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"A luminous parable . . . A masterpiece." The New York Times
This novel by esteemed Swiss writer Max Frisch is an exploration of the question: "Why don't we live when we know we're here just this one time, just one single, unrepeatable time in this unutterably magnificent world?!" This outcry against the emptiness of ordinary everyday life uttered by the hero of Frisch's book is countered by "an answer from the silence" he meets when face-to-face with death. When An Answer from the Silence begins, the protagonist has just turned thirty and is engaged to be married and about to start work as a teacher. Frightened by the idea of settling down, he journeys to the Alps in a do-or-die effort to climb the unclimbed North Ridge, and by doing so prove he is not ordinary. But having reached the top he returns not in triumph, but in frostbitten shock, having come dangerously close to death. This highly personal early novel reflects a crisis in Frisch's own life, and perhaps because of this intimate connection, he refused to allow it to be included in his Collected Works in the 1970s. Now available in English, this distinctive book will thrill fans of Frisch's other works.
The screenplay "Zurich Transit" was developed from an episode in the novel Gantenbein, published in 1964: 'A story for Camilla: of a man who decides several times to change his life but, of course, never succeeds ...' Yet one day he, Theo Ehrismann, returns from a trip abroad and reads in the paper his own obituary. He arrives just on time for his own funeral and observes the attending mourners, and yet he is not able to reveal himself to them, especially not to his wife: 'How does one say that he is alive?' Max Frisch counters the traditional dramaturgy based on causality with a dramaturgy of coincidence. 'Life,' Max Frisch said in 1965, 'is the sum of events that happen by chance, and it always could as well have turned out differently; there is not a single action or omission that does not allow for variables in the future.'
'New York . . . I HATE IT. I LOVE IT. I DON'T KNOW' This could serve as a motto to large parts of Drafts for a Third Sketchbook, much of which focuses on America, where Frisch had an apartment, as well as his house in rural Switzerland. He wrote three Sketchbooks, of which the third was left unpublished at his death in 1991, that record his reactions to events of the time and people he encountered in his daily life. Despite the German title Tagebuch, they are not diaries in the formal sense, though they do progress chronologically but mostly without dates and only contain the pieces Frisch felt were significant. These 'sketches', ranging from a couple of sentences to several pages, are not casual jottings but carefully crafted pieces. Central to them is his reaction to the America of the Reagan years and the threat of nuclear war but another important theme is his own sense of growing old and the prospect of dying; this is particularly movingly portrayed in the decline and death from cancer of his close friend, Peter Noll. Max Frisch (1911-91) was one of the giants of twentieth-century literature, achieving fame as a novelist, playwright, diarist and essayist. He received the Georg Büchner prize in 1958 and the Neustadt Literature prize in 1986. For many years a lecturer in German with a special interest in Austrian literature, Mike Mitchell has worked as a literary translator since 1995. Publisher's note.
After his acquittal in court of the strangulation murder of a call girl, his ex-wife, Dr. Schaad relives the trial within his own mind as he attempts to come to terms with his guilt or innocence
Describes the prenatal development of identical and fraternal twins and discusses attitudes twins develop about each other.
Together Max Frisch and Friedrich Dürrenmatt are not only two of the most esteemed Swiss writers of the twentieth century, but arguably two of the most important European writers since World War II. The remarkable letters gathered here document their unique, unlikely, and extraordinary friendship. This collection of correspondence offers a picture of two temperaments that could not have been more different. As their letters show, at first their friendship was tentative, both critical and respectful, as one might imagine of two contemporary literary giants. Then, under the pressure of their increasing fame, Frisch and Dürrenmatt's letters became more teasing in spirit and began to carry a noted undertone of irony. Finally, perhaps inevitably, the friendship became seriously endangered and failed. Available in English for the first time, this collection includes an introduction by Peter Rüedi that places the letters within the context of the authors' lives and works, as well as the larger historical events of the time. Detailed notes, a chronology, photographs, and facsimiles of the original letters complete the book, which will be engaging reading for admirers of Frisch and Dürrenmatt as well as fans of modern German writing in general.