Peter Handke

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Peter Handke, 2006
Signature of Peter Handke

Peter Handke (born December 6, 1942 in Griffen , Carinthia ) is an award-winning Austrian writer and translator and one of the best-known contemporary German-speaking authors . In 2019 he was awarded the Nobel Prize for Literature . After his criticism of language and consciousness templates, Handke mainly dealt with the alienation between subject and environment. Early works such as public abuse and The fear of the goalie at the penalty kick made him famous in the late 1960s. Since the beginning of the Yugoslav Wars in 1991, he has repeatedly sided with Serbia and Serb nationalists, which has led to controversy up to the present day.


1942 to 1945 - birth and war years

Peter Handke was born in the house of his grandfather Gregor Sivec (Siutz) in the Altenmarkt district of Griffen (Slovenian: Stara vas) on December 6, 1942. Two days later he received the Catholic baptism in the Collegiate Church of the Assumption of Mary in Griffen. His mother was Maria Handke, née Sivec (Siutz) (1920–1971), a Carinthian Slovenian . In 1942 she had met his biological father, who was already married, the German bank clerk Erich Schönemann, who was stationed as a soldier in Carinthia , and had become pregnant by him. Even before he was born, his mother married the Berlin tram conductor and Wehrmacht soldier Adolf Bruno Handke († 1988), his future stepfather . Peter Handke only found out about his biological father shortly before his Matura in 1961.

First, the family Siutz of remained war largely unscathed, but all three sons were drafted into the Wehrmacht. In July 1943, the mother's youngest brother, 20-year-old Hans Siutz, died on the Russian front; in November 1943 also the oldest brother, Gregor Siutz jun. Shortly before the end of the war, the effects of the war were felt in grips: local Slovenes were deported to concentration camps, and the area was occasionally the target of actions by Slovenian partisans . Bombs also fell, with the villagers using rock caves as air raid shelters .

1945 to 1948 - Berlin and return to Griffen

The family moved into an apartment in Pankow , which belonged to the largely destroyed Soviet sector of Berlin. But Adolf Handke did not find permanent work, nor did the political situation give rise to any hope of improvement. Shortly before the Berlin blockade imposed on June 24, 1948 , the family of four (daughter Monika was born on August 7, 1947) left the city at dawn and took the train back towards Griffen. The border crossing to Austria took place illegally in a truck due to the lack of passports. For Peter Handke, this adventure was one of the first intense childhood experiences that he could remember later. In a school essay from 1957, he described the circumstances of the return in detail.

1948 to 1954 - Village life and first school years in Griffen

In Griffen, the six-year-old Peter is said to have had a hard time making contact with playmates, also because of the Berlin dialect he had acquired in the meantime. The father received unemployment benefits for a while, but increasingly spent it on alcohol. There were regular arguments between the parents. Eventually the father found a job with his brother-in-law Georg Siutz, but in an area dominated by the church and local landowners, the Handkes continued to belong to the poorer population. Handke himself later called himself a “son of a small house”.

In addition to these problems, the child also experienced a provincial village idyll, which was characterized by recurring work, church visits, walks, slaughtering parties and card games. Handke later processed many of these impressions in his books. His first novel “The Hornets” consists of many richly pictorial descriptions of this village life.

Peter Handke started school on September 13, 1948 and attended the Griffen elementary school until 1952. After the 4th grade, he switched to the Griffen secondary school for boys and girls for two years until July 10, 1954. His school performance was graded almost exclusively with “good” and “very good”. The twelve-year-old undertook the subsequent change to the Marianum seminary in Maria Saal with the attached Catholic-humanistic grammar school in Tanzenberg himself by getting the necessary forms from the pastor in the monastery. The Marianum was primarily used to train the next generation of priests; admission was usually only made on the recommendation of a clergyman. But secular school professors taught in the humanistic tradition at the grammar school . On July 7, 1954, Handke passed the entrance exam, but on the advice of a school professor, he was enrolled in the second - instead of the age-appropriate third - class of the grammar school, as he did not yet have any knowledge of Latin .

1954 to 1959 - boarding school in Tanzenberg

Shortly after school started in Tanzenberg, the student Peter Handke wrote a sixteen-page text entitled My Life. Part 2 - the beginnings of his affinity for writing. His scholastic performance remained excellent even in high school, he graduated from all classes with very good results. The language training included Latin , Greek , English and - only one year each - Italian and Slovenian . He built an important relationship with the school professor Reinhard Musar, who took over the class from 1957 and taught in German and English. Musar recognized the boy's writing talent and encouraged him to do so. Handke read texts to him and discussed them with him on walks. Musar later influenced Handke's choice of studies: He recommended that if he wanted to become a writer, he should study law , as this only required intensive fact-finding for a few months of the year and the rest of the time was free to write. During this time, he was influenced by the reading of the books by William Faulkner and Georges Bernanos, which was forbidden in the Catholic boarding school . During his time in Tanzenberg he published his first literary texts for the boarding school magazine Fackel .

1959 to 1961 - Graduated from school in Klagenfurt

In the middle of the school year 1959, in the seventh grade of high school, he changed schools at his own request. The Catholic boarding school constriction with its morning masses and many prohibitions had become increasingly unbearable for the pupil. When one day he was proven to have read banned books (by Graham Greene ), he himself drew the conclusion. He returned to Griffen, where his parents had built a house on his grandfather's property, and from then on attended the humanistic grammar school in Klagenfurt, 35 kilometers away. He drove there every day by bus. In 1959 he took part in a Klagenfurt pupil literary competition and received an award, whereupon two texts by him ( The Nameless on June 13, 1959 and In the meantime on November 14, 1959) were published in the Kärntner Volkszeitung . A testimony from his sister Monika also gives testimony to his now more intensive attempts at writing, who complained about his bad mood when he did not start writing. In 1961 he obtained his Matura with distinction.

1961 to 1965 - studies in Graz

Handke began studying law in Graz in 1961 . Throughout the study period, he lived in a small room in the district Graz- Waltendorf for sublease . He completed his study duties regularly and successfully, if not with enthusiasm. Most of the exams he passed with distinction. He financed his studies with a scholarship, money from his parents and work alongside his studies. He tutored Greek and worked in a mail order company. Over time, working in a packaging room lit by fluorescent lamps hurt his eyes, which is why a doctor prescribed him glasses with dark lenses. The dark glasses later became a trademark in his public appearances.

During his student days he developed preferences that he continued later. At times he went to the cinema almost every day, some days several times. In watching films, he appreciated that “every process in the cinema becomes clearer and each individual state in the cinema becomes more conscious” (in an essay on country cinemas and Heimatfilme published in 1972). In the course of his life he not only wrote screenplays and occasionally directed, but also worked as a reporter for film festivals and as a member of film juries. Another passion became listening to rock music . He became an avid jukebox user in cafes that he was visiting more and more often to study or to write and was enthusiastic about the Beatles , the Rolling Stones and other young musicians of the time, whose lyrics are alluded to again and again in Handke's books .

50 years of manuscripts : Peter Handke and Alfred Kolleritsch , 2010

From 1963 Handke's literary profile sharpened. The head of the literature and radio play department of Radio Graz at ORF , Alfred Holzinger, who discovered many young talents, promoted him. The first short texts by Handke and radio feuilletons on various topics were read on Grazer Rundfunk : about the Beatles, soccer, James Bond , cartoons or hit texts . In his essays, Handke devoted himself to various mass phenomena and practiced a new, topic-related form of writing. Numerous book reviews were also part of the program. Another important sponsor he met in 1963 was Alfred Kolleritsch , the editor of the literary magazine manuskripte in the Graz Forum Stadtpark , in which the first Handke texts were published from 1964. The young author made further acquaintances, for example with the painter and writer Peter Pongratz , in the Forum Stadtpark and joined the Graz group in 1963 . Handke's texts were read there for the first time on January 21, 1964.

In 1964 Handke began his first novel The Hornets . In July and August of that year he stayed with an old school friend on the Yugoslav island of Krk , where he wrote large parts of a first version, which he sent to Radio Klagenfurt in autumn 1964, but revised again in January 1965. After Luchterhand Verlag had refused, Suhrkamp Verlag accepted the manuscript for publication on the recommendation of editor Chris Bezzel in the summer of 1965. A little later, Handke broke off his studies before taking the third state examination in order to devote himself entirely to writing. After Bezzel left in 1967, his editor was Urs Widmer , later Raimund Fellinger .

1966 - the breakthrough year

Before the delivery of his first novel in the spring of 1966, Handke, who was then wearing a mushroom-head hairstyle in the style of the Beatles, attracted attention with a spectacular appearance at a Group 47 conference in Princeton . After hours of reading he showed himself disgusted by the works of his established colleagues and gave a lengthy diatribe in which he complained about the authors' “impotence to description” and did not spare literary criticism , “which is just as foolish as this foolish literature”. With this speech he had also broken a taboo, since it was unusual at the meetings of Group 47 to initiate general debates on principles of literary subjects. The basis of the conversation should always remain the respective text, not the essence of literature itself. A tape recording that has been preserved shows that Handke earned laughter, murmurs and heckling, and although he had met some colleagues, including Günter Grass - as their later comments showed - his criticism was absorbed by other participants, reformulated and - something weakened - repeated. Handke had hit the literary establishment to the core; for the feature pages his appearance had become a topic of discussion.

That same year, Handke's speech piece was Publikumsbeschimpfung directed by Claus Peymann premiered. The bond with Peymann as a friend and director was retained. The theater critics celebrated the provocative, novel piece. Handke had now made his breakthrough as an author, and his reputation as an enfant terrible was further nurtured. The spoken pieces Prophecy (from 1964) and Self-accusation (from 1965), which were previously written , were also premiered in 1966 at the Oberhausen Theater under the direction of Günther Büch , Handke's other great sponsor, and received consistently positive reviews. The twenty-three-year-old Peter Handke had become a kind of pop star on the German literary scene within months .

In 1966 Handke's partner and future wife, the actress Libgart Schwarz , received an engagement at the Düsseldorfer Kammerspiele . In August 1966 the young couple moved to Düsseldorf.

1967 to 1970 - Düsseldorf, Paris, Kronberg

Handke lived in Düsseldorf until 1968. During this time he published his novel Der Hausierer (1967) and the speaking piece Kaspar (premiered on May 11, 1968 in Frankfurt under Claus Peymann and Oberhausen under Günther Büch). In 1967 Handke read Thomas Bernhard and reflected on the reading experience in the text When I read 'Disturbance' by Thomas Bernhard . At that time, Bernhard had a great impact on Peter Handke. Later a mutual dislike developed between the two Austrian writers.

During this time, the object artist Günter Weseler , who lives in Düsseldorf, learned about Handke's “modern technical way of working”, which Gaspard Dünkelsbühler reproduced in a book in 2008:

“[V] uncovered tape recordings in the district court, scraps of conversation at the weekly market, from the tram, children chattering and family noises formed his raw material and, as he told him, also a source of his inspiration. In part, the artistic effect is achieved through any repetition or changing combination. "

- Gaspard Dünkelsbühler : Chronicle of a largely normal stay in Africa: Rwanda 1976–1980. Traveling on the periphery. Diaries, letters, notes.

In 1968 the Handke couple moved to Berlin. Daughter Amina was born on April 20, 1969. For Handke, the child meant a complete change in his previous lifestyle. He “saw himself trapped at home and thought in the long circles with which he pushed the crying child through the apartment at night, only unimaginatively that life would now be over for a long time” ( Children's story , 1981). He later said that this child was a very important and loving experience for him. In 1969 Peter Handke was a founding member of the Frankfurt publishing house of the authors . In 1970 the family moved to Paris, but although Handke lives today (2019) in Chaville near Paris, the decision at the time turned out to be temporary. In Kronberg im Taunus , a house was purchased, moved to the one in the fall 1970th At this point the marriage had already failed. Initially, father and mother took turns looking after the child, but after a few months the mother left the house and devoted herself to her acting profession. From then on, it was primarily Father Handke who took care of the child. The marriage with Libgart Schwarz was only divorced in 1994 in Vienna.

1971 to 1978 - years in Paris

In 1971 Handke took a trip through the USA with his wife and Alfred Kolleritsch. On the night of November 19-20, 1971, Handke's mother, Maria Handke, committed suicide after years of depression. He dealt with this traumatic experience in the story Desireless Ungluck (1972), which was filmed in 1974. Shortly before her death in July 1971, Peter Handke visited his mother with his wife Libgart and daughter Amina for the last time. In the same year as Desireless Misfortune , The Short Letter to Long Farewell (1972) appeared, which also describes parts of Handke's trip to the USA. In November 1973 he moved with his daughter Amina to Paris to the Porte d'Auteuil on Boulevard Montmorency, moved to Clamart in 1976, in southwest Paris, and stayed there until 1978. In 1972 Handke received the Schiller Prize in Mannheim and in 1973 the Georg -Büchner Prize of the German Academy for Language and Poetry in Darmstadt. A year later, the play The Unreasonable Die aus (1974) appeared, which premiered in Zurich. Around the same time, Peter Handke's longtime friend and companion, the director Wim Wenders , filmed Wrong Movement (premiere 1975).

The Ritt über den Bodensee (published in 1971) became Handke's most successful play in France in 1974 and made a great contribution to the writer's fame there. That year he met Jeanne Moreau in Paris . The hour of true feeling (1975) appeared a year later , and Peter Handke began with the journal records ( Das Weight der Welt. Ein Journal , 1977), which he continued until 1990. In 1976 a hospital stay followed, triggered by panic attacks and cardiac arrhythmias. The following year the film adaptation of The Left-Handed Woman (1976) was released. During this time he was (from 1973 to 1977) a member of the Graz Authors' Assembly . In 1978 his daughter Amina stayed with her mother in Berlin for the school year. Meanwhile, Handke went on a long trip to Alaska (USA) and returned to his homeland via New York. This homecoming at the end of 1978 caused the greatest crisis in his literary career that threatened his existence. Handke corresponded with Hermann Lenz and described the desperation he felt while writing Slow Homecoming .

1979 to 1987 - return to Austria

After a long stay in various European cities, Peter Handke returned to Austria in August 1979. In Salzburg, he moved into an apartment on Mönchsberg in the extension of his friend Hans Widrich's house on Richterhöhe, where he lived until November 1987. During that unusually long period of sedentarism, he only undertook brief “excursions” and kept returning to Salzburg. In the early days of his homecoming, the publication of the tetralogy Slow Homecoming fell . The first part appeared in 1979 and meant overcoming the crisis from which he had suffered since 1978. This year, Peter Handke was the first to receive the Franz Kafka Prize . The three remaining parts of Slow Homecoming were written in Salzburg. The teaching of Sainte-Victoire was published in 1980, the dramatic poem Über die Dörfer (premiered at the Salzburg Festival in 1982, directed by Wim Wenders ) and Children's History were published in 1981, whereby the story of Children's History is autobiographical and deals with the years in Paris.

In the early 1980s, Peter Handke began to translate unknown foreign-language authors into German in order to help them become more well known. Above all, it was important to him to draw attention to Slovenian literature in the German-speaking area (e.g. Florjan Lipuš ). Peter Handke translates from English, French, Slovenian and finally from ancient Greek ( Prometheus, tied up , Salzburg Festival, 1986).

At that time, Handke had a relationship with the actress Marie Colbin .

The murder story The Chinese of Pain was written in 1982/83 on the Mönchsberg in Salzburg. In the epic novel Die Repetition (1986), Handke addresses the history of the Carinthian Slovenes. At the same time the poem was published to the duration . In 1987 the story Afternoon by a Writer Peter Handke's Salzburg Years ended. The film Himmel über Berlin by director Wim Wenders, for which Handke wrote parts of the script, premiered in the same year. The work received many awards in Europe. After his daughter Amina's Matura , Handke left Salzburg and embarked on a three-year trip around the world.

1987 to 1990 - travels

November 19, 1987 marks the beginning of a three-year journey for the writer. Peter Handke drove from Jesenice (now Slovenia ) by bus and train to southern Yugoslavia, from Macedonia via Greece to Egypt. In mid-January 1988 the writer returned to Europe, traveled to Paris, Berlin, Belgium and finally to Japan . His other stations: Europe, Anchorage in Alaska , London, Lisbon , Spain, Galicia , then southern France. At the end of May 1988 the trip went back to Austria, on to Aquileia , again to Paris, to the Slovenian Karst and to the starting point of the trip - Jesenice. At the turn of the year 1988/89 Handke stayed in England, France and for a short time in Austria. After working in Slovenia, Italy, Austria and Germany, he finally arrived in Chaville near Paris. During this restless time, his stepfather Bruno Handke died in 1988.

During these years Handke made a record, which was only fifteen years later, in 2005, with the title Yesterday on the Road. Records were published November 1987 through July 1990 . This book forms a work context with The Weight of the World (1975–1977) , The Story of the Pencil (1976–1980) , Fantasies of Repetition (1981–1982) and At the Rock Window in the Morning (1982–1987) . Since the experiment on fatigue , Handke has been writing his prose texts in pencil .

1990 to 1996

In the summer of 1990, Peter Handke bought a house in Chaville on the south-western outskirts of Paris , where he currently lives. Chaville is his third place of residence in the area of ​​the French capital.

A part of the film The Absence with Bruno Ganz , his wife Sophie Semin, Eustaquio Barjau and Jeanne Moreau also starred in his house . Other locations were the Pyrenees north of Barcelona . By 1996, the short story Again for Thucydides (1990) and the translation Shakespeare: Das Wintermärchen (1991), attempt on the jukebox (1990), farewell of the dreamer from the ninth country (1991), attempt on the happy day. A Winter's Day Dream (1991), The Plays (1992), The Art of Asking (1994), My Year in No Man's Bay. A fairy tale from the new times (1994) and the play The Hour when We Didn't Know About Each Other. A play (1992) that premiered in the same year under the direction of Claus Peymann at the Burgtheater in Vienna .

1996 to 2005, Serbia controversy

Book cover of the first edition by Suhrkamp Verlag, 1996.

Starting in Belgrade , Handke, together with his wife Sophie Semin and two other travel companions , drove through Serbia by car for about four weeks from the end of October 1995 . About the motivation for his trip at the end of the Bosnian War , which ended with the acceptance of the Dayton Treaty , he said: “It was mainly because of the wars that I wanted to go to Serbia, to the land of the so-called generally Aggressors . But it also tempted me to just take a look at the country that was the least known of all the countries of Yugoslavia and, perhaps because of the reports and opinions about it, the most attractive one, that, along with the strange hearsay about it The most interesting ones, so to speak. ”In addition to Belgrade, the journey included the East Serbian village of Porodin , the Studenica monastery and the town of Bajina Bašta on the border with Bosnia ; she graduated in Novi Sad . The departure was via Subotica .

After the publication of Handke's travel report, which appeared in 1996 under the title A Winter Journey to the Rivers Danube, Save, Morawa and Drina or Justice for Serbia , there was violent public controversy that continues to this day and that continued after the award of the literature -Nobel Prize to Peter Handke 2019 once again tightened. Even before the book was published by Suhrkamp Verlag , the text appeared in the Süddeutsche Zeitung in early 1996 . Also in 1996 was Handke's summer addendum to a wintry trip about his “new trip” to the Bosnian-Serbian border region around Bajina Bašta on the Drina , when Handke crossed the border to Bosnia and into the previous one in the early summer of 1996, unlike in November 1995 War zone of the Republika Srpska went to Višegrad and finally to Srebrenica . There, in the Srebrenica massacre in July 1995, Bosnian Serb soldiers murdered more than 8,000 Bosniaks - men and boys between the ages of 13 and 78. In his texts on the Bosnian war, Handke claims a more differentiated choice of words and presentation than in the journalistic reporting of the "western" media, which he vehemently criticized ; especially the major French and German daily and weekly newspapers. During the trip in the early summer of 1996, Handke presented the Serbian translation of Winterliche Reise at a reading on May 22, 1996 in the National and University Library of Pristina . In December 1996, in the Bosnian town of Pale , he met Radovan Karadžić , who was later convicted as a war criminal and was one of the main people responsible for the siege of Sarajevo and the Srebrenica massacre. At the time of the meeting, Karadžić and Ratko Mladić were already indicted by the UN war crimes tribunal in The Hague for the genocide in Srebrenica and for crimes against humanity . Critics accuse Handke of playing down or questioning the Serbian war crimes and the genocide of Srebrenica as a “revenge massacre”, the “prehistory” of which Handke sees in Bosnian war crimes 1992–1995; Handke is operating a perpetrator-victim reversal in this regard . The criticism of the reporting on Serbian war crimes leads to doubts about the matter itself. So he writes in the summer addendum , written a few weeks after his stay in Srebrenica and a year after the event, emphasizing reluctantly only about "alleged sites of massacre", about the "alleged genocide of S.", and adds: "at the moment, middle July 1996, still the correct and legal epithet ”. The German scholar Jürgen Brokoff wrote about Handke's texts on the former Yugoslavia: “Borrowing from Serbian nationalism relativizes the massacres and mocks the Muslim victims of the Bosnian war.” Sigrid Löffler , on the other hand, took the view that many critics had “dismissed Handke's arguments right away to misinterpret and defame them. ”The most important contributions to the Europe-wide debate were published in 1999 in an anthology. In 1999 Salman Rushdie Handke ironically nominated for the International moron of the year because of his advocacy for Milošević in the British Guardian .

In a television interview conducted on the sidelines of the Kosovo peace conference in 1999 and broadcast during the negotiations in Rambouillet Castle on February 18, 1999 on the Serbian-Yugoslav state television in Belgrade, Handke compared the Serbs' “tragedy” (Handke) with the Holocaust . Handke said, in a literal translation of the French utterances: “What the Serbs have been through for five, even more, for eight years, no people in Europe has gone through in this century. There are no categories for this. With the Jews, there are categories that you can talk about. But with the Serbs - this is a tragedy for no reason. It's a scandal. ”Handke, who was then urged to clarify by his publisher Siegfried Unseld , admitted in a letter published by the news magazine Focus that he“ got screwed up ”in the interview. He wanted to “say exactly the opposite”: “There are no categories on the subject of Jews (extermination). The Jews are out of category. There is nothing to be said about this (there is nothing to be shaken about). But the people who suffered most in Europe in this century (after the Jews) (through the Germans, the Austrians, the Catholic Ustaša-Croats), for me they are the Serbs. And what has been done to the Serbian people and is continuing to do so is beyond my understanding. "

In 1999, in protest against the NATO air strikes on Yugoslavia, Handke returned the prize money for the Georg Büchner Prize awarded to him in 1973 to the German Academy for Language and Poetry . Because the Pope failed to distance himself from the war in Kosovo , Handke also declared in April 1999 that he wanted to leave the Roman Catholic Church . According to an interview, Handke had converted to the Serbian Orthodox Church . In the opinion of the current Catholic pastor von Griffen, however, there is no evidence that Handke actually left or joined the church. Handke told his biographer Malte Herwig in 2010 that he had not resigned from the Catholic Church. Handke is quoted by Herwig as saying: “I feel like I have stepped out, but it has not been rigorously implemented. It is not legitimized under canon law. It is an interregnum. "

In 2000, Handke's book Under Tears was published as another “travel report” on Yugoslavia . Subsequent records of two Yugoslav crossings in the war, in March and April 1999. On March 24, 1999 was as a result of failed negotiations between Serbs and Kosovars in Rambouillet the Kosovo war (Handke him referred to as "Yugoslav War") with the first air strikes of NATO on Belgrade and other Serbian cities started. Immediately afterwards, Handke went to the war zone twice. In the television interview on February 18, 1999, he had already announced: “I would like to be in Serbia when the bombs fall on Serbia. This is my place. I promise you, if the criminals bomb NATO, I will come to Serbia. "

In March 2004, Peter Handke signed an appeal to artists written by the Canadian author Robert Dickson in defense of Slobodan Milošević . Harold Pinter , who later won the Nobel Prize for Literature, was one of the signatories . In the same year he visited Milošević in prison in The Hague. In June 2004 , the defense lawyers of the former Yugoslavian president, who had been charged with genocide and crimes against humanity before the UN war crimes tribunal , nominated Handke, along with 1,630 other named persons, as witnesses for their client. Handke rejected an official witness report, but in 2005 he published an article in the magazine Literaturen, edited by Sigrid Löffler, with the title Once again for Yugoslavia . Handke reported there, among other things, from his three-hour visit to Milošević in prison, criticized the UN war crimes tribunal in general and the Milošević trial in particular: “I am deeply convinced that the World Tribunal, as it meets (and meets ) in hall one of the former Hague Chamber of Commerce, (...) from the beginning, reason and origin is wrong and remains wrong and does the wrong thing and will have done the wrong thing - that it (especially) does not contribute an iota to the establishment of the truth. " the death of Milošević, who had died before the end of the trial in March 2006, the text with the title The Tablas of Daimiel - A Detour Witness Report on the Trial of Slobodan Milošević was also published as a book.

2006 until today

On March 18, 2006, Handke appeared at the funeral of Slobodan Milošević as a funeral speaker . His speech, partly in Serbo-Croatian , in the central square of Požarevac , intensified the previous controversies.

In connection with the eulogy, the artistic director of the Paris Comédie-Française , Marcel Bozonnet , took Handke's play Spiel vomfrage or the journey to the sonorous country from the upcoming program for 2007, which again aroused both positive and critical voices.

On June 2, 2006, Peter Handke waived the Heinrich Heine Prize 2006 of the city of Düsseldorf, which was endowed with 50,000 euros for the first time, due to the flaming political discussion . In June 2006, actors from the Berliner Ensemble launched an initiative entitled “Berlin Heinrich Heine Prize”, which described the attacks by the Düsseldorf city council as an “attack on the freedom of art” and wanted to collect the same amount of prize money for Handke . Members of the initiative included a. Käthe Reichel , Rolf Becker , Dietrich Kittner , Arno Klönne , Monika and Otto Köhler , Eckart Spoo , Ingrid and Gerhard Zwerenz and Claus Peymann . On June 22, 2006, Handke thanked him for the efforts, but declined his acceptance and instead asked for a donation to Serbian villages in Kosovo . On February 21, 2007, on the occasion of the premiere of his play Traces of the Lost, he was presented with the total prize money and the prize. He donated the prize money to the village of Velika Hoča , which is mainly inhabited by Serbs , and to whose mayor Handke handed over the money on Easter 2007.

In January 2008, Handke stated that if he had Serbian citizenship , he would vote for the Serbian nationalist and vice-chairman of the SRS , Tomislav Nikolić , in the presidential election.

On February 22nd, 2008 Handke wrote a little comment in the French newspaper “Le Figaro”, in which he recalled the common history of Yugoslavia and its victory over National Socialism and described the western states as “rogue states”.

In 2008, a jury of the German Book Prize put Handke's book Die Morawische Nacht on the list for the best German-language novel of 2008 as one of 20 titles. In a letter to the chairman of the German Book Trade Association, he thanked him, but he did not accept the nomination Leave to one of the younger authors.

According to the FAZ of October 25, 2019, Vahidin Preljević , Germanist and cultural theorist at the University of Sarajevo , came across a hitherto largely unknown Handke interview from 2011 while researching the Internet; At the same time, the interview was also quoted in an essay by the Croatian-German writer Alida Bremer . Handke had the conversation in January 2011 in Paris with Alexander Dorin (Boris Krljic) and Peter Priskil , excerpts of whose transcripts were published in excerpts by the Freiburg-based Ahriman-Verlag , which is considered to be right-wing, in the periodical heretic letters he edited ; together with a letter of thanks from Dorin to Peter Handke. In the now rediscovered interview, Handke, when asked about his travel reports from 1996, gives a detailed account of the Srebrenica massacre. Accordingly, Handke still relativizes, belittles and doubts the genocide in 2011 in the interview available online .

Handke is quoted as saying: “(M) ir it seems as if it [the Srebrenica massacre] was an act of revenge by the Serbian side. Not that I condemn it, but neither can I wholeheartedly approve of it. Now you keep coming up with the 8,000 victims and supposedly the worst massacre since World War II; German fascism suddenly comes in here with Auschwitz . The talk with the 8,000 dead became more intense. (...). Most - and the worst - I think are constructed. Clinton and Izetbegovic have 1993 some wheeling and dealing . "

According to the published text, Handke denies the court-confirmed casualty figures of more than 8,000 dead, which he himself puts at "between 2,000 and 4,000 people", and in Srebrenica's case doubts the applicability of the term genocide used by the International Criminal Court to classify the massacre . According to Handke, a massacre of men and boys, as in Srebrenica, cannot be called genocide . On the other hand, according to Handke, the Bosnian attack on Kravica was a genocide in which the Serbian villagers, "over 50" men, women and children, were murdered in January 1993. The victims' rights organization Majke Srebrenice ( Mothers of Srebrenica ), founded in 2002 and made up of survivors of genocide, he disrespectfully apostrophes as the “so-called mothers of Srebrenica ” and adds: “I don't believe a word of them, I don't believe their grief. If I were a mother, I would mourn alone. ”The two interviewers, who for their part openly deny the genocide of Srebrenica in their publisher's publications and lectures, portray the dead as victims of regular acts of war without Handke contradicting them. The interview, according to Alida Bremer, questions Handke's statement in June 2006, when he described Srebrenica as "the worst crime against humanity committed in Europe after the war".

Handke has been a foreign member of the Serbian Academy of Sciences and Arts (SANU) , Department of Language and Literature, since 2012 . On April 8, 2013, Handke was awarded the Golden Merit Medal ( Medalja za zasluge ) of the Republic of Serbia by President Tomislav Nikolić in Belgrade ; According to a report by the state news agency Tanjug on the grounds that, like Christian martyrs for the faith, Handke too suffered for and because of Serbia. Handke corrected this with the remark that he was not a victim, the victim was the Serbian people. On the occasion of this visit, Handke accepted the Momo Kapor Prize in the city parliament of Belgrade on the same day and was named a member of the Academy of Sciences and Arts of the Republika Srpska in the evening ; Presenters were among others Aleksa Buha , philosopher and Karadžić's former foreign minister, and the Serbian poet Gojko Đogo .

In February 2015, the city parliament of Belgrade awarded Peter Handke honorary citizenship . There is “no other writer in the world to whom Belgrade is more obliged”, said Mayor Siniša Mali when handing over the certificate in May 2015. According to the justification of the city parliament, Handke has - “regardless of who was in power” - Serbia "Supported for decades". Handke had "done a lot to ensure that the other side of the truth would also come to the public in the times of the collapse of the former Yugoslavia ", the representative of the city parliament continued.

In a statement submitted by Suhrkamp Verlag in 2019, Handke described the 2011 heretic letters interview as not authorized by him; he also did not read it back then: “It does not correspond to what I meant. I also cannot imagine having said these sentences in this way. What I put down in writing applies to me. (...). In 2006 I wrote: Srebrenica is the worst crime against humanity that has been committed in Europe after the war. I would like to add: of course, the genocide caused endless suffering, which I have never denied. A suffering that cannot be erased by anything. I regret what I said, should you have conveyed something else. ”According to its own statements, the Swedish Academy did not know anything about the interview prior to its Nobel Prize decision for Handke and will now“ examine ”it.

In November 2019 it became known that, according to a photograph published in 2013 via the Handkeonline image database of the Austrian National Library , Handke had a Yugoslav passport that had been issued to him on June 15, 1999 in the Yugoslav embassy in Vienna and whose validity expired in 2009. The nationality of Handkes is indicated in this passport as "Yugoslavian". The document is part of Hans Widrich's Handke collection , which was on permanent loan to the literary archive of the Austrian National Library .

At the 2020 Salzburg Festival , Handke's scenes of the martyrs Zdeněk Adamec were premiered, which he wrote about a Czech with this name who set himself on fire in Prague in 2003 at the age of 18-19.

Nobel Prize for Literature


On October 10, 2019, the Swedish Academy in Stockholm announced the award of the Nobel Prize for Literature 2019 to Peter Handke, “for an influential work that explored marginal areas and the specificity of human experience with linguistic ingenuity” (“for an influential work that with Linguistic ingenuity has explored the periphery and the specificity of human experience ”). The award is nine million Swedish crowns endowed , at this time the equivalent of around 831,000 euros. "The special art of Peter Handke is the extraordinary attention to landscapes and the material presence of the world, which made cinema and painting two of his greatest sources of inspiration," the statement said. Handke established himself as one of the most influential authors in Europe after the Second World War. "70-80 works in different genres - a great creative ability that goes on uninterrupted," stated Anders Olsson , chairman of the Nobel Committee of the Swedish Academy. In the first telephone interview after the award was announced, Handke said: “It is as if what you did is now getting light. Even if everything is deceptive: It is a kind of additional light that can only be welcomed and for which one has to be grateful. ”On the occasion of the Nobel Prize for Literature for Patrick Modiano in 2014, who became known in the German-speaking area in the translations of Handke , Handke had spoken out in an interview in favor of the general "abolition" of the Nobel Prize for Literature: This brings "only a moment of attention", but he does not help literature with its "false canonization".

On December 7, 2019, Handke gave his award speech in front of the Swedish Academy in Stockholm immediately after the speech by Olga Tokarczuk , the 2018 award winner. The actual award ceremony with the presentation of the certificate and the medal took place on December 10, 2019 and was accompanied by a protest of an estimated 400 people in Stockholm.

Appreciation and criticism

The award of the Nobel Prize for Literature to Peter Handke caused very different reactions internationally. They ranged from jubilation to sharp criticism, regret and incomprehension. Criticism reignited above all at Handke's “political” texts and apologetic statements on Serbia, Milošević and the Yugoslav Wars , while the rank of his literary work was mostly recognized and recognized by the award ceremony.

For Eva Menasse , Handke is without a doubt “a world-class author”. His literary work deserves the Nobel Prize because it is large and varied, available and known worldwide. However, it is a "grandly egomaniacal work", that of a loner and loner. The greatest damage that Handke caused with his attitude towards Serbian war crimes concerns himself: a deserved “predigital shit storm” from the point of view of many. Above all, Menasse wishes many new readers to some of Handke's earlier texts in the wake of the Nobel Prize, such as the stories Desireless Unhappiness , Children's History and Slow Homecoming as well as the collection of notes The Weight of the World .

In predominantly critical comments, the award of the prize to Handke was described as a wrong decision by the Nobel Prize Committee . Slavoj Zizek spoke out against separation of ethical and moral considerations of "pure literature" and remembered with respect to Handke's commitment to Serbia at a word from Karl Kraus , according to which Germany from the land of poets and thinkers to the land of the judge and executioner had become . However, Handke is only the latest example in a series for which Thomas Mann's considerations of an apolitical stand as an example : “Apolitical contemplation of the complicated nature of the soul and language is the stuff of which ethnic cleansing is made.” That of the Bosnian Višegrad- born author Saša Stanišić accused Handke of concealing, denying and “twisting facts” with regard to the crimes of Serb militias in the Bosnian war in his acceptance speech on the occasion of the 2019 German Book Prize . Among other things, he said: "I was lucky enough to escape what Peter Handke does not describe in his texts". Michael Martens pointed out that Alfred Nobel decreed in 1895 that the prize should be awarded to those who “created the most outstanding work in an idealistic direction.” Handke did not meet this requirement in view of his partisanship for the Serbian side in the war. In a guest commentary for the newspaper Die Welt , Albania's Prime Minister Edi Rama was shocked by the award. Rama describes the separation, made or required by Handke's Nobel Prize proponents, between worthy literary work and Handke's political attitude as a “big mistake”.

As early as 1996, the Bosnian writer Dževad Karahasan criticized the fact that Handke apparently equated “the Serbs / Serbia” with the Greater Serbian nationalist ideology. In the course of the 2019 Nobel Prize Ceremony, Preljević analyzed Handke's ideological and personal references to the ideas and actors of Serbian nationalism.

The US PEN criticized the award of the Nobel Prize for “linguistic genius” to an author who constantly questions well-documented war crimes.

The victim rights organization Mothers of Srebrenica called on the Swedish Academy to withdraw the award from Handke. Organization spokeswoman Munira Subašić is quoted as saying: "It is sad that such an important award was given to the deniers of the genocide in Srebrenica, when everyone knows what happened in Srebrenica."

Thomas Assheuer believes that a separation “of author and work, of art and morality” is wrong with Handke; because Handke himself is a stranger to this. As a “child of a philosophical revolution” with the slogan “Words make the world!” (By organizing perception and training people), Handke aims to change the world in his work. Assheuer refers to public abuse (1966) and Kaspar Hauser (1968), which deal with the omnipotence of language in the hands of power. “Great books arise from the critical spirit of the language revolution, books of brutal, overly sharp accuracy in a brilliantly clear German that nobody masters as well as Handke.” But this is basically about making language float. Until the fall of Yugoslavia, “romanticizing the world” was Handke's program; He blamed the “Western space displacement rotten” and the lies that came from “European-American big picture capital” for the guilt of the Yugoslav wars. For Assheuer, Handke's texts on Serbia are not an episode, but a permanent shadow over his work. The author presents himself completely differently, “who emigrates from human society to the community of leaves and mushrooms. Here Handke creates that mimetic, preserving relationship to nature that modern mobilization is not capable of. "

One of the five external members of the Nobel Committee, the Swedish translator Henrik Petersen , defended the decision in favor of Peter Handke in a detailed statement and thus responded to the criticism of this year's award. In his work Handke spoke out “unequivocally for peace and not for war” and represented “a fundamentally anti-nationalist point of view”. His work coined an "ideology-critical, ethically questioning attitude, a political program is not propagated"; on the contrary: Handke is a “radically apolitical author”. Petersen, however, admitted: “In the Balkan inquiry, Handke carried out a kind of political kamikaze maneuver, presumably with full awareness of the risks. (...). The way in which Handke articulated his criticism was precarious, clumsy and sometimes led to downright absurd comparisons, ”says Petersen. Mats Malm , Permanent Secretary and Spokesman for the Swedish Academy, and the lawyer Eric M. Runesson , also an academician, made similar statements in the Swedish newspaper Dagens Nyheter . The long-time member of the Swedish Academy and former Permanent Secretary, the historian Peter Englund , however, announced that he would demonstratively stay away from this year's celebrations for Handke's Nobel Prize: “To celebrate Peter Handke's Nobel Prize would be gross hypocrisy on my part. That's all I have to say about it, ”shared Peter Englund. Peter Englund had reported on the Balkan War as a reporter in the 1990s and took a significantly different political position than Handke.

At the beginning of November 2019 it became known that the Suhrkamp Verlag had backed its author with a 24-page “material presentation” with “clarifications” written in English due to international criticism of the Nobel Prize award; intended "for our partners around the world, especially for those countries where most of the weird / sometimes wrong quotations appear - and where you can't read Handke because a lot is not translated". The paper is preceded by quotations from the criticism of Handke circulating in the media (“Some observers have written”), which are then explained with interview statements and passages from Handke's books and clarified - in the sense of the writer, “correct” - or invalidated should be.

Three weeks before the Nobel Prize was awarded on December 10, 2019, Peter Handke himself spoke in more detail about the award and the debate around it in an interview with the weekly newspaper Die Zeit, and defended his criticized position on Serbia and the former Yugoslavia. The “monotonous” and “one-sided” reporting on Serbia during the Yugoslav wars was the reason for him to show solidarity with Serbia and to demand “justice for Serbia”. In this context, Handke also criticized the German approach. With the recognition at the time of Croatia, Slovenia and Bosnia-Herzegovina, where, according to Handke, "more than a third of Orthodox and Muslim Serbs lived", Germany and "the West" in general were responsible for the "fratricidal war" in the Balkans. In his view of the unimpeachable status of the controversial travel reports and other texts on the subject, which is valid as literature , he said: “Not a single word of what I have written about Yugoslavia can be denounced, not a single one. That is literature ”; in contrast to the "journalistic literature" criticized and rejected again by Handke. This, according to Handke, is “a bastard of the worst kind”. Handke justified his participation in Milošević's funeral in 2006 by stating that it was not a tribute to the person, but the “burial of Yugoslavia”, that Yugoslavia that “meant something” to Handke, also for biographical reasons: “Of course I was there. He [Milošević] voted in one of the last votes not to dissolve Yugoslavia. His funeral was also the burial of Yugoslavia. ”The historian Ludwig Steindorff , who subjected Handke's image of Yugoslavia and in particular his statements on Milošević and the Yugoslav wars to a critical analysis, spoke in a newspaper article a few days before the award ceremony of“ historical errors in need of correction ” .

According to Alida Bremer, the defense of Handke's partisanship for Serbian nationalism in the Bosnian war testifies in the German feature pages of an unwillingness to inform oneself about the Yugoslav wars of disintegration, which have been well researched legally, forensically and historically. Tijan Sila argues similarly .

After receiving the Nobel Prize on December 10, 2019, both the Republic of Kosovo and the Bosnian city of Sarajevo declared Peter Handke a persona non grata .

Private life


In 1965 Handke met the actress Libgart Schwarz (* 1941). The couple married in 1967. Their daughter Amina (* 1969) was born. The spouses separated in 1974, the daughter mostly stayed with the father.

From 1974 to 1976 Handke was in a relationship with the French actress Jeanne Moreau (1928-2017).

In 1976, Handke was admitted to the hospital because of panic attacks and cardiac arrhythmias. Handke describes himself as melancholy, "temporarily, a temporary paralysis almost" and took Tranxilium for a while . In the 1980s in Salzburg he lived with the Austrian actress Marie Colbin (* 1957).

In 1990 Handke met the Frenchwoman Sophie Semin (* 1961), then press officer, who decided three months later to become an actress. She is the daughter of a Parisian manufacturer from Lorraine . The couple quickly moved in together and a year later, on August 24, 1991, their daughter Léocadie was born. At the beginning of August 1994 Handke divorced his first wife in Vienna and married Sophie Semin in autumn 1995. Sophie Semin has not lived in Chaville since 2001: To be able to live with Handke you would have to own a castle with two wings. "But you don't have a lock."

The actress Katja Flint (* 1959) was his partner from 2001 to 2006 .

Friendship with Wim Wenders

Handke has had a friendship and working relationship that has lasted since 1966 with the German director Wim Wenders ; it is the longest friendship in Wenders' life. He got to know Peter Handke during his student days after a performance of his play verbal insult in the theater of Oberhausen. Both artists have a lot of personal similarities and aesthetic relationships. Above all, they are united by a preference for an intense, sometimes existentialist depiction of landscapes, to which they pay much more attention and importance than the words and actions of their actors. Between 1969 and 1986 they worked together several times, for example Wenders directed the world premiere of Über die Dörfer (Salzburg, 1982), and Wenders and Handke also worked together on the production of three films. Handke's poem Song of Childhood serves as the leitmotif for Wenders film Der Himmel über Berlin . Wenders, in turn, was influenced by reading Handke's publications in making important decisions in his life and work. In 2016, Wenders filmed Handke's play The Beautiful Days of Aranjuez in French and in 3D with Reda Kateb and Sophie Semin in the leading roles.

Themes and style

In Handke's early work, language is the central theme, reality is experienced and reflected by him through and in language ( Die Innenwelt der Außenwelt der Innenwelt , 1969). Approaches to a classic narrative style can be seen for the first time in the stories Die Angst des Tormanns bei Elfmeter (1970) and The short letter for a long farewell (1972), a result of his discussion with the authors Karl Philipp Moritz , Gottfried Keller and Adalbert Stifter .

At the end of the 1970s, Handke turned to a highly stylized, metaphor-rich language from the story Slow Homecoming (1979) to illustrate his self-discovery process. With the novel My Year in No Man's Bay (1994), Handke took up autobiographical topics again and dealt with the existence of a writer. In his most recent writings from The Loss of Images or Through the Sierra de Gredos (2002), he criticized the media flood of images.


Prose and plays

1966 to 1969 1991 to 1999
  • The hornets . Novel. 1966.
  • Prophecy and self- accusation premiered in 1966 under the direction of Günther Büch, Theater Oberhausen
  • Public abuse and other speaking pieces , 1966, premiered under the direction of Claus Peymann at the Theater am Turm
  • Welcome from the supervisory board . Early prose texts. 1967.
  • The peddler , 1967.
  • Kaspar , 1967, premiered on May 11, 1968 at the Oberhausen Theater under the direction of Günther Büch and at the Theater am Turm under the direction of Claus Peymann
  • German poems , 1969.
  • The inner world of the outer world of the inner world , 1969.
  • Prose, poems, plays, radio plays, essays , 1969.
  • The ward wants to be a guardian , director: Claus Peymann , Theater am Turm, 1969

1970 to 1979

1980 to 1989

  • The teaching of the Sainte-Victoire , 1980 [= LH II]
  • About the villages , 1981 [= LH III]
  • Children's story , 1981 [= LH IV]
  • The story of the pencil , 1982.
  • The Chinese of Pain , 1983
  • Fantasies of Repetition , 1983.
  • The repeat , 1986.
  • Poem to Duration , 1986.
  • The absence. A fairy tale , 1987 (filmed in the direction of the author 1992)
  • The sky over Berlin , with Wim Wenders, 1987
  • A Writer's Afternoon , 1987.
  • The Game of Questions or The Journey to the Sonorous Land , 1989.
  • Experiment on Fatigue , 1989.


  • Again for Thucydides , 1990.
  • Attempt on the jukebox , 1990.
  • Shakespeare: Winter's Tale , 1991, translation
  • Farewell to the Dreamer from the Ninth Land , 1991.
  • Try over the successful day. A winter's daydream , 1991.
  • The hour when we didn't know about each other. Ein Schauspiel , 1992, world premiere under the direction of Claus Peymann, Vienna , Burgtheater , 1992
  • The plays , 1992.
  • Three attempts. Try about fatigue. Try on the jukebox. Attempt on the lucky day , 1992.
  • Slowly in the shade. Collected scraps 1980–1992 , 1992.
  • The art of asking , 1994.
  • My year in no man's bay. A fairy tale from the new times , 1994.
  • A wintry journey to the Danube, Save, Morawa and Drina rivers or Justice for Serbia , 1996.
  • Summer addendum to a wintry trip , 1996.
  • Armaments for immortality. Königsdrama , directed by Claus Peymann, Vienna, Burgtheater, 1997.
  • I walked out of my silent house one dark night in 1997.
  • At the rock window in the morning. And other local times 1982–1987 , 1998.
  • A word land. A trip through Carinthia, Slovenia, Friuli, Istria and Dalmatia with Liesl Ponger, 1998.
  • Die Fahrt im Einbaum or Das Stück zum Film vom Krieg , 1999, premiered at the Burgtheater in Vienna
  • Lucie in the woods with the things there. With 11 sketches by the author , 1999.

2000 to 2009

  • Questioning with tears. Subsequent records of two crossings of Yugoslavia during the war, March and April 1999 , 2000.
  • The loss of image or Through the Sierra de Gredos , 2002.
  • Oral and written. On books, pictures and films 1992–2000 , 2002.
  • Around the Grand Tribunal , 2003.
  • Underground blues. A station drama , 2003.
  • Why a kitchen? (French / German), 2003.
  • Sophocles: Oedipus on Colonus , 2003, translation
  • Don Juan (told about himself). 2004.
  • Daimiel's tablas. 2005.
  • Yesterday on the road. Records November 1987 to July 1990. 2005.
  • Traces of the Lost , premiered under the direction of Claus Peymann on BE 2007.
  • Potash. A pre-winter story. 2007.
  • Life without poetry. Poems. 2007.
  • My place-name signs. My time tables. Essays 1967-2007. 2007.
  • The Moravian night . Story, 2008.
  • Until the day do you part or A matter of light. Reading in Salzburg 2008.
  • The cuckoos by Velika Hoca. 2009.

2010 to the present


Work edition

Drawing work



Direction and script

  • Three American LPs , 1969 (together with Wim Wenders )
  • Chronicle of Current Events , 1971.
  • The left-handed woman , 1978
  • The Mark of Death , 1986, production: ORF
  • The absence. A fairy tale , 1992.


Radio plays

  • Radio play No. 2 ( WDR , 1969)
  • Radio play. 1973, production: Deutsche Grammophon and Luchterhand Verlag 2574 005
  • Underground blues - a station drama. 2004, 81:52 min., Production: Hessischer Rundfunk , director: Andrea Getto, composition: Sabine Worthmann , editing & dramaturgy: Peter Liermann
  • Walking in the heartland. 2009, DLF , director: Leonhard Koppelmann
  • The beautiful days of Aranjuez - a summer dialogue. 2012, 81:47 min., Production: Hessischer Rundfunk, ORF ; Director: Harald Krewer; Editing & dramaturgy: Peter Liermann

Sound carrier

  • Desireless misfortune - a selection by the author read by Bruno Ganz , Deutsche Grammophon Literatur 2570 014, 1978
  • The inner world of the outer world of the inner world - A selection, read by the author, Deutsche Grammophon Literatur
  • On the road yesterday - A selection, read by the author; approx. 300 minutes, Hoffmann & Campe, 2006.


Handke translates the following authors: Adonis , Aischylos , Dimitri T. Analis , Bruno Bayen , Emmanuel Bove , René Char , Marguerite Duras , Euripides , Jean Genet , Georges-Arthur Goldschmidt , Julien Green , Gustav Januš , Florjan Lipuš , Patrick Modiano , Walker Percy , Francis Ponge , William Shakespeare , Sophocles

  • Adonis, Dimitri T. Analis: Under the light of time. Correspondence. 2001.
  • Aeschylus: Prometheus , tied up , WP Salzburg Festival ( Felsenreitschule ) 1986
  • Dimitri T. Analis: Land for itself. Poems. 1999.
  • Bayen, Bruno:
    • Travel remains. Roman , 1997.
    • The angry. Roman , 2000.
  • Bove, Emmanuel:
    • My friends , 1981.
    • Armand. Roman , 1982.
    • Bécon-les-Bruyères , 1984.
  • René Char:
    • Return upstream. Poems 1964–1975 , 1984.
    • Van Gogh's neighborhoods , 1990.
  • Marguerite Duras: The Disease Death. 1985.
  • Euripides: Helena. WP Burgtheater Vienna, 2010
  • Jean Genet (with Peter Krumme): Splendid's / You: Two pieces. 1994.
  • Goldschmidt, Georges-Arthur:
    • The mirror day. Roman , 1982.
    • The secretion. Narrative , 1991.
    • The interrupted forest. Narrative , 1992.
  • Julien Green: The other sleep. 1988.
  • Gustav Janus:
    • Poems 1962–1983. 1983.
    • When I cross the word 1988.
    • In the middle of a sentence. 1991.
    • The circle is my window now. 1998.
    • Word transformed into colors. Collected poems 1962–2009. 2009.
  • Florjan Lipuš (with Helga Mracnikar): The pupil Tjaž. 1981.
  • Patrick Modiano :
  • Walker Percy:
  • Francis Ponge:
    • Notebook from the pine forest. La Mounine. 1982.
    • Small suite des Vivarais. 1988.
  • William Shakespeare: The Winter's Tale . 1991
  • Sophocles: Oedipus in Colonus . WP Burgtheater Vienna, 2003


Manuscript archive

On 6 December 2007 sold Handke manuscripts and materials from the past two decades as a reduction in his lifetime - even premature legacy called - to the amount of 500,000 euros to the literary archive of the Austrian National Library . The purchase was supported by the Federal Ministry for Education, Art and Culture . At the beginning of 2008 he made his 66 diaries from 1966 to 1990 available to the German Literature Archive in Marbach for an unknown amount.

In September 2017, Handke sold a further 151 diaries and notebooks to the German Literature Archive in Marbach, completing the Marbach partial supply by Peter Handke. The acquisition was made possible by the Hubert Burda Foundation , the Kulturstiftung der Länder and the State Minister for Culture and Media . The diaries that Handke has kept since 1975 are "of paramount importance" for understanding his work.


Some notebooks and other pieces from his legacy , such as the typescript of the public abuse , are shown in a permanent exhibition in the Literature Museum of Modern Art in Marbach.

In the summer of 2017, the Berlin gallery Klaus Gerrit Friese presented an exhibition of Handke's drawings, some of which were extremely detailed in his manuscripts.

In February 2018, a large permanent exhibition on the life and work of Peter Handke was opened in the former Premonstratensian Monastery of Griffen in Carinthia.

Literature on Handke

  • Heinz Ludwig Arnold (Ed.): Peter Handke . edition text + kritik 24 / 24a (1969; 1971; 1976; 1978; 1989; 1999 with updated, detailed bibliography)
  • Carlo Avventi: With the eyes of the right word. Perception and communication in the work of Wim Wenders and Peter Handkes. Gardez! -Verlag, Remscheid 2004, ISBN 3-89796-126-1 , dissertation .
  • Lillian Birnbaum : Peter Handke. Portrait of the poet in his absence . Müry Salzmann Verlag, Salzburg 2011, ISBN 978-3-99014-042-0 .
  • Thorsten Carstensen: Romance storytelling. Peter Handke and the epic tradition . Wallstein, Göttingen 2013, ISBN 978-3-8353-1108-4 .
  • Thorsten Carstensen (ed.): The daily writing. Peter Handke as a reader . transcript, Bielefeld 2019, SBN 3-8376-4055-8.
  • Thomas Deichmann (Ed.): Once again for Yugoslavia: Peter Handke . Suhrkamp Verlag, Frankfurt am Main 1999, ISBN 3-518-39406-1 .
  • Christoph Deupmann: The impossibility of the third. Peter Handke, the wars in Yugoslavia and the role of German-speaking writers , in: Zeithistorische Forschungen / Studies in Contemporary History 5 (2008), pp. 87–109.
  • Jörg Döring : Peter Handke insults the group 47. univer si , Siegen 2019, ISBN 978-3-96182-030-6 .
  • Leopold Federmair : The apple trees of Chaville. Approaches to Peter Handke . Jung and Jung, Salzburg and Vienna 2012, ISBN 978-3-99027-029-5 .
  • Wolfram Frietsch: Peter Handke - CG Jung : self-search - self-discovery - self-development. The individuation process in modern literature using the example of Peter Handke's texts. scientia nova, Gaggenau 2006, 2nd edition, ISBN 978-3-935164-01-6 .
  • Peter Handke . In: Gerhard Fuchs and Gerhard Melzer (eds.): Dossier Extra. Peter Handke . Droschl , Graz 1993, ISBN 3-85420-337-3 .
  • Herwig Gottwald; Andreas Freinschlag: Peter Handke . UTB, Stuttgart 2009, ISBN 978-3-8252-3220-7 .
  • Kurt Gritsch: Peter Handke. Justice for Serbia: A Reception Story. Studies Verlag, 2008, ISBN 978-3-7065-4614-0 .
  • Fabjan Hafner : Peter Handke: On the way to the Ninth Land . Zsolnay, Vienna 2008, ISBN 978-3-552-05427-1 .
  • Peter Hamm : Peter Handke and no end. Stations of an approach . Wallstein, Göttingen 2017, ISBN 978-3-8353-3156-3 .
  • Adolf Haslinger : Peter Handke. A writer's youth , 1999, ISBN 3-518-38970-X .
  • Malte Herwig : Master of the Twilight. Peter Handke. A biography. DVA, Munich 2010, ISBN 978-3-421-04449-5 .
  • Hans Höller : Peter Handke. Rowohlt, Reinbek near Hamburg 2007, ISBN 978-3-499-50663-5 .
  • Stefan Hofer: The ecology of literature. A systems theory approach. With a study of the works of Peter Handke . transcript, Bielefeld 2007, ISBN 978-3-89942-753-0 .
  • Volker Georg Hummel: The narrative performance of walking. Peter Handke's “My year in no man's bay” and “The loss of images” as strolling texts. Transcript publishing house. Bielefeld 2007, ISBN 978-3-89942-637-3 .
  • Peter Jamin: The Handke Scandal - How the debate about the Heinrich Heine Prize exposed the cultural society . Gardez! -Verlag, Remscheid 2006, ISBN 3-89796-180-6 .
  • Klaus Kastberger (Ed.): Peter Handke. Freedom of writing - order of writing , magazine of the Austrian Literature Archive, Volume 16, Paul Zsolnay Verlag, Vienna 2009.
  • Klaus Kastberger, Katharina Pektor (ed.): The work of the viewer. Peter Handke and the theater . Catalog for the exhibition in the Austrian Theater Museum . Jung und Jung, Salzburg 2012, ISBN 978-3-99027-030-1 . The exhibition from January 31 to July 8, 2013 for the first time gave a comprehensive insight into the creation and impact of Handke's stage work.
  • Klaus Kastberger: Dregs of writing. Peter Handke and geology . Original contribution. In: , November 19, 2012, (PDF).
  • Klaus Kastberger: reading and writing. Peter Handkes Theater as text . online file. In: , January 21, 2013, (PDF).
  • Christoph Kepplinger-Prinz, Katharina Pektor: Drawing notes and narrative drawing. Sketches, drawings and pictures in Peter Handke's notebooks from 1972 to 1990 . Original contribution. In: , / August 8, 2012, (PDF).
  • Herlinde Koelbl : Peter Handke In: When writing at home - How writers go about their work - Photographs and conversations. Knesebeck Verlag, Munich 1998, ISBN 3-89660-041-9 , pp. 10-15; Photo documentation by Handke, which portrays the author at his workplace and in his personal environment and, in an interview, represents the basis of his vocation as well as the framework and individual approach in the creation of his works.
  • Philip Kovce : Experiment about the tempter , AQUINarte Literature and Art Press, Kassel 2014, ISBN 978-3-933332-77-6 .
  • Tanja Angela Kunz: Longing for the good. On the relationship between literature and ethics in the epic work of Peter Handke. Wilhelm Fink Verlag, Paderborn 2017, ISBN 978-3-7705-6206-0 .
  • Tanja Angela Kunz: “Happiness: Egoistic self-concept or ethical challenge? An investigation based on Peter Handke's An Intermediate Note on Fear , Senselessness and Happiness and Trying to Have a Successful Day ”, in: Studia austriaca 23 (2015), pp. 105–124. Original article: (PDF).
  • Tanja Angela Kunz: “The other side of repetition - femininity, violence and narration in Peter Handke's Die Morawische Nacht ”, in: Philologie im Netz 70 (2014), pp. 74-106. Original article: .
  • Louise L. Lambrichs: Le cas Handke: conversation à bâtons rompus . Inventaire / Invention, 2003, French
  • Simone Malaguti: Wim Wenders' films and their intermedia relationship to Peter Handke's literature. Peter Lang, Frankfurt am Main, Berlin 2008, ISBN 978-3-631-58064-6 .
  • Rainer Nägele, Renate Voris: Peter Handke. Author books . In: Heinz Ludwig Arnold and Ernst-Peter Wieckenburg (eds.): Author's books . tape 8 . Beck, Munich 1978, ISBN 3-406-07118-X .
  • Katharina Pektor (Ed.): Peter Handke. Permanent exhibition pen grips. Salzburg / Vienna: Jung und Jung 2017, ISBN 978-3-99027-213-8 .
  • Georg Pichler : The description of happiness. Peter Handke. A biography . Vienna, 2002, ISBN 3-8000-3883-8 .
  • Anja Pompe: Peter Handke. Pop as a poetic principle. Böhlau: Cologne, Weimar, Vienna 2009, ISBN 978-3-412-20386-3 .
  • Peter Pütz : Peter Handke . Suhrkamp Verlag, Frankfurt am Main 1982, ISBN 3-518-37354-4 .
  • Rolf Günter Renner: Peter Handke. Verlag JB Metzler, Stuttgart 1985 (= Slg.Metzler M 218), ISBN 3-476-10218-1 .
  • Carsten Rohde: Dreaming and Walking. Peter Handke's geopoietic prose since "Slow Homecoming". Wehrhahn Verlag, Hannover 2006, ISBN 3-86525-045-9 .
  • Michael Scharang (Ed.): About Peter Handke . Suhrkamp Verlag, Frankfurt am Main 1972.
  • Andreas Schirmer: Peter Handke Dictionary. Prolegomena. With 619 started articles on one CD-ROM. Praesens Verlag, Vienna 2007, ISBN 978-3-7069-0441-4 .
  • Ute Seiderer: Handke's trip in a dugout. Poetics of the border river. In: Klaus Kastberger (Ed.): Water languages. Liquid texts from Austria. (= Literature series in the StifterHaus. Volume 18). Austrian National Library, Vienna 2006, ISBN 978-3-900424-54-1 , pp. 121–129.
  • Martin Sexl: Poetry as media criticism. The Yugoslav wars in the works of Peter Handke . Original contribution. In: , March 4, 2013, (PDF).
  • Lothar Struck: narrator, reader, dreamer. Letter accompanying the work of Peter Handke . Mirabilis Verlag, Klipphausen / Miltitz 2017, ISBN 978-3-9818484-1-0 .
  • Lothar Struck: Keuschnig instead of Kobal. The interplay of language criticism and storytelling in Peter Handke's work . Original contribution. In: , February 18, 2013, (PDF).
  • Lothar Struck: The smell of the films. Peter Handke and the cinema. Mirabilis Verlag 2013, ISBN 978-3-9814925-4-5 .
  • Lothar Struck: "The one with his Yugoslavia." Peter Handke in the field of tension between literature, media and politics . Verlag Ille & Riemer, Leipzig, Weißenfels 2012, ISBN 978-3-95420-002-3 .
  • Rhea Thönges-Stringaris : But the longer the event goes ... - to Joseph Beuys and Peter Handke . FIU-Verlag, Wangen / Allgäu 2002 (original text by Handke zu Beuys and interview with Johannes Stüttgen on the situation in Kosovo 1999), ISBN 978-3-928780-27-8 .
  • Katja Thomas: Poetics of the Destroyed. On the interplay of text and perception with Peter Handke and Juli Zeh . VDM Verlag Dr. Müller 2007, ISBN 978-3-8364-2753-1 .
  • Sebastiano Toma: The sky over Berlin . Graphic Novel , Jacoby & Stuart , Berlin 2015, 200 pp., Numerous. Fig., ISBN 978-3-942787-53-6 .
  • Karl Wagner: Further in the blues. Studies and texts on Peter Handke . Weidle Verlag, Bonn 2009, ISBN 978-3-938803-22-6 .
  • Ralf Zschachlitz: "Epiphany" or "illumination profane"? L'oeuvre de Peter Handke et la théorie esthétique de Walter Benjamin. Lang-Verlag, Bern 2000, ISBN 3-906758-53-2 .

Films about Handke

  • The melancholy player. The writer Peter Handke. Documentary, Germany, 2002, 90 Min, written and directed. Peter Hamm , Production: swivel film, SWR , arte , Summary of
  • Gero von Boehm meets Peter Handke. Talk, Germany, 2008, 45 min., Production: interscience film, 3sat , first broadcast: May 26, 2008, synopsis by interscience.
  • Volker Panzer meets Peter Handke. Talk, Germany, 2008, 63 min., Production: ZDF nachtstudio , first broadcast: March 10, 2008.
  • Handles. In the footsteps of Peter Handke. Documentary, Austria, 2012, 78 min., Written and directed by Bernd Liepold-Mosser.
  • Peter Handke. I'm in the woods, it may be that I'm late ... Documentary, Germany, 2016, 89:10 min., Script and director: Corinna Belz , production: zero one film, SWR , release date: November 10, 2016, first broadcast: December 7, 2017 at SWR, table of contents by SWR, film page.

Web links

Commons : Peter Handke  - Collection of images, videos and audio files




Media libraries

Individual evidence

  1. a b Nobel Prize for Literature for Peter Handke. In:, October 10, 2019, accessed on October 10, 2019.
  2. Interview with Peter Handke on .
  3. ↑ In the summer of 1967, the public abuse was performed at a Stockholm cultural festival. In English the piece was called "Insulting the Audience". See The Times , Aug. 26, 1967, p. 7
  4. Gaspard Dünkelsbühler: Chronicle of a largely normal stay in Africa: Rwanda 1976–1980. Traveling on the periphery. Diaries, letters, notes. Ibidem, Stuttgart 2008, ISBN 978-3-89821-906-8 ; Online edition 2012, ISBN 978-3-8382-5906-2 , p. 426 ( limited preview in Google book search).
  5. Video ZDF nachtstudio : Volker Panzer meets Peter Handke [10. March 2008]  in the ZDFmediathek , accessed on February 6, 2014. (offline)
  6. Malte Herwig : Peter Handke and his affair with Jeanne Moreau. In: Die Welt , November 2, 2011.
  7. P. Handke, H. Lenz: Rapporteur of the day. Correspondence. Frankfurt am Main / Leipzig 2006, p. 366.
  8. Tools of writing: pen - machine - pencil | Handke online. Retrieved December 28, 2019 .
  9. ^ Peter Handke: A wintry journey to the rivers Danube. Save, Morawa and Drina or Justice for Serbia . Suhrkamp, ​​Frankfurt 1996, p. 12 f.
  10. Against the background of the Nobel Prize debate in 2019, "For reading" published again: Peter Handke's travel report "Justice for Serbia". Süddeutsche Zeitung from October 19, 2019, accessed on October 21, 2019
  11. On the context of the origin, travel companion, photographs cf. Handkeonline , Austrian National Library, Literature Archive .
  12. See Handkeonline , Austrian National Library, Literature Archive .
  13. Malte Herwig: The poems of Dr. K. Peter Handke's visit to Radovan Karadžić , Frankfurter Allgemeine Zeitung , October 29, 2010.
  14. See: Adelheid Wölfl: Peter Handke and the fairy of the revenge massacre , Der Standard , November 4, 2019.
  15. Carolin Emcke : Attempt on the successful war crime. In: Spiegel Online , June 4, 2006.
  16. Peter Handke: Farewell of the dreamer from the Ninth Land. A winter trip to the rivers Danube, Save, Morawa and Drina or Justice for Serbia. Summer addendum to a wintry trip . Suhrkamp, ​​Frankfurt 1998, p. 241.
  17. Jürgen Brokoff: I see something that you can't grasp. Peter Handke as a Serbian nationalist., July 15, 2010, accessed October 11, 2019 .
  18. ^ Sigrid Löffler, swelling authors-quarrel , in: Die Presse, February 13, 1996.
  19. Thomas Deichmann (Ed.): Once again for Yugoslavia: Peter Handke . Suhrkamp, ​​Frankfurt a. M. 1999.
  20. 'A troubling choice': authors criticize Peter Handke's controversial Nobel win , Sian Cain, The Guardian, October 11, 2019
  21. ^ The ARD broadcast Kulturreport took over passages from this broadcast two weeks later; see. Christoph Bungartz, Ralf Quibeldey: As a monk in the hail of bombs . Peter Handke's hair-raising interview with Serbian Television , Kulturreport (March 1999); Released under the title Nobel Prize for Serbian Friend Peter Handke 2019 on the NDR website , accessed on October 30, 2019.
  22. "Just the opposite" , Focus Magazin , No. 11 (1999); see. Peter von Becker : “The Jews are out of category” , Der Tagesspiegel , March 14, 1999; on Handke's image of Serbia and the Holocaust comparison: Christian Weber: The instrumentalization of misunderstanding. On Peter Handke's image of Serbia, the scandal surrounding the Düsseldorf Heine Prize 2006 and the problem of translation , in: Sidonie Kellerer, Astrid Nierhoff-Fassbender et al. (Eds.): Misunderstanding. Malentendu. Culture between communication and disruption . Königshausen & Neumann, Würzburg 2008, ISBN 978-3-8260-3849-5 , p. 169 f.
  23. Konrad wants diplomacy and Mr Handke throws it down , Spiegel online , April 7, 1999, accessed on November 11, 2019.
  24. ^ André Müller : Interview with Peter Handke , July 2, 2007, on Elfriede Jelinek's website , accessed on November 8, 2017.
  25. Griffener pastor denies Peter Handke's conversion to church . In: Kathpress , November 11, 2019, accessed on the same day.
  26. Malte Herwig: Master of the Twilight. Peter Handke: A biography . 1st edition. DVA, Munich 2010, p. 242 .
  27. For the context and stations of these two “war journeys ” (Handke) see: Handkeonline .
  28. ^ Artist's appeal for Milošević. . Montreal - New York - Moscow - Paris, March-April 2004 (PDF; 14 kB).
  29. Peter Handke: Once again for Yugoslavia , in Sigrid Löffler (Ed.): Literatures. The journal for books and topics , 7/8 (2005). Friedrich Berlin Verlag, Berlin 2005.
  30. Peter Handke: The Tablas of Daimiel - A detour witness report on the trial against Slobodan Milošević , Suhrkamp Verlag, Frankfurt a. M. 2006, ISBN 978-3518068779 .
  31. On the context and reception of the eulogy see: Handkeonline ; There is also the text of the speech in the back translation by Peter Handke, as printed in: Focus , No. 13 (2006): “I would have liked not to be alone here as a writer in Požarevac, but at the side of another writer, such as Harold Pinter. He would have needed strong words. I need weak words. But the weak should be right here today. It is a day not only for strong but also for weak words. [From here on I spoke Serbo-Croatian - written alone! -, retrospectively translated:] The world, the so-called world, knows everything about Yugoslavia, Serbia. The world, the so-called world, knows everything about Slobodan Milošević. The so-called world knows the truth. That is why the so-called world is absent today, and not just today, and not just here. The so-called world is not the world. I know I don't know I don't know the truth. But I look. I hear. I feel. I remember. I ask. That's why I'm here today, close to Yugoslavia, close to Serbia, close to Slobodan Milošević. "
  32. dan / dpa: Controversial Handke piece. Artists' protest for the author , Spiegel Online , May 3, 2006, accessed on November 14, 2019.
  33. tso / dpa : Berliner Ensemble. Berlin Heine Prize for Handke. In: Tagesspiegel , February 22, 2007; see. Screenshot: Berlin and its people. ( Memento from July 19, 2012 in the web archive ). In: Berlin Heinrich Heine Prize , December 21, 2009.
  34. Klaus Stein: After Peter Handke renounces the Düsseldorf Prize: Krähwinkel's magistrate becomes cheeky again. In: NRhZ-Online , June 20, 2006.
  35. Handke rejects alternative price. In: Frankfurter Allgemeine Zeitung , June 22, 2006.
  36. ^ Berliner Ensemble: Berlin Heine Prize for Handke. ( Memento from May 28, 2014 in the Internet Archive ) In: Die Zeit , February 22, 2007.
  37. Eckart Spoo : With the Serbs in Kosovo - Part III. In: NRhZ-Online , May 23, 2007.
  38. Wolfgang Büscher: I wanted to be a witness. In: Die Zeit , April 12, 2007.
  39. ^ Serbia: Peter Handke supports nationalists. In: Süddeutsche Zeitung , January 23, 2008.
  40. Peter Handke: Notre Europe vénérable a perdu son cœur. In: Le Figaro , February 20, 2008 (French).
  41. ^ German Book Prize. Peter Handke renounces nomination. In: Spiegel Online , September 4, 2008.
  42. Michael Martens: Handke on Srebrenica: "I would not judge it" , Frankfurter Allgemeine Zeitung, October 25, 2019.
  43. Alida Bremer: The track of the errant , online magazine Perlentaucher , October 25, 2019.
  44. On the pseudonym Alexander Dorin of the native Serb Boris Krljic, who lives in Basel, see: Daniel Foppa: Genozid-Denier werbt in der Weltwoche , Tagesanzeiger , March 19, 2015.
  45. Cf. Lucius Teidelbaum: In the sign of the devil: The “covenant against adjustment” , haGalil. Jewish Life Online, November 13, 2016.
  46. Bund against adaptation (ed.): Heretic letters. Message in a bottle for unadapted thoughts 169 (September / October 2011), Ahriman Verlag, Freiburg 2011, here: Interview with Peter Handke , pp. 40–50 and Alexander Dorin: Letter to Peter Handke , pp. 51–59.
  47. See Peter Handke et al. Alexander Dorin on Srebrenica , on: yugocoord ( Italian Coordination for Yugoslavia ) , accessed on October 26, 2019.
  48. See Vahidin Preljević: Repeat offender Handke , Der Standard , October 30, 2019.
  49. Heretic Letters 169, Ahriman Verlag, Freiburg 2011, p. 44 and p. 46.
  50. Peter Handke: In the end, almost nothing can be understood , Süddeutsche Zeitung, June 1, 2006; Cf. Alida Bremer: Die Spur des Errlaufers , Perlentaucher online magazine , October 25, 2019.
  51. Peter Handke , in: Directory of Members of the Serbian Academy of Sciences and Arts , accessed on November 26, 2019.
  52. Vahidin Preljevic: Handke Serbia , pearl divers , November 7th of 2019.
  53. Honorary Citizen Handke: "Belgrade a tragic but bright city""Belgrade a tragic but bright city", Kleine Zeitung, May 21, 2015.
  54. Handke on Srebrenica , Süddeutsche Zeitung, October 26, 2019.
  55. Gerrit Bartels: Peter Handke and the "Heretic Letters": Isn't everything meant that way? , Tagesspiegel, October 26, 2019.
  56. Belgrade | Handke online. Retrieved November 7, 2019 .
  57. Peter Handke is said to have also had a Yugoslav passport - Retrieved November 7, 2019 (Austrian German).
  58. ^ Passport for the future Nobel Laureate , Süddeutsche Zeitung , November 8, 2019.
  59. ^ Austrian National Library, Literature Archive: Peter Handke Collection / loan from Hans Widrich , overview of contents online (PDF).
  60. Strauss, Simon: Because there was nothing to help him. Frankfurter Allgemeine Zeitung , August 4, 2020, p. 9.
  61. ^ The Nobel Prize in Literature 2019: Peter Handke. In: October 10, 2019, accessed October 10, 2019 .
  62. 2019 Nobel Prize for Literature awarded to Peter Handke. In: APA. October 10, 2019, accessed October 10, 2019 .
  63. ↑ Topics of the day from October 10, 2019
  64. Peter Handke on the Nobel Prize: "I am geeiert through the woods". In: Der Standard (based on APA ), October 10, 2019, accessed on October 10, 2019.
  65. Handke: Abolish the Nobel Prize for Literature , Süddeutsche Zeitung , October 17, 2014.
  66. Handke's Nobel Prize speech in full: Der Standard, December 7, 2019 , accessed on December 7, 2019.
  67. dpa / hgö: 400 people protest against the Nobel Prize for Peter Handke , Zeit online , December 10, 2019.
  68. See: From “Who Else?” To “Genocide Denier”. Shared response to the Nobel Prize for Literature for Peter Handke , Spiegel Online from October 11, 2019.
  69. Eva Menasse : It’s okay. In an artist's life there are almost always abysses and wrong turns. Handke's honor is spot on. In: Die Zeit , October 17, 2019, p. 56.
  70. Adelheid Wölfl: "Moral Compass Lost". Nobel Prize for Peter Handke: Criticism does not stop , Frankfurter Rundschau , October 14, 2019.
  71. Slavoj Žižek in an interview with Die Zeit : When milk was still called milk. The Slovenian philosopher Slavoj Žižek criticizes Handke's view of Yugoslavia. In: Die Zeit , October 17, 2019, p. 56.
  72. Johannes Schneider, This price was never political , Zeit Online from October 15, 2019; see. also: Saša Stanišić. "Handke spoils my joy in the price" , Spiegel Online from October 15, 2019.
  73. Swedish Academy defends Nobel Prize for Handke . In: October 17, 2019, accessed October 20, 2019 .
  74. Michael Martens, Nobel Prize for Handke - a mistake , Frankfurter Allgemeine Sonntagszeitung of October 13, 2019, p. 8; also: Michael Martens: Criticism of Peter Handke. After all, no Nobel Peace Prize , Frankfurter Allgemeine Zeitung from October 12, 2019.
  75. Edi Rama: This is not literature - these are calls to hate , Die Welt , October 16, 2019.
  76. ^ Dževad Karahasan: Citizen Handke, Serb people. In: The time. February 16, 1996, accessed January 8, 2020 .
  77. Vahidin Preljevic: Handke Serbia. In: Pearl Divers. November 7, 2019, accessed January 8, 2020 .
  78. Statement: Deep Regret Over the Choice of Peter Handke for the 2019 Nobel Prize in Literature , PEN America, October 10, 2019
  79. ^ «Genocide denier» - «Greatest poet of our language» , Basler Zeitung, October 11, 2019
  80. Peter Handke and the Yugoslavia Trauma , ORF , October 11, 2019, accessed on November 12, 2019.
  81. Thomas Assheuer : Permanent shadow. Peter Handke's commitment to Serbia has been heavily criticized. Are you doing the great poet an injustice? In: Die Zeit , October 17, 2019, p. 55 f.
  82. See Nobel Prize jurors defend decision for Peter Handke , Spiegel Online, October 17, 2019.
  83. dpa: Academician Englund boycotted Nobel Week , in: Der Tagesspiegel, December 6, 2019.
  84. DLF - "Englund boycotted Nobel Week because of Handke"
  85. See Suhrkamp Verlag's Detailed Response to the Nobel Prize Controversy , available at .
  86. ^ Gerrit Bartels: Nobel Prize debate about Peter Handke. Not guilty as charged , Der Tagesspiegel , November 5, 2019.
  87. Interview with Ulrich Greiner : “Are you playing tribunal now?” , Die Zeit , November 21, 2019; “Are you playing tribunal now?” ( Memento from November 20, 2019 in the Internet Archive ).
  88. cbu / dpa: Handke defends Yugoslavia stance , Spiegel online , November 20, 2019.
  89. Ludwig Steindorff: The historical errors of Peter Handke , Der Tagesspiegel , December 5, 2019, accessed on December 6, 2019.
  90. Alida Bremer: The track of the stray. In: Pearl Divers. October 25, 2019, accessed January 8, 2020 .
  91. Tijan Sila: Art serves the naked. In: taz. October 19, 2019, accessed January 8, 2020 .
  92. Kosovo and Sarajevo declare Nobel Prize winners Handke to be persona non grata , Süddeutsche Zeitung , December 11, 2019.
  93. Malte Herwig : My first and last love. In: Die Welt , October 31, 2010.
  94. Sven Michaelsen: “I enjoy inappropriate things.” In: stern , January 25, 2002, interview.
  95. ^ Andreas Kilb : Film portrait about Handke. The silence wasn't that nice. In: FAZ , November 12, 2016.
  96. Minerva Peinador Pérez: Devolver la mirada limpia. El cielo sobre Berlin de Wim Wenders y Peter Handke . Master's thesis in literary studies (MA Estudios Literarios). Ed .: Universidad Complutense de Madrid. Madrid 2008, p. 116 (Spanish, ).
  97. Martin Rosefeldt: From one who moved out - Wim Wenders' early years. ( Memento of November 9, 2013 in the Internet Archive ). In: arte , February 19, 2007.
  98. Michael Ellenbogen: Two giants of perception. In: Wiener Zeitung , November 29, 2007, accessed on November 7, 2013.
  99. a b Andrea Gnam: Loss and recovery of the pictures. Wim Wenders and Peter Handke. , In: NZZ , August 26, 2005.
  100. Song of Childhood. In: Handkeonline - Austrian National Library . Retrieved August 15, 2019 .
  101. Cf. Andreas Dorschel: "That, father, is not a word doodle". Sophocles' “Oedipus in Colonus”, Peter Handke's transmission and the misery of his critics. In: Süddeutsche Zeitung , June 4, 2003, No. 127, p. 16, ( click on the Reviews tab ).
  102. Small opinions, literature I. In: Frankfurter Allgemeine Sonntagszeitung , March 25, 2012, p. 30, ( click on the Review tab ).
  103. Peter Handke. ‹The beautiful days of Aranjuez›. Premiere on May 15, 2012 in the Akademietheater. ( Memento from September 24, 2016 in the Internet Archive ). In: Burgtheater , 2012.
  104. Peter Handke's drawings from over 40 years of film contribution by Bayerischer Rundfunk to the graphic work of 40 years. Retrieved October 10, 2019.
  105. In addition to Handke, André Müller interviews other interviewees.
  106. Entry in Handke online
  107. Culture Fund of the City of Salzburg. In: Salzburg Wiki .
  108. Vilenica International Literature Prize. In: .
  109. Thomas Steinfeld : The self-staging of the bad gossip. In: Süddeutsche Zeitung , May 31, 2006.
  110. Peter Handke receives the 2010 Vinzenz Rizzi Prize. In: ORF , December 4, 2010, accessed on February 2, 2011.
  111. ^ State of Salzburg: Great State Art Prize for Literature 2012 goes to Peter Handke. In: Salzburger Landeskorrespondenz , November 21, 2012.
  112. Nikolic decorates Peter Handke. ( Memento from January 10, 2016 in the Internet Archive ). In: The Balkans Daily , April 8, 2013, (English).
  113. Peter Handke is the winner of the 2014 International Ibsen Award. ( Memento from October 17, 2014 in the Internet Archive ) In: The International Ibsen Award , October 27, 2014, (English).
  114. ^ Else Lasker Schüler Dramatist Prize for Peter Handke. ( Memento from March 25, 2013 in the Internet Archive ). In: , October 27, 2014.
  115. ^ Tanjug : Peter Handke becomes honorary citizen of Belgrade. In: , May 22, 2015, (English).
  116. ^ The honorary citizens of Belgrade. ( Memento from June 30, 2017 in the Internet Archive ). In: One day in Belgrade , 2015.
  117. Peter Handke receives the Milovan Vidakovic Prize. ( Memento of April 24, 2017 in the Internet Archive ). In: , April 2017.
  118. Peter Handke, doctor honoris causa por la Universidad de Alcalá. In: Universidad de Alcalá , May 24, 2017, (Spanish).
  119. Peter Handke received an honorary doctorate from the University of Alcalá. In: Suhrkamp Verlag. May 24, 2017, Retrieved December 16, 2017 (with video).
  120. Golden Order of the State awarded to Handke . Article dated February 3, 2018, accessed February 3, 2018.
  121. Peter Handke receives Nestroy for his life's work . Article dated October 10, 2018, accessed October 10, 2018.
  122. Peter Handke received high Serbian medals. In: . February 15, 2020, accessed February 15, 2020 .
  123. see the Handke online portal of the Austrian National Library
  124. Paul Jandl : Seasons of writing. In: Neue Zürcher Zeitung. December 19, 2007.
  125. svo / dpa : literature archive . Marbacher Archiv acquires Handke diaries. In: Der Tagesspiegel , January 6, 2008; Malte Herwig too : Welcome, oh realm of shadows . In: Der Spiegel . No. 2 , 2008, p. 143 ( online - Jan. 7, 2008 ).
  126. ^ Marbach literature archive acquires 151 Handke diaries. In: 3sat Kulturzeit , September 26, 2017.
  127. Peter Handke gives his diaries to Marbach. Deutsches Literaturarchiv Marbach, September 26, 2017, accessed on August 7, 2018 .
  128. ^ Literature archive buys Handke diaries. In: ORF , September 26, 2017.
  129. New permanent exhibition in Marbach. An archive shows its soul. In: , July 1, 2015.
  130. ^ Christiane Meixner: Peter Handke as a draftsman: From the tree shade. In: Der Tagesspiegel , August 4, 2017, discussion of Handke's drawings.
  131. Peter Handke permanent exhibition in Stift Griffen . Last accessed on August 24, 2019.
  132. Uschi Loigge: Exhibition in Griffen: About the villages in the Handke cosmos . In: Small newspaper . January 31, 2018 ( [accessed on February 22, 2018]).
  133. Review by Carlo Avventi. With the eyes of the right word ; Stefan Höltgen: Perception and communication in the work of Wim Wenders and Peter Handke. In: , May 23, 2005.