Tynset (novel)

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Tynset is a lyrical prose work by the German writer Wolfgang Hildesheimer , published in 1965 . The text, often referred to as a novel , but not by Hildesheimer himself, reproduces the thoughts of a sleepless person during a waking night. Tynset , one of Hildesheimer's main works, addresses resignation in the face of an absurd world. The first-person narrator from Tynset can also be found in other works by Hildesheimer and has similarities with Hildesheimer himself. The work is named after the Norwegian community of Tynset , which the narrator envisions as a travel destination.

The book was a bestseller in the year it was published, received a lot of attention in the contemporary press and has been translated into numerous languages, but failed to achieve the popularity of Hildesheimer's Loveless Legends . Hildesheimer was awarded the literature prize of the city of Bremen for Tynset .

content

Tynset train station, Norway

“I'm in bed, in my winter bed. It's bedtime. But when would it not be? "

- Wolfgang Hildesheimer : Tynset

With these words the first-person narrator begins the monologizing reflections of a sleepless man that make up Tynset . The narrator, whose living conditions are very similar to those of Wolfgang Hildesheimer himself, lets his thoughts wander, reports on his memories, wishes and fears, the people around him, and delves into the history of his two antique beds. More than an actual act, Tynset is about a flow of associations. After the narrator has thought about the noises and smells he has perceived, he reaches “blindly on the bedside table for a book”. He puts a phone book away again. However , he then picks up the Norwegian State Railways' course book from 1963 to read. He reads "for example from a branch line that leads from Hamar to Stören , namely via Elverum , Tynset and Röros ". As a result, he contemplates the sound of the station names and the ideas he associates with them. He is particularly fascinated by Tynset, where he has never been. Later he makes up his mind to go to Tynset, but before that his thoughts wander again when he gets up to walk through the house, past the top landing where " Hamlet's father" usually stands. The meaning that this initially enigmatic figure has for the narrator becomes clearer later, as he compares himself to Hamlet and mentions that his father had been murdered. "Hamlet's father" is thus a warning spirit - like the father in Shakespeare's play - in view of the narrator's inaction.

After considering his alcoholic and very pious housekeeper Celestina , the narrator returns to the phone book and describes how he called strangers for a while when he was still living in Germany to warn them that “everything had been discovered” he could sometimes - with people from his neighborhood - observe their subsequent escape. His last call, under the name Bloch , was to Kabasta - a man whose existence, “a terrible existence”, he had known beforehand. Kabasta is not unsettled and apparently switched on the police. As a result, the narrator has the impression that his phone is being monitored. Soon afterwards he not only leaves the house, but also Germany. After thinking about the late autumn weather and a "representative of the evangelistic awakening movement " frozen in the blowing snow on the nearby pass , the narrator returns to the phone book, reports on his attempt to write his own phone book with invented names, and finally arrives through a chain of associations to "Doris Wiener, who had her nose reduced and leveled" and who with her husband became a victim of the National Socialist terror - the man, Bloch, had to dig his own grave under the supervision of Kabasta.

This is followed by an insertion that begins with "The roosters of Attica -: to hear them crow, I climbed up to the Acropolis one evening ...". Hildesheimer describes the roosters' concert, which is provoked by a “Kikeriki” call from the narrator before dawn. Further digressions finally followed the firm decision to go to Tynset. But the narrator is worried about the obstacles that might stand in his way, especially the cities he would like to avoid, "as there are Prada, Chur and Stuttgart , Hanover and - was it Hanover?" - the list locates the narrator in Poschiavo (which includes the Prada settlement) in the Swiss canton of Graubünden , where Hildesheimer also lived. At this point the text merges into the nightmarish description of the journey through a labyrinthine German state capital, which has similarities with Hanover, but is called Wilhelmstadt by the narrator and which is difficult to escape due to misleading signs.

The narrator tries to call the automatic road status report, but dials the wrong number and receives a recipe. He thinks of the appearance of a cardinal in Rosenheim , who has initiated something there, is back in his bed and it is midnight. Now he describes his winter bed, “in which no one lay before me for a hundred and twenty thousand nights that I bought from an infantile person of rank”, as the bed in which the Italian composer Carlo Gesualdo murdered his wife and her lover and paints himself in long, lyrical sentences out of the moment of the lovers' death until his thoughts suddenly land on Tynset again. Tynset is increasingly becoming a special place for the narrator:

"Tynset cannot be completely dark, even if I disregard the fact that the night covers the nothing and illuminates the secret value of things, and Tynset has this value after all -

if maybe only for me. For others it's just Tynset, and for most not even that. "

- Wolfgang Hildesheimer : Tynset

Still sleepless, the narrator gets up again to get a new bottle of red wine, walks around the house again and makes his considerations. In a longer episode he remembers the last feast he gave in his house and how Wesley B. Prosniczer , an American revival preacher, forced himself on uninvited, ultimately driving away the guests with his conversion efforts and alienating them from the narrator too they believed that he had caused the preacher to appear. Prosniczer is the only guest at this festival that the narrator will see again - frozen to death trying to cross the snow-covered pass, which Tynset reported at the beginning .

After a while, the narrator decides to visit his summer bed. It is a large Renaissance bed from an English inn, comparable to the Great Bed of Ware , somewhat older than this, and offers space for seven sleepers. The narrator imagines the guests in 1522, the last time seven people slept in this bed, their background and nature, and their death by the plague . The motif of his housekeeper Celestina, her drunkenness and religiosity follows again. This time the narrator visits the drinking Celestina in the kitchen. In her drunkenness she seems to take him for God and asks him to bless her, which he tries with awkward gestures and words, but only disappoints her when the delusion falls away from her.

Again the narrator thinks about his "immature plan, it's called Tynset." Again he lies in his winter bed, again he thinks about Gesualdo, also about Celestina. He listens to the road condition report on the phone and finally falls asleep. When he wakes up it is light and snow has fallen and winter has come early. For him, Tynset is now “over, done. It is too late. None of that anymore. I wouldn't have come to Tynset in this snow, never. ”The town's bells ring for a child's funeral. The narrator decides not to go to Tynset, not to go to the child's funeral, but to stay in his winter bed:

“In this bed of the winter nights, the moonlit nights and the dark nights, in which I am now lying again, deeply embedded, although it is day, I lie and lie there forever and let Tynset disappear - I see it disappear back there, it is already far away again, now it's gone, the name forgotten, blown away like smoke and mirrors, like a last breath - "

- Wolfgang Hildesheimer : Tynset

Work context

Tynset is part of a monological complex of works that Hildesheimer began with Unusual Notes and ended with times in Cornwall and Masante . Although Tynset is often referred to as a (lyrical) novel , among others by the American Germanist Patricia Haas Stanley, Hildesheimer herself saw this generic name as inappropriate, called the book a non-novel and wrote "I don't know what it became [...]" . He preferred to refer to Tynset and Masante as "monologues", but noted that the monologue was not a literary genre. Although Masante appeared after times in Cornwall , the latter work, according to the Hildesheimer work history of Volker Jehle, represents the “newer state of development”, since Masante was originally supposed to appear earlier. What these works have in common is a first-person narrator, the “reflector” who appears for the first time in Sleeping , the last of Hildesheimer's loveless legends . While Hildesheimer sends the narrator, who remains lying in Tynset and can no longer make up his mind about the planned departure, on a journey in Masante and literally into the desert, where he is presumed to perish, times in Cornwall is an immediate autobiographical reminder of Hildesheimer's stays in Cornwall 1939 and 1946.

In his Tübingen dissertation from 2013, the literary scholar Morton Münster placed Tynset in the middle "absurd phase" of Hildesheimer, which stood between the "satirical phase" and a departure from the poetology of the absurd.

Topics, motives and biographical background

Resignation in the face of the absurd

Hildesheimer's novels, like his plays, are in the tradition of absurd theater . In Tynset as well as in Masante and in Hildesheimer's last literary work Communications to Max about the state of affairs and other things , there are “doubts about language and the meaningfulness of life”, whereby these doubts, according to Morton Münster, are still in a process of discovery in Tynset are located. The narrator, “passive spectator in a world without answers”, compares himself to Hamlet at one point when he ponders a prayer chair that belongs to his furniture : “[…] I am Hamlet, I see my uncle Claudius, crouching or sliding in front of the chair [...] but I don't kill him, I renounce, I don't act, others act, I don't ”. Given the incoherent and senseless life in an absurd world, Hildesheimer's narrator reacts with melancholy and resignation. It is this resignation that he would like to suggest to his readers. According to Hildesheimer, as Günter Blamberger has shown, it is the educational intention of the literature of the absurd, “that man becomes at home in the absurd, comes to terms with the irrationality of life, that he endures the despair over the silence of the world with dignity and as a continuous way of life ". In Tynset and Masante , according to Blamberger, Hildesheimer demonstrated "that the path of a literature of the absurd that is not committed to Camus' practical philosophy , but remains in search of truth, leads from standing still in crisis to falling silent ."

In 1973 Wolfgang Hildesheimer said in an interview with Dieter E. Zimmer on the occasion of the publication of the volume Masante , which followed Tynset , that he could only write about himself. The main theme of Tynset is resignation and poor contact. When asked what the narrator of Tynset does during the day, Hildesheimer replied “He won't do much”, spoke of a “withdrawal from life” and a certain identification with Hildesheimer himself.

fear

Another main motif in Tynset, as in Hildesheimer's later novel Masante, is fear. Hildesheimer, who left Germany for the second time and permanently in 1957, answered the question why he did not live in Germany in 1964 with “I am a Jew. Two thirds of all Germans are anti-Semites. They always have been and always will be. ”The fear of persecution comes up again and again in Tynset , as does the subject of brutality. In his vision of driving through “Wilhelmstadt” by car, the narrator tries not to look other drivers in the eye when they stop at traffic lights - “Of course, sometimes he himself looks into the distance and would like to be somewhere else, but he is often a thug or a murderer Traffic lights have already given me glimpses of terrible pasts. ” Henry A. Lea , Professor of German Literature at the University of Massachusetts Amherst , notes that the most striking thing about the“ Wilhelmstadt ”scene is the narrator's fear and alienation, his Describing the city as "a labyrinth and a citadel of unbridled nationalism" whose fortifications were saved over five centuries "to catch me and my kind". The description evokes the idea of ​​an archetypal German city in which an outsider is not welcome and where he does not want to be, Lea continues.

On the last page, when the narrator thinks again about his winter bed and about the murderer Gesualdo, who was lying in it, he adds: “A murderer, but not one of the law enforcement officers, not a spreader of a big blond hand, not one of the peelers and pensioners in Schleswig-Holstein, the bone-breaking family fathers from Vienna, the knotters, people shooting, [...] “Even his own German name is scary to him - it is not mentioned, but the assumption that it is Wolfgang is obvious - it is a name "that has an embarrassing sub-sound that comes from some distant prehistoric depth, a foggy darkness into which I have always shied away from looking [...]". Morton Münster states that Hildesheimer's first-person narrator has been “on the run from the unspeakable, namely Auschwitz ” since Tynset .

Style and structure

Tynset's style is characterized by exact descriptions. According to Henry A. Lea, Hildesheimer's German is polished and free from regional coloring. Patricia Haas Stanley divides Hildesheimer's literary language in Tynset into verbal music, impersonal narratives and reflexive style. "Highly articulated, associative free prose" and the "verbal and non-nominal structure" remained constant. The structure of the whole work is compared by Stanley with the Rondo in Mozart's 9th Piano Concerto ( KV 271):

"This Mozart rondo is, in general, a miniature picture of Tynset , because in Hildesheimer's adaptation of the form, an extended structure of refrain / episode alternation, modified refrains and two cadences are produced."

- Patricia Haas Stanley

As a further musical element, Stanley's “The Cocks of Attica” is identified as a four-part literary tokkata with a coda . Due to Hildesheimer's strict design, both Stanley and other authors (such as Maren Jäger in her study of the “Joyce reception in German-language narrative literature after 1945”) distinguish Tynset's associational-monological style from a stream of consciousness .

Another characteristic of Tynset , as Wolfgang Rath notes, is Hildesheimer's “specific expression of a combination of monomaniac melancholy and satirical wit”. Rath notes that after Tynset , Hildesheimer had a "process of ironic distance gain"; In Tynset, the satirist Hildesheimer, who dominates the narrative in later works ( Marbot , Mitteilungen an Max ) as he did earlier in the Lieblos Legends , still speaks between the lines.

reception

Perception of the first edition

Tynset was Hildesheimer's first work with an "overwhelming press success," says Volker Jehle . It was discussed by numerous critics the year after its publication in the spring of 1965; while Patricia Haas Stanley writes of "about thirty-five", according to Jehle there were even "over one hundred and thirty major reviews after the book was published and countless others about the awards".

Among other things, stylistic and content-related comparisons were made with Samuel Beckett , Jean-Paul Sartre , Max Frisch and Djuna Barnes . The opinions of the reviewers differed: While Walter Jens wrote in Die Zeit that Hildesheimer had made a “big hit” with Tynset , “a classic prose, the richest in nuances, that (with the exception of Koeppen ) by a German writer based on Thomas Mann was written “, the review by Reinhard Baumgart in the Spiegel was largely negative. Baumgart said he had read “a manuscript, a first, high-aim draft” and wrote of a “perplexed juxtaposition of games that seem to succeed effortlessly, and others that initially reveal nothing but dry effort, in their language, in thinking, in their blueprint ”. Werner Weber pointed out in the Neue Zürcher Zeitung that Hildesheimer had translated Djuna Barnes' novel Nachtgewächs in 1959 and found an after-effect in Tynset . The book is not easy to read, in parts you almost run out of patience - but “the passages of the laborious and persistent unraveling of a thing or a relationship” are “still touched by the truth of the language and the truth of what it reports. “With Tynset, Hildesheimer is“ among the best among the present ”.

Several critics were bothered by the form of Tynset and the identity of the narrator, according to Baumgart: "Between the truth of the report or diary and the other truth of inventing and narrating a middle course is sought." Rudolf Hartung saw in his otherwise largely positive Review (“But how wonderfully Wolfgang Hildesheimer can tell!”) The Hamlet motif, in which you can feel too exactly “what the author has in mind with this motif”, and “the not really credible utopia of a departure into the unknown” as Weaknesses of the book.

Tynset was a success in the book trade ; the book was on the Spiegel bestseller list for a long time in 1965 . In 1966, the Swiss magazine du said that Tynset had made Hildesheimer “instantly famous”. 1966 Hildesheim received for Tynset the Literature Prize of the City of Bremen . Also in connection with Tynset he was awarded the Georg Büchner Prize .

Later classification

In later works on Wolfgang Hildesheimer, Tynset is counted among his main works, for example by Henry A. Lea in his essay from 1979 or 2009 in the Killy literary dictionary , in which Tynset is named as the main prose work together with Masante . In 1983, however, WG Sebald stated that Tynset was a novel "which has by no means received the attention and recognition it deserves due to its inherent qualities". Volker Jehle also wrote in his Hildesheimer Werkgeschichte from 1990 about Tynset , a book "which is considered by some readers to be his greatest", that in contrast to the loveless legends, it "never became popular".

expenditure

  • Tynset. Suhrkamp, ​​Frankfurt a. M. 1965.
    • Licensed editions: Ex Libris, Zurich [1971]; Volk und Welt, Berlin 1978 (anthology with other works); German Bücherbund, Stuttgart [1993].
  • Tynset. Suhrkamp, ​​Frankfurt a. M. 1973. (Library Suhrkamp; Vol. 365). ISBN 3-518-01365-8
  • Tynset. Suhrkamp, ​​Frankfurt a. M. 1992. (Suhrkamp-Taschenbuch; vol. 1968). ISBN 3-518-38468-6

The number of pages in the licensed edition from 1971 and in the paperback edition from 1992 corresponds to the original edition from 1965. In addition to the individual editions, Tynset is also included in volume 2 “Monological Prose” of Hildesheimer's collected works , ISBN 3-518-40403-2, published by Suhrkamp in 1991 .

The first translation by Tynset - into Norwegian - appeared in 1966. Åse-Marie Nesse was awarded the Bastian Prize for this translation . Further translations have appeared in at least the following languages: Bulgarian, French, Italian, Japanese, Dutch, Polish, Slovak, Spanish, Czech and Hungarian. An English translation was only published in 2016.

literature

  • Patricia Haas Stanley: Wolfgang Hildesheimer's "Tynset" . Anton Hain, Meisenheim 1978, ISBN 3-445-01848-0 .
  • Henry A. Lea: Wolfgang Hildesheimer and the German-Jewish Experience: Reflections on "Tynset" and "Masante" . In: monthly books . vol. 71, no. 1 , 1979, p. 19-28 , JSTOR : 30165191 .
  • Winfried Georg Sebald: Constructions of grief. On Günter Grass “Diary of a Snail” and Wolfgang Hildesheimer “Tynset” . In: German lessons . Vol. 35, no. 5 , 1983, pp. 32-46 .
  • Wolfgang Rath: Alien in Alien: on the separation of self and world in contemporary German novels . Winter, Heidelberg 1985, ISBN 3-533-03631-6 (in it on Tynset and Masante pp. 79-161).
  • Heinz Ludwig Arnold (Hrsg.): Wolfgang Hildesheimer (=  text + review . Issue 89/90). Edition Text + Criticism, Munich 1986, ISBN 3-88377-220-8 .
  • Volker Jehle: Wolfgang Hildesheimer, work history (=  Suhrkamp-Taschenbuch . Volume 2109 ). Suhrkamp, ​​Frankfurt a. M. 1990, ISBN 3-518-38609-3 , pp. 88 (Therein on Tynset in particular pp. 88-106).
  • Morton Münster: Saying the unspeakable. A comparison between Wolfgang Hildesheimer's “Tynset” and “Masante”, Juan Benet's “Herrumbrosas Ianzas” and Mia Couto's “Estórias abensonhadas” . Stauffenburg, Tübingen 2013, ISBN 978-3-86057-497-3 (Diss. Univ. Tübingen, 2013. Therein on Tynset and Masante, in particular pp. 95-142).

Individual evidence

  1. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 7.
  2. ↑ a b c Maren Jäger: The Joyce reception in German-language narrative literature after 1945 . Niemeyer, Tübingen 2009, ISBN 978-3-484-18189-2 , p. 382 .
  3. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 10.
  4. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 13.
  5. ^ A b Rudolf Hartung: Hamlet in Graubünden. Wolfgang Hildesheimer, "Tynset" . In: The month . 17th year, no. 201 , June 1965, p. 71 .
  6. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 42.
  7. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 62.
  8. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 63.
  9. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 111.
  10. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 128.
  11. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 135
  12. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 237
  13. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 257
  14. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. [269]
  15. ↑ a b Patricia Haas Stanley: Wolfgang Hildesheimer's "Tynset" . Anton Hain, Meisenheim 1978, ISBN 3-445-01848-0 , p. 3 .
  16. ↑ Wolfgang Hildesheimer: Answers about Tynset , quoted from Maren Jäger: The Joyce reception in German-language narrative literature after 1945 . Niemeyer, Tübingen 2009, ISBN 978-3-484-18189-2 , p. 382 .
  17. ↑ Volker Jehle: Wolfgang Hildesheimer, Werkgeschichte (=  Suhrkamp-Taschenbuch . Volume 2109 ). Suhrkamp, ​​Frankfurt a. M. 1990, ISBN 3-518-38609-3 , pp. 116 .
  18. ↑ Volker Jehle: Wolfgang Hildesheimer, Werkgeschichte (=  Suhrkamp-Taschenbuch . Volume 2109 ). Suhrkamp, ​​Frankfurt a. M. 1990, ISBN 3-518-38609-3 , pp. 71 .
  19. ↑ Volker Jehle: Wolfgang Hildesheimer, Werkgeschichte (=  Suhrkamp-Taschenbuch . Volume 2109 ). Suhrkamp, ​​Frankfurt a. M. 1990, ISBN 3-518-38609-3 , pp. 66 .
  20. ↑ Volker Jehle: Wolfgang Hildesheimer, Werkgeschichte (=  Suhrkamp-Taschenbuch . Volume 2109 ). Suhrkamp, ​​Frankfurt a. M. 1990, ISBN 3-518-38609-3 , pp. 114-115 .
  21. ↑ Volker Jehle: Wolfgang Hildesheimer, Werkgeschichte (=  Suhrkamp-Taschenbuch . Volume 2109 ). Suhrkamp, ​​Frankfurt a. M. 1990, ISBN 3-518-38609-3 , pp. 118 .
  22. ↑ Morton Münster: Saying the unspeakable . Stauffenburg, Tübingen 2013, ISBN 978-3-86057-497-3 , p. 129 .
  23. ↑ Rosmarie Zeller: Hildesheimer, Wolfgang. In: Historical Lexicon of Switzerland . August 3, 2009 , accessed June 19, 2019 .
  24. ↑ a b Morton Münster: Saying the unspeakable . Stauffenburg, Tübingen 2013, ISBN 978-3-86057-497-3 , p. 132 .
  25. ^ Patricia Haas Stanley: Wolfgang Hildesheimer's "Tynset" . Anton Hain, Meisenheim 1978, ISBN 3-445-01848-0 , p. 97 .
  26. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 107.
  27. ↑ Günter Blamberger: The rest is silence. Hildesheimer's literature of the absurd . In: Text + Criticism . Issue 89/90: Wolfgang Hildesheimer, 1986, ISBN 3-88377-220-8 , p. 35 (At this point Blamberger refers to Hildesheimer's speech “About the absurd theater” in “Who was Mozart?”).
  28. ↑ Günter Blamberger: The rest is silence. Hildesheimer's literature of the absurd . In: Text + Criticism . Issue 89/90: Wolfgang Hildesheimer, 1986, ISBN 3-88377-220-8 , p. 43 .
  29. ↑ a b Dieter E. Zimmer, Wolfgang Hildesheimer: Retreat from life. The conversation with the author: Wolfgang Hildesheimer . In: The time . April 13, 1973. Retrieved May 10, 2014.
  30. ^ A b Henry A. Lea: Wolfgang Hildesheimer and the German-Jewish Experience: Reflections on "Tynset" and "Masante" . In: monthly books . vol. 71, no. 1 , 1979, p. 23 , JSTOR : 30165191 .
  31. ↑ Wolfgang Hildesheimer, quoted from: Henry A. Lea: Wolfgang Hildesheimer and the German-Jewish Experience: Reflections on "Tynset" and "Masante" . In: monthly books . vol. 71, no. 1 , 1979, p. 19 , JSTOR : 30165191 .
  32. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 117
  33. ^ Henry A. Lea: Wolfgang Hildesheimer and the German-Jewish Experience: Reflections on "Tynset" and "Masante" . In: monthly books . vol. 71, no. 1 , 1979, p. 22 , JSTOR : 30165191 .
  34. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 118.
  35. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 268
  36. ↑ Wolfgang Hildesheimer: Tynset. License issue Ex Libris, Zurich [1971], p. 71
  37. ↑ Morton Münster: Saying the unspeakable . Stauffenburg, Tübingen 2013, ISBN 978-3-86057-497-3 , p. 142 .
  38. ↑ a b Patricia Haas Stanley: Wolfgang Hildesheimer's "Tynset" . Anton Hain, Meisenheim 1978, ISBN 3-445-01848-0 , p. 120-121 .
  39. ^ Henry A. Lea: Wolfgang Hildesheimer and the German-Jewish Experience: Reflections on "Tynset" and "Masante" . In: monthly books . vol. 71, no. 1 , 1979, p. 26 , JSTOR : 30165191 .
  40. ^ Patricia Haas Stanley: Wolfgang Hildesheimer's "Tynset" . Anton Hain, Meisenheim 1978, ISBN 3-445-01848-0 , p. 5 .
  41. ^ Patricia Haas Stanley: Wolfgang Hildesheimer's "Tynset" . Anton Hain, Meisenheim 1978, ISBN 3-445-01848-0 , p. 50 .
  42. ^ Patricia Haas Stanley: Wolfgang Hildesheimer's "Tynset" . Anton Hain, Meisenheim 1978, ISBN 3-445-01848-0 , p. 159 .
  43. ^ Maren Jäger: The Joyce Reception in German-Language Narrative Literature after 1945 . Niemeyer, Tübingen 2009, ISBN 978-3-484-18189-2 , p. 352-353 .
  44. ↑ Wolfgang Rath: Strange in Strange: on the separation of self and world in the German contemporary novel . Winter, Heidelberg 1985, ISBN 3-533-03631-6 , pp. 79 .
  45. ↑ Wolfgang Rath: Strange in Strange: on the separation of self and world in the German contemporary novel . Winter, Heidelberg 1985, ISBN 3-533-03631-6 , pp. 79-80 .
  46. ↑ a b c d e Volker Jehle: Wolfgang Hildesheimer, Werkgeschichte (=  Suhrkamp-Taschenbuch . Volume 2109 ). Suhrkamp, ​​Frankfurt a. M. 1990, ISBN 3-518-38609-3 , pp. 88 .
  47. ↑ a b Patricia Haas Stanley: Wolfgang Hildesheimer's "Tynset" . Anton Hain, Meisenheim 1978, ISBN 3-445-01848-0 , p. 2 .
  48. ^ A b Walter Jens: An extradited person drowns out the night . In: The time . March 19, 1965. Retrieved March 8, 2014.
  49. ↑ a b c Reinhard Baumgart: Sleepless sobbing . In: Der Spiegel . March 3, 1965. Retrieved March 8, 2014.
  50. ↑ a b Werner Weber (Wb.): "Tynset". To the new book by Wolfgang Hildesheimer . In: Neue Zürcher Zeitung . 186th year April 3, 1965, p. 1-2 .
  51. ↑ Wolfgang Hildesheimer . In: you . tape 26 , 1966, pp. 1080 .
  52. ^ Henry A. Lea: Wolfgang Hildesheimer and the German-Jewish Experience: Reflections on "Tynset" and "Masante" . In: monthly books . vol. 71, no. 1 , 1979, p. 19 , JSTOR : 30165191 .
  53. ^ Wilhelm Kühlmann (Ed.): Killy Literature Lexicon . 2., completely revised Edition. tape 5 . de Gruyter, Berlin 2009, ISBN 978-3-11-021391-1 , p. 423 .
  54. ↑ Winfried Georg Sebald: Constructions of grief. On Günter Grass “Diary of a Snail” and Wolfgang Hildesheimer “Tynset” . In: German lessons . Vol. 35, no. 5 , 1983, pp. 42 .
  55. ↑ Volker Jehle: Wolfgang Hildesheimer, Werkgeschichte (=  Suhrkamp-Taschenbuch . Volume 2109 ). Suhrkamp, ​​Frankfurt a. M. 1990, ISBN 3-518-38609-3 , pp. 89 .
  56. ↑ Mottakere av Bastianprisen ( Norwegian , PDF; 26 KB) Norsk Oversetterforening. Retrieved June 12, 2014.
  57. ↑ Tynset by Wolfgang Hildesheimer, translated by Jeffrey Castle ( English ) In: Kirkus Reviews . July 4, 2016. Retrieved October 6, 2016.
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