max Müller began in April 1927 and lasted about a year. During this time he worked in the Jäcky nursery in Münsingen . Müller comments: “On the contrary, it can perhaps be assumed that without the home that we offered him, without the analysis that I later carried out on him, contrary to every art rule, he would have been completely screwed up and would never have been that out of himself can do what was finally possible for him. " At the beginning, Glauser was open and cooperative about the new treatment method. However, the longer the trial lasted, the greater his aversion to psychoanalysis and the "soul doctors". In Matto reigns Herbert Caplaun says to the sergeant: «You don't know, Wachtmeister, what that is, an analysis! ... Better three pneumonia ... "On June 15, 1934, when Glauser was already in the Waldau Clinic, he wrote to his former girlfriend Beatrix Gutekunst:" The department doctor is German and quite averse to analysis, which is refreshing. It took me a long time to realize what it was that always irritated me so much with M. [üller] and the other analysts I have met; you got it out quickly, but you never really got it right; their absolute lack of humor, which, just like the staunch anthroposophists , is actually hidden behind a superior, sunny smile. When they go on their excursions into the depths of the soul, they always have to put on diving suits, with heavy lead soles, and in this way protected and armored they go 50 m below the level of consciousness to look for gold there. But instead of the gold, which was probably there, they are content with squids, and of course the squids spit, [...] because they prefer to stay in the dark. " And on February 24, 1936, he stated in a letter to Martha Ringier: “It has been discovered that an analysis must take at least eight years to be effective. Can you imagine that? For eight years, lying on a sofa or a rubber couch (as the Bernese spell the word) for an hour every day and associating . Not even a mule can take that . I've always asked myself whether, for example, dogs could also be analyzed. " Glauser made one last statement on the subject in 1938 in the prose fragment Insulin : «Your position [the psychiatrists] is difficult. In many cases their power is greater than that of a judge, because their decisions are incontestable. The opinion of a psychiatrist can deny a person a person's civil rights , place him under guardianship without rescuing his civil duties , can deprive him of his freedom by requiring care in the workhouse for years, even lifelong internment in a sanatorium , it can go further and force a person to renounce his love life and to continue living a life that is no longer one. "

Glauser quote on psychoanalysis inside the ICN 500 019

Ironically, Glauser himself was inadvertently declared an analyst: On the blurb of Matto ruled by Jean Christophe Verlag in 1936, it read that “the poet 'Mattos' must also be an excellent psychoanalyst”. Perhaps that was one of the reasons why Glauser (apart from misprints and the forgotten dedication for Otto Kleiber) was so angry about the "bulls from Jean Christophe-Verlag" who had "screwed up" various things in the novel.

You can find a quote from Glauser about Sigmund Freud , the founder of psychoanalysis, when you enter the ICN in Switzerland with the number 500 019 . Within the composition of the train you can read a quote from the story Broken Glass (1937/38): "If I had come to see the later famous Doctor Freud, I would have been sitting in a scribe's chair today." As part of the Bahn 2000 , the SBB acquired new tilting trains , where the multiple units were named by well-known Swiss; inside the wagons, quotations of the relevant personality were placed above the windows. The ICN with the number 500 019 came into circulation on April 17, 2001 and was named "Friedrich Glauser".

«Matto» and National Socialism

Apart from the fact that Glauser shows social grievances in his stories, he was basically an apolitical author. The only time he had dared explicitly literary in this area, he burned his fingers: In 1937 he wrote a review about André Gide's book Retouches à mon retour de l'URSS , which triggered unintentionally an altercation over communism and Stalinism from . The result was that he fell out with his pen pal Rudolf Jakob Humm , whom he had met during the reading in the “Rabenhaus” . On August 25, 1937, he wrote to Otto Kleiber: “Then I wrote the Gide article for Halperin, and it was on my stomach - because it didn't turn out the way I wanted, and anyway: I should do politics let it be, I don't understand anything about it. And yet it beckons me, like everything that I don't understand. "

The impending war

In Matto, Glauser is unexpectedly political by criticizing the National Socialist development in neighboring Germany. The patient Schül almost prophetically conjures up the impending war in the description of “Matto”: “Sometimes, when the hair dryer turns the fog into soft threads, he sits by my bed and whispers and tells. The green glass nails on his fingers are long and they shimmer when he runs his hands through the air ... Sometimes he sits on top of the bell tower and then he throws threads, colored threads, far out into the country over the villages and towns and the lonely houses on the hillside ... His strength and glory reach far, and no one escapes him. He waves and throws his brightly colored paper garlands, and the war flutters up like a blue eagle, he hurls a red ball, and the revolution flares up and bursts. " Glauser also puts words into Wachtmeister Studer's mouth that describe war and destruction: “What people found! There were: marriage counselors, appointed psychologists, psychotherapists, carers; they had been built: hospitals for drinking, rest homes and educational institutions ... All this was carried out eagerly and bureaucratically ... But much more eagerly and less bureaucratically were manufactured: gas bombs, airplanes, armored cruisers, machine guns ... To kill each other ... It was really a mess about him Progress ... One was humane, with the ulterior motive to get out of the world as quickly as possible ... "A passage in which Laduner speaks to Studer could be understood as a hidden criticism of Adolf Hitler :" I'm not talking about murder now Orders as in war, as in revolution. There the Fuehrer bears responsibility for who he is ... "That Glauser had a feeling for the coming war relatively early was shown by his letter of October 26, 1933 to Berthe Bendel:" And I am terribly longing for you. If only you had a nice time together for a while. But I think we'll have war soon. [...] It looks bad in Germany. "

Hitler's radio speech

Adolf Hitler at a radio address in 1933

On page 209, Glauser becomes surprisingly concrete by describing a Hitler speech on the radio: “A military march faded away, and then a strange voice filled the room. It was haunting, but an uncomfortable urgency. She said: 'Two hundred thousand men and women are gathered and cheer me. Two hundred thousand men and women have come to represent the whole people who stand behind me. Foreign countries dared to denounce my breach of contract ... [with the reintroduction of compulsory military service on March 16, 1935, the German Reich repealed all military provisions of the Versailles Treaty ]. When I seized power, the country lay devastated, devastated, sick ... I made it big, I earned it respect ... Two hundred thousand men and women listen to my words, and with them the whole people listens ... ›Laduner slowly got up and walked to the speaking box ... A crack ... The voice fell silent ... "And Laduner continued:" The man who just spoke was lucky ... If he had been given a psychiatric assessment at the beginning of his career, the world might look a little different ... "As Glauser wrote this passage, he was referring possibly to Hitler's speech at the Nazi Party in 1934. There, said the leader among other fact of "200,000 men": "200,000 men are gathered together, nothing has summoned than the bid of their heart , called nothing but the commandment of her loyalty. "

Audio file / audio sample Excerpt from Hitler's speech at the Nazi Party Congress on September 7, 1934 in Nuremberg ? / i

In a letter of March 23, 1936 from Waldau to Martha Ringier, Glauser describes his irritation and fear about the possible consequences of Hitler's National Socialism: “I always have to think of 1914, the few months before the big Kladderadatsch. The mood is so similar. I read newspapers and force myself to do it, although it always takes me two or three hours to recover from such a reading. You outside don't even notice it. We have the finer organs, probably precisely because we are not in the hustle and bustle. [...] Recently the radio broadcast a speech by Hitler, the four of us sat around the machine. The others laughed, it wasn't an honest laugh. I soon dodged. I could not anymore. This is, I thought at first, this is the end ... This is the end of everything we liked, pictures, music, verses. "

Publications

First episode of Matto rules in The Public Service from May 22, 1936 (excerpt)

From May 22 to November 13, 1936, Matto governed appeared as the first print in Hans Oprecht's newspaper Der public service (association journal of the VPOD union ). The book was then published in December by Jean Christophe Verlag with a print run of 1,500 copies and a fee of 1,000 francs for Glauser. This first edition had a few printing errors, and Glauser's dedication to the feature editor of the Basler National-Zeitung Otto Kleiber was forgotten. Glauser wrote to Oprecht: “I'm sorry that I can't take your laundry slip by the ears. I would do that with immense satisfaction. When such a gentleman allows himself to write that I am an excellent psychoanalyst, even the horses have to laugh. [...] And compare one with Poe! That's grotesque. " Even if unintentional in this form, the comparison with Edgar Allan Poe was appropriate in that he too had written a novella about an insane asylum in which he questions our perception of insanity and normalcy («Das System des Dr. Teer und Prof. Feder », 1845). Regarding the printing errors in the first edition of the book, Glauser added: “Please give your proofreader a dictionary as a belated Christmas present . Maybe glasses too. I don't know what is more necessary. " In the second edition of the book by Matto governed , which appeared in the Swiss printing and publishing house in 1943 , all current references to Nazi Germany , in particular Hitler's radio speech, were deleted.

reception

Münsingen scandal

The publication of Matto governed probably received its greatest attention in the scandal that the novel sparked in 1937. On January 23rd, Otto Briner, a doctor at the Waldau , wrote to Glauser: “You notice a little too clearly that what mattered most was to 'abreact', which you received subjectively, but which was not exactly objective Added value. " In the unpublished text voluntary disclosure from May 1937, Glauser commented: "I don't know why so many people were angry about the book."

Matto rules in the censored book edition (with SU) of the Swiss printing and publishing house , Zurich 1943

Too many people recognized themselves in the madhouse novel. In addition, the view that Glauser gave the readers behind the walls of the Randlingen (or Münsingen) institution was not the best. The main problem, however, seemed to be the figure drawing by Ulrich Borstli, behind which the institution's director Ulrich Brauchli was unmistakably hiding. Max Müller described the situation as follows: «Meanwhile, the devil had broken loose in Münsingen. Together with Kaisers, we asked the faithful Rosa Maurer, who had taken care of Brauchlis for years, to check his mail and to suppress any parcel suspected of being “Matto”. In the meantime the people, not just the prison staff, but the entire population of Münsingen - lists were laid out - were queuing at the station kiosk to get the book; really a grotesque situation. "

At the turn of the year 1936/1937, Müller was even quoted as the government councilor and director of health care, Henri Mouttet. Müller said: “During my visit on New Year's Eve morning, he promised me to read the book about New Years, to convene an extra meeting of the entire government council on January 2nd and to let me know on January 3rd. He kept his word. On my second visit he explained to me factually that only Brauchli would be legally legitimized to file a defamation suit , which he would hardly be able to succeed with, since everything that was written about him corresponded to the facts. In addition, such a press process would take months and come before the jury, which of course would mean the best publicity for the book. Incidentally, he read a number of passages from it to his government council colleagues, where appropriate characterization [...] aroused general amusement. " Thus, the Bern government council refrained from the planned confiscation of Matto ruled .

A disciplinary investigation into the negligence in the Waldau Clinic (because the clinic had virtually authorized the work by Glauser writing it there) also came to nothing. On February 11, Otto Briner wrote to Glauser from the Waldau clinic: “You were right in your assumption that my head would not be cut off. The government has contented itself with expressing its lively regret that such 'negligence' has occurred, and that ends the matter externally. [...] As far as I can see, the 'Matto' is circulating in numerous copies among nurses and patients. " Glauser received help from Hans Oprecht, who wrote to Glauser at the end of January: « Dr. Morgenthaler will campaign for the book. He will even use it to fight the situation in the Bernese insane being. " And Glauser himself? He was far away from the action, was in Angles in France and wrote to his guardian Robert Schneider on January 26th: “By the way, from here I will do my best to chase the government rabbit a little further. I have a few acquaintances in the ' Journaille' , as they say in the neighboring country, and I will make sure that people talk a little about this little bit of bourgeoisie in the newspapers . So for the time being I will sit still very quietly in Angles, plant the garden and, in case the sun finally settles down again, warm myself in its rays. " And two days later to Martha Ringier: “If the gentlemen had me, I would probably disappear without a trace in Witzwil for a few years - and I'm too bad for that. After all, I can't help it if the Bernese government council starts to spin. "

In 2014, former Federal Councilor Christoph Blocher said of the Münsingen scandal: “The new boss of Münsingen and Waldau was Max Müller, who can be recognized as a hero in Glauser's novel. He represented a new psychiatry. Glauser thus contributed indirectly to new developments in Swiss psychiatry. In 1930 such a 'Schlufi' could not have been appreciated. But today the way of life is no longer important. All that counts is the many 'good fruits'. "

Film adaptations

Matto rules (1947)

prehistory

Film magazine Mein Film with the photo report for the premiere in Vienna, 1948

The film company Praesens decided to film Matto ruled after Wachtmeister Studer (1939) . Filming began on March 8, 1943. A week later, however, production was stopped again. The reasons for this were a lack of feeling for Glauser's material and deficiencies in the script. The loss for Praesens-Film was 40,000 francs. Three years later, Matto was revisited , and so the film project became topical again. A new script was written by Alfred Neumann , and even Leopold Lindtberg , director of the first Glauser film, accepted again. Also there (as with Wachtmeister Studer ) were Heinrich Gretler as Wachtmeister Studer, Sigfrit Steiner as Commissioner, Schaggi Streuli as night watchman, and Zarli Carigiet played the war-damaged schoolboy. In order to stage the film as realistically as possible, Lindtberg insisted that all actors get to know Max Müller. "Müller's objection that he had meanwhile become much older and, by the way, had also become a director, that the atmosphere of the institution had changed radically since Glauser's times, did not work. So one day the whole company appeared in Münsingen, probably to make a profit - me The visit itself resulted in a very interesting conversation about film problems. "

production

Filming began on December 7, 1946 and lasted until March 21, 1947. The psychiatric clinic of Königsfelden in the canton of Aargau was chosen for the exterior shots of the “Randlingen / Münsingen” clinic . Matto rules lasted 96 minutes in the final version. The premiere took place on April 17, 1947 in the Rex cinema in Zurich and had four weeks of running time. However, almost all of the film flopped with audiences and critics. When Matto ruled Vienna (birthplace of Friedrich Glauser and “cradle of psychoanalysis ”) began on April 9, 1948 , the magazine Mein Film wrote about its photo report: “Filmed according to an idea by Friedrich Glauser, it differs from conventional crime film primarily through its Swiss note. The insane asylum that provides the framework for the film is about the conflict between old and new psychoanalysis, between an open-minded doctor and an institution director who sticks to the traditional. "

implementation

While Leopold Lindtberg's film adaptation of Wachtmeister Studer still largely adhered to the literary model by Glauser, the implementation by Matto governed mainly made use of the locations and the most important characters; the original for the novel was greatly simplified for the script and had many omissions. Everything revolved around the question of guilt, whether Herbert Caplaun was really the culprit or not. In contrast to the book, the film begins with a dance evening in the casino and it takes 28 minutes for Studer to perform. This first half hour is used to introduce the main characters, their relationships with one another and possible motives for the crime. The unsympathetic character of Ulrich Borstli, whose conflict with Dr. Laduner and the quarrels within the doctors and nurses. Other significant deviations are: Pierre Pieterlen was completely deleted. Instead, Herbert Caplaun was developed into the main character, who has a relationship with Irma Wasem. Director Borstli's body is in the elevator shaft instead of in the boiler room. And Glauser's criticism of Hitler and his politics can only be seen in the fact that during the tour of the departments a “madman” stands up and Studer salutes with the Hitler salute. The character drawing by Studer himself hardly does justice to Glauser's example and is shown, for example, in the fact that the sergeant atypically flares up several times.

Further films

  • 1980: Matto rules. Germany / Switzerland, TV film, director: Wolfgang Panzer; with Hans Heinz Moser as Studer.
  • 2001: Studer's first case. Switzerland, television film, director: Sabine Boss ; with Judith Hofmann as Claudia Studer - ruled after Matto .

Theater adaptations

As early as 1943, Renato Cavoli wrote a theatrical version with the title: "Matto: A detective piece based on the novel 'Matto reigns' (1935/36) by Friedrich Glauser and a similar film by Leopold Lindtberg from 1947". Over the years Matto has been regularly performed by amateur theater ensembles and in 2014 it was directed by Sebastian Nübling at the Schauspielhaus Zurich . In 2018 Christina Rast staged the crime thriller in her own adaptation for the St. Gallen Theater . At the premiere, the St. Galler Tagblatt wrote : “In the St.Gallen Theater, Christina Rast turns Friedrich Glauser's crime novel 'Matto reigns' into a captivating, nightmarish tableau - and brings the pull of the novel to the stage. After two hours you say: Wow, what a brilliant novel that was! And: Wow, the Glauser anticipated Dürrenmatt with his grotesque, bitterly angry, time-critical scenarios - and yes, maybe even exceeded them! Because Glauser experienced the “rot behind the scenes,” as Peter von Matt once put it, with his own body. Then thanks for this enthusiasm goes to the production. The director captured the core of this novel and put it into the picture in such a way that its power, tension and depth are tangible on stage. Then you can confidently forget the sappy, kitschy and content-trivialized film adaptation from 1947 with Heinrich Gretler, which is repeatedly shown on television. [...] Gradually the rivalry between the doctors, the loneliness of the director, the indebtedness and greed, but also the acute care emergency (which is fought with a flag-waving strike) becomes clear. Also how technocracy and ideology can tip over into barbarism. Glauser sensed this clairvoyantly in the 1930s and made Hitler scream hate speech on the radio. What a great, topic-rich, always topical crime thriller! "

Audio books

Documentaries

literature

Matto rules in the censored book edition (without SU) of the Swiss printing and publishing house , Zurich 1943
  • Edgar Allan Poe: Works - Volume 1. Walter Verlag, Olten 1966, ISBN 3-530-65651-8 .
  • Gerhard Saner: Friedrich Glauser, two volumes, Suhrkamp, ​​Frankfurt am Main / Zurich 1981.
  • Bernhard Echte, Manfred Papst (Ed.): Friedrich Glauser - Briefe 1. Arche Verlag, Zurich 1988, ISBN 3-7160-2075-3 .
  • Frank Göhre: Contemporary Glauser - A Portrait. Arche Verlag, Zurich 1988, ISBN 3-7160-2077-X .
  • Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche Verlag, Zurich 1991, ISBN 3-7160-2076-1 .
  • Rainer Redies: About Wachtmeister Studer - Biographical Sketches. Edition Hans Erpf, Bern 1993, ISBN 3-905517-60-4 .
  • Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 .
  • Heiner Spiess, Peter Edwin Erismann (Ed.): Memories. Limmat Verlag, Zurich 1996, ISBN 3-85791-274-X .
  • Hannes Binder : Nüüd Appartigs… - Six drawn stories. Limmat Verlag, Zurich 2005, ISBN 3-85791-481-5 .
  • Hans Maurer, Michael Gerber, Sarah Pfister: Psychiatry Center Münsingen PZM (Swiss Art Guide, No. 863/864, Series 87). Ed. Society for Swiss Art History GSK. Bern 2009, ISBN 978-3-85782-863-8 .
  • Renato Cavoli: "Matto: a detective piece based on the novel Matto reigns" (1935/36) by Friedrich Glauser and a film of the same name by Leopold Lindtberg from 1947 ". Elgg Verlag, Belp 2009.
  • Martina Wernli: Writing in the margin - “The Bernese cantonal mental institution Waldau” and its narratives (1895–1936). Transcript, Bielefeld 2014, ISBN 978-3-8376-2878-4 (Dissertation Eidgenössische Technische Hochschule ETH Zurich, No. 20260, 2011, 388 pages).

Web links

Individual evidence

  1. ↑ Bernhard Echte: Afterword. In: Friedrich Glauser: Matto rules. Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 251.
  2. ^ Friedrich Glauser: Matto rules. Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 195.
  3. ↑ Interview with Alex Capus. In: Schweizer Illustrierte . April 1, 2011.
  4. ^ Friedrich Glauser: The narrative work. Volume 1: Matto's Puppet Theater. Limmat Verlag, Zurich 1992, ISBN 3-85791-203-0 , p. 124.
  5. ^ Friedrich Glauser: The narrative work. Volume 2: The Old Wizard. Limmat Verlag, Zurich 1992, ISBN 3-85791-204-9 , p. 301.
  6. ^ Friedrich Glauser: The narrative work. Volume 2: The Old Wizard. Limmat Verlag, Zurich 1992, ISBN 3-85791-204-9 , p. 328.
  7. ^ Friedrich Glauser: The narrative work. Volume 3: King Sugar. Limmat Verlag, Zurich 1993, ISBN 3-85791-205-7 , p. 280.
  8. ↑ Bernhard Echte, Manfred Papst (Ed.): Friedrich Glauser - Briefe 1. Arche Verlag, Zurich 1988, ISBN 3-7160-2075-3 , p. 340.
  9. ↑ Bernhard Echte, Manfred Papst (Ed.): Friedrich Glauser - Briefe 1. Arche Verlag, Zurich 1988, ISBN 3-7160-2075-3 , p. 376.
  10. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 153.
  11. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 141.
  12. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 194.
  13. ↑ Hardy Ruoss: Do not scoff at detective novels - reasons and backgrounds of Friedrich Glauser's stories. In Die Horen - magazine for literature, art and criticism . Wirtschaftsverlag, Bremerhaven 1987, p. 64.
  14. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 84.
  15. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 279.
  16. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 283.
  17. ^ Gerhard Saner: Friedrich Glauser - A work history. Suhrkamp Verlag, Zurich 1981, p. 143.
  18. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 589.
  19. ↑ Martina Wernli: Writing on the edge - "The Bernese cantonal insane asylum Waldau" and their narratives (1895-1936). Transcript Verlag, Bielefeld 2014, ISBN 978-3-8376-2878-4 , p. 335.
  20. ↑ Martina Wernli: Writing on the edge - "The Bernese cantonal insane asylum Waldau" and their narratives (1895-1936). Transcript Verlag, Bielefeld 2014, ISBN 978-3-8376-2878-4 , p. 328.
  21. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 398.
  22. ^ Friedrich Glauser: The narrative work. Volume 2: The Old Wizard. Limmat Verlag, Zurich 1992, ISBN 3-85791-204-9 , p. 184.
  23. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 474.
  24. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 481.
  25. ↑ Glauser's return. In: Berner Zeitung . April 19, 2013.
  26. ↑ Lust for crime. In: Tages-Anzeiger . April 22, 2013.
  27. ↑ With Glauser in the realm of madness. In: Berner Zeitung. April 19, 2013.
  28. ^ Friedrich Glauser: Matto rules. Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 14.
  29. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 379.
  30. ^ Friedrich Glauser: The narrative work. Volume 1: Matto's Puppet Theater. Limmat Verlag, Zurich 1992, ISBN 3-85791-203-0 , p. 30.
  31. ^ Friedrich Glauser: The narrative work. Volume 1: Matto's Puppet Theater. Limmat Verlag, Zurich 1992, ISBN 3-85791-203-0 , p. 124.
  32. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 153.
  33. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 156.
  34. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 25.
  35. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 165.
  36. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 229.
  37. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 158.
  38. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , pp. 786/787.
  39. ↑ Hans Maurer, Michael Gerber, Sarah Pfister: Psychiatriezentrum Münsingen PZM (Swiss Art Guide, No. 863/864, Series 87). Ed. Society for Swiss Art History GSK. Bern 2009, ISBN 978-3-85782-863-8 , p. 33.
  40. ↑ Bernhard Echte, Manfred Papst (Ed.): Friedrich Glauser - Briefe 1. Arche Verlag, Zurich 1988, ISBN 3-7160-2075-3 , p. 43.
  41. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 10.
  42. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 54.
  43. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 147.
  44. ↑ Martina Wernli: Writing on the edge - "The Bernese cantonal insane asylum Waldau" and their narratives (1895-1936). Transcript Verlag, Bielefeld 2014, ISBN 978-3-8376-2878-4 , p. 373.
  45. ↑ Hans Maurer, Michael Gerber, Sarah Pfister: Psychiatriezentrum Münsingen PZM (Swiss Art Guide, No. 863/864, Series 87). Ed. Society for Swiss Art History GSK. Bern 2009, ISBN 978-3-85782-863-8 , p. 9.
  46. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 111.
  47. ↑ Martina Wernli: Writing on the edge - "The Bernese cantonal lunatic asylum Waldau" and their narratives (1895-1936). Transcript Verlag, Bielefeld 2014, ISBN 978-3-8376-2878-4 , p. 330.
  48. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 131
  49. ↑ Heiner Spiess, Peter Edwin Erismann (Ed.): Memories. Limmat Verlag, Zurich 1996, ISBN 3-85791-274-X , p. 97.
  50. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 236.
  51. ^ Bernhard Echte, Manfred Papst (ed.): Friedrich Glauser - Briefe 1. Arche Verlag, Zurich 1988, ISBN 3-7160-2075-3 , p. 493.
  52. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , pp. 170/171.
  53. ^ Friedrich Glauser: The narrative work. Volume 4: Cracked Glass. Limmat Verlag, Zurich 1993, ISBN 3-85791-206-5 , p. 241/242.
  54. ↑ Martina Wernli: Writing on the edge - "The Bernese cantonal insane asylum Waldau" and their narratives (1895-1936). Transcript Verlag, Bielefeld 2014, ISBN 978-3-8376-2878-4 , p. 372.
  55. ↑ Friedrich Glauser: The narrative work, Volume 4: Broken glass. Zurich 1993, ISBN 3-85791-206-5 , p. 107.
  56. ↑ Quotes in the SBB tilting trains. Friedrich Glauser, pp. 31/32.
  57. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 712.
  58. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 55.
  59. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 143.
  60. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 106.
  61. ↑ Bernhard Echte, Manfred Papst (Ed.): Friedrich Glauser - Briefe 1. Arche Verlag, Zurich 1988, ISBN 3-7160-2075-3 , p. 454.
  62. ^ Friedrich Glauser: Matto rules . Limmat Verlag, Zurich 1995, ISBN 3-85791-242-1 , p. 196/197.
  63. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , pp. 209/210.
  64. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 470.
  65. ^ Edgar Allan Poe: Works - Volume 1. Walter Verlag, Olten 1966, ISBN 3-530-65651-8 , p. 483.
  66. ^ Gerhard Saner: Friedrich Glauser - A work history. Suhrkamp Verlag, Zurich 1981, p. 144.
  67. ↑ Martina Wernli: Writing on the edge - "The Bernese cantonal insane asylum Waldau" and their narratives (1895-1936). Transcript Verlag, Bielefeld 2014, ISBN 978-3-8376-2878-4 , p. 373.
  68. ^ Friedrich Glauser: The narrative work. Volume 4: Cracked Glass. Limmat Verlag, Zurich 1993, ISBN 3-85791-206-5 , p. 237.
  69. ↑ Max Müller: Memories. Experienced history of psychiatry, 1920–1960 Springer Verlag, Berlin 1982, ISBN 3-540-11293-6 .
  70. ^ Gerhard Saner: Friedrich Glauser - A work history. Suhrkamp Verlag, Zurich 1981, pp. 146/147.
  71. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 522.
  72. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 506.
  73. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 481.
  74. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 498.
  75. ↑ I don't want to be something, I want to achieve something - About Friedrich Glauser and politics. In: Berner Zeitung . October 10, 2014.
  76. ↑ a b DVD bonus material Matto ruled by Leopold Lindberg. Praesens film.
  77. ^ Gerhard Saner: Friedrich Glauser - A work history. Suhrkamp Verlag, Zurich 1981, p. 149.
  78. ↑ Mein Film - Illustrierte Film- und Kinorundschau , No. 14, April 2, 1948.
  79. ↑ Hansruedi Kugler: Studer's skull bursts. In: St. Galler Tagblatt , January 15, 2018.
  80. ↑ Publishing information