Max, Mischa and the Tet Offensive

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Max, Mischa & die Tet-Offensive is a novel by Johan Harstad , which was published in 2015 as Max, Mischa & Tetoffensiven in Norwegian and in 2019 as a translation by Ursel Allenstein in German. The novel traces a small group of less than 10 characters over about 40 years from about 1970 to 2012. The variety of social, artistic and political references (the Tet offensive of the Viet Cong shook the American public's certainty of victory in 1968) goes along with this Over 1200 printed pages published novel on an important position determination at the beginning of the 21st century. Her most important topics are the loss of home, of individual security and the willingness to clarify basic moral questions. The main character of the manageable ensemble of characters is the director Max Hansen, who was born in Norway, grew up in the USA and finally lives in New York, who as the narrator, by writing down his memories, summarizes his 35-year life "for you, for us, for me" want to pull.

Framework for action

As indicated in the title, the theme of the novel, which affects all episodes, is the interweaving of personal, social and political developments. The narrative is divided into four chronological sections of various sizes with a total of 14 chapters, each of which is preceded by a motto. Each chapter is again divided into 2 to 8, together 59 numbered and thematically focused sub-chapters, to which there are also some very short entries sorted by daily dates - contrary to the fictional improvised and random writing situations of the first-person narrator, this huge novel is well structured and balanced - despite the size there are almost no "open ends".

first section

The starting point for the first section is the fall of 2012, when the director Max Hansen accompanies his ensemble on a tour with a new play in 13 cities in North America for several weeks. On the way, the narrator begins to trace his memories over and over again, which he notes in a clear, flowing parlando in order to save them from being forgotten. For this he uses moments behind the stage while the actors struggle with the current play, which contradicts their life experience, after waking up and in the car in the parking lots on the way to the next venue.

The play, a defense of capitalism based on the radical economic ideas of Milton Friedmann , is played in front of an audience that is still groaning under the consequences of the 2007/08 bank crash. It is meant ironically, but the audience often approves of it as a serious apology for capitalism. The director states with resignation: Whether the actors are sitting or standing on the stage is the only question the director can help clarify: "We have moved and everything has stayed the same."

He remembers the two years that began at the age of 11 before his family emigrated to America. A chance discovery of political buttons made the Vietnam War central to the young Max , against which his communist-oriented parents had previously been active. He lets himself be told about the war, which even as a child he perceived as an enormity, an inferno, a breach of civilization, and sees the uncritical (“ Rambo ”) and critical war films (“ Apocalypse Now ”) far too early . Even as a child, Max was impressed by the photographic icons of the anti-war movement, the napalm burned Kim Phuc and the police chief of Saigon, Nguyễn Ngọc Loan , who executes a suspected Viet Cong soldier on the street.

second part

In the second section, after his difficult acclimatization to the new environment of a small American town near New York, Max gets to know other people who determine his life apart from his parents: Mordecai, his fellow pupil, the director of her theater group, Wohlman, and the seven-year-old artist Mischa and his uncle and Vietnam War veteran Owen, whose life story is gradually brought closer to that of Max.

Both Mordecai and Mischa fall in love with Max. In Mordecai he finds a kindred spirit, but with whom he has no homosexual desires on his part. After school, from which the reader almost only gets the rehearsal work of the theater group, Max and Mordecai begin their acting studies and Max and Mischa move in with Owen, who has meanwhile blossomed into a composer of everyday music .

Third section

In the third section, Max and Mordecai are now in their mid-twenties, Mischa in their early 30s and all three are very successful with their theater direction (Max, who also directs on Broadway), acting (Mordecai, who is moving to Los Angeles because of his film assignments) and visual arts ( Mischa with painting and exhibitions). There is a detailed account of Max's work on two pieces that follow the school rehearsal work with Beckett's Waiting for Godot , the third of which is waiting, the busy avoidance of important questions. Mischa also works on social issues in her large-format pictures: the Vietnam War, September 11th and capitalism.

Owen's star as a composer of everyday music is beginning to decline and it becomes clear that he is still struggling with the memory of his service in Vietnam. He joins a group of US veterans visiting Vietnam on the trail of their previous combat missions. Owen tells Max about his own emigration from Norway and about his voluntary registration for military service in Vietnam in order to obtain American citizenship. Owen eventually reveals to Max and Mischa that he has cancer, possibly an aftermath of his exposure to Agent Orange in Vietnam and the asbestos dust at Ground Zero where he helped clear the debris. Max takes care of him until he dies.

Mischa begins to feel constricted in her relationship with Max and suggests a temporary separation. After more than 8 months in California, she temporarily returns to New York, but soon afterwards decides to finally separate from Max after 16 years and move to Montreal .

Mordecai, who moved to California soon after completing his training, is also becoming increasingly inaccessible to Max. Mordecai is temporarily very successful as an actor, but suffers more and more from loneliness and fears.

Fourth section

In the fourth section, the tour comes to an end with Max's current production (see section 1) when he receives the news that Mordecai has committed suicide. Max, his mother and Misha attend the funeral. The hurricane " Sandy " (end of October 2012) is moving towards the east coast of the USA, flooding larger parts of New York and also destroying Max's mother's little house and her wool shop - both are now "homeless", but without material need. Because Mischa can imagine that, unlike his unannounced visit to California 3 years earlier, Max would be able to visit her "for a long time", he hopefully boarded a plane to Montreal - to be with her "maybe forever".

The texture of the motifs

The densely packed motifs in the first section, the overture of the novel, are woven into the biographies of the main characters in the following sections, unfolded there in a spiral movement and supplemented by further topics. The reader encounters the change and alienation in relationships, the insanity of fascism and the war in Vietnam, the consequences of self-delusions, and the loss of the moral compass of society.

homeland

The determining motive is the loss of home, which not only overtakes the main character Max Hansen, but also society as a whole: "America is a land of the homeless."

The lost home is a double fate: Home stands for the political home, which z. B. is gradually lost to the communist-oriented parents. Despite his critical attitude towards capitalism, the narrator himself has also lost a positive political vision: his parents are the last generation “who believed that they could change something; I belong to the first generation who understood that we couldn't ”. Max feels himself in an “endless loop”, in a “ maelstrom ”: “Nothing to be done”, he states with a motto borrowed from Beckett's Waiting for Godot . “That's the worst, not a single morning without this all-encompassing disappointment: another day. “This is how one of the basic tones can be heard at the beginning, the tension between the unbearable and the impossible.

The term home also means the local social home that Max, who emigrated to America with his parents at the age of 12, carries with him as a memory image and metaphor of a safe and predictable, fulfilled and secure life in a social network. He knows that returning to his first home in Norway is no longer possible and not even desirable for him: “I want to go home. And I don't know where that is. ”“ In the end, that's the essence of it all, a deep-seated fear of not having a home. "

doubt

Associated with the loss of the political and social home is a "so to speak unsecured doubt", especially from Max, about a successful life that stems from the dissolving memory, from the risky trust in friends and relationships, from the uncertainty about the quality of one's own Theater work and silence about life's questions. Max comments on himself and others in his sentences, which are reduced to a single word, but sometimes also run breathlessly over several pages, ironically and with a sense of humor that opposes resignation and despair.

Harstad always portrays the apparently solid ground of the relationship as thin ice, additionally weakened by an often consensual deception of those involved, who presumably feel the change and alienation but cannot address the really pressing questions. The narrator registers this dissolution of relationships, suggesting itself in the finest cracks, with seismological care; B. in his friendship with Mordecai, when Owens cut the cord from his Norwegian family, later in his self-criticism after his mission in Vietnam and in his love for Mischa.

Indefinite waiting and aimless movement

The silence of existential issues and the compensatory shift from speaking and acting to distracting movements is an alternative strategy in both private and political contexts. Max reflected on this first in the theater group of his high school during the rehearsals for Beckett's Waiting for Godot : the young actors were given the task of unmasking action without an ethical goal as an illusion, to give the audience “the impression that the world was in Movement, although everything stands still ”. This incessant waiting, this busy standstill, this nothing-to-do-resignation in clarifying the fundamentals is the theme of Max's later directorial work and is also echoed in the reports on exhibitions and installations by his artist friends. The cornerstones of the tableau of unsolved fundamental moral questions, the answer to which society is waiting just as much as the two actors are waiting for Godot in Beckett's play of the same name, form the repeated references to events in recent US history: to the war carried by the US to Vietnam and to the film Apocalypse Now, which puts its absurdity in the picture (together on around 140 of 1242 pages of text), on National Socialism and the Holocaust , on the Bosnian War , the terrorist attacks of September 11th and on the marginalized financial crisis of 2007/2008. Or in Owen's words: "The American strategy seems to be anyway: why turn around and examine your own shit when you can instead look ahead and piss on something new?" But Max is exactly interested in this look at them own shoulder, with whom he examines real and fictional productions on stages and screens to see whether they answer the question asked by Mischa in her new abstract pictures: "How are we actually?"

Fall into the blackness

An example of the literary connection between art and moral catastrophe and at the same time an example of Harstad's restrained way of showing is the report on an exhibition by Max's artist friend Gabe with monochrome black pictures: a newly developed color swallows up all the light falling on it, "Looking at these pictures gave you the feeling of falling into something horrific", "an absolutely endless darkness of complete indifference ... And that is exactly what made it so difficult to look at the pictures". Then a woman appears in a Chanel dress with this light-absorbing color so that her core does not seem to exist. “We saw her arms, head and neck, we saw her legs. But the body parts didn't seem to be connected to each other. ”The audience backs away in panic, one gets sick and has to leave the room. By quoting his “rule of life” here, “no hope, just nothing, nothing to do”, Max first combines the directorial work described so far with this vernissage and then parallelizes art and war in a narrative: thirty pages further Owen reports on similar impressions during his Mission in Vietnam, which he is still living through without scruples. "It was more like a job than a war ... I worked, I did the job I was there for, and there is no denying it: when it came to raining grenades on the earth, I had a certain talent the day. ”The grenades explode“ in the hands and arms and faces of those who were in the middle of the zone ”, the grenades also disintegrate the body, but not only visually. At night, the GIs go blind in the deep darkness: "The noises were amplified by the blackness ... While the view of the mountains was eerie during the day, it was almost unbearable at night."

Max's paternal uncle Owen Larsen personifies the average Western offender who is portrayed as likeable and who can temporarily suppress elementary moral questions. These only come to the surface again after Owen's mission in Vietnam - in his fear that nature will strike back one day, in his moral doubts set in motion by the anti-war movement, in his tears when he later confronted the film Apocalypse Now and joined a self-help group of Vietnam veterans taking part.

rescue

The opening sentence to make nothing from Beckett's play is also the one that is repeated twice at the beginning of the novel and also later. But Max still wonders if things could pick up speed again and hopes for the unexpected. For him religion and piety are ruled out, the women's movement only plays a minor role for him. Salvation seems possible only for individuals at the moment, provided they learn to live according to their own pulse while waiting, or act according to what feels right, considering the consequences, and follow their own guideline even if they isolate themselves from others: “A film can be brilliant even if nobody sees it,” the actor Mordecai likes to say. The author offers no solution to the existential questions, but at least a desperate optimism: “It's hopeless, but we don't give up!” And this we is open to surprising alliances of all those who brush their art against the mainstream and create new ones together Breaking the banks: "This is for us."

reception

"The sometimes annoying, pudgy-eyed, sometimes touching blues of the novel ... will divide opinions", Iris Radisch suspected at the time - the ratings of the novel in the features section range from "failed" to "masterful":

Under the heading “A yawning war”, Christoph Schröder advises against fighting through the novel on Deutschlandradio . He searches in vain for a coherent literary concept, for a “general experience”, for the “mood of an era or a generation”. The book, laid out as a family story and time novel, development, artist and romance novel, fails on all these levels due to the chatty nature of the author and leaves behind an "irrelevant noise". Only the lack of experience of the "Generation Max" is a possible motive for inflating the narrative with the repeated references to the Vietnam War and the film Apocalypse Now "to an existential experience".

Richard Kämmerlings in der Welt is impressed by the “barrage of narrative aha and oho effects”, the “stylistic overkill” of the novel. He registers that Harstad “reflects his epic both in Max's theater projects and in Misha’s conceptual works”. But he sees the basic problem in the lack of credibility of the characters and conflicts; Similar to Christoph Schröder, he suspects the lack of “real” experience as a motive for the constant allusion to Vietnam and Apocalypse Now .

Iris Radisch compares the novel with a "gigantic museum made of paper" for the collective sensitivities and crisis of meaning at the turn of the century. She sees a “ new search for lost time ”, told in the form of a softened postmodernism that lacks “real fate”. The author has "all post-modern narrative tricks", but his style fluctuates between a "nonsense teenagers diary" and an art slang from the 70s.

Jan Wiele, on the other hand, sees the novel in the Frankfurter Allgemeine Zeitung as a “ Great American Novel that can be considered successful.” He sums up the content as “a shrewd epic of homeless people” and praises the author's humor as well as his ongoing involvement with cultural history . Due to the author's “downright Vietnam obsession” and the repeatedly interrupted linear narrative of the family history embedded in contemporary history, the red thread is lost. Although this major project is threatened by excessive narration, Harstad is also creating a “meta-memoir” that is critical of the current memoir cult.

Wolfgang Hottner finds in the Süddeutsche Zeitung that Harstad tells “masterfully of the postmodern decades.” His prose springs about “with wit, cameos and details that are never an end in themselves , but part of a whole.” Topics are American imperialism, an obsession with the film Apocalypse Now and migration trauma in several variants. He has created an “insane web of résumés and catastrophes” in which the main character tries to “escape the relentlessness of time” and to stage an “anti-drama of waiting” in his directorial work. Hottner praises the precision of the description of relationships and Harstad's ingenuity in the fictional art that appears in the novel, the “crazy work titles” and entire complexes of works. Harstad negotiates “the exemplary history of aesthetic fashions and the art business from the mid-1990s to the present” - it is also an “artist novel”.

Denis Scheck reads for ARD "a book, but a high-quality book ... finally a really contemporary novel with an exciting staff, lots of good ideas - some of them even new - and a very complex plot." He recommends him to read, because he “really isn't boring on any of his 1200+ pages. Since Goethe's Wilhelm Meister there has not been such a clever theatrical novel. "

Individual evidence

  1. ↑ Johan Harstad: Max, Mischa & the Tet Offensive . Translated from the Norwegian by Ursel Allenstein. 1st edition. Rowohlt, Hamburg 2019, ISBN 978-3-498-03033-9 .
  2. ↑ Max, Mischa & Tetoffensiven on gyldendal.no, accessed on November 1, 2019.
  3. ↑ The translator Ursel Allenstein was awarded the Jane Scatcherd Prize in 2019 , primarily for her congenial translation of the novel "Max, Mischa & the Tet Offensive" by Johan Harstad.
  4. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 15; 27 .
  5. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 15, 31; 64 .
  6. ↑ Harstad: Max, Mischa and the Tet Offensive = . S. 47, 69, 71 .
  7. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 11, 18, 24 f., 48 .
  8. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 67 f., 1157 .
  9. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 12, 32 ff., 43 f., 1165 f .
  10. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 12, 26, 32, 114 .
  11. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 26th f .
  12. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 75 ff., 512 .
  13. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 75 f., 510 ff., 804 f .
  14. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 229 ff., 494 ff., 543 ff., 585 ff .
  15. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 446 ff., 618 ff .
  16. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 229, 679 ff., 754 ff .
  17. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 684 ff., 730 ff .
  18. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 744 .
  19. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 738 f., 786 ff .
  20. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 795 ff., 838 ff .
  21. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 1135 f .
  22. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 953 f., 1115 ff .
  23. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 864 ff., 1094 ff., 1163 f .
  24. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 1163, 1185 ff .
  25. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 1206 ff .
  26. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 1236 ff .
  27. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 16; 155 .
  28. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 19th f., 71 ff., 79, 186, 342, 509 ff .
  29. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 35, 43, 46 f., 114, 732 f., 1165, 1179 .
  30. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 20; 259, 1201 .
  31. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 24, 589 .
  32. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 11, 229 f., 385, 470, 935, 1157 .
  33. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 11 - italics also in the original .
  34. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 259; 230 ff., 589 .
  35. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 63, 79 .
  36. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 16 f., 56, 90 f., 150 f., 168, 348, 460 f., 476, 1028 f., 1104 ff., 1183 f .
  37. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 17, 31 .
  38. ↑ Max 'birthplace Forus, a district of Stavanger / Norway, was and remained "in many ways a swamp" (89), a "ghetto for the emerging middle class" (343).
  39. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 62 .
  40. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 56 italics also in the original; 141, 168, 300, 1137 ff .
  41. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 334; 12, 27 ff., 47, 56, 259, 343, 682 ff .
  42. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 15th f., 27, 29 .
  43. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 128, 144, 168, 348, 33, 407, 409, 521, 698 ff., 779, 854, 862, 1100 .
  44. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 47, 56 .
  45. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 187 f., 229 ff., 291, 586, 678 ff., 703 ff., 754 ff .
  46. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 15, 168, 683 .
  47. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 28, 118, 127, 144, 168, 180, 183 f., 391, 533, 712 ff., 1100 .
  48. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 1012: "Metacommunication" .
  49. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 168 ff., 712 f., 1090 ff .
  50. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 795 ff .
  51. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 985 ff .
  52. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 356 ff., 407, 493, 779, 853 f., 860 f., 914 ff., 953 ff., 1010 ff .
  53. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 26, 291, 386, 682 ff., 946 ff., 970, 1010, 1015, 1055 .
  54. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 230 .
  55. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 229 ff., 586, 678 ff., 703 ff., 753 ff., 934 f., 946 ff., 1017 ff., 1067 ff .
  56. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 71 ff., 84 ff., 160 f., 183 f., 265 ff., 280 ff., 352, 423, 464 ff., 510 ff., 569, 685 ff., 786, 803 ff., 815 ff., 838 ff., 858, 892 ff., 957 ff., 1135, 1231 .
  57. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 75 ff., 108, 160 ff., 214 ff., 352, 391, 469 ff., 519, 598, 700, 877, 952, 1082, 1090, 1100, 1122, 1203, 1221 ff .
  58. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 35 f., 256 ff., 1211 f .
  59. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 1022 ff .
  60. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 665 ff., 730 ff., 1136 .
  61. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 12, 32 ff., 1008, 1106 ff .
  62. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 1029; 1108 .
  63. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 1146; 15th f., 1069 ff., 1097 f .
  64. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 750 ff .
  65. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 934 ff .; 1017 ff .
  66. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 1039 .
  67. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 957 ff., 964; 1017 ff .
  68. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 557 ff., 672 ff., 1014 f .
  69. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 804 f., 985 f .
  70. ↑ Harstad: Max, Mischa and the Tet Offensive , pp. 288, 959. The report on the real hurricane "Sandy" from the end of October 2012, which flooded districts of New York, acts as a warning sign for what society is does not manage on his own. (P. 1223 ff)
  71. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 996 ff .; 985 .
  72. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 469 ff .
  73. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 738 ff., 771, 786 .
  74. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 11; 229 f., 385, 470, 935, 1157 .
  75. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 14, 26, 108, 160, 171, 704 f .
  76. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 797 ff., 817, 825, 989 f .
  77. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 150 f., 489 ff., 516 .
  78. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 589 f .
  79. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 647; 36, 231, 258, 333, 595, 754, 814, 841, 880 .
  80. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 697; 241,592 .
  81. ↑ Harstad: Max, Mischa and the Tet Offensive . S. 804; 255, 1029, 1045, 1157, 1179 .
  82. ↑ Harstad, Max, Mischa and the Tet Offensive, p. 1242. A thousand pages earlier, p. 124, as a child he stammered this exclamation for the first time without any clue of his fate.
  83. ↑ A yawning war . deutschlandfunk.de. August 12, 2019. Retrieved November 7, 2019.
  84. ↑ There are only wounded on the battlefield of love . World. Retrieved November 7, 2019.
  85. ↑ Iris Radisch: The Protection Cathedral. In: Die Zeit (= Die Zeit. No. 13). 2019. ( online )
  86. ↑ Unfortunately, the jungle of memories is not in chronological order . Frankfurter Allgemeine Zeitung. Retrieved November 7, 2019.
  87. ↑ Becoming and Selling by Max Hottner, https://www.sueddeutsche.de/kultur/norwegische-literatur-haben-und-verkaufen-1.4390521 Retrieved on November 10, 2019
  88. ↑ Denis Scheck recommends "Max, Mischa & the Tet Offensive" . In: Hot off the press . ardmediathek.de. June 2, 2019. Retrieved November 14, 2019.