Peter Handke

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Peter Handke (born 1942) was an Austrian playwright, novelist, screenwriter, essayist, and poet.

There was little evidence very early in his life that Peter Handke would one day challenge the theatrical and literary conventions of his time. Born on December 6, 1942, in the small town of Griffen in Carinthia, Austria, Handke first dreamed of becoming a priest. He entered a Jesuit seminary while still in his teens and stayed there until 1961, when he decided to study law at the University of Graz.

Perhaps it was the haunting beauty and deep, mystical silences he experienced as a sensitive child growing up among the calm, majestical mountains and forests of the lake-studded Carinthian countryside that led to his early decision to enter the priesthood. Or perhaps it was just the nature of the young man himself, who seemed forever in search of something beyond himself and the conventional world. Years later he would describe his need to write in religious terms, stating that "it was a sort of fever, almost a religious necessity, coming out of a feeling of missing something, of wanting God."

Nevertheless, although Handke began writing highly structured, short prose pieces while still in law school for a little literary magazine called Manuskripte, it wasn't until he left the university in 1965 that he actively began writing. His first novel, The Hornets, was published in 1966, followed by The Peddler in 1967.

In the first work a blind man tried to reconstruct what he remembered himself and the world to be like, in his pre-blindness consciousness, while in the second work, described by critics as a Kafkaesque murder mystery, Handke explored the psychic states of dread and anxiety and their effects upon the physical world. The two were excellent early examples of the style of writing that Handke would later become famous for both in his plays and in his novels. This style, which scholar Nicholas Hern in his book Peter Handke described as "nonsequential, nondescriptive single-sentence statements, " was, according to Handke, influenced by his law studies.

In his 1967 essay "I am an Ivory Tower Dweller, " Handke described in considerable detail how terrifying it was to discover the ways in which abstract, logically arranged language could be used for death and oppression. "They altered my previous ideas about the literary presentation of dying and death; they altered my ideas about dying and death itself. I then wrote a piece that transposed the lawbook's method into literature, and that in some sentences even consisted of the authentic legal code."

Most critics agreed that much of Handke's early prose reads like a long legal document, devoid as it is of emotion, decorative effect, and conventional narrative techniques, literary devices that Handke despised and condemned his fellow postwar German writers for using. This condemnation came in a virulent attack at the 28th meeting of German writers and critics, Gruppe 47, at Princeton in April 1966 when Handke lashed out at the group for writing nothing but idiotic and decorative prose which read like a "pictorial encyclopedia" and gave people a false view of reality. Only 24 years old, Handke was the youngest writer there, and although he had yet to write the works that would ensure his literary reputation, he was immediately hailed by Gruppe 47 for his brash courage in daring to speak out against the literary establishment.

This support, and all the hoopla and publicity which followed, helped to generate considerable excitement for the opening of Handke's first play, Offending the Audience, which premiered at the first "Experimenta" theater week in June in Frankfurt-on-the-Main. In October of the same year two more of his plays, Prophecy and Self-Accusation, opened together in Oberhausen.

The plays caused something of an uproar in the theater world, defying as they did the stage conventions of the times. Gone were illusion and any attempts at convincing the audience that what they were seeing on stage was real or smacked of real life. Actors were actors rather than characters, and they delivered speeches instead of dialogue. At times they even hurled insults at the audience, mocking them for their complacency and gullibility.

The following year in March Handke's "speaking piece" Cries for Help opened in Stockholm. Hern reported that it was described by critics as "a succession of unconnected slogans, mottoes, and catchwords, spoken by one set of actors and countered with repeated noes from the other set."

It wasn't until 1968, however, that Handke's literary reputation was thoroughly secured. In that year he won the prestigious Gerhart Hauptmann Prize in Berlin, and in May his first full-length play, Kaspar, opened to critical acclaim in Frankfurt and Oberhausen. Later it was nominated Play of the Year by the respected magazine Theater Heute.

A work with all the hallmarks of Handke's thematic and stylistic concerns over language and awareness and the ways in which an individual's consciousness and self-identity were shaped by society and its accepted conventions, Kaspar was seen by many as a brilliant and original tour de force. Some, however, found it boring and pretentious, criticisms that often accompanied his works when they first appeared.

In January 1969 Handke's play My Foot My Tutor opened at the Frankfurt Theater. The work astounded critics by daring to present characters who would say nothing for the entire length of the performance. Later My Foot My Tutor would be compared to Sam Beckett's Play Without Words.

In the spring of 1969 Handke's first collection of short prose poems, The Inner World of the Outer World of the Inner World, was published, followed several months later by the premiere of his play The Ride over Lake Constancein Berlin and the publication of his third novel, The Goalkeeper's Anxiety at a Penalty Kick. The story of a deeply confused, inarticulate young man who commits a senseless murder, The Goalkeeper's Anxiety at a Penalty Kick deals with the same themes of loneliness, alienation, violence, and social hypocrisy that haunt almost all of Handke's works, including his later novels, Short Letter, Long Farewell (1972) and The Left-Handed Woman (1978).

However, in 1974 Handke's style became much more personal and intimate when he wrote A Sorrow Beyond Dreams: A Life Story, a work that recorded with deep sensitivity and insight the events of his mother's life leading to her eventual suicide.

In the years to follow, Handke's work seemed to have mellowed somewhat. His later works included Slow Home-coming (1985), Across (1987), Repetion (1988), and The Afternoon of a Writer (1989). In 1996 A Winter Journey to the Danube, Sava, Morava, and Drina Rivers: Or Justice for Serbia was released. With this publication, Handke maintained that the international media had been unfair to Serbia in the Balkwan civil war. He charged a German newspaper with writing "the poison that never heals, the poison of words." (World Press Review, July 1996), while calling the war-torn Serbia "an orphaned, abandoned child."

Further Reading

Excellent sources of commentary for a more critical perspective on Handke's work were Guenter Heintz, Peter Handke (1971); Nicholas Hern, Peter Handke (1972); and Nicholas Hern, Peter Handke: Theater and Anti-Theater (1971). Further discussion can be found in Elizabeth Boa and J. H. Reid, Critical Strategies: German Fiction in the Twentieth Century (1972); Henning Rischbieter, Peter Handke (1972); Siegfried Mandel, Group 47 (1973); Frederick Ungar, editor, Handbook of Austrian Literature (1973); Henning Falkenstein, Peter Handke (1974); and Richard Gilman, The Making of Modern Drama (1974).

Handke, Peter (Griffen/Kärnten, Austria, 1942- ), whose father was a German soldier, was brought up by his mother and stepfather. After the war the family lived for three years in East Berlin, where his step-father was a tram-driver, before returning to his mother's home village. He was educated at a Catholic boarding school, and from 1961 studied law at the university of Graz, where he also began to write, influenced by a small circle of young poets, successors to the Wiener Gruppe. In 1965 he turned to full-time writing, determined to challenge conventional language and literary genres. In 1966 he caused a stir by his angry outburst against Gruppe 47 at its meeting in Princeton, which he attended as the author of Die Hornissen (1966), his first novel. Aiming at self-awareness in political, social, and psychographic contexts, he gained still wider publicity as a writer for the theatre, notably through his provocative Sprechstücke Publikumsbeschimpfung (1966) and Kaspar (1967, publ. 1968), before his prose began to dominate his rapidly growing œuvre. His aesthetics, to which each work adds new perspectives, emanate from his search for ‘heile Natur’, which he associates with Goethe and, in his own writing, with the motif of the child. It supports his consistent technique of confrontation, ultimately with the ‘inner world’. He conceives poetic language as the imaginative recreation of reality by a process of observation, assimilation, and objectifying contemplation. In his speech acknowledging the award of the Büchner Prize in 1973, published as Die Geborgenheit unter der Schädeldecke, he explained his rejection of political literature based on preconceived concepts (Begriffe), and underlined the liberating potential of personal experience: ‘Ich bin überzeugt von der begriffsauflösenden und damit zukunfts-trächtigen Kraft des poetischen Denkens’.

In the detective novel Der Hausierer (1967) Handke analyses the genre itself, aspects of which are relevant to a number of his works, including Die Angst des Tormanns beim Elfmeter (1970), which constructs a psychogram of the tormented murderer. Kurzer Brief zum langen Abschied (1972, film by H. Vesely, 1978) alludes in the second part of the title, a metaphor for separation in marriage, to Raymond Chandler's novel The Long Goodbye; pursued in the USA by his wife Julie, the (unnamed) narrator resolves deep-seated conflicts within himself before he and Julie accept their final parting without rancour. The novel adapts the 19th c. Bildungsroman by focusing on Keller's Der grüne Heinrich, which the narrator reads during his travels; for part of the way he enjoys the companionship of Claire and her young daughter, who help him explore the country. A similar technique eliciting comparisons with the past underlies Falsche Bewegung (1975, film by W. Wenders), in which Wilhelm fails to establish a harmonious relationship with society, in contrast to Goethe's hero (see Wilhelm Meisters Lehrjahre). A few months after his mother's suicide, Handke wrote the story of her life as he perceived it; Wunschloses Unglück (1972) shows the crushing of her once vivacious individuality after marrying, for the sake of her unborn child, an unloved man whose tyranny also dominates the (step)father/son relationship.

Handke's aesthetics of perception gradually assumed an added philosophical dimension with religious overtones, relating predominantly to nature; he revered the poetic vision of Hölderlin and admired Stifter. After Die Stunde der wahren Empfindung (1975), the study of a psychic crisis resolved by a mystic experience, his next expansive project was a tetralogy, consisting of the narrative Langsame Heimkehr (1979), Die Lehre der Sainte Victoire (1980), Kindergeschichte (1981), and the dramatic poem Über die Dörfer (1981). The first part, more aptly described as an epic poem, is presented in long syntactical sequences and complex verbal structures. The geologist and writer Valentin Sorger devotes himself to the scientific laws inherent in nature, from which he proceeds to restructure his life. This preoccupation dominates his return journey from prolonged research in Alaska, in the course of which he explores the western region of the USA. The places he visits before boarding a flight to Europe include New York, where he suddenly perceives his mission to dedicate himself to the ideal of peace and redemption. It is ‘Das Gesetz’ of the title of the final section, a ‘law’ that liberates him from his isolation and opens the last phase of his inner and outer ‘homecoming’ with its characteristic interplay of dream and reality. The second part is devoted to the study of Cézanne, and the third, written in the style of Thucydides and based on Handke's relationship with his daughter, shows the influence of a child on its parent. The final part is designed as a paean on his experience; performed in 1982 in Salzburg, it relates freely to Hofmannsthal's festival play Das Salzburger große Welt-theater (1922). After Der Chinese des Schmerzes (1983), a philosophical narrative focusing on the motif of the threshold (Schwelle), Handke wrote Die Wiederholung (1986), which has some affinity with Stifte r's Der Nachsommer (1857) and has been adjudged the most outstanding modern contribution to the Bildungsroman. Handke's eminent Wortkunst, characterized by him as ‘träumende Phantasie’, was by now widely recognized, but critics have also pointed to the excesses of his imagination, for example in the fairy-tale Die Abwesenheit (1987), which alludes to Goethe's Kunstmärchen (see Märchen, Das). The art of writing, on which his identity depends in an alienated world, is a recurrent theme in his self-analysis Nachmittag eines Schriftstellers (1987), Versuch über die Müdigkeit (1989), Noch einmal für Thukydides (1990), Versuch über die Jukebox (1990), in which the narrator, escaping in 1989 from the celebrated events in Berlin to remote Soria in Spain, explores the last traces of a bygone culture associated with the juke-box, and Versuch über den geglückten Tag. Ein Wintertagtraum (1991). In Abschied des Träumers vom Neunten Land. Eine Wirklichkeit, die vergangen ist: Erinnerung an Slowenien (1991), his most outspoken protest of these later years, Handke compares his sense of homelessness, resulting from the new political status of Slovenia, with the sentiments expressed by Hofmannsthal in ‘Briefe des Zurückgekehrten’ (1907). It was followed by another major novel, Mein Jahr in der Niemandsbucht (1994).

Stücke (2 vols.) appeared in 1972-3, and Theaterstücke in einem Band in 1993; they include Der Ritt über den Bodensee (1970) and Das Mündel will Vorbild sein (1969), a play without words, like Die Stunde da wir nichts voneinander wußten (1992, Vienna première by Claus Peymann, 1992). Other works include Die linkshändige Frau (1975, film dir. by Handke), Deutsche Gedichte (1969), Die Innenwelt der Außenwelt der Innenwelt (1969), poetry and prose, Als das Wünschen noch geholfen hat (1974) and Das Ende des Flanierens (1977, ext. 1980), poetry, essays, and reviews, Ich bin ein Bewohner des Elfenbeinturms (1972), essays, of which the title-essay concerns his protest against Gruppe 47, Der Rand der Wörter (1975), prose, poetry, and plays, Das Gewicht der Welt. Ein Journal (1977), dated November 1975 to March 1977, and Die Geschichte des Bleistifts (1982), dated 1976 to 1980 Langsam im Schatten. Gesammelte Verzettelungen 1980-91 (1993) contains reviews, speeches, and political commentaries.

Handke, who has described himself as an Austrian citizen and a German-speaking writer, is the recipient of numerous Austrian and German awards.

Quotes:

"If a nation loses its storytellers, it loses its childhood."

• Born: 1942 in Austria
• Occupation: Writer, Director, Actor
• Active: '60s-'90s
• Major Genres: Drama
• Career Highlights: Falsche Bewegung, Wings of Desire, Die Angst des Tormannes beim Elfmeter
• First Major Screen Credit: Drei Amerikanische Lp's (1969)

Biography

Peter Handke
Born	December 6, 1942 (1942-12-06) (age 66) Griffen, Austria
Occupation	Novelist, Playwright
Nationality	Austrian
Notable work(s)	The Goalie's Anxiety at the Penalty Kick

Peter Handke (born 6 December 1942, in Griffen, Austria) is an avant-garde Austrian novelist and playwright.

Contents 1 Early life 2 Career 3 List of works 3.1 Films 4 English editions 5 See also 6 References 7 External links

Early life

Handke and his mother (a Carinthian Slovene whose suicide in 1971 is the subject of Handke's A Sorrow Beyond Dreams, a reflection on her life) lived in East Berlin from 1944 to 1948 before resettling in Griffen. According to some of his biographers, his stepfather Bruno's alcoholism and the limited cultural scope in the small town have contributed to Handke's revolt against habitualness and restrictions.

In 1954 Handke was sent to a Roman Catholic boys' boarding school in Tanzenberg, Carinthia. Here, he published his first texts in the school paper, the Fackel. In 1959, he moved to Klagenfurt, where he went to high school. In 1961, he commenced law studies at the University of Graz.

Career

Ever the enfant terrible, Peter Handke exemplifies the complexity of writing as an Austrian in the postwar period, and his work has continually provoked controversy and outrage on a variety of fronts.

While studying, he established himself as writer, linking up with the Grazer Gruppe (the Graz Authors' Assembly), an association of young writers. The group published the literary digest manuskripte. Both Elfriede Jelinek and Barbara Frischmuth were among its members.

Handke abandoned his studies in 1965, when the German Suhrkamp Verlag accepted his novel Die Hornissen (The Hornets) for publication.

He gained popular attention after a spectacular appearance at a meeting of avant garde artists belonging to the Gruppe 47 in Princeton, New Jersey, U.S., where he presented his play Publikumsbeschimpfung (Offending the Audience).

He became one of the co-founders of the publishing house Verlag der Autoren in 1969 and participated as a member of the group Grazer Autorenversammlung from 1973 to 1977.

Handke has written many scripts for films.^[1] He directed Die linkshändige Frau (The Left–Handed Woman), which was released in 1978. Leonard Maltin's Movie Guide's description of the film is that a woman demands that her husband leave and he complies. "Time passes…and the audience falls asleep". This film was nominated for the Golden Palm Award at the Cannes Film Festival in 1978 and won the Gold Award for German Art House Cinemas in 1980. Handke has also won the 1975 German Film Award in Gold for his screenplay Falsche Bewegung.

During the 1980s, he travelled extensively, visiting amongst other places, Alaska, Japan and Yugoslavia.

After leaving Graz, Handke lived in Düsseldorf, Berlin, Kronberg (all in Germany), in Paris, France, in the U.S. (1978 to 1979) and in Salzburg, Austria (1979 to 1988). Since 1991, he has lived in Chaville near Paris, France.

When Elfriede Jelinek was awarded the Nobel Prize in Literature in 2004, she stated that she considered Peter Handke a more worthy recipient than herself and that she had been awarded the prize merely because she is female.

In 1996 his travelogue Eine winterliche Reise zu den Flüssen Donau, Save, Morawa und Drina oder Gerechtigkeit für Serbien (A Journey to the Rivers Danube, Sava, Morava and Drina: Justice for Serbia) created considerable controversy, as Handke portrayed Serbia among the victims of the Balkan War. In the same essay, Handke also frontally attacked Western media for misrepresenting the causes and consequences of the war. This controversy still rages. Former Yugoslavian president Slobodan Milošević asked that Handke be summoned as witness for the defence before the International Criminal Tribunal for the former Yugoslavia, but the writer declined. He did, however, visit the tribunal as a spectator, and later published his observations in Die Tablas von Daimiel (The Tablas of Daimiel).

On 18 March 2006, in front of more than 20,000 mourners at the funeral of Slobodan Milošević, Handke gave a speech in Serbian which sparked much controversy in the West. Handke later denied expressing "his happiness at being close to Milošević who defended his people". In fact, in a letter to the French Nouvel Observateur, he offered a translation of his speech: "The world, the so-called world, knows everything about Yugoslavia, Serbia. The world, the so-called world, knows everything about Slobodan Milošević. The so-called world knows the truth. This is why the so-called world is absent today, and not only today, and not only here. I don't know the truth. But I look. I listen. I feel. I remember. This is why I am here today, close to Yugoslavia, close to Serbia, close to Slobodan Milošević".[2]

Handke's positions regarding the war in Yugoslavia were challenged by the Slovenian writer and essayist Drago Jančar and the two have engaged in a long polemic.

In 2006 Handke was nominated for the Heinrich Heine Prize, but the prize money of €50,000 is subject to approval by the city council of Düsseldorf. Members of the council's major parties stated they would vote against awarding the prize to Handke, resulting in the prize being withdrawn. [3]

He has two daughters: Amina, from his relationship with Libgart Schwarz, and another daughter with Sophie Semin. Handke has been living with the German actress Katja Flint since 2001.

List of works

Works in English translation are italicized.

• 1966 "Die Hornissen", ("The Hornets"), novel
• 1966 "Publikumsbeschimpfung und andere Sprechstücke", ("Offending the Audience and Other Spoken Plays"), play, English version in Offending the Audience and Self-accusation
• 1967 "Begrüßung des Aufsichtsrates", ("Welcoming the Supervisor"), prose texts
• 1967 "Der Hausierer", ("The Peddler"), novel
• 1967 "Kaspar", ("Kaspar"), play, English version also in Kaspar and other Plays
• 1969 "Deutsche Gedichte", "German Poems", poetry
• 1969 "Die Innenwelt der Außenwelt der Innenwelt", ("The Innerworld of the Outerworld of the Innerworld"), text collages
• 1969 "Prosa, Gedichte, Theaterstücke, Hörspiele, Aufsätze", ("Prose, Poems, Plays, Radio Plays, Essays"), collected texts
• 1969 "Das Mündel will Vormund sein", "The Ward Wants to be Warden"), play
• 1970 "Die Angst des Tormanns beim Elfmeter", ("The Goalie's Anxiety at the Penalty Kick"), screenplay and novel
• 1970 "Geschichten aus dem Wienerwald von Ödön von Horvath", ("Stories from the Wienerwald by Ödon von Horvath"), re-narration
• 1970 "Wind und Meer. Vier Hörspiele", ("Wind and Sea. Four Radio Plays")
• 1971 "Chronik der laufenden Ereignisse", ("Chronicle of Current Events")
• 1971 "Der Ritt über den Bodensee", ("The Ride Across Lake Constance"), play
• 1971 "Der kurze Brief zum langen Abschied", ("Short Letter, Long Farewell"), story
• 1972 "Ich bin ein Bewohner des Elfenbeinturms", ("I Am a resident of the Ivory Tower"), essays
• 1972 "Stücke 1", ("Plays 1")
• 1972 "Wunschloses Unglück", ("A Sorrow Beyond Dreams. A Life Story"), story
• 1973 *"Die Unvernünftigen sterben aus", ("They Are Dying Out"), play
• 1973 "Stücke 2", ("Plays 2")
• 1974 "Als das Wünschen noch geholfen hat. Gedichte, Aufsätze, Texte, Fotos", ("When Hope still Helped. Poems, Essays, Texts, Photos")
• 1975 "Der Rand der Wörter. Erzählungen, Gedichte, Stücke", ("The Words' Edge. Stories, Poems, Plays")
• 1975 "Die Stunde der wahren Empfindung", ("A Moment of True Feeling"), story
• 1975 "Falsche Bewegung", ("Wrong Move"), novel
• 1976 "Die linkshändige Frau", ("The Left-Handed Woman"), film version 1977
• 1977 *"Das Ende des Flanierens. Gedichte", ("Strolling Comes to an End. Poems")
• 1977 "Das Gewicht der Welt. Ein Journal", ("The Weight of the World."), texts
• 1979 "Langsame Heimkehr", ("The Long Way Round"), story. also in Slkow Homecoming
• 1980 *"Die Lehre der Sainte-Victoire", ("The Lesson of MountSainte-Victoire"), story, in Slow Homecoming
• 1981 "Über die Dörfer", ("Walk about the Villages"), theatrical poem
• 1981 "Kindergeschichte", ("Child Story"), story, in Slow Homecoming
• 1982 "Die Geschichte des Bleistifts", ("History of the Pencil"), texts
• 1983 "Der Chinese des Schmerzes", ("Across"), story
• 1984 "Phantasien der Wiederholung", ("Phantasies of Repetition"),
• 1986 "Die Wiederholung", ("Repetition")
• 1987 "Der Himmel über Berlin", ("Wings of Desire") with Wim Wenders, screenplay
• 1987 "Die Abwesenheit. Ein Märchen", ("Absence"), film version directed by Handke 1992
• 1987 "Gedichte", ("Poems")
• 1987 "Nachmittag eines Schriftstellers", ("Afternoon of a Writer"), story
• 1989 "Das Spiel vom Fragen oder Die Reise zum sonoren Land", ("Voyage to the Sonorous Land or the Art of Asking"), play
• 1989 "Versuch über die Müdigkeit", ("Essay about Tiredness")
• 1990 "Noch einmal für Thukydides", ("Once Again for Thucydides")', texts
• 1990 "Versuch über die Jukebox", ("Essay about the Jukebox"), Engl. version in The Jukebox and Other Essays on Storytelling.
• 1991 "Abschied des Träumers vom Neunten Land", ("The Dreamer's Farewell to the Ninth Country"), texts
• 1991 "Versuch über den geglückten Tag. Ein Wintertagtraum", ("Essay about the Successful Day. A Winterday's Dream")
• 1992 "Die Stunde, da wir nichts voneinander wußten", ("The Hour We Knew Nothing Of Each Other"), play
• 1992 "Die Theaterstücke", ("The Theatrical Plays")
• 1992 "Drei Versuche. Versuch über die Müdigkeit. Versuch über die Jukebox. Versuch über den geglückten Tag", ("Three Essays. Essay about Tiredness. Essay about the Jukebox. Essay about the Successful Day.")
• 1992 "Langsam im Schatten. Gesammelte Verzettelungen 1980-1992", ("Slowly in the Shade. Collected Dispersals 1980-1992"), texts
• 1994 "Die Kunst des Fragens", ("The Art of Questioning"), texts
• 1994 "Mein Jahr in der Niemandsbucht. Ein Märchen aus den neuen Zeiten", ("My Year in the No-Man's-Bay"), novel
• 1996 "Eine winterliche Reise zu den Flüssen Donau, Save, Morawa und Drina oder Gerechtigkeit für Serbien", ("A Journey to the Rivers: Justice for Serbia"), essay
• 1996 "Sommerlicher Nachtrag zu einer winterlichen Reise", ("A Summary Addendum to a Winter's Journey"), essay
• 1997 "Zurüstungen für die Unsterblichkeit. Königsdrama", ("Preparations for Immortality. A Royal Drama"), play
• 1997 "In einer dunklen Nacht ging ich aus meinem stillen Haus", ("On a Dark Night I Left My Silent House"), story
• 1998 "Am Felsfenster morgens. Und andere Ortszeiten 1982 - 1987", ("At the Mountain Window in the Morning. And Other Local Times 1982 - 1987), texts
• 1998 "Ein Wortland. Eine Reise durch Kärnten, Slowenien, Friaul, Istrien und Dalmatien", with Liesl Ponger, ("A Land of Words. A Journey through Carinthia, Slovenia, Friaul, Istria and Dalmatia"), essay
• 1999 "Die Fahrt im Einbaum oder Das Stück zum Film vom Krieg", ("The Canoe Ride or The Play about the Film about the War"), play
• 1999 "Lucie im Wald mit den Dingsda. Mit 11 Skizzen des Autors", ("Lucie in the Forest with the Thingie."), texts
• 2000 "Unter Tränen fragend. Nachträgliche Aufzeichnungen von zwei Jugoslawien-Durchquerungen im Krieg, März und April 1999", ("Asking through the Tears. Belated Chronicle from two Crossings through Yugoslavia During the War, March and April 1999"), texts
• 2002 "Der Bildverlust oder Durch die Sierra de Gredos", ("Crossing the Sierra de Gredos")
• 2002 "Mündliches und Schriftliches. Zu Büchern, Bildern und Filmen 1992-2000", ("Spoken and Written. About Books, Images and Films 1992-2000"), essays
• 2002 "Untertagblues. Ein Stationendrama", ("Underground Blues. A Station Play")
• 2004 "Don Juan (erzählt von ihm selbst)", ("Don Juan (Told by Himself)"), novel
• 2005 "Die Tablas von Daimiel", ("The Tablas of Daimiel"), essay
• 2005 "Gestern unterwegs, ("Travelling Yesterday"), texts
• 2006 "Spuren der Verirrten", play
• 2007 "Kali. Eine Vorwintergeschichte", novel
• 2007 "Samara", story, previously announced as "Die morawische Nacht"

Films

Handke collaborated with director Wim Wenders on a film version of his novel Die Angst des Tormanns beim Elfmeter (The Goalie's Anxiety at the Penalty Kick), wrote the script for Wenders' The Wrong Move, and co-wrote the screenplay for Wenders' Wings of Desire.

English editions

Many of Handke's works have been published in several English-speaking countries by different publishers. Only one edition of each work is listed.

• 1970 Kaspar and Other Plays, Hill and Wang, ISBN 0-8090-1546-3
• 1971 Offending the Audience/Self-accusation, Methuen Publishing Ltd, ISBN 0-416-19570-9
• 1972 The Goalie's Anxiety at the Penalty Kick, Farrar Straus & Giroux, ISBN 0-374-16376-6
• 1973 The Ride Across Lake Constance, Methuen Publishing Ltd, ISBN 0-413-29690-3
• 1974 Slow Homecoming, Collier Books, ISBN 0-02-051530-8
• 1974 Short Letter, Long Farewell, Farrar Straus & Giroux, ISBN 0-374-26318-3
• 1974 The Innerworld of the Outerworld of the Innerworld, A Continuum Book/The Seabury Press, ISBN 0-374-28745-7
• 1976 They Are Dying Out, Eyre Methuen, ISBN 0-413-33690-5
• 1976 Ride Across Lake Constance and Other Plays, Noonday Press, ISBN 0-374-51272-8
• 1976 Nonsense and Happiness, Urizen Books, ISBN 0-916354-20-2
• 1977 A Moment of True Feeling, Farrar Straus & Giroux, ISBN 0-374-17291-9
• 1978 The Left-Handed Woman, Farrar Straus & Giroux , ISBN 0-374-18497-6
• 1979 Two Novels by Peter Handke, Avon, ISBN 0-380-48033-6
• 1984 3 X Handke, Collier Books, ISBN 0-02-020761-1
• 1984 The Weight of the World, Farrar Straus & Giroux, ISBN 0-374-28745-7
• 1985 Three by Peter Handke, Avon, ISBN 0-380-00968-4
• 1986 Across, Farrar Straus & Giroux, ISBN 0-374-52764-4
• 1988 Repetition, Farrar Straus & Giroux, ISBN 0-374-24934-2
• 1989 The Afternoon of a Writer, Farrar Straus & Giroux, ISBN 0-374-10207-4
• 1990 Absence, Farrar Straus & Giroux, ISBN 0-374-10022-5
• 1994 The Jukebox and Other Essays on Storytelling, Farrar Straus & Giroux, ISBN 0-374-18054-7
• 1996 Walk About the Villages : A Dramatic Poem, Farrar Straus & Giroux, ISBN 1-57241-000-0
• 1996 Voyage to the Sonorous Land : Or the Art of Asking and the Hour We Knew Nothing of Each Other, Yale University Press, ISBN 0-300-06273-7
• 1997 A Journey to the Rivers : Justice for Serbia, Viking, ISBN 0-670-87341-1
• 1998 Once Again for Thucydides, New Directions Publishing Corporation, ISBN 0-8112-1388-9
• 1998 My Year in the No-Man's-Bay , Farrar Straus & Giroux, ISBN 0-374-17547-0
• 2000 On a Dark Night I Left My Silent House, Farrar Straus & Giroux, ISBN 0-374-17547-0
• 2001 A Sorrow Beyond Dreams, Pushkin Press, ISBN 1-5901285-17-0
• 2002 A Sorrow Beyond Dreams, New York Review Books Classics, ISBN 1-59017-019-9
• 2003 Handke Plays, Methuen Publishing Ltd, ISBN 0-413-68090-8
• 2007 Crossing the Sierra de Gredos, Farrar Straus & Giroux, ISBN 0374281548

See also

• List of Austrian writers
• List of Austrians

References

1. ^ [1]

External links

• Chinese language premiere of Self-accusation, presented by Théatre du Rêve Expérimental
• The Peter Handke affair. A chronicle of the German-language debate on Handke's winning - and then being denied - the Heinrich Heine Prize
• manuskripte - Zeitschrift für Literatur - Austrian literary magazine
• Peter Handke, Song of childhood
• Peter Handke at the Internet Movie Database
• Links to all Handke sites

Persondata
NAME	Handke, Peter
ALTERNATIVE NAMES
SHORT DESCRIPTION	Australian novelist and playwright
DATE OF BIRTH	December 6, 1942
PLACE OF BIRTH	Griffen, Austria
DATE OF DEATH
PLACE OF DEATH

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