Sergeant Studer

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"Wachtmeister Studer", played by Heinrich Gretler in the Praesens film of the same name from 1939

Wachtmeister Studer is a literary figure of the Swiss writer Friedrich Glauser , who is best known for his crime novels . He is the main character in five novels, three novel fragments and five short stories, which Glauser wrote over a period of six years. The focus in the Studer novels is less on identifying the perpetrator than on the atmospheric description of the locations and the motive behind the crime. Studer is characterized by his unshakable calm and his understanding of the perpetrators and suspects.

The Studer character

Literary role model

«I would like to thank Georges Simenon . I learned what I can from him. He was my teacher. "
Maigret sculpture by Pieter d'Hont

When Friedrich Glauser thought of writing a detective novel , he had a clear role model in mind: Georges Simenon , who had created the character of " Maigret ". He discovered the Belgian author and his novels, which he later described as the best detective novels, when he was in Paris with his girlfriend Beatrix Gutekunst from January to the end of May 1932 and tried to gain a foothold as a freelance journalist and writer. When he wrote an essay on French film for the cultural part of the federal government , he noted: “Simenon is a person who puts his novel every month with the regularity of a poultry. The hero is always a simple commissioner from the Quai des Orfèvres and is called Maigret, although he is fat. The novels are almost all written according to the same scheme. But they are all good. There is an atmosphere in it, a not cheap humanity, a signing of the details. " In 1935, Glauser referred to Maigret's La Tête d'un homme in a letter to his publisher Friedrich Witz : "The second book is particularly interesting because elements of content, atmosphere and even linguistic elements can be found in the Schlumpf novel ." And two years later Glauser wrote to his former teacher Charly Clerc : «Do you know Georges Simenon a little? [...] By the way, I admit that I owe him a lot. Basically, it was his inspector Maigret who gave me the idea of ​​my student. I don't think I've committed a plagiarism - the tone, the rhythm, the colorations of Simenon are different from mine. But at least..."

In his epilogue to Schlumpf Erwin Mord , Walter Obschlager states: “Maigret and Studer, neither of them belong to the genus of those smart guys with the psychologist's eye, as Glauser calls the conventional detective characters, these thinking machines that hover in those distant heights where one is stays dry after a rain and in which all razor blades cut perfectly. He has to get down from his pedestal, the smart guy! In the character of Inspector Maigret, Glauser realized for the first time what he had missed in all crime fiction, namely that the wise guy was being pulled down from his pedestal. [...] Studer differs from Maigret not only in various biographical details, for example in his advanced age, but also in his pronounced ability to empathize with the failed and disadvantaged. "

Psychological role model

In secondary literature one encounters the theory that Glauser's strict and aloof father was an unconscious motive in the creation of Sergeant Studer. The investigator would therefore be the father figure that Glauser had missed throughout his life. Frank Göhre writes: “Studer does not judge. He understands the stumbled, the 'poor dogs'. It is the alternative to the powerful, strict father of Friedrich Glauser. " Gerhard Saner recognizes an ideal in the investigator figure: “Studer is the sum of the life experience of its creator and at the same time his ideal. Glauser designed him from his material, and he would like to live like his figure. (...) Studer is actually doing what its creator can only do on paper: Preventing a little injustice - without having to believe in true justice. " And Peter Bichsel comments on Studer: «His constable Studer will remain one of the most wonderful philistines, a dear person, a sensible person, a kind - something like a counter-figure of the author, I'm not sure whether Glauser himself loved or hated him, probably both: like his father in Vienna. " In the end, Sergeant Studer is probably a mixture of an idealized father figure and a symbol of justice; both things that Glauser had always missed in his life.

Real role model

After his death , Glauser's last partner, Berthe Bendel , said that the figure design by Sergeant Studer was also based on a real event : When Glauser was brought back from Belgium to Switzerland in May 1925 , an investigator sergeant from the Bernese police took him at the Basel border in reception. He had released Glauser and taken him to the station buffet. There the policeman even went away during dinner to make a phone call. And when Glauser was later delivered by the investigator to the prison in Witzwil , he is said to have said that one should be nice to this man, that he was not a criminal. In this experience it is easy to recognize Studer's character trait, understanding and empathy for “losers”. Years later Glauser had this multiple trust of a policeman in Matto ruled literary. There it says to Studer: "It was not important to him to pay a convict he had to take to prison for another beer in the station buffet, as a final treat, so to speak, before the long loneliness in the cell ..." That The motif can already be found in the handwritten version by Schlumpf Erwin Mord : In a passage that was left out for printing, it is said that Studer donated half a liter of red wine to the arrested Witschi on the way to the prison at the station buffet in Bern. There is a reflex of this in the printed version, when a police captain arrested Studer in a dream and said: “But I won't pay you a half red in the station buffet. Not me!"

Appearance and character

Studer is tall and corpulent. He has gray hair, is often pale and has a mustache under his narrow nose . Typical items of clothing are raincoats and felt hats. Again and again he smokes his crooked “ Brissago ” cigars. Glauser repeatedly describes his favorite position as follows: The sergeant crouches on a chair (often astride), his thighs spread and both forearms on thighs, his hands folded.

Studer is stubborn, has a "hard grind", but always remains fair. Bureaucracy is anathema to him. He often takes a stand against the authorities, the studied and the privileged. In contrast, he repeatedly takes sides with the losers in society, helps those who have "stumbled" and thus shows his human side.

Studer's method

Above all, Studer works intuitively and relies primarily on his instinct. In Schlumpf Erwin Mord , he says : "I need less the facts than the air in which people lived ... you understand?" He is a patient listener and determines at his own pace, usually slowly and comfortably. Very often he turns a blind eye in his investigations, because he does not want to punish, but rather develops understanding and, above all, wants to help. Studer is an early representative of that type of unconventional investigator, whether police officer or private detective, who was later centralized by representatives such as Chandler's “ Marlowe ”, Dürrenmatt's “Bärlach”, Mankell's “ Wallander ” or Schneider's “Hunkeler” Character of the crime novel should be.

Sayings and thoughts from Studer

Heinrich Gretler as "Sergeant Studer"

«My God, people were the same everywhere. In Switzerland they hid a little when they wanted to go overboard, and as long as no one noticed, people were silent. "

“We all have a bird on our mind. Some even have a whole chicken farm ... »

“I once had to work on a case that was set in a madhouse. And there I was dealing with a gentleman who was - wait a minute, what's that called? - yes, he was a psychoanalyst. He interpreted the dreams and was then able to tell you exactly what was wrong with you ... He died, the analyst, his whole dream interpretation was of no use to him »

«In life it was always very different from what you thought. A person was not only a brutal guy, he could seemingly different ... »

«It's strange with us humans, we sometimes do exactly what we want to avoid, what our mind warns us about. A friend of mine who is now dead always spoke of the subconscious. As if the subconscious had a will of its own »

"Solitude crouched at the bottom of all people."

«Aren't we all dependent on the admiration of our neighbors, don't we need them like daily bread? And if it only came from a four-year-old child, a dog or a cat ... »

«Yes, the dead had it better! They had everything behind them: their own wedding, and baptism and again wedding of the children (...) They had, the dead, raised their hill once and for all, and underneath they slept and waited ... Were they really waiting? And what for? "

"He does not yet know, this young snooper, that there are crossroads in life: The comfortable road leads to honor and dignity, but the toll that you have to pay to walk on this road is self-respect and a clear conscience"

Fictional biography

police

The background to Studer's life is sparsely illuminated, but Glauser gives the reader a few hints. Jakob Studer was in his training with Prof. Gross in Graz . Again and again there is a certain "bank affair" in which Studer has fallen out of favor: Considered as a commissioner in the city police in Bern, he had to start all over again as a result of his unorthodox behavior. At the time of the novels he is about to retire ( Schlumpf Erwin Mord is set in 1932). The two colleagues Korporal Murmann and Reinhard appear sporadically in his work environment. In addition, Dr. Giuseppe Malapelle, forensic doctor from Milan , solving the crimes. Studer also fondly remembers his friend Inspector Madelin from Paris . Outside the police apparatus, the notary Hans Münch and the lawyer Rosenzweig support him.

Thunstrasse in Bern (photo 1979), fictional residence of Wachtmeister Studer

Glausers provides the following description of Studer's status within the city police very aptly: “In every state enterprise there is at least one man who is, to a certain extent, the salt of the whole enterprise. He, who is considered an outsider, is not required to work too regularly; The everyday, with its stupidity, is kept away from him - or rather, he keeps it away from himself. This man is only used - and that is where his value lies - when something extraordinary needs to be done. Then it is needed, then it is irreplaceable. When he is hanging around or going for a walk in the dull times, his superiors turn a blind eye, because they know that this man will one day prove to be irreplaceable: he will find ways and means to unravel a confused situation, he will understand you to put another company that has become luscious and cheeky, he will - this outsider - deal with a pressing matter in two hours that a good office stallion would not be able to cope with in two weeks »

Private life

Jakob Studer lives at Thunstrasse 98 in Bern and is married to Hedwig (Hedy). The two married couples tend to have a friendly relationship, as Studer is neither one of the romantics nor likes to reveal his feelings. Their only child is Marie, who is married to Albert Guhl, police corporal in Arbon . Your son's name, like his grandfather, is Jakob.

In the handwritten version of Schlumpf Erwin Mord , the Studers are described as childless and their wife as significantly younger than him.

Studer's funeral

“Studer himself had determined that no newspaper would say anything about his death and that no printed card should be sent. The Hedy had complied with the wish of his partner, because Jakob was never to be joked with on fundamental issues. " This is how the Studer short story begins, which the author Rainer Redies wrote around fifty years after Glauser's "Creaky Shoes" and in it poetically revived the figure of the constable. The homage , entitled About Wachtmeister Studer - Biographical Sketches , makes use of the Sherlock Holmes pastiches and revisits the most important stages in the life of the Bern investigator in five chapters during Studer's funeral. The episodes are enriched in Glauser's writing style with quotes and reminiscences from all Studer novels and a Studer short story.

His wife, daughter with husband and their children, work colleagues Murmann and Reinhart and their two friends Notar Münch and Commissioner Madelin, who had been telegraphed from Paris, stood at Jakob Studer's grave in the summer of 1957. The following 24 hours describe, among other things, the circumstances of Studer's death, his life as a pensioner and individual experiences from his childhood and career: How Studer met his wife Hedy, Madelin and Münch, the true background of the repeatedly mentioned bank affair or how Studer witnessed one in Stuttgart SA - Propaganda March was. In addition, several well-known characters and locations appear in this retrospective: Erwin Schlumpf from Gerzenstein, who is now married to Sonja Witschi ( Schlumpf Erwin Mord ), Colonel Caplaun and Dr. Laduner ( Matto reigns ), Ludwig Fahrni from Pfründisberg ( The Chinese ), the Ibach Anni ( The spoke ), the Algerian desert ( The fever curve ) or the farmer Leuenberger from Waiblikon ( The old magician ). Even Friedrich Glauser has his own cameo in this pastiche : In a flashback, Redies tells how Studer had to arrest the writer and morphinist one day .

Emergence

First try

Glauser seems to have had a kind of Studer in his head as early as 1931: a literary "Urstuder" appears in the short story Rescue . It is about Eva, a poor girl who stole money to buy something for herself and her mother. At the end of the story, an educational advisor appears who sits comfortably in the chair, smoking Brissago, and does not condemn and punish Eva's act, but rather shows understanding.

From 1932 to 1935 Glauser wrote three short stories that can be seen as finger exercises for Constructor Studer's figure development. In Der alten Zauberer (1932), the very first Studer story, all the character traits are already there that would make the sergeant so famous in the later novels. The disagreed lovers also come from the same period ; Glauser varies here and describes Studer with a different character. And in the third short story Sanierung (1935), which was written parallel to Schlumpf Erwin Mord , Studer even had a different physiognomy: goatee and the approach to a goiter. It seems as if Glauser tried it out and then decided (for his first Studer novel) for the investigator version of the Old Wizard .

Dramaturgy, style

The crime novels by Glauser often have logic holes in their plot and the dramaturgy sometimes seems a bit even constructed. Or the course gets lost in too many subplots that are not all resolved. In his first detective novel, which began in 1931, The Tea of ​​the Three Old Ladies (without Investigator Studer), this is still very pronounced. Mario Haldemann writes: “The point of view changes constantly, the 'omniscient' narrator goes through the plot soon with this person, now with that person, and the reader quickly loses track of the confused storylines and the abundance of staff. Glauser was well aware of this. Barely two years after completing the work, he considered converting it into a Studer novel. " About Die Fieberkurve (1935), Glauser said, among other things: "One or two chapters have become funny, one or two characters are so halfway in the lead - but I am very much afraid I have made my old mistake again and let too many people march." In the first Studer novel Schlumpf Erwin Mord , Glauser did not make the same mistake, but there are some "coincidences" that help Studer to resolve the crime.

The fact that Glauser spent too little time on carefully thinking through a plot, restructuring and rewriting it if necessary, was also due to his adverse living conditions. Basically, his whole life was a series of small and large catastrophes that kept repeating: addiction to morphine , crimes, escape, internment, rehab, suicide attempts, official guardianship, building up regular employment until another crash loomed. And in between I kept trying to write. And Peter Bichsel goes on to explain: "They knew that Glauser had only written these detective novels to earn money, money for his illness and money for his drugs, money for his wonderfully romantically broken life."

Nevertheless, Glauser had success with his Studer novels; this was mainly due to the precise drawing of the figures and the atmospheric density in his stories. In his open letter published in 1937 on the “Ten Commandments for the Detective Novel” , Glauser commented on this and wrote, among other things: “Tension is an excellent element; it makes reading easier for the audience. It distracts the mind, the troubled mind, from the adversities of life, it helps to forget. Just like any liquor, just like any wine. But just as there is real kirsch and façon, there is also real tension and fuzzy tension - excuse the new word. And I call any tension that has only one goal: the resolution, the end of the book. It does not allow this equivalent tension to be viewed as a present in each page of the book, in which the reader lives for minutes or seconds. (…) This hurry for the future at the expense of the present - isn't it the curse of our time? We have forgotten in general that there is a present that needs to be lived. "

Glauser's great talent was to process experiences literarily and to incorporate exact observations into individual scenes. This could be the description of a room or a cloudy sky. In doing so, Glauser allowed himself to use a stylistic device that was still widespread in the 19th century (not only with Jeremias Gotthelf), but was hardly used in the interwar period: He interwoven Swiss-German expressions in his texts: Then it unexpectedly means «Chabis »(Nonsense),« squat »(sit),« Chrachen »(hamlet),« G'schtürm »(agitation),« Grind »(head) or« What's going on? In this way of writing his readers (at least the Swiss) immediately found something very familiar and homely. And Jean Rudolf von Salis commented: "Since Gotthelf , no writer has succeeded so easily and without prejudice in inserting expressions of the dialect into the High German text." Glauser thus contributed to the fact that various Swiss authors of the post-war period did not regard the dialect and the peculiarities of the standard Swiss German language as a weakness, but on the contrary treated it as an enrichment, as a special resource.

Position in crime fiction

Glauser managed the feat of creating a character in only five novels from 1935 to his death in 1938, which, through its characterization, stuck in the minds of readers. Over the years, Wachtmeister Studer established himself in the genre of crime fiction such as Doyle's “ Sherlock Holmes ”, Agatha Christie's “ Miss Marple ” and “ Hercule Poirot ” or Georges Simenon's “ Jules Maigret ”.

In a survey conducted in 1990 among 37 crime professionals for the “best crime novel of all time”, Wachtmeister Studer came fourth as the best German-language crime novel. In addition, the 119-title list includes two other Studer novels, Matto reigns and Der Chinese .

Studer stories

Novels

Wachtmeister Studer on the book cover of Der Chinese (book edition by Morgarten-Verlag , Zurich 1939)

Fragments of the novel

The Studer Roman fragments contain the last three Wachtmeister Studer stories and were all written in Nervi in 1938 . They remained unpublished until 1993.

Short stories

The Studer short stories contain all the stories in which Studer also appears in addition to the well-known novels. Friedrich Glauser wrote the texts between 1931 and 1938.

Further editions

Nüüd Appartigs… by Hannes Binder in Limmat Verlag , 2005

Anthologies

  • All detective novels and crime stories . 7 volumes in slipcase. Arche, Zurich 1989, ISBN 3-7160-2090-7
  • Studer determined . All detective novels in one volume. Two thousand and one, Frankfurt am Main 2009, ISBN 978-3-86150-892-2 .

Comic adaptations

Theater version

  • Walter Millns: Fever Curve - Based on the idea of ​​the novel by Friedrich Glauser. Elgg Verlag, Belp 2009.
  • Renato Cavoli: "Matto: a detective piece based on the novel Matto reigns" (1935/36) by Friedrich Glauser and a film of the same name by Leopold Lindtberg from 1947 ". Elgg Verlag, Belp 2009.
  • Ingrid Wettstein: Wachtmeister Studer: based on the novel by Friedrich Glauser , Swiss German adaptation with high German stage directions. Theaterverlag Elgg, Belp 2012, DNB 1034524755 .
  • Ingrid Wettstein: Krock & Co. - Wachtmeister Studer - crime novel based on Friedrich Glauser. Theaterverlag Elgg, Belp 2013.

Audio books

Film adaptations

Film magazine Mein Film with the photo report on the premiere of Matto governs in Vienna, 1948
  • 1939: Wachtmeister Studer , Switzerland, director: Leopold Lindtberg ; with Heinrich Gretler as Studer
  • 1943: Detective Assistant Bloch , Denmark, directed by Poul Band and Grete Fresh
  • 1946: Matto rules , Switzerland, directed by Leopold Lindtberg; with Heinrich Gretler as Studer
  • 1976: Krock & Co , Germany / Switzerland, TV movie, director: Rainer Wolffhardt ; with Hans Heinz Moser as Studer
  • 1978: Der Chinese , Germany / Switzerland, TV film, director: Kurt Gloor ; with Hans Heinz Moser as Studer
  • 1980: Matto rules , Germany / Switzerland, TV film, director: Wolfgang Panzer ; with Hans Heinz Moser as Studer
  • 2001: Studer's first case , Switzerland, television film, director: Sabine Boss ; with Judith Hofmann as "Claudia Studer" ( ruled after Matto )
  • 2007: No turning back - Studer's newest case , Switzerland, TV film, director: Sabine Boss; with Judith Hofmann as Claudia Studer

literature

  • Hardy Ruoss: Epilogue . In: Wachtmeister Studer (= Spring of the Present , Part 2). Ex Libris, Zurich 1982, pp. 183-212, OCLC 636955328 (licensed edition by Die Arche, Zurich, 1982).
  • Rainer Redies: About Wachtmeister Studer. Biographical sketches . Erpf, Bern 1993, ISBN 3-9055-1760-4 .
  • Hardy Ruoss: From acuteness to compassion: Friedrich Glauser in the tradition of the crime novel in: Swiss monthly books , no. 72, 1992, issue 3, pp. 219–225.
  • Angelika Jockers: Die Kriminalromane Friedrich Glausers , Munich 1994, DNB 944118755 ( dissertation Uni Munich 1994, 260 pages).
  • Patrick Bühler: The corpse in the library: Friedrich Glauser and the detective novel (= Problems of Poetry , Volume 31), Winter, Heidelberg 2002, ISBN 3-8253-1316-6 (Dissertation HU Berlin 2000, 177 pages).
  • Anke Grundmann: The breakout from the classic structure of the detective novel in Friedrich Glauser's "Schlumpf Erwin Mord" . Term paper, Bielefeld University, Faculty of Linguistics and Literary Studies, 1999, 20 pages, grade 2.0. GRIN, Munich 2007, ISBN 978-3-638-84308-9 (Book on demand).

Individual evidence

  1. ↑ Friedrich Glauser: The narrative work - cracked glass, Volume 4 . Limmat Verlag, Zurich 1993, ISBN 3-85791-206-5 , p. 220
  2. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 135.
  3. ^ Friedrich Glauser: The narrative work. Volume 2: The Old Wizard. Limmat Verlag, Zurich 1992, ISBN 3-85791-204-9 , p. 160.
  4. ^ Walter Obschlager: Afterword. In: Friedrich Glauser: Smurf Erwin Murder . Limmat Verlag, Zurich 1995, ISBN 3-85791-241-3 , p. 201.
  5. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2. Arche, Zurich 1995, ISBN 3-7160-2076-1 , p. 779.
  6. ↑ Friedrich Glauser: The narrative work - cracked glass, Volume 4 . Limmat Verlag, Zurich 1993, ISBN 3-85791-206-5 , p. 219
  7. ↑ See Walter Obschlager: Afterword. In: Friedrich Glauser: Smurf Erwin Murder . Limmat Verlag, Zurich 1995, ISBN 3-85791-241-3 , pp. 202-207.
  8. ^ Frank Göhre: contemporary Glauser. A portrait . Arche Verlag, Zurich 1988, ISBN 3-7160-2077-X , p. 114
  9. ^ Gerhard Saner: Friedrich Glauser. A biography . Suhrkamp Verlag, Frankfurt am Main 1990, ISBN 3-518-40277-3 , p. 484
  10. ↑ Peter Bichsel: Afterword. In: Friedrich Glauser: Man in Twilight . Luchterhand, Darmstadt 1988, ISBN 3-630-61814-6 , p. 268
  11. ^ Gerhard Saner: Friedrich Glauser - A biography . Suhrkamp Verlag, Zurich 1981, ISBN 3-518-40277-3 , p. 273.
  12. ^ Friedrich Glauser: Matto rules. Zurich 1995, ISBN 3-85791-242-1 , p. 122 (afterword by Bernhard Echte)
  13. ^ Friedrich Glauser: Schlumpf Erwin Mord , Zurich 1992, ISBN 3-293-20336-1 , notes, p. 219
  14. ^ Friedrich Glauser: Schlumpf Erwin Mord , Zurich 1992, ISBN 3-293-20336-1 , p. 91
  15. ^ Friedrich Glauser: Schlumpf Erwin Mord , Zurich 1992, ISBN 3-293-20336-1 , p. 74
  16. ↑ Friedrich Glauser: Schlumpf Erwin Mord , Zurich 1992, ISBN 3-293-20336-1 , p. 54
  17. ^ Friedrich Glauser: Schlumpf Erwin Mord , Zurich 1992, ISBN 3-293-20336-1 , p. 148
  18. ^ Friedrich Glauser: Schlumpf Erwin Mord , Zurich 1992, ISBN 3-293-20336-1 , p. 167
  19. ^ Friedrich Glauser: Schlumpf Erwin Mord , Zurich 1992, ISBN 3-293-20336-1 , p. 172
  20. ^ Friedrich Glauser: Schlumpf Erwin Mord , Zurich 1992, ISBN 3-293-20336-1 , p. 180
  21. ^ Friedrich Glauser: Matto regiert , Zurich 1995, ISBN 3-85791-242-1 , p. 196
  22. ^ Friedrich Glauser: Die Speiche , Zurich 1996, ISBN 3-85791-243-X , p. 85
  23. ^ Friedrich Glauser: Die Speiche , Zurich 1996, ISBN 3-85791-243-X , p. 94
  24. ^ Friedrich Glauser: Die Speiche , Zurich 1996, ISBN 3-85791-243-X , p. 118
  25. ^ Friedrich Glauser: Die Fieberkurve , Zurich 1995, ISBN 3-85791-240-5 , p. 124
  26. ↑ Friedrich Glauser: Schlmpf Erwin Mord. Sergeant Studer. Ed. And with an afterword by Walter Obschlager, Zurich 1995, p. 218.
  27. ^ Rainer Redies: About Wachtmeister Studer. Biographical sketches . Erpf, Bern 1993, ISBN 3-9055-1760-4 , p. 7.
  28. ^ Gerhard Saner: Friedrich Glauser. A work history (= volume 2). Suhrkamp, ​​Frankfurt am Main 1981, ISBN 3-518-04130-4
  29. ^ Mario Haldemann: Afterword. In: Friedrich Glauser: The tea of ​​the three old ladies , Zurich 1996, ISBN 3-293-20334-5 , p. 266
  30. ↑ Bernhard Echte (Ed.): Friedrich Glauser - Briefe 2 . Arche, Zurich 1988, ISBN 3-7160-2076-1 , p. 101
  31. ^ Heinz Ludwig Arnold (Ed.): Kindlers Literatur Lexikon , Volume 6, Stuttgart 2009, ISBN 978-3-476-04000-8 , pp. 288/289
  32. ↑ Peter Bichsel: Afterword. In: Friedrich Glauser: Man in Twilight . Luchterhand, Darmstadt 1988, ISBN 3-630-61814-6 , p. 268
  33. ↑ Friedrich Glauser: The narrative work - cracked glass, Volume 4 . Limmat Verlag, Zurich 1993, ISBN 3-85791-206-5 , p. 217
  34. ^ Frank Göhre: contemporary Glauser. A portrait , Zurich 1988
  35. ^ Gerhard Saner: Friedrich Glauser , Frankfurt am Main 1981
  36. ↑ Peter Erismann, Heiner Spiess (Ed.): Friedrich Glauser. Memories . Limmat, Zurich 1996, ISBN 3-85791-274-X , p. 132
  37. ↑ The 119 Best Detective Novels of All Time
  38. ↑ A detective piece based on the novel by Friedrich Glauser in a dialect stage version by Ingrid Wettstein

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