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Offending the Audience: "A dissection of our expectations about what ought to happen in the theatre."—Observer Self-Accusation: "A cunning and ironic attack on bureaucratic moral guilt."—Observer Kaspar is based on the true story of Kaspar Hauser, a sixteen year old boy who appeared from nowhere in Nuremberg in 1828 and who had to be taught to speak from scratch. Handke's play is a downright attack on the way language is used by a corrupt society to depersonalize the individual. My Foot My Tutor: "Handke has here written an hour-long play without words that may at first look like a piece of audience-provocation but that finishes up as sheer theatrical poetry."—GuardianIn The Ride Across Lake Constance, a group of characters (known only by the names of the actors who perform the parts) talk and play games together and skate over the thin ice that separates them from unspoken danger: "Intensely theatrical ... an author for whom playwriting seems akin to tightrope walking."—The Times They Are Dying Out puts the pillars of the bourgeoisie under the microscope to reveal an alien race, suffocated by rationality, unable to cope with untamed subjective impulses and shows an "uncanny knack for making the familiar seem strange" (Plays and Players).

Since his now famous appearance on the literary stage in 1968, novelist, playwright and poet Peter Handke has remained in the literary vanguard, having earned the praise and recognition of critics in Europe and North America alike. In fact one recent review called him 'the premier prose stylist in the German language and one of postwar Europe's most recognizable literary figures.' -- After the publication of his early, theatrical works, Handke has gone on to publish over twenty-five prose novels as well as additional works for the theater, collections of poetry, diaries and essays. His works have ranged in the style from the French influenced nouveau roman of the late 1960s to works characteristic of the New Subjectivity movement in West Germany in the 1970, while his novels and stories of the 1980s and 1990s exhibited a new-found appreciation for narrative and issues of storytelling. He has also published a series of polemical essays on the war in Yugoslavia which have been criticized severely by scholars and intellectuals. This collection of fourteen essays focuses both on the genres in which Handke has written as well as on the thematic aspects of his work.

The question is whether Handke is Existentialist or Post Modern. This collection includes three of the best examples of mid-Twentieth Century European experimental fiction: The Goalie's Anxiety At The Penalty Kick; Short Letter, Long Farewell; and A Sorrow Beyond Dreams.

This volume contains 22 stories and novellas, many appearing in English for the first time. Among the authors represented are Peter Handke, Alfred Andersch, Stefan Andres, Jurgen Becker, Ulla Merkewicz, Elisabeth Borchers, Gisela Elsner and Max von der Grun.

This volume contains 22 stories and novellas, many appearing in English for the first time. Among the authors represented are Peter Handke, Alfred Andersch, Stefan Andres, Jurgen Becker, Ulla Merkewicz, Elisabeth Borchers, Gisela Elsner and Max von der Grun.

7008 Seiten, Im Schuber. Schuber mit minimalen Gebrauchspuren, ansonsten tadellos. *** Bücher ab 1 kg: Versandkosten in Nicht-EU-Länder auf Anfrage / Books more than 1 kg: Shipping fee to countries others than EU on request*** Sprache: Deutsch Gewicht in Gramm: 7800 8° , 20,5 x 12,5 cm, Leinen mit Schutzumschlag

Included in this anthology are: --Farmyard by Franz Xaver Kroetz--Offending the Audience by Peter Handke--Eve of Retirement by Thomas Bernhard--Big and Little by Botho Strauss

A short, powerful new novel by one of the greatest writers in the German languageOn a Dark Night I Left My Silent House is Peter Handke's evocative, moving, often fantastic, novel about one man's conflict with himself and his journey toward resolution. During one night shift, an unnamed, middle-aged pharmacist in Taxham, an isolated suburb of Salzburg, tells his story to a narrator. The pharmacist is known and well-respected, but lonely and estranged from his wife. He feels most comfortable wandering about in nature, collecting and eating hallucinogenic mushrooms. One day he receives a blow to the head that leaves him unable to speak, and the narrative is transformed from ironic description into a collection of sensual impressions, observations and reflections. The pharmacist, who is now called the driver, sets out on a quest, travelling into the Alps with two companions--a former Olympic skiing champion and a formerly famous poet--where he is beaten and later stalked by a woman. He drives through a tunnel and has a premonition of death, then finds himself in a surreal, foreign land. In a final series of bizarre, cathartic events, the driver regains his speech and is taken back to his pharmacy--back to his former life, but forever changed. A powerful, poetic exploration of language, longing and dislocation in the human experience, On a Dark Night I Left My Silent House reveals Handke at his magical best.

Peter Handke's mother was an invisible woman. Throughout her life—which spanned the Nazi era, the war, and the postwar consumer economy—she struggled to maintain appearances, only to arrive at a terrible recognition: "I'm not human any more." Not long after, she killed herself with an overdose of sleeping pills.In A Sorrow Beyond Dreams her son sits down to record what he knows, or thinks he knows, about his mother's life and death before, in his words, "the dull speechlessness—the extreme speechlessness" of grief takes hold forever. And yet the experience of speechlessness, as it marks both suffering and love, lies at the heart of Handke's brief but unforgettable elegy. This austere, scrupulous, and deeply moving book is one of the finest achievements of a great contemporary writer.

A MODERN MASTER'S WRY AND ENTERTAINING TAKE ON HISTORY'S BEST-KNOWN LOVER In Don Juan, Peter Handke offers his take on the famous seducer. Don Juan's story―"his own version"―is filtered through the consciousness of an anonymous narrator, a failed innkeeper and chef, into whose solitude Don Juan bursts one day. On each day of the week that follows, Don Juan describes the adventures he experienced on that same day a week earlier. The adventures are erotic, but Handke's Don Juan is more pursued than pursuer. What makes his accounts riveting are the remarkable evocations of places and people, and the nature of his narration. This is, above all, a book about storytelling and its ability to burst the ordinary boundaries of time and space. In this brief and wry volume, Handke conjures images and depicts the subtleties of human interaction with an unforgettable vividness. Along the way, he offers a sharp commentary on many features of contemporary life.

In these two remarkable plays, here translated into English for the first time, the renowned Austrian playwright Peter Handke inquires into the boundaries and life-affirming qualities of language. In Voyage, Handke`s characters search not for the right answers but for the right questions, and in The Hour, 400 characters in a city square speak not a word.

This highly acclaimed critical exploration of modern drama begins with Büchner and Ibsen and then discusses the major playwrights who have shaped modern theater—Strindberg, Chekhov, Pirandello, Brecht, Beckett, and Handke. A new introduction by the author assesses developments of recent years.Reviews of the earlier editions: “The best single study of the astonishing transformations dramatic art has undergone in the last century or so.”—Thomas R. Edwards, New York Times Book Review “In its field this is one of the choice books of the century. It moves toward the deepest sources of some great plays, so it deepens their effect on us.”—Stanley Kauffmann “The Making of Modern Drama has no rivals. Richard Gilman’s account of his fascinating subject is written with love, measure, and authority.”—Susan Sontag “Gilman’s book on the genesis and development of contemporary drama is acute, beautifully accomplished, and, I think, important.”—Donald Barthelme

Peter Handke's mother was an invisible woman. Throughout her life—which spanned the Nazi era, the war, and the postwar consumer economy—she struggled to maintain appearances, only to arrive at a terrible recognition: "I'm not human any more." Not long after, she killed herself with an overdose of sleeping pills.In A Sorrow Beyond Dreams her son sits down to record what he knows, or thinks he knows, about his mother's life and death before, in his words, "the dull speechlessness—the extreme speechlessness" of grief takes hold forever. And yet the experience of speechlessness, as it marks both suffering and love, lies at the heart of Handke's brief but unforgettable elegy. This austere, scrupulous, and deeply moving book is one of the finest achievements of a great contemporary writer.

Annotated edition in the original German, with English notes and vocabulary. This edition of Wunschloses Unglück makes available for students of German Handke's first deeply personal, sensitive and moving story.

OCTOBER: The First Decade brings together a selection of some of the most important and representative texts, many from issues long out of print, that have appeared in one of the foremost journals in art criticism and theory. Contributors include Rosalind Krauss, Sergei Eisenstein, Peter Handke, Georges Didi Huberman, Mary Ann Doane, and Hans Haacke. Their essays are organized under the categories of the index, historical materialism, the critique of institutions, psychoanalysis, rhetoric, and the body. Annette Michelson is Professor of Cinema Studies at New York University. Rosalind Krauss is Professor of Art History at Hunter College, CUNY Douglas Crimp is an art critic, and Joan Copjec is a film theorist.

In this visionary novel, Nobel Prize winner Peter Handke offers descriptions of objects, relationships, and events that teach readers a renewed way of seeing; he creates a wealth of images to replace those lost to convention and conformity. On the outskirts of a northwestern European river port city lives a powerful woman banker, a public figure admired and hated in equal measure, who has decided to turn from the worlds of high finance and modern life to embark on a quest. Having commissioned a famous writer to undertake her "authentic" biography, she journeys through the Spanish Sierra de Gredos and the region of La Mancha to meet him. As she travels by all-terrain vehicle, bus, and finally on foot, the nameless protagonist encounters five way stations that become the stuff of her biography and the biography of the modern world, a world in which genuine images and unmediated experiences have been exploited and falsified by commercialization and by the voracious mass media.Crossing the Sierra de Gredos is a very human book of yearning and the ancient quest for love, peopled with memorable characters (from multiple historical periods) and imbued with Handke's inimitable ability to portray universal, inner-worldly adventures that blend past, future, present, and dreamtime.

Neuware -Peter Handkes neues episches Werk gibt sich bewußt als Märchen, nicht an Kausalität, nicht an Raum und Zeit gebunden. Die vier Personen bewegen sich in einer Art Phantasie-Topographie durch Kontinente und Zeiten. Sie sind aus dem Alltag ausgebrochen, sie haben Grenzen überschritten, sie folgen ihrer Sehnsucht, »im Unterwegssein zu Hause sein« zu wollen. Sie befinden sich in einer Abwesenheit, die ein Innewerden und Wiederkommen in sich schließt. In den Unterhaltungen der vier, in ihren Aussprachen, Ausbrüchen, Erwiderungen, Selbstgesprächen und Traumvisionen explizieren sie ihre eigene Geschichte. Eines Tages ist der Alte, der der Gruppe Orientierung gab, verschwunden, es bleibt nur noch eine »Sitzspur«, aber doch auch der Traum, diesen Mentor wiederzufinden, auch sein Merkbuch, das gemeinsame Entziffern der eingetragenen Zeichen würde zum aufregenden Abenteuer. 224 pp. Deutsch

Als das »Letzte Epos« (mit großem »L«) hat Peter Handke seinen neuen Roman bezeichnet. Mit der Niederschrift begann er am 1. August 2016: »Diese Geschichte hat begonnen seinerzeit an einem jener Mittsommertage, da man beim Barfußgehen im Gras wie eh und je zum ersten Mal im Jahr von einer Biene gestochen wird.« Dieser Stich wird, wie der Autor am 2. August festhält, zum »Zeichen«. »Ein gutes oder ein schlechtes? Weder als gutes noch als ein schlechtes, gar böses - einfach als ein Zeichen. Der Stich jetzt gab das Zeichen, aufzubrechen. Zeit, daß du dich auf den Weg machst. Reiß dich los von Garten und Gegend. Fort mit dir. Die Stunde des Aufbruchs, sie ist gekommen.«Die Reise führt aus der Niemandsbucht, Umwegen folgend, sie suchend, in das Landesinnere, wo die Obstdiebin, »einfache Fahrt«, keine Rückfahrt, bleiben wird, oder auch nicht?. Am 30. November 2016, dem letzten Tag der Niederschrift des Epos, resumiert Peter Handke die ungeheuerlichen und bisher nie gekannten Gefahren auf ihrem Weg dorthin: »Was sie doch in den drei Tagen ihrer Fahrt ins Landesinnere alles erlebt hatte: seltsam. Oder auch nicht? Nein, seltsam. Bleibend seltsam. Ewig seltsam.«

Neuware -Zum 80. Geburtstag von Peter Handke die Neuauflage eines seiner Prosastücke - mit Faksimiles der Handschrift und Fotografien von Isolde Ohlbaum.Die Esche, deren Individualität Peter Handke in diesem Band mit großer Genauigkeit beschreibt, erkundet, porträtiert, steht in einem Garten in der Schackstraße in der Mitte Münchens. Er nimmt ihre Form von der Ferne in Augenschein und ihren Stamm (und das Leben auf ihm) von der Nähe, ihn interessieren die Äste und das Laub, aber auch ihr Charakter und ihre Haltung. Es ist eine Binsenwahrheit, dass kein Baum dem anderen gleiche, aber wie diese Einmaligkeit beschreiben Da die Esche in ihrer ganzen Schönheit und Größe existiert, hat Isolde Ohlbaum sie von allen Seiten aufgenommen: Auf ihren Bildern kann man sehen, wie der Baum sich reckt, um sich mit dem Siegestor zu messen.In seinem Nachwort beschreibt Michael Krüger den Standort des Baumes als Mittelpunkt der Welt. Der Band erscheint zum 80. Geburtstag des Dichters Peter Handke, dessen lange Blicke in das unerschöpfliche Buch der Natur mit zum Schönsten in seinem Werk gehören. 79 pp. Deutsch