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Max Frisch, with his countryman Friederich Diirrenmatt, shares the place of eminence in contemporary Swiss literature. Indeed, he ranks high among the recent leading writers in the German language. But, although several of his works— novels and plays—have been translated into English, he remains little known in America. In this collection of essays an international group of scholars provides a fresh introduction to this noted author. The three leading essays review Frisch's work in the forms he has used most extensively—drama, narrative fiction, and the personal diary. The remaining nine essays focus on specific works or topics. Among the works examined are I'm Not Stiller, A Wilderness of Mirrors, Wilhelm Tell, and the recent Man in the Holocene. Among the topics are Frisch's use of language and images, his treatment of women, and the element of parody. Concluding the volume is the most complete bibliography on Frisch to appear in English to date.
This introductory volume explores the playwright's chaotic universe, where God has retreated beyond the stars and where blind chance is the real prime mover, justice is corruptible, ideologies useless, and tragedy no longer possible. Yet despite the overriding pessimism of Durrenmatt's Weltanschauung, the author argues that the playwright remains a genial master of comedy. Through the laughter he allows his readers to see that all is not lost, that there are virtues worth fighting for, and that there are still courageous Don Quixotes worthy of the title "hero." Crockett contends that as a theorist of the modern German stage, Durrenmatt challenges Bertolt Brecht and offers alternatives. As a craftsman of prose fiction, he fashions the stout thread with which the readers enter his labyrinths and eventually find their way back out, while his literary Theseuses, clinging to gossamer strands, sometimes fall prey to the monster in the maze.
Ur innehållet: J. Scandinavian drama (s. [398]-423).
Although the main focus of this study is on the mother figure, it offers an exhaustive examination of Peter Weiss's oeuvre, including his less known early Swedish works. It is unique in that the author, who is a native of Sweden, bases her analysis on firsthand information which she obtained from personal interviews conducted in Sweden with Weiss's sister, his widow, his first wife, and his daughter.