Nice enclosure

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Schöne Gehege is a novel by Gabriele Wohmann that was published by Luchterhand in Darmstadt in 1975 .

The book satirizes the fake constructions of contemporary prose authors. The esthete Robert Plath wants to break this vicious circle and raves: "... if I settle down in Caspar David Friedrich's GROSSEN GEHEGE ..."

Caspar David Friedrich around 1832: The large enclosure
in the Dresden New Masters Gallery

content

The 40-year-old writer Robert Plath from western Germany is certainly not unknown . Because an English woman is doing her doctorate on him and the experienced filmmaker AP Roll and his team are working on a portrait for the evening TV program - reason for Plath to engage in profound introspection. While Plath's wife Johanna has to get out early on weekdays - doing her job as a lecturer in language laboratory technology - Plath makes the beds before he fights against the mess of paper at his - believe it or not - five desks; that is, wants to fabricate his novel Schöne Gehege . Johanna asks her husband once and for all: "What is your novel doing?" And gives practical tips on how to minimize written inquiries from readers when the time comes. Descriptions of one's own childhood and then non-primitive love affairs would also be quite appropriate. The tips based on bad experience and really just well-intentioned fall on deaf ears. The topic of love pisses off the novelist.

Plath and Johanna like to watch movies with Hollywood stars on television until late at night . AP Roll doesn't want to know anything about that. “A benevolent <sic!> Relaxed, happy Plath” is uninteresting. AP Roll would like to "tweak the past that has been staged"; would like to bring a grim Plath on the TV screen of the average person; grim on the philistines. Plath's Evil Eye , already anchored in the script, must be implemented on film. That cannot be done with Plath. After almost endless back and forth, one agrees. The filmmaker suddenly wants a wistful, nostalgic Plath. The death of Plath's dear father, who died on September 19th at 9 p.m., is tried as one of the film sequences that takes place in the cemetery. In addition, trips are the couple Plath language - in the Black Forest , to Holland , Austria and Switzerland , or even reading tours Plath's a " lyric aunt" to Nuremberg as well as Göttingen . AP Roll doesn't let up. The issue of women in Plath's life should be addressed. The writer counters that he is past the age of bed stories.

Although Plath repeatedly asserted that he loved rainy weather, was “completely without energy”, was neither a seducer nor seduced, could not even drive a car, so lived a normal bourgeois life and wrote in a friendly manner, he complains on two hundred densely printed pages about the world. Because Plath does not want to be a follower. The film project is a difficult undertaking. So it is not surprising that the writer prefers to withdraw into his beautiful enclosure, which is mainly populated by Bach , Goethe and Schubert as well as by Montaigne , Hebbel , CF Meyer , Hesse , Joyce and of course Mozart . The Maurerische Funeral Music in C minor KV 477 by the Salzburg Genius is attributed with moving and wonderful .

Quotes

  • Dying and the fear of death play an important role in the novel. A theologian said: "Whoever can not be happy in this world will not be able to do so in the hereafter either."
  • Plath expresses writer truths calmly - for example: "I want to talk about myself, then I lie the least ..."

shape

The troubled reader has to get used to the incessant change of narrative point of view between first-person and first-person perspective. Mainly the protagonist is allowed to think Plath.

Aspects of the “reactionary map of the FRG and GDR ” are moderately interspersed.

Plath knows "that a minimum of action is required to keep people engaged". Gabriele Wohmann hardly kept an eye on this prose dictum when writing the novel. A supporting basic structure of the novel - based on AP Roll insists Plath - is not pursued in the second half of the novel, but taken up again at the end of the novel. What are meant are passages where something like action still arises; For example, where the Protestant Plath mingles with the Catholics in their academy near Letmathe / Westphalia and makes the acquaintance of a nervous, "transusigen" woman within their walls.

The eponymous beautiful is noticeable. There is talk of the "beautiful stress in the genital area of ​​the two Africa explorers". Or the passage that deals with “taking in the beautiful”.

Occasionally the reader has to look up a word in the Duden - for example, charge for drunk. Sometimes it seems that Gabriele Wohmann was unable to curb her exuberant imagination: "... They all looked pretty dumb , even as watercolor corpse , like incestuous rural population ..." During the lecture of the story with the nervous, from school service After the dismissed woman in Letmathe, the reader ponders on the one hand Gabriele Wohmann's sense of style in sentences such as: "About half an hour after the phone call with the nervous woman, Plath dialed the number of the nervous woman." But if you persevere until the end of the text, the reader is on the other hand with excellent Twists compensated, for example with the "lifelong fidgety" for all our efforts during our lifetime.

reception

  • August 18, 1975, Christa Rotzoll in the mirror : The least of a lie
  • According to Rutschky, Plath denies his own image of the renowned writer. Rutschky accuses Gabriele Wohmann of the 1970s lack of realism.
  • According to Schafroth, there is no text on life support, but it can be used to redefine the meaning of life. Gabriele Wohmann and Plath almost longingly turn into an author of her secret choice.
  • At times Schultz-Gerstein got bored with Gabriele Wohmann's productions. So sometimes here too. However, the strangely private character of the calming novel forces you to continue reading. In this satire it is not primarily the gimmicky medium of TV reports that is denounced, but Plath sees his role as a writer grievingly and desperately from the perpetrator's perspective.
  • Vormweg also observed a desperate Plath. A closer study of the hero is always profitable for the reader. Unfortunately, a break that could easily have been avoided is unmistakable: Gabriele Wohmann is constantly pushing herself into Plath's role.
  • According to Häntzschel, Gabriele Wohmann expanded her own feelings in the text. Plath - always at a loss - is finally no smarter than at the beginning. Häntzschel does not understand why the author masquerades as Plath. Furthermore, Plath's rigorous retreat into the private sphere stands against his permanent courage to expose himself.
  • The slap of the employee in Barner's literary history consists of a succinct sentence, according to which the text gets out of hand in monotony.
  • May 18, 2002, Benoît Pivert in the Berliner Zeitung : Life is not that exciting

literature

First edition

Used edition

Secondary literature

  • Michael Christian Rutschky : The will to be intangible . Pp. 86–90 in: Gabriele Wohmann. Materials book. Introduction by Karl Krolow . Bibliography by Reiner Wohmann. Edited by Thomas Scheuffelen. Luchterhand, Darmstadt and Neuwied 1977, 150 pages, ISBN 3-472-61184-7
  • Heinz F. Schafroth : Tiny incitements to happiness . Pp. 90–93 in: Gabriele Wohmann. Materials book. Introduction by Karl Krolow. Bibliography by Reiner Wohmann. Edited by Thomas Scheuffelen. Luchterhand, Darmstadt and Neuwied 1977, 150 pages, ISBN 3-472-61184-7
  • Christian Schultz-Gerstein: In the public cage . Pp. 93–97 in: Gabriele Wohmann. Materials book. Introduction by Karl Krolow. Bibliography by Reiner Wohmann. Edited by Thomas Scheuffelen. Luchterhand, Darmstadt and Neuwied 1977, 150 pages, ISBN 3-472-61184-7
  • Heinrich Vormweg : The enclosure of the middle years . Pp. 97-101 in: Gabriele Wohmann. Materials book. Introduction by Karl Krolow. Bibliography by Reiner Wohmann. Edited by Thomas Scheuffelen. Luchterhand, Darmstadt and Neuwied 1977, 150 pages, ISBN 3-472-61184-7
  • Günter Häntzschel, Jürgen Michael Benz, Rüdiger Bolz, Dagmar Ulbricht: Gabriele Wohmann . Verlag CH Beck, Verlag edition text + kritik, Munich 1982, authors' books vol. 30, 166 pages, ISBN 3-406-08691-8
  • Wilfried Barner (ed.): History of German literature. Volume 12: History of German Literature from 1945 to the Present . Beck , Munich 1994, 1116 pages, ISBN 3-406-38660-1
  • Renate Da Rin: Pathology of the Family. Investigation of the novels “Farewell for Longer” and “Beautiful Enclosure” by Gabriele Wohmann based on the family system theory according to P. Minuchin and U. Bronfenbrenner . 88 pages. Tectum Verlag , Marburg 1995, ISBN 3-89608-873-4

Web links

Individual evidence

  1. ↑ Edition used, p. 118, 2. Zvo
  2. ↑ Edition used, p. 31, 3. Zvo
  3. ↑ Edition used, p. 218, 7th Zvu
  4. ↑ Edition used, p. 77, 6. Zvo and p. 118, 1. Zvo
  5. ↑ KV 477 with the Vienna Philharmonic on YouTube
  6. ↑ Edition used, p. 84, 16. Zvo
  7. ↑ Edition used, p. 37, 12. Zvu
  8. ↑ Edition used, p. 100, middle
  9. ↑ see for example the edition used, p. 43, middle
  10. ↑ Edition used, p. 41, 2. Zvo
  11. ↑ Edition used, p. 63, 15. Zvo
  12. ↑ Edition used, p. 160 above
  13. ↑ Edition used, p. 69, 6. Zvo
  14. ↑ load in duden.de
  15. ↑ Edition used, p. 78, 10. Zvo
  16. ↑ Edition used, p. 90, 21. Zvo
  17. ↑ Edition used, p. 161, 5th Zvu
  18. ↑ Häntzschel, p. 41, 12. Zvu to p. 44, 14. Zvu
  19. ↑ Barner, p. 610, 5th Zvu

Remarks

  1. ↑ The reader searches in vain for the question mark.
  2. ↑ AP Roll hit the mark. At another point Johanna says privately to her husband: "... after all, there was a time when you ran off in the night and fog, to some rotten bitch ..." (Edition used, p. 102, 13. Zvo ). Such stories are hidden from the filmmaker. Plath is not a big believer (edition used, p. 121. 3. Zvo). He asks: "Why should I look around in public." (Edition used, p. 124, 9. Zvo (Gabriele Wohmann closes the question nonchalantly with a full stop))