Erwin Smurf Murder

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Schlumpf Erwin Mord in the edition of the Limmat Verlag , 1995

Schlumpf Erwin Mord (earlier editions as "Wachtmeister Studer") is the first Wachtmeister Studer novel by the Swiss author Friedrich Glauser . Der Krimi, written in 1935, deals with a murder in the fictional village of Gerzenstein and established Glauser as an author in the crime genre.

Beginning of the novel

The jailer with the triple chin and the red nose grumbled something about "eternal storm" because Studer fetched him from lunch. But Studer was an investigator sergeant for the Bernese canton police, so you couldn't just chase him to the devil. The guard Liechti got up, filled his water glass with red wine, emptied it in one gulp, took a bunch of bowls and came with him to the inmate Schlumpf, whom the sergeant had brought an hour ago.

content

Starting position

Wendelin Witschi, a commercial traveler, is found shot dead in the Gerzenstein Forest. It quickly becomes clear to the villagers who the perpetrator must be: the convicted Erwin Schlumpf, who works in the local tree nursery. He also has a relationship with the murdered man's daughter. After his escape, Sergeant Studer took him to Thun Castle for pre- trial detention . The suspect's attempt to hang himself in the cell is prevented by Studer at the last moment. He feels sorry for the young boy and doesn't believe in his guilt.

detection

Studer has convinced the examining magistrate that the question of the perpetrator is unclear and therefore travels to Gerzenstein to start the investigation. During the next four days he penetrated the microcosm of the village and its inhabitants and soon discovered that several people were involved in the case. On the train ride to Gerzenstein, Studer meets Sonja Witschi, the murdered man's daughter, who seems to share a secret with Gerber's apprentice hairdresser. Sonja's brother Armin, who appears in the village in a cocky manner and has a relationship with the waitress at the “Bären” restaurant, also behaves conspicuously. The owner of the tree nursery, Gottlieb Ellenberger, looks dodgy and his workers, former petty criminals, are hiding something. During the first day, Studer finds a possible murder weapon and cartridge cases. After dinner he gets to know the slick township president Emil Aeschbacher and the township clerk and teacher Schwomm. On the second day, a Sunday, Studer attended the village festival, during which he received a phone call from the examining magistrate and was called back because Schlumpf had confessed and thus the case had been solved. The sergeant still believes in his innocence and then visits the dead man's widow, Anastasia Witschi, to find further evidence for his theory. Although Studer urgently needs to go to the hospital because of pleurisy, he finds further evidence with the help of his two friends Corporal Murmann and Notary Hans Münch.

resolution

On the third day of his investigation, Sergeant Studer brings Sonja to Thun and confronts her with the imprisoned Erwin Schlumpf. Studer's evidence and persuasions persuade the two of them to make detailed statements before the examining magistrate. This confirms Studer's assumption that it is a tragic case of insurance fraud: Plagued by debt and desperation, Wendelin Witschi, in consultation with his wife and son, decided to shoot himself in the leg to get the sum insured for invalidity to get his family. But the shot was fatal. And since the money hoped for is not paid out in the event of suicide, the whole thing should be presented as a robbery. Erwin Schlumpf was persuaded to take the blame if necessary; if the Witschi family got the money, they would get him out of prison with a lawyer and he would marry Sonja.

After the case is officially resolved, however, Studer has doubts. From his investigations he knows that two shots have been fired and concludes from this that Wendelin Witschi was ultimately murdered after all. He decides, despite the worsening pleurisy, to single-handedly go to the only possible perpetrator and ask him. It comes to the dramatic finale, in the course of which Studer narrowly escapes a fatal car accident and Witschi's real murderer dies. To protect his family, Studer keeps the truth to himself.

Emergence

Waldau Psychiatric Clinic

In 1934, Friedrich Glauser fell back on his morphine addiction and began to forge recipes. This led to the fact that he was interned in March of the same year in the psychiatric clinic (at that time insane asylum) Waldau . The protocol of the entry examination of Jakob Klaesi , the director of the institution at the time (and author of various dramas and poetry ), stated, among other things, for Glauser: “Moral defect. - Excessive arrogance with so little intelligence that it is just enough for a writing activity of his genre [meaning the genre of the crime novel]. "

At the end of September 1934 Glauser was transferred to the open colony "Anna Müller" near Münchenbuchsee (belonging to the clinic) . There the idea for his second detective novel (after The Tea of ​​the Three Old Ladies ) began to take shape. On February 8, 1935, he wrote to his then partner Berthe Bendel (whom he had met as a nurse in the psychiatric institution in Münsingen in 1933): “I started a long thing that is supposed to take place in the village of Münsingen, you know, kind of Detective novel. But I don't know what will come of it. " And on March 12: “But Studer, whom you know, plays the main role. I would like to develop the man into a kind of cozy Swiss detective. Maybe it will be very funny. " In May, Glauser began typing down Schlumpf Erwin Mord . Since he had daily field work in the colony, he could only work on it three afternoons a week. By August 1935 he had written down the 21 chapters in a 198-page typescript .

Biographical background

The Kindler Literature Lexicon writes about Glauser's work: "Glauser's personal experiences from that odyssey through reform schools of all kinds (...), living with the declassified and outsiders of all kinds, were used in almost all of his novels in terms of content and atmosphere." In fact, almost without exception Glauser used scenes, people and experiences from his own past in his texts. In February 1932 he wrote to his friend Bruno Goetz from the Asconeser Tage : "I would like to write a new novel in which I myself do not appear in it."

characters

Some characters from Glauser's previous life appear in Smurf Erwin's Murder :

  • In Witzwil, Glauser met fellow prisoner Adolf Schreier. After his release from Jakob Heinis in Liestal, he worked with him, shared a room and even used it with the same main name "Schreier" when writing the first Studer novel.
  • Glauser Jakob Heinis served as a model for the figure of the old Ellenberger; he also hired former convicts.
  • Armin Witschi wants to flee to the Foreign Legion towards the end of the novel . Glauser was also in the Foreign Legion in Algeria from 1921 to 1923 and had described this in detail in his novel Gourrama , which was unpublished during his lifetime (written 1928–1930, published 1940)
  • The examining magistrate in Schlumpf Erwin Mord seems, in his narrow-mindedness, to be the embodiment of the Swiss authorities, as Glauser experienced them for years.
  • The description of Erwin Schlumpf as stumbled and victim is reminiscent of Glauser himself: «The Smurf! Certainly not a valuable person! He was known in the canton police. An illegitimate one. The authorities had to deal with him almost constantly. Certainly the files on the arm administration weighed at least one and a half kilos. "

adventures

Suicide attempts

Witzwil Labor and Education Center, around 1895

The first scene in Schlumpf Erwin Mord is strongly autobiographical: Glauser himself experienced the motif of the innocent who wants to hang himself in a cell and is saved at the last moment, ten years before the first Studer novel was written. On December 16, 1925, he had also attempted suicide in the cell of the Witzwil Labor and Education Center . In a letter to his therapist Max Müller a year later, Glauser wrote: “One day I was caught smoking in the toilet. (...) So I was locked in my cell as a punishment. (...) Now you must know that I will become insane as soon as I feel locked up for a punishment. (...) I hung myself up and was cut off by accident. "

Glauser had tried to take his life a total of five times: in 1913 as a 17-year-old with chloroform in the Glarisegg Rural Education Home and in 1920 in a detention center in Bellinzona by hanging. In the same year he had processed this experience in his autobiographical story Ein Dieb . Glauser's third attempt at suicide followed in 1922 while he was in the Foreign Legion in the “Gourrama” outpost ( Morocco ), where he cut his wrists; He used the same method again in Charleroi ( Belgium ) in 1924 . And finally the aforementioned suicide attempt followed in Witzwil.

Nursery

In addition to the location of the cell in pre-trial detention, the “ Ellenberger Tree Nursery ” also originated from Glauser's experiences: From June 1926 to March 1927 he worked in Liestal as a handyman at Jakob Heini's tree nursery. In 1930 Glauser entered the Oeschberg Horticultural School and graduated a year later with a diploma; In 1937, in his fourth Studer novel The Chinese , he processed the experiences in horticultural nurseries in detail into a main scene.

Literary suggestions

For all Wachtmeister Studer novels, the crime novels by Georges Simenon with Commissioner Maigret Glausers are the declared models. In Schlumpf Erwin Mord's work , there is a correspondence in terms of content, atmosphere, and even language with the novel La tête d'un homme , published in 1931 , to which Glauser wrote a letter in May 1935, while he was working on his first Studer novel Fredrich Witz explicitly points out.

Publications

First episode by Wachtmeister Studer in Zürcher Illustrierte , July 24, 1936 (excerpt)

Friedrich Witz was an editor at Zürcher Illustrierte , in which Glauser had regularly published texts since 1932. When Witz had read the typescript in December 1935, he praised the novel, whereupon Glauser wrote back skeptically: "At the beginning I had no idea how it would end, and I let people die a little." In order for the thriller to be printed, however, Glauser had to revise the story and shorten it in some places. In addition, contrary to Friedrich Witz's assurance, the editorial team changed the title Schlumpf Erwin Mord to Wachtmeister Studer , which Glauser later complained about several times (it was not until 1995 that the novel was published again under the title Glauser intended in Limmat Verlag ). From July 24 to October 2, 1936, the Zürcher Illustrierte printed the crime thriller as a sequel in eight episodes.

As early as December 1936, the book edition (which largely followed the version of the Zürcher Illustrierte ) was published by the Zurich Morgarten Verlag with an edition of 3,000 copies. After countless small texts and feature articles in numerous magazines and newspapers, this first printed book may mean the long-awaited breakthrough for Glauser. Since he wanted to reach as many readers as possible, the book should be cheap and so he wrote to the publisher: «I am not writing for the 'elite', the elite can be buried and stolen from me, I want it to be the man or the woman who reads, who usually turns to Felicitas Rose , Wallace or John Kling. You have to catch them. "

With the publication of Schlumpf Erwin Mord , Glauser is often referred to as the “first German-speaking crime writer”. However, the detective novel Die Schattmattbauern by Carl Albert Loosli was self- published as early as 1932 (published in 1943 by the Gutenberg Book Guild); and the amendment already in 1819 was Mademoiselle de Scuderi by ETA Hoffmann , who is considered the first detective story in German.

reception

Reading in the "Rabenhaus"

The reading, which took place eight months before the publication in the Zürcher Illustrierte , was of great importance to Glauser . Mediated by CF Vaucher, Glauser was invited to Zurich to read from his new novel with Rudolf Jakob Humm in the “Rabenhaus”. Various writers and literary friends met there regularly for readings. The fact that Glauser was still unknown, although he had been writing texts for 19 years and was able to publish them again and again (earliest German text: Ein Denker , 1916), was also reflected on the invitation card for this occasion: Hans Glauser (instead of Friedrich!) for the «literary discussion evening, which tries in his novel to show the detective novel new ways».

First page of the typescript by Schlumpf Erwin Mord , Swiss Literary Archives , Bern

Friedrich Glauser arrived at Hechtplatz 1 on Wednesday, November 6, 1935 at 8:30 p.m. with his typescript and read excerpts from the unpublished detective novel. The journalist Josef Halperin, a later friend of Glauser, recalled: “The listening writers were of different directions and used to gather, not to praise one another, but to encourage and learn from one another through unwavering objective criticism. Glauser knew that and seemed to be waiting calmly for the verdict. Was it the uncertainty or the effort of reading that made him slump? (...) 'Very nice', began one and praised the confident and bold dialect coloring of the language, the way it was shaped, the real atmosphere. It was looked at from all angles and it was agreed that this was more than one brilliant detective novel. (...) 'I'm happy about that, I'm happy about that,' said Glauser again and again, softly and warmly, with a grateful smile. " The audience agreed that a memorable event took place here. And Albin Zollinger , who was also present, remarked: "You had found a talent, a masterly talent, there was no doubt about it."

What also stood out that evening was Glauser's voice. Josef Halperin once more: “The man read with a somewhat singing voice and with a somewhat strange pronunciation, in which Swiss, Austrian and Imperial German sound elements were mixed, so that one involuntarily asked oneself: Where did he grow up, where had he been drifting around? The Glauser was Swiss, it was said. But while you were trying to figure out what the reason for your accent might be, you realized that you were no longer concerned with Glauser, but with an investigative sergeant Studer, who was playing billiards in a café and was worried about a prisoner named Schlumpf - Badly played billiards because of this affair that did not let him go. (...) You got used to the singing voice quickly. She sang with a loving monotony, so to speak, modulated very little, with a winning modesty that frowned upon the effects of the presentation and only wanted to let the substance take effect. "

Audio file / audio sample Glauser's voice in the only surviving sound recording from 1937 (excerpt from Kif ) ? / i

The effect of this evening on Glauser is to be estimated highly. At last he received the confirmation from fellow writers he had longed for. After repeated internment, he was suddenly accepted into a society of like-minded and understanding people. And he was able to make important contacts.

Press

Studer as a role model for the Swiss police: advertisement with reference to the Swiss Police Bulletin (first edition of Die Fieberkurve , Morgarten-Verlag 1938)

Shortly after the first episodes of Schlumpf Erwin Mord appeared in the Zürcher Illustrierte , Friedrich Witz wrote to Glauser: “Wherever I go, I have to provide information about this Glauser and I hear a song of praise for the novel without conjuring it up opposite." There were positive reviews in the newspapers ; for example in the Gazette de Lausanne , the Neue Zürcher Zeitung , the Basler National-Zeitung or in the Bund , who wrote: “This novel is far above the average of the well-known 'crime literature', is more than just a breathlessly compelling arithmetic after a model Scheme. Glauser raised his material to an artistic level that was eternally far removed from the prolific writer Edgar Wallace , but also only accessible to a Conan Doyle in rare moments. A master of psychological analysis, Glauser is at the same time a warmly sensitive and wonderfully observant poet. " And in the first edition of the Fieberkurve from 1938, Wachtmeister Studer was advertised with the fact that even the Swiss Police Gazette praised the novel with the following words: “Even on the first pages of this book, the reader is gripped by the captivating description of internal struggles, which the conscientious criminalist lives through with himself when he is at work. (...) He (Studer) is a person with his quiet secondary thoughts, which are often more important than the main thoughts, a man of few words, a little clumsy and a little rude, a Swiss. Precisely because he is one of ours and we might have met us here and there, our participation in his work remains for him. "

Glauser hoped to make the breakthrough with this novel; at last he was able to advance as a book author and with the "Studer" he had created a character with whom he could create new stories. Readers and publishers were already waiting for it. A number of admiring letters were evidence of this. A year later, however, the downside of the success was already apparent and the sergeant Studer became a burden for Glauser. In a letter dated December 24, 1937, Glauser wrote to a reader of his novels: “Of course we, writers, are always happy when we receive compliments - and that's why I am also pleased that you like Studer . I feel a little like the sorcerer's apprentice , you know: the man who brings the broom to life with the sayings and then couldn't get rid of it. I brought Studer to life - and now, for the hell of it, I should write 'Studer novels' and would much rather write something completely different. " And in a letter of December 1, 1938 to the Swiss Writers' Association , he mentioned in this connection: “We start with detective novels in order to practice. The important thing will appear later. "

In 1958, Josef Halperin said in a radio essay on Glauser's 20th anniversary of his death: “ Sergeant Studer was noticed, he was even made into a film, but how many, no: how few have noticed that this crime novel is one of the best Swiss village novels hides? "

Reading on the 60th anniversary of death

On December 8, 1998, Schlumpf Erwin Mord received a special honor posthumously through "Das Syndikat" (a group of authors of German-language crime literature which also awards the Friedrich Glauser Prize every year ). On the 60th anniversary of Friedrich Glauser's death, it organized simultaneous readings in memory of the "father of the German crime novel". From Hamburg to Dscherba ( Tunisia ), Jamaica to Zurich , 40 authors (including Ingrid Noll , Peter-Paul Zahl and the Glauser Prize winners Peter Zeindler and Roger Graf ) read from Glauser's first Studer novel at exactly 8 p.m. CET .

filming

The film adaptation of Wachtmeister Studer from 1939 also deserves attention, as Friedrich Glauser was involved in preproduction until his untimely death because he met Heinrich Gretler , the actor who played "Wachtmeister Studer", and also by letter wrong with him. In addition, the film remains a valuable historical document, as it depicts Glauser's circumstances very faithfully.

prehistory

As early as the autumn of 1936, Glauser was thinking of having the story of Schlumpf Erwin's murder filmed. On October 10th, he wrote to his long-time patron Martha Ringier : “A sound film studio in your friendly Basel asked me about scenarios. I will of course "reverse scene" the Smurf and I will enjoy it. And the old wizard too. The Schlumpf with Gretler (have you ever seen Gretler? He plays in Zurich) as Studer, that could be something good ». However, this idea was lost again, as Glauser moved to Angles near Chartres with Berthe Bendel in the hope of finally gaining independence from his enforced guardianship . The idea of ​​running a small farm and writing at the same time, however, failed and in March 1937 the two traveled on to La Bernerie-en-Retz in Brittany . Friedrich Witz then wrote to Glauser in November to come to Zurich to discuss the filming of Studer : “It is a bitter pity that you cannot come to Switzerland! (...) The musician Robert Blum asks about you once a week, because he wants to clarify the film matter. "

In the middle of November Glauser came to Zurich and met Heinrich Gretler and Robert Blum. The film company Frobenius, which had just become known at the time that it required its actors to provide proof of Aryan credentials out of consideration for German financiers , was to produce the film. For this reason Glauser had great misgivings about his publisher: “I find Mr. Blum a little weird. And there is the financing with German capital. Do you understand that all this makes me a little suspicious? Should something be made of the Studer like The Flag of the Seven Upright Unhappy Mementos? (...) Should the Studer be given in Berlin or Upper Bavaria? (...) If you have something to report, or if Mr. Blum needs a draft, I am happy to agree. I just want to know who you're ultimately dealing with. If it is to be with Mr. Goebbels , then I prefer to do without. My name is too good for that. "

In the summer of 1938, the Picard couple's literature agency finally signed a contract with the Praesens film company for Sergeant Studer , and further negotiations with Heinrich Gretler took place. Friedrich Glauser and Berthe Bendel moved on to Nervi in Italy in June , where they wanted to get married and were waiting for the officially required papers from Switzerland.

The movie Füsilier Wipf (with Heinrich Gretler) has been shown in Zurich with great success since September 8th . The soldiers' story about the Swiss border service was relevant in connection with Germany's Nazi policy and Gretler became very popular in the figure of the company elder. In connection with this, Martha Ringier wrote to Glauser on October 6th: “Say, write to Gretler that he should try to make Studer into a film . There is a brilliant role for him and now he is walking across the 'white wall' in the Fusilier Wipf , and he is the most talked about. " On November 18, Glauser wrote to Gretler: «A film adaptation would only be considered if you were to play the 'Studer'. Otherwise I will veto. "

Glauser was no longer to see the film version of his greatest literary success: on the eve of his wedding to Berthe Bendel, he collapsed at the age of 42 and died in Nervi in ​​the first few hours of December 8, 1938.

production

Praesens-Film wanted to follow up on the success of Füsilier Wipf and at the same time use Heinrich Gretler's popularity; the figure of "Sergeant Studer" seemed ideal for this. And so in July and August 1939 filming took place in Andelfingen , Greifensee , Frauenfeld and Türlersee . Directed by Leopold Lindtberg . In addition to Gretler, Anne-Marie Blanc played as Sonja, Sigfrit Steiner as examining magistrate, Zarli Carigiet as Schreier and Schaggi Streuli as prison guard

implementation

Heinrich Gretler as "Wachtmeister Studer" in the Praesens film of the same name from 1939

The film version largely ignored Glauser's social criticism. The most obvious difference to the original, however, was in the figure of "Sergeant Studer": In the course of the intellectual defense of the country, emphasis was placed less on the typical sensitivity of the investigator, but rather more soldierly (converted for Gretler based on "Fusilier Wipf"). Despite this major change, Heinrich Gretler's portrayal of "Sergeant Studer" was to remain formative. Thirty years later, the Neue Zürcher Zeitung wrote : “'Wachtmeister Studer', that is and remains Heinrich Gretler.”

Various book covers and also the comic adaptations by Hannes Binder are optically based on this cinematic model to this day. In addition, the implementation remained close to the literary model and differences were only evident in the details. For example, the “Convict Band” in the film was called “D'Mostbirrebuebe” or the “Bären” became “Rössli”. The widow Witschi did not work in the kiosk and Studer used a car instead of a motorcycle with a sidecar. Above the sick bed (at the end of the film) the sergeant's name was given as "Studer Hermann , 54 yrs." Instead of Jakob.

In order to tighten the film dramaturgy, several scenes were left out: the forensic specialist Malapelle is completely missing, as is the shaving scene in the hairdressing salon. Studer's dream in Chapter 10 (“The Thumbprint”), the attempt in Chapter 17 to persuade Schlumpf to make a false confession (“The Car Thief”) and Chapter 19 (“Microscopy”) in Studer also did not find its way into the script the dust from the side pocket of Aeschbacher's car is analyzed and treated by the doctor.

Additional scenes were created around the conflict between the villagers and the former prisoners of the tree nursery. For example, the pub scene was expanded and the festival on Sunday degenerated into a brawl because of provocation of the "Convict Band" by villagers. Studer succeeds in finally convicting the perpetrator with the help of a typewriter letter and fingerprints on a Jass card (in the book there were only traces of smoke ).

The premiere of Wachtmeister Studer took place on October 13, 1939 in the "Urban" cinema in Zurich. The opening credits of the 105-minute film read: “Based on the novel by Friedrich Glauser that was published in Zürcher Illustrierte . As a book in Morgarten-Verlag. " Robert Walser wrote: “Isn't that true? It's another success in the cinema, Sergeant Studer von Glauser, who unfortunately didn't want to see him again because he might not have believed in anyone anymore. So it often happens in life that such heroes become who are too humble to dare to take on such a role. "

Theater adaptation

Poster for the premiere of Wachtmeister Studer at the Fällanden Theater, 2008

In 2007 the theater pedagogue and director Ingrid Wettstein wrote a dialect version of Schlumpf Erwin Mord under the name Wachtmeister Studer for the amateur stage. The world premiere for 21 theater roles took place on January 11, 2008 in Fällanden . Then followed in 2013, also by Ingrid Wettstein, the production of Crock & Co. or the Speiche in Stetten .

Audio books

  • Smurf Erwin Murder: Wachtmeister Studer read by 23 crime authors. Kein & Aber, Zurich 1999, ISBN 3-906547-78-7 .
  • Sergeant Studer. The Audio Verlag, Berlin 2006, ISBN 3-89813-586-1 .

literature

  • Gerhard Saner: Friedrich Glauser - A biography. Suhrkamp Verlag, Zurich / Frankfurt am Main 1981, ISBN 3-518-40277-3 .
  • Gerhard Saner: Friedrich Glauser - A work history. Suhrkamp Verlag, Zurich 1981, ISBN 3-518-04130-4 .
  • Bernhard Echte, Manfred Papst (Ed.): Friedrich Glauser - Briefe 1. Arche Verlag, Zurich 1988, ISBN 3-7160-2075-3 .
  • Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche Verlag, Zurich 1988, ISBN 3-7160-2076-1 .
  • Frank Göhre: Contemporary Glauser - A Portrait. Arche Verlag, Zurich 1988, ISBN 3-7160-2077-X .
  • Friedrich Glauser: Smurf Erwin Murder - Sergeant Studer. Limmat Verlag, Zurich 1995, ISBN 3-85791-241-3 .
  • Heiner Spiess, Peter Edwin Erismann (Ed.): Memories. Limmat Verlag, Zurich 1996, ISBN 3-85791-274-X .
  • Rainer Redies: About Wachtmeister Studer - Biographical Sketches. Edition Hans Erpf, Bern 1993, ISBN 3-905517-60-4 .
  • Hannes Binder: Nüüd Appartigs… - Six drawn stories. Limmat Verlag, Zurich 2005, ISBN 3-85791-481-5 .
  • Ingrid Wettstein: Wachtmeister Studer - theater adaptation based on the novel by Friedrich Glauser. Elgg Verlag, Belp 2008, DNB 1034524755 .
  • Martina Wernli: Writing in the margin - "The Bernese cantonal insane asylum Waldau" and its narratives (1895-1936). Transcript Verlag, Bielefeld 2014, ISBN 978-3-8376-2878-4

Web links

Individual evidence

Wachtmeister Studer in the second edition, Morgarten-Verlag 1939
  1. ^ Heinz Ludwig Arnold (ed.): Kindlers Literatur Lexikon. Volume 6, Stuttgart 2009, ISBN 978-3-476-04000-8 , pp. 288/289.
  2. ^ Gerhard Saner: Friedrich Glauser - A biography. Suhrkamp Verlag, Zurich / Frankfurt am Main 1981, ISBN 3-518-40277-3 , p. 273.
  3. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1988, ISBN 3-7160-2076-1 , p. 7.
  4. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , pp. 244–246 (afterword by Walter Obschlager)
  5. ^ Heinz Ludwig Arnold (ed.): Kindlers Literatur Lexikon. Volume 6, Stuttgart 2009, ISBN 978-3-476-04000-8 , p. 289.
  6. ↑ Bernhard Echte (ed.): «One can be very silent with you» - letters to Elisabeth von Ruckteschell and the Asconeser friends 1919–1932. Nimbus, Wädenswil 2008, ISBN 978-3-907142-32-5 , p. 160.
  7. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , p. 7.
  8. ↑ Bernhard Echte, Manfred Papst (Ed.): Friedrich Glauser - Briefe 1. Arche Verlag, Zurich 1988, ISBN 3-7160-2075-3 , p. 109.
  9. ↑ Friedrich Glauser: The narrative work, Volume 1: Mattos Puppentheater. Zurich 1992, ISBN 3-85791-203-0 , p. 132
  10. ^ Gerhard Saner: Friedrich Glauser - A biography. Suhrkamp Verlag, Zurich 1981, ISBN 3-518-40277-3 , pp. 424-426.
  11. ↑ Friedrich Glauser: Smurf Erwin Murder. Sergeant Studer. Ed. And with an afterword by Walter Obschlager, Zurich 1995, p. 218.
  12. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , p. 195 (afterword by Walter Obschlager)
  13. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , p. 245 (afterword by Walter Obschlager)
  14. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , p. 197 (afterword by Walter Obschlager)
  15. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , p. 232 (afterword by Walter Obschlager)
  16. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2 . Arche, Zurich 1988, ISBN 3-7160-2076-1 , p. 979.
  17. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , pp. 193/194 (afterword by Walter Obschlager)
  18. ↑ Heiner Spiess, Peter Edwin Erismann (Ed.): Memories. Limmat Verlag, Zurich 1996, ISBN 3-85791-274-X , pp. 27/28.
  19. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , p. 195 (afterword by Walter Obschlager)
  20. ↑ Der Bund , December 10, 1936.
  21. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2 . Arche, Zurich 1988, ISBN 3-7160-2076-1 , p. 803.
  22. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2 . Arche, Zurich 1988, ISBN 3-7160-2076-1 , p. 932.
  23. ↑ Heiner Spiess, Peter Edwin Erismann (Ed.): Memories. Limmat Verlag, Zurich 1996, ISBN 3-85791-274-X , p. 22.
  24. ↑ Crime authors honor Glauser - the father of crime fiction. In: Basler Zeitung , December 4, 1998.
  25. ↑ Reading marathon. In: Solothurner Zeitung , December 5, 1998.
  26. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2 . Arche, Zurich 1988, ISBN 3-7160-2076-1 , p. 398.
  27. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2 . Arche, Zurich 1988, ISBN 3-7160-2076-1 , p. 785.
  28. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2 . Arche, Zurich 1988, ISBN 3-7160-2076-1 , pp. 794/795.
  29. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , p. 208 (afterword by Walter Obschlager)
  30. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2 . Arche, Zurich 1988, ISBN 3-7160-2076-1 , p. 887.
  31. ↑ cyranos.ch
  32. ↑ Friedrich Glauser: Smurf Erwin Murder. Zurich 1992, ISBN 3-293-20336-1 , pp. 213-216 (afterword by Walter Obschlager)
  33. ↑ Frank Göhre: contemporary Glauser - a portrait. Arche Verlag, Zurich 1988, ISBN 3-7160-2077-X , p. 116.
  34. ↑ High Explosive investigation Gerzenstein. In: Tages-Anzeiger , January 7, 2008.