Heimito von Doderer

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Heimito von Doderer
Barbara Niggl Radloff, Heimito von Doderer, 1959.jpg
Photographic portrait by Barbara Niggl Radloff, 1959
Born (1896-09-05)5 September 1896
Hadersdorf-Weidlingau, Vienna
Died Script error: The function "death_date_and_age" does not exist.
Vienna, Austria
Resting place Grinzing Cemetery, Döbling

Franz Carl Heimito Ritter von Doderer[lower-alpha 1] (German pronunciation: [haɪ̯ˈmiːto fɔn ˈdoːdəʁɐ]; 5 September 1896 – 23 December 1966) was an Austrian writer from the von Doderer family who became famous primarily as an author of novels and short stories. Less known are his lyrical and essayistic works, as well as his private diaries. With the metropolitan novels The Strudlhof Steps (published in 1951) and The Demons (1956), his magnum opus, Doderer simultaneously present a historical panorama and a ghostly analysis of Austro-Hungarian society in decline, and show how the profound reality of personal or national destiny can manifest itself in discontinuous and seemingly insignificant events. He was nominated for the Nobel Prize in Literature five times.[1]

Family

Heimito von Doderer's grandfather was the German-Austrian architect Carl Wilhelm Doderer (1825–1900), who was ennobled as "Ritter von Doderer" in 1877.

Heimito von Doderer's father Wilhelm Carl (1854–1932) was also an architect, engineer and building contractor. He and his wife Wilhelmine "Willy" von Hügel, the Munich-born daughter of the building contractor Heinrich von Hügel, got to know each other when Wilhelm Carl von Doderer joined his future father-in-law's company. Wilhelm Carl von Doderer played a leading role in the construction of the Tauern Railway, the Karawanken Railway, the construction of the Kiel Canal, the regulation of the Wien River and the Vienna City Railway. With a fortune of around 12 million crowns, the family was one of the richest in the Habsburg Monarchy. However, their capital was considerably reduced in the course of the World War I through continuous subscription to Austrian war bonds.[2]

Coat of arms of the von Doderer family

Heimito von Doderer was the youngest of six children[3]:

  • Maria Louise Wilhelmine Ilse von Doderer (1882–1979)
  • Almuth Charlotte von Doderer (1884–1978)
  • Wilhelm Heinrich Ritter von Doderer (1886–1975)
  • Helga Elly Sophie von Doderer (1887–1927)
  • Astri Heini Lucie von Doderer (1893–1989)
  • Franz Carl Heimito Ritter von Doderer (1896–1966)

The father was a Catholic, the mother a Protestant, the two were married in the Protestant faith; the children were baptized as Protestants (and the father was later buried according to the Protestant rite).

Through his paternal grandmother, Maria von Greisinger (1835–1914), Heimito von Doderer was distantly related to the poet Nikolaus Lenau: his great-grandmother was Lenau's half-sister.

Name

Heimito von Doderer's unusual first name supposedly stems from the fact that his mother, during a vacation in Spain, took a liking to the first name Jaime and especially to its affectionate diminutive form Jaimito, which (in combination with the name Heimo, which is quite common in Austria) was Germanized as "Heimito".[4] In the circle of family and friends, Doderer was also called "Heimo," "Heimerl" or "Heimchen".

Hereditary nobility had been conferred on Doderer's grandfather, Carl Wilhelm Christian von Doderer in 1877. Nobility titles were abolished by law in Austria in 1919, but remained in use as pen names. While Doderer still appeared in earlier publications as Heimito Doderer (or frequently drew journalistic articles with a name abbreviation or pseudonym), from the novel Every Man a Murderer (1938) onward he consistently used the name form with the addition of "von" — at first possibly due to a legal error, later as part of his literary self-presentation.[5]

Family tree

Pedigree of Heimito von Doderer
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Biography

The formative years

Color photo lithograph of Vienna, 1900

Heimito von Doderer was born in Laudon's forester's house near Hadersdorf-Weidlingau, which served as a temporary residence for the family during construction work on the Vienna River regulation works. (The house no longer exists; there is a memorial stone in its place today). The family's town house, built by Max von Ferstel, was located in Vienna's 3rd district Landstraße at Stammgasse street, no. 12. In 1903, the family moved into the summer residence Riegelhof in Prein an der Rax, where the author later spent the summer months whenever possible and still liked to stay (alongside his sister Astri) even in older age.

In 1902 Doderer was enrolled in the Imperial and Royal State School of Sophienbrückengasse (today Kundmanngasse), later he attended the humanistic grammar school located in the same building complex. Doderer was a rather mediocre student.

Doderer had his first homoerotic experiences as a teenager with his tutor Albrecht Reif. At the same time, he had experiences with girls and women and also frequented brothels. Throughout his life, the author had not only bisexual but also pronounced sadomasochistic and voyeuristic inclinations. They were repeatedly reflected in his work.[6]

Military service

After his matura in 1914 (which was only granted thanks to a majority decision by a commission due to insufficient performance in Greek), Doderer enrolled for the winter semester at the University of Vienna in the subject of law. During World War I, he joined the Royal Dragoon Regiment No. 3 (one of the most prestigious cavalry regiments in the Austro-Hungarian army) as a one-year volunteer in April 1915 and served on the Eastern Front in Galicia and Bukovina. On July 12, 1916, he became a Russian prisoner of war during the Brusilov offensive near Olesza.

About a month after his capture, Doderer was transferred to Siberia along with other officers to the Krasnaya Rychka prison camp near Khabarovsk. There he decided to become a writer, and wrote his first prose texts (surviving works have been published posthumously under the title The Siberian Clarity). In April 1918, in the wake of the Treaty of Brest-Litovsk, the prisoners were released by the Bolsheviks and began their return journey to Austria by rail. However, the turmoil of the Russian Civil War meant that the Austrian prisoners of war only made it as far as Samara. Since the onward journey to the west was impossible, it was decided to go back to Siberia.

The return journey ended in Novo-Nikolayevsk (today's Novosibirsk), where the Austrians were sent to a camp outside the city. At the end of 1918, before the approaching Red Army, the Whites moved them further east and took them to a primitive camp near Krasnoyarsk, where they were assisted by the Red Cross through Elsa Brändström. Nevertheless, many prisoners died of typhus during this period. In 1920, the captured Austrians were released; Doderer arrived in Vienna on August 14.

Life in Vienna

At the end of 1920 Doderer resumed his studies, which had been interrupted by the war, but changed to history and psychology, as he considered this advisable for a nascent writer. Among his academic teachers, the historians Oswald Redlich and Heinrich von Srbik and, in particular, the psychologists Karl Bühler and Hermann Swoboda, a friend of Otto Weininger, are worthy of mention. Swoboda's doctrine of the "periods of the human organism,"[7] a biorhythm doctrine in the spirit of Wilhelm Fliess,[8] strongly influenced Doderer personally as well as in his romantic theory. Swoboda assumed natural, cyclical processes that cause psychological phenomena such as "free-standing memories" (that is, the reappearance of forgotten experiences) at intervals that differ for men and women. Such cycles were to become an important structural element in Doderer's later novels. Other formative intellectual influences on the young Doderer include Sex and Character by Weininger and The Decline of the West by Oswald Spengler.

In the summer of 1921, Doderer's wartime comrade and friend Ernst Pentlarz introduced him to his mistress, Auguste Leopoldine Hasterlik, known as Gusti. A love affair quickly developed between Doderer and the equally aged Hasterlik, for which the latter ended her relationship with Pentlarz. Hasterlik, who had been baptized Catholic, came from a highly educated, originally Jewish family of doctors and had been trained as a pianist at the conservatory.

In his historical studies, Doderer focused intensively on the history of the Middle Ages as well as on Viennese urban history. During his studies he published his first articles in the press — mostly feuilletons on historical topics — and worked on poems and his first novel. In 1923 Doderer (together with Alfons Lhotsky and Rudolf Pühringer) passed the entrance examination for the Institute for Austrian Historical Research, but dropped out after four months.[9]

In the same year, Doderer published the poetry collection Lanes and Landscape, published by Rudolf Haybach's Einmann-Verlag, founded in 1921 (circulation: 600 copies), which also published the novel The Breach in 1924. Both books remained unsuccessful. In mid-1925 Doderer completed his studies with a doctorate; his extensive dissertation is entitled On Bourgeois Historiography in Vienna during the 15th Century.

After that, he increasingly wrote feature articles for daily newspapers and magazines. Since he did not succeed in making a sufficient material living from it, Doderer remained dependent on the financial support of his parents and continued to live in his parents' house; it was not until 1928 that he was able to move into his own (sublet) room in the 19th district of Döbling, but he remained financially dependent on his parents.

In 1927 Doderer's sister Helga died by her own hand (later processed as the suicide of the novel character Etelka in Strudlhofstiege). In 1930, the novel The Secret of the Empire was published, in which Doderer, against the background of events from the Russian Civil War, processed his own experiences as a prisoner of war in Siberia. In the same year Doderer married Gusti Hasterlik — after numerous separations and reconciliations — and in this context left the church. The marriage was only pro forma, a joint apartment was neither sought nor occupied. In 1932, the couple separated for good. Doderer did not vigorously pursue a divorce from the "racially endangered" Gusti until after the Anschluss in 1938. It took place on November 25, 1938 (legally effective on February 2, 1939), after Doderer had prevailed that the clarification of the question of guilt was postponed. Gusti was then able to emigrate to America. According to Wolfgang Fleischer's account, Doderer used her plight as a means of exerting pressure to obtain a verdict that suited him.[10]

National Socialism period

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On April 1, 1933, Doderer joined the Austrian NSDAP.[11] This decision was probably influenced by his sister Astri and some friends who were also party members. On the same date as Doderer, his publisher Rudolf Haybach joined the NSDAP. Gerhard Aichinger, temporary chief editor of the Austrian party paper Deutschösterreichische Tages-Zeitung (DÖTZ), also played a role. From April 1933 and until DÖTZ was banned on July 22, 1933, Doderer was able to publish a total of four short stories on the paper's literature page.

At the end of 1929, Doderer had begun a novel project under the working title Dicke Damen, which he renamed Die Dämonen der Ostmark (The Demons of the Ostmark) after a few years and subjected to a corresponding ideological program. When he began writing the novel, Doderer wrote — in a letter to Aichinger on July 21, 1936 — that he recognized "that Judaism in Austria, and especially in Vienna, would have to play an almost overwhelming role in decisions whose approach was already felt at the time. All social communication in our country was and is permeated by the Jewish element, and this society — sewn together indiscriminately and superficially in the liberalism of the 80s from the most diverse materials in the rapid economic life — [...] would have to face quite extraordinary disruptions if such tensions and antagonisms, as I already felt everywhere at that time due to the purity of my blood, were to spread and generally occur."[12]

A manuscript entitled Rede über die Juden (Speech on the Jews) dated from June 1936, in which Doderer draws a positive conclusion of the National Socialist seizure of power, euphorically welcomes the Nuremberg Laws, and, according to Stefan Winterstein, indirectly equates Adolf Hitler with the Messiah.[13]

In August 1936 Doderer, who had lived in changing residential studios, mainly in Döbling, since moving out of his parents' house, moved to Germany, where he settled in Dachau (there are no comments on the concentration camp there in his diary or letters). Since the Austrian NSDAP had been banned on June 19, 1933, Doderer renewed his party membership in Dachau and, in parallel, applied for admission to the Empire Chamber of Literature (RSK), the Association of Writers of the time (admission on December 23, 1936).

In Bavaria, Doderer met his future second wife Emma Maria Thoma ("Mienzi," a distant relative of Ludwig Thoma) in 1937. In the same year he came into contact with the publishing house C. H. Beck, where his first major novel Every Man a Murderer appeared in 1938. At the end of August of that year, he returned to Vienna, where — together with Albert Paris Gütersloh — he moved into a studio apartment at Buchfeldgasse 6 in the 8th district of Josefstadt, Vienna, starting in September. The janitor of this building, Poldi Engelbrecher (née Kresswaritzky), also called "Kress," became very important for the writer's life; she took care of many everyday matters for him and thus also contributed to the descriptions of janitor life that can be found in several of Doderer's works.

He took catechumenal classes from 1939 with the Jesuit Father Ludger Born, later director of the Archdiocesan Aid Office for Non-Aryan Catholics. His conversion to Catholicism led to an intensive reading of Thomas Aquinas, whose ideas would subsequently become formative for his work and especially his theory of Romance.

The last chapter of the Demon-Project, for the time being, dates from 1940 and shows a distancing from the original theme. At the end of April of that year, Doderer was drafted into the Wehrmacht. As a reserve officer in the cavalry with no special qualifications, he was detached to the Luftwaffe, where he was assigned to administrative work and ground troop detachments in the hinterland. Places of service were first Breslau, then various locations in France, where he began preliminary work on his novel The Strudlhof Steps as part of his diary. In 1942 he was transferred to the vicinity of Kursk. From the end of 1942, he suffered from severe trigeminal neuralgia and because of this, after a stay in a military hospital, he was released from front-line duties and from then on was mostly deployed within the country. From May 1943 he served in Wiener Neustadt and finally in Bad Vöslau. After several further transfers, he was assigned to Oslo in April 1945, where he lived to see the end of the war.

Postwar years

At the end of 1945 Doderer was released from captivity in Norway, and at the end of January 1946 he was able to return to Austria. For fear of sanctions because of his affiliation with the NSDAP, he initially did not dare return to partially Soviet-occupied Vienna, but instead lived from February 1 to May 19, 1946, in the house of his uncle Richard Doderer in Steinbach am Attersee (Upper Austria), which belonged to the American occupation zone. During this time he wrote a substantial part of his extensive novel The Strudlhof Steps.

In May 1946 Doderer moved back to Vienna. There, with the help of friends' testimonials, he endeavored to be classified as "lesser offender," since as an early party member from 1933 he could not have escaped an obligation to perform labor service. In addition, it was necessary to obtain a lifting of the publication ban imposed on him. In 1946 he concluded a publishing contract for the publication of The Strudlhof Steps and worked intensively on the manuscript of the novel. After paying an "expiatory levy," he was removed from the list of incriminated persons in 1947.

In 1948, the work on Strudlhofstiege was completed, but publication was not in sight. Doderer, now 52 years old and a largely unsuccessful and unknown author, enrolled again in October of that year for the two-year course at the Institute for Austrian Historical Research, hoping that this qualification would enable him to obtain a livelihood-securing position as a scientific archivist or librarian. As part of the training, he intensively studied documents from the time of the Carolingians and the Merovingians — which would later be reflected in the novel The Merovingians.

During the first five years following the war, Doderer published his works under the pseudonym René Stangeler.

International fame

In 1951, The Lighted Windows and The Strudlhof Steps or Melzer and the Depth of the Years appeared in quick succession. The extensive The Strudlhof Steps in particular earned Doderer numerous literary critical praise and brought him much public attention — and a late artistic breakthrough. Among his most notable advocates from the critics' guild, even in later years, were Hans Weigel and Hilde Spiel.

Doderer and Maria Emma Thoma were married on September 25, 1952. Maria Doderer stayed in Landshut, the writer continued to live in Vienna and visited his wife in Bavaria, especially in midsummer and over the turn of the year. In June 1955, at a reading by Robert Neumann, he met the author Dorothea Zeemann, thirteen years his junior, who shortly thereafter became his lover. Zeemann later reflected on the love affair in her book Virgo and Reptile (1982).

On May 1, 1956, Doderer moved into an apartment in Vienna's 9th district at Alsergrund, Währinger Straße 50, not far from the Strudlhofstiege. In the same year his opus magnum The Demons was published. The Demons, which he had begun more than a quarter of a century earlier, and brought him another great success with the public and critics.

"With The Demons, which despite its length and exceedingly demanding prose has been translated many times and appreciated to its merit especially in France and the United States, Heimito von Doderer wrote his name into the annals of world literature. Even if, like so many of our great minds, he was denied the Nobel Prize, long since recognized for that very reason as questionable, hardly anyone among the Austrian novelists of the present day could have received it before him."

Memorial plaque to Heimito von Doderer. Stammgasse 12, 1030 Vienna

In 1958, Doderer, now at the height of his fame, began work on his Novel No. 7, a four-part work analogous to Ludwig van Beethoven's Symphony No. 7, which he admired.

Later life and death

In 1962 the grotesque novel The Merovingians or The Total Family was published, a rather offbeat text within von Doderer's oeuvre, which enjoyed all the greater popularity among the literary avant-garde, and in 1963 Novel No. 7/I. The Waterfalls of Slunj. The second, unfinished part was edited by Dietrich Weber, the first Germanist to dissertate on Doderer, and appeared posthumously in 1967 under the title Novel No. 7/II: The Border Forest.

Doderer died on December 23, 1966, of bowel cancer that was diagnosed too late. He was buried in a grave of honor at the Grinzing Cemetery (Group 10, Row 2, Number 1) on January 2, 1967.

Writings

Critics in their interpretations of his aims and of the influences discernible in his work drive far apart, but they are generally agreed that in his treatment of Europen society there is something of the wide sweep, the leisurely meandering and the allusive humour of Laurence Sterne and Jean Paul. In his representation of the life of one great city, he is said to have done for Vienna what James Joyce did for Dublin, but his intention was to typify European life generally (in each succeeding novel) at a given historical phase of a few years.

According to Dieter Hornig, Heimito von Doderer was the "last great novelist — and probably the most Viennese — in the prestigious line of Musil, Broch, Roth and Canetti".[14] If the Viennese novel "reaches its most characteristic expression" in the 1930s with Robert Musil's The Man Without Qualities, Heimito von Doderer's The Strudlhof Staircase (1951) and The Demons (1956) act as a sort of coda in its evolution.[15] While Musil "uses irony on social or philosophical discourses that propose ready-made identities", Doderer "notes a loss of authenticity due to a language deviated by ideology".[15] As with Hofmannsthal and Musil, "the double characters, real or imaginary" show "the individual threatened in his very personality".[15]

Every Man a Murderer

When Doderer signed a contract with the publishing house C. H. Beck in 1937, it was decided that his first book would be Every Man a Murderer — a commissioned work, as the editor Horst Wiemer later reported, while in truth about a quarter of the text had already been written at the time of the agreement. Work on the novel dates back to 1935. Every Man a Murderer tells the life story of Conrad Castiletz, who comes from a good family, apparently grows up in Vienna (the name of his hometown is never mentioned), goes to Germany as a young man and marries there, and is struck by an increasing fascination with his wife's deceased sister, who is said to have been murdered. He decides to solve the murder of his sister-in-law, immerses himself in detective work — and must learn in the end that he himself caused her death in his youth. The book, which can be described as a variation on the Oedipus story, can be understood as a detective novel, but also as an entwicklungsroman. It was Doderer's only detective novel.

The Strudlhof Steps or Melzer and the Depth of the Years

The Strudlhof Steps (1951) describes encounters and conversations between the protagonists within a time span of about 15 years without an actual main plot. The geographic intersection of the storylines is the Strudlhofstiege in Vienna.

In his Introduction to Aesthetics Jean Paul recommended the novelist to lay his mines at the beginning of his work, ready for explosion at the end. This practice of mine-laying with a view to the brilliant display of fireworks in the last chapter, which the reader anticipates with interest, is only very rarely to be found in the post-war novel. In The Strudlhof Steps, Doderer ingeniously exploits the confusion of identity resulting from the mutual resemblance of a pair of twin sisters. The intrigue is not really introduced for the benefit of the reader: the case of mistaken identity is intended rather to suggest that society having lost all sense of order has also lost the faculty of distinguishing between the true and the false.

The novel became a great success with critics and the public and brought Doderer his breakthrough as an author. Apart from the undoubtedly great artistic quality of the work, the novel's success with the public was probably also due to the fact that its abundance of material and linguistic lushness stood in stark contrast to the bleak literature of the postwar period.

With The Strudlhof Steps, Doderer established his reputation as a writer.

The Demons

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Since the end of 1929, Doderer had been working on a novel project with the working title Dicke Damen, which after a few years was renamed Die Dämonen der Ostmark. The first part of the novel was completed in 1936; further volumes, in which, among other things, the ideal of a social separation of Jews and Gentiles in Austria was to have been presented as a model, were conceived but were eventually discarded in the course of a first revision of the text in 1939/1940.

At 1345 pages, the novel (published in 1956) is even longer than The Strudlhof Steps and is related to that work in many ways, not least in similarities of personnel (for example, the character of Mary K.). It is set in Vienna between 1925 and 1927 and culminates in the events around the fire at the Ministry of Justice.

The Demons is a roman à clef, with Doderer himself clearly recognizable in two alter-ego figures, the young historian René Stangeler and the writer Kajetan von Schlaggenberg.

The title is the same as the one of Dostoevsky's 1871–72 novel (which was variously translated into English as The Possessed or The Devils). This is obviously not a coincidence. First of all, we can note that Dostoevsky's narrator is called G-ff (according to the German transcription) and that Doderer's narrator, Geyrenhoff, sometimes writes his own name in this abbreviated form. But other similarities are more substantial.

Both novels are presented as a "chronicle" by a witness who cannot remain neutral. They place at the center of their narrative a group of people referred to as "our people". They culminate in a political arson that heralds darker times. Doderer is said to have "dismembered and divided into three tables" a copy of Dostoyevsky's novel, and to have studied its construction in detail.[16] Beyond these surely intended but anecdotal points of contact, the two novels are nevertheless profoundly different.

The Merowingians

In 1962, the grotesque novel The Merowingians or The Total Family was published, which, with its bizarre characters and its depictions of violence, posed problems for critics — the book did not seem to fit in at all with Doderer's other works — but sold very well. Doderer, who had written a thesis on Die Abtwahlformel in den Herrscherurkunden bis zum 10. Jahrhundert during his time at the Institute for Austrian Historical Research in the department of late medieval source studies, pursued his penchant for history in this novel.

In The Merowingians, the small-sized baron Childerich III of Bartenbruch, prone to explosive outbursts of rage but equipped with a "manhood far exceeding the ordinary measure", tries to become his own father, grandfather, father-in-law and son-in-law thanks to ingenious marriage politics. The hero of the novel bears the same name as the last Merovingian king and also endures approximately his fate, being deprived of power by his maior domo, Count Pippin of Landes-Landen. In a second plot line, Doderer describes the environment of the psychiatrist Professor Horn, who treats the outbursts of rage of his patients, among them Childerich III, by means of a ludicrous ritual ("application of kettledrums").

The Waterfalls of Slunj

Doderer traces the lives of two generations of a British manufacturing family who set up a business enterprise in pre-World War I Austria. The work is a "total novel," designed to capture the customs and manners of Europeans living during the height of the Austro-Hungarian Empire. A love song to a bygone era, this work describes in great detail the social fabric, landscapes, atmospheric conditions, and even the sounds and odors of antebellum Vienna and its environs.

Bibliography

Novels

  • Die Bresche (1924). The Breach
  • Das Geheimnis des Reichs (1930). The Secret of the Empire, trans. John S. Barrett (1998)
  • Ein Mord, den jeder begeht (1938). Every Man a Murderer, trans. Richard and Clara Winston (1964)
  • Ein Umweg (1940). A Detour
  • Die erleuchteten Fenster oder die Menschwerdung des Amtsrates Julius Zihal (1951). The Lighted Windows, trans. John S. Barrett (1999)
  • Die Strudlhofstiege oder Melzer und die Tiefe der Jahre (1951). The Strudlhof Steps, trans. Vincent Kling (New York Review Books, 2021)
  • Die Dämonen: Nach der Chronik des Sektionsrates Geyrenhoff (1956). The Demons, trans. Richard and Clara Winston (Knopf, 1961)
  • Die Merowinger oder die totale Familie (1962). The Merowingians, trans. Vinal Overing Binner (1996)
  • Roman Nr.7/I. Die Wasserfälle von Slunj (1962). Novel No. 7/I: The Waterfalls of Slunj, trans. Eithne Wilkins and Ernst Kaiser (Harcourt, Brace & World, 1966)
  • Roman No. 7/II. Der Grenzwald (1967, posthumous). Novel No. 7/II: The Border Forest

Novellas and short stories

  • Das letzte Abenteuer (novella) (1953). The Last Adventure
  • Die Posaunen von Jericho (novella) (1958). The Trumpets of Jericho
  • Die Peinigung der Lederbeutelchen (short stories) (1959). The Torment of the Leather Purse
  • Unter schwarzen Sternen (short stories) (1966). Under Black Stars
  • Meine neunzehn Lebensläufe und neun andere Geschichten (short stories) (1966). My Nineteen Curricula Vitae and Nine Other Stories
  • Frühe Prosa: Die Bresche; Jutta Bamberger; Das Geheimnis des Reichs (early prose) (1968, posthumous)
  • Die Erzählungen (collected short stories) (1972, posthumous)
  • The Writing of Heimito von Doderer: Including First English Translations of The Strudlhof Steps, The Trumpets of Jericho, Under Black Stars (1974). Translations by Vincent Kling in Chicago Review, vol. 26, no. 2[17]
  • A Person Made of Porcelain and Other Stories (2005). Selected compilation of short stories translated by Vincent Kling.
  • Seraphica; Montefal (two early stories) (2009, posthumous)

Poetry

  • Gassen und Landschaft (1923). Streets and Countryside
  • Ein Weg im Dunkeln (1957). A Path in the Dark

Essays, diaries and letters

  • Der Fall Gütersloh (monograph on the painter Gütersloh) (1930)
  • Grundlagen und Funktion des Romans (essay) (1959). Principles and Function of the Novel
  • Tangenten: Tagebuch eines Schriftstellers 1940 – 1950 (diaries) (1964)
  • Repertorium. Ein Begreifbuch von höheren und niederen (1969, posthumous). An ABC of Ideas and Concepts
  • Die Wiederkehr der Drachen (essays) (1970, posthumous). The Return of the Dragons
  • Commentarii 1951 bis 1956: Tagebücher aus dem Nachlaß (diaries) (1976, posthumous)
  • Commentarii 1957 bis 1966: Tagebücher aus dem Nachlaß (diaries) (1986, posthumous)
  • Heimito von Doderer / Albert Paris Gütersloh: Briefwechsel 1928 – 1962 (letters) (1986, posthumous)
  • Die sibirische Klarheit (early texts from years in Russia) (1991, posthumous). Siberian Light
  • Tagebücher 1920 – 1939 (diaries) (1996, posthumous)
  • Gedanken über eine zu schreibende Geschichte der Stadt Wien (essay) (1996, posthumous). Thoughts About an Unwritten History of Vienna
  • Von Figur zu Figur (letters to Ivar Ivask) (1996, posthumous)

Decorations and awards

Notes

Footnotes

  1. Regarding personal names: Ritter is a title, translated approximately as Sir (denoting a Knight), not a first or middle name. There is no equivalent female form.

Citations

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  2. Sandgruber, Roman (2013). Traumzeit für Millionäre: Die 929 reichsten Wienerinnen und Wiener im Jahr 1910. Wien: Verlagsgruppe Styria, p. 329.
  3. Ivask, Ivar (1968). "Bio-Bibliography of Heimito von Doderer," Books Abroad, Vol. XLII, No. 3, pp. 380–84.
  4. Fleischer, Wolfgang (1996). Das verleugnete Leben. Die Biographie des Heimito von Doderer. Wien: Kremayr & Scheriau, p. 29.
  5. Winterstein, Stefan (2018). "Doderers Selbstinszenierung". In: Roland Innerhofer, Matthias Meyer & Stefan Winterstein, eds., Keime fundamentaler Irrtümer. Beiträge zu einer Wirkungsgeschichte Heimito von Doderers. Würzburg: Königshausen & Neumann, pp, 136–37.
  6. Saltzwedel, Johannes (2 September 1996). "Peitschen und punzeln," Der Spiegel. Retrieved 27 November 2021.
  7. Pfennig, Oskar (1906). Wilhelm Fließ und seine Nachentdecker Otto Weininger und Hermann Swoboda. Berlin.
  8. Groß, Hugo Max (1953). Hoch und Tief unserer Lebensenergie. Einführung in die Biorhythmenlehre. Mit praktischer Anleitung zur Selbstanfertigung eines Rhythmogramms. Aalen: Ebertin, p. 22.
  9. Allmayer-Beck, Johann Christoph (1971). "Rudolf Pühringer," Mitteilungen des Instituts für Österreichische Geschichtsforschung, Vol. LXXIX, pp. 293–94.
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  12. Doderer, Heimito von (1996). Tagebücher 1920–1939. Edited by Wendelin Schmidt-Dengler, Martin Loew-Cadonna & Gerald Sommer. München: C. H. Beck, p. 819.
  13. Winterstein, Stefan (2020). "„Und hätte man gleich den letzten Rassejuden aus der Welt geschafft“. Überblick und bisher Verborgenes zu Heimito von Doderers Antisemitismus," Sprachkunst, Vol. LI, No. 2, p. 80.
  14. Hornig, Dieter. "Doderer, Heimito von (1896-1966)," Universalis.fr/encyclopédie. Retrieved 26 October 2021.
  15. 15.0 15.1 15.2 Chevrel, Éric (2007). "Le roman viennois." In: Élisabeth Décultot, Michel Espagne & Jacques Le Rider, eds., Dictionnaire du Monde Germanique. Paris: Bayard, pp. 995–96.
  16. "Der Spätzünder," Der Spiegel, No.23 (4 June 1957).
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References

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Further reading

  • Baron, Bernhard M. (2011). "Doderer in Waldsassen 1944/45." In: Heimat – Landkreis Tirschenreuth. 23. Tirschenreuth, pp. 5–10.
  • Bartmann, Christoph (1986). "Der totale Konservative: Uber Heimito von Doderer," Merkur, Vol. XL, No. 11, pp. 989–96.
  • Brinkmann, Martin (2012). Musik und Melancholie im Werk Heimito von Doderers. Wien: Böhlau Verlag.
  • Dietz, Christopher (2002). „Wer nicht riechen will, muss fühlen.“ Geruch und Geruchssinn im Werk Heimito von Doderers. Wien: Edition Präsens.
  • Fleischer, Wolfgang (1996). Das verleugnete Leben. Die Biographie des Heimito von Doderer. Wien: Kremayr & Scheriau.
  • Girardi, Claudia; Michael Girardi (2006). Heimito von Doderers Preinblicke – Eine Lesereise mit alten und neuen Ansichten. Wien: ÖVG.
  • Hopf, Karl (1972). "Von der Strudlhofstiege zum Grenzwald: Die Funktion der Topographie in den Romanen Heimito von Doderers," Österreich in Geschichte und Literatur, Vol. XVI, pp. 436–57.
  • Lochner, Eberhard von (2000). "Eric Voegelin und Heimito von Doderer: Politische Wissenschaft und Literatur im Kampf gegen die “Zweite Realitat’." In: Kai Luehrs-Kaiser and Gerald Sommer, eds., ‘Fligel und Extreme.’ Aspekte der geistigen Entwicklung Heimito von Doderers. Wiirzburg: Konigshausen und Neumann, pp. 151–61.
  • Luehrs, Kai (1998). „Excentrische Einsätze“: Studien und Essays zum Werk Heimito von Doderers. Berlin/New York: de Gruyter.
  • Mosebach, Martin (2006). Die Kunst des Bogenschießens und der Roman. Zu den „Commentarii“ des Heimito von Doderer. München: Carl-Friedrich-von Siemens-Stiftung.
  • Nüchtern, Klaus (2006). Kontinent Doderer. Eine Durchquerung. München: C. H. Beck.
  • Schröder, Hans Joachim (1976). Apperzeption und Vorurteil. Untersuchungen zur Reflexion Heimito von Doderers. Heidelberg: Carl Winter.
  • Sommer, Gerald; Kai Luehrs (1996). "Nach Katharsis verreist. Heimito von Doderer und der Nationalsozialismus." In: Christiane Caemmerer & Walter Delabar, eds., Dichtung im Dritten Reich? Zur Literatur in Deutschland 1933–1945. Opladen: Westdeutscher Verlag, pp. 53–75.
  • Sommer, Gerald; Kai Luehrs-Kaiser (2001). „Schüsse ins Finstere“: Zu Heimito von Doderers Kurzprosa. Würzburg: Königshausen & Neumann.
  • Sommer, Gerald (2003). „Modus vivendi“. Vom Hin und Her des Dichters Heimito von Doderer. Landshut: Stadt Landshut.
  • Sommer, Gerald (2004). Gassen und Landschaften: Heimito von Doderers „Dämonen“ vom Zentrum und vom Rande aus betrachtet. Würzburg: Königshausen & Neumann.
  • Sommer, Gerald (2006). Heimito von Doderer: „Technische Mittel“. Fragmente einer Poetik des Schreibhandwerks. Wien: Braumüller.
  • Świderska, Małgorzata (2013). Theorie und Methode einer literaturwissenschaftlichen Imagologie. Frankfurt: Peter Lang.
  • Trommler, Frank (1971). "Doderers Moral der Sprache," Colloquia Germanica, Vol. V, pp. 283–98.
  • Tschirky, René (1971). Heimito von Doderers 'Posaunen von Jericho'; Versuch einer Interpretation. Berlin: E. Schmidt.
  • Weber, Dietrich (1963). Heimito von Doderer: Studien zu seinem Romanwerk. Munich: Beck.
  • Winterstein, Stefan (2009). „Er las nur dieses eine Buch“. Studien zu Heimito von Doderers „Die erleuchteten Fenster“. Würzburg: Königshausen & Neumann.
  • Winterstein, Stefan (2014). Versuch gegen Heimito von Doderer. Über „Ordnungspein“ und Faschismus. Würzburg: Königshausen & Neumann.
  • Wolff, Lutz-Werner (2000). Heimito von Doderer. Reinbek bei Hamburg: Rowohlt-Taschenbuch-Verlag.

External links