e t a hoffmann

German books

I decided to make a post about books written by German/Swiss/Austrian writers :) Here we go! 

Classics

  • Die Physiker - Friedrich Dürrenmatt
  • Der Besuch der alten Dame - Friedrich Dürrenmatt
  • Der Richter und sein Henker - Friedrich Dürrenmatt
  • Die schwarze Spinne - Jeremias Gotthelf
  • Kleider machen Leute - Gottfried Keller
  • Romeo und Julia auf dem Dorfe - Gottfried Keller
  • Unterm Birnbaum - Theodor Fontane
  • Effi Briest - Theodor Fontane
  • Buddenbrooks - Thomas Mann
  • Schachnovelle - Stefan Zweig
  • Der Vorleser - Bernhard Schlink
  • Das Parfüm - Patrick Süskind
  • Der Steppenwolf - Hermann Hesse
  • Siddhartha - Hermann Hesse
  • Faust - Goethe
  • Der Prozess - Franz Kafka
  • Die Verwandlung - Franz Kafka
  • Nathan der Weise - Gotthold Ephraim Lessing
  • Emilia Galotti - Gotthold Ephraim Lessing
  • Die Leiden des jungen Werthers - Goethe
  • Der Sandmann - E. T. A. Hoffmann
  • Der Schimmelreiter - Theodor Storm
  • Homo faber - Max Frisch
  • Andorra - Max Frisch
  • Kabale und Liebe - Schiller
  • Die Räuber - Schiller
  • Wilhelm Tell - Schiller
  • Der gute Mensch von Sezuan - Bertold Brecht
  • Im Westen nichts Neues - Erich Maria Remarque
  • Der zerbrochene Krug - Heinrich von Kleist
  • Ein fliehendes Pferd - Martin Walser
  • Der geteilte Himmel - Christa Wolf
  • Die Blechtrommel - Günter Grass
  • Frühlingserwachen - Frank Wedekind
  • Die verlorene Ehre der Katharina Blum - Heinrich Böll

Biography

  • Christiane F. - Wir Kinder vom Bahnhof Zoo - Kai Herrmann und Horst Rieck

Children/Young Adult

  • Die wilden Hühner 1-6 - Cornelia Funke
  • Tintenwelt-Trilogie - Cornelia Funke
  • Herr der Diebe - Cornelia Funke
  • Die unendliche Geschichte - Michael Ende
  • Momo - Michael Ende
  • Emil und die Detektive - Erich Kästner
  • Pünktchen und Anton - Erich Kästner
  • Das fliegende Klassenzimmer - Erich Kästner
  • Das doppelte Lottchen - Erich Kästner
  • Die rote Zora - Kurt Held
  • Die schwarzen Brüder - Kurt Held & Lisa Tetzner
  • Krabat - Otfried Preussler
  • Der kleine Wassermann - Otfried Preussler
  • Die kleine Hexe - Otfried Preussler
  • Der Räuber Hotzenplotz - Otfried Preussler
  • Das kleine Gespenst - Otfried Preussler
  • Mein Name ist Eugen - Klaus Schädelin
  • Tschick - Wolfgang Herrndorf
  • Ein Fall für dich und das Tiger-Team - Thomas Brezina
  • Knickerbockerbande - Thomas Brezina
  • Sieben Pfoten für Penny - Thomas Brezina
  • Psst! Unser Geheimnis - Thomas Brezina
  • TKKG - Stefan Wolf
  • Freche Mädchen, freche Bücher
  • Maya und Domenico - Susanne Wittpennig
  • Der rote Seidenschal - Federica de Cesco
  • Der Türkisvogel - Federica de Cesco
  • Heidi - Johanna Spyri
  • Das Sams - Paul Maar
  • Der kleine Vampir - Angela Sommer-Bodenburg
  • Hechtsommer - Jutta Richter
  • Vorstadtkrokodile - Max von der Grün
  • Blueprint - Charlotte Kerner
  • Die Wolke - Gudrun Pausewang
  • Herzbrennen - Brigitte Blobel
  • Die Clique - Brigitte Blobel
  • Rote Linien - Brigitte Blobel
  • Liebe wie die Hölle - Brigitte Blobel
  • Edelstein-Trilogie - Kerstin Gier
  • Junkgirl - Anna Kuschnarowa
  • Anna annA - Lukas Hartmann

Crime

  • Die Apothekerin - Ingrid Noll
  • Der Hahn ist tot - Ingrid Noll
  • Die Häupter meiner Lieben - Ingrid Noll
  • Selige Witwen - Ingrid Noll
  • Kalt ist der Abendhauch - Ingrid Noll
  • Felidae - Akif Pirinçci
  • Der Augensammler - Sebastian Fitzek
  • Noah - Sebastian Fitzek
  • Amokspiel - Sebastian Fitzek
  • Schneewittchen muss sterben - Nele Neuhaus
  • Small World - Martin Suter
  • Der Teufel von Mailand - Martin Suter
  • Kommissär Hunkeler - Hansjörg Schneider

Fiction

  • Eine Billion Dollar - Andreas Eschbach
  • Lila, Lila - Martin Suter
  • Silbermuschel - Federica de Cesco
  • Rotkäppchen muss weinen - Beate Teresa Hanika
  • Sand in Gottes Mühlen - C.C. Bergius
  • Heißer Sand - C. C. Bergius
  • Oleander - Oleander - C. C. Bergius
  • Die Klavierspielerin - Elfriede Jelinek
  • Léon und Louise - Alex Capus
  • Der Fälscher, der Spion und der Bombenbauer - Alex Capus
  • Mein Nachbar Urs - Alex Capus
  • Abschied von Sansibar - Lukas Hartmann
  • Der große Kater - Thomas Hürlimann
  • Es klopft - Franz Hohler
  • Nachtzug nach Lissabon - Pascal Mercier
  • Zündels Abgang - Markus Werner
  • Am Hang - Markus Werner
  • Der Schwarm - Frank Schätzing

Fun

  • Das Superweib - Hera Lind
  • Mütter-Mafia - Kerstin Gier
  • Maria, ihm schmeckts nicht! - Jan Weiler
  • Er ist wieder da - Timur Vermes
  • Jesus liebt mich - David Safier
  • Mieses Karma - David Safier
  • Plötzlich Shakespeare - David Safier
  • Die Putzfraueninsel - Milena Moser
  • Schlampen-Yoga - Milena Moser

Sooo many books… I’m sure there are important ones who are missing - please tell me if you think I should add a certain book! :)

I’m reading Hoffman’s The Sandman because it influenced L’Eve Future which influenced Utena at least on Seazer’s end and has a lot of parallels, and

Though she did not talk - talking would have been altogether repugnant to her silent nature - her bright glance and her firm ironical smile would say to them: ‘Good friends, how can you imagine that I shall take your fleeting shadowy images for real shapes imbued with life and motion?’ On this account Clara was censured by many as cold, unfeeling and prosaic.

What a description.

The Nutcracker’s sisters

Here’s what I don’t fully understand in E. T. A. Hoffmann’s Nutcracker and Mouse King.

Nutcracker and Mouse King gives us the origin of the Nutcracker, in a story-within-a-story told by Christian Elias Drosselmeier (Marie’s godfather). Princess Pirlipat was cursed with ugliness by the Mouse Queen, and Drosselmeier needed to find the Krakatuk Nut (the hardest nut in the world) and the young man capable of cracking it in order to break the curse. Drosselmeier had a cousin, Christoph Zacharias Drosselmeier, who was a doll maker, lacquerer and guilder. The cousin’s son (not given a name by Hoffmann) turns out to be the young man destined to break the curse. This young man, in his early youth, ‘had been a jumping jack for about two weeks’. This is not elaborated on. Had his father, a doll maker, created a jumping jack which became human, Pinocchio-style?

Young Drosselmeier successfully breaks Princess Pirlipat’s curse, but in the process he steps on the Mouse Queen, which kills her but also turns him into a nutcracker. The royal astronomer reads his fortune, and predicts that he will ‘do so well in his new position that he would become prince and king despite his malformation.’ We never learn exactly how the Nutcracker gains his kingdom, but it happens before meeting Marie and defeating the Mouse King, because he takes Marie there afterwards.

In the Nutcracker’s kingdom (the Kingdom of Dolls) Marie meets his sisters: ‘four ladies almost as big as Marie’s Clärchen,’ (her doll) ‘but so elegantly shining and splendid that Marie could not mistake the born princesses in them even for an instant.’

Where did these sisters come from? They weren’t mentioned in Godfather Drosselmeier’s story. Were they Christoph Zacharias Drosselmeier’s daughters? They appear to be dolls - if he originally made a jumping-jack that became his son, did he make some dolls that became his daughters?

Or are they the Nutcracker’s adopted sisters? When he won his kingdom, was he perhaps adopted by the current monarch, and thus became brother to the princesses?

These sisters rarely appear in modern productions of the Nutcracker ballet, but surprisingly they were there in the first production of 1892, even though the Krakatuk Nut origin story is eliminated. They do not have a dancing role, but when the Nutcracker and Clara arrive in the magic kingdom they are greeted by several sisters.

For this reason I like to headcanon that in the ballet version the Sugarplum Fairy (who was not in Hoffmann’s story) is the Nutcracker’s older sister, welcoming him back home after his long absence.

anonymous asked:

What are your favorite books? (Fiction & Non)

Okay, okay. Trying not to hyperventilate. I could go on for a long time on books. I’ll try to keep it short.

Mixing fiction and non; no particular order…

  • The Great Gatsby* by F. Scott Fitzgerald: A nearly perfect book. Love it.
  • Catch-22 by Joseph Heller: Hilarious and sad. This book totally bowled me over when I read it. One of the few books I’ve read more than once (I’m a very slow reader).
  • Dead Souls by Nikolai Gogol: The first half of this book is one of the greatest works ever written. The second half has more to do with the extratextual events of the writer. We’ll never see how the book was supposed to end.
  • The Manuscript Found in Saragossa by Jan Potocki: It shocked me how exciting this book was for the era it was written in. Up there with Catch-22 for the most fun read.
  • Don Quixote by Cervantes: Possibly the greatest novel ever written. Quite engaging. Surprised me in that way, like Moby Dick.
  • To the Lighthouse by Virginia Woolf: Hard to choose one, but Virginia Woolf is the best writer the world has ever seen.
  • The Epic of Gilgamesh*: Again, blew me away. The oldest story; a sad, haunting tale about mortality.
  • Oblomov by Ivan Goncharov: And so is this one. Relevant today. A jarring portrait of the dangerous of inertia.
  • 100 Years of Solitude by Gabriel García Márquez: I’ll need to read this one again, but I was quite taken with it when I did. A reading experience I cherished.
  • The Neverending Story by Michael Ende: Possibly the best YA book ever written—and I’ve read Matilda. Brilliant metanarrative and inventive use of physical text.
  • True Grit* by Charles Portis: Another haunting, perfect book, like Gatsby. The recent film adaptation was actually quite good; very close to the feel of the book. Was quite pleased with it.
  • Pale Fire by Vladimir Nabokov: Another inventive use of text. Nabokov’s writing has influenced mine a great deal, like Joseph Heller.
  • The House of Mirth by Edith Wharton: Incredible albeit sad story.
  • Invisible Man by Ralph Ellison: Ralph Ellison may be the greatest American prose stylist. This book is amazing.
  • Death of a Salesman* by Arthur Miller: It’s a play, but I read it as a book. The only book I ever picked up and started to read casually that I absolutely could not put down until I finished it. Shocking and powerful.
  • Cat’s Cradle* by Kurt Vonnegut: His best. Extraordinary.
  • Moominland Midwinter* by Tove Jansson: Okay. Kids’ book, yes. Short story collection, yes. Not a typical entry in the series (they’re mostly novels), yes. But one of the most depressing and insightful examinations of human loneliness I’ve ever seen. Some of these stories just…wow.
  • Black Elk Speaks by John G. Neihardt: Potentially fabricated? Yes. Nevertheless important and powerful? Definitely. The dream is extraordinary.
  • Skinny Legs and All by Tom Robbins: His best. The only story he ever gave an ending.
  • Fathers and Sons by Ivan Turgenev: Heartbreaking.
  • Their Eyes Were Watching God by Zora Neale Hurston: Probably everyone reads it in high school now, but you know what? That’s a good thing. Incredible story.
  • Narrative of the Life of Frederick Douglass: Another incredible prose stylist. The writing is astounding.

Not even going to get into picture books (Mr. Plumbean, The Paperbag Princess, The Missing Piece, The Giving Tree…). Also didn’t list the huge books (Journey to the West, War and Peace, UllysesThe Buru Quartet), all of which contain multitudes. Also didn’t get into the weird stuff I read (most of it by E. T. A. Hoffmann). But this is a start. I put an asterisk next to the short ones (at least those I remember as being short. Some are close). Some of the most influential books I read, though; some of the best. Got a lot on my “to read” list. I’ll get there.

Thanks for the ask! Love talking about books.

Most people know the tale of The Nutcracker and the Mouse King from the famous ballet, but it was actually the original story by E.T.A Hoffmann that I drew my inspiration from when writing The Dollmaker of Kraków. This is a 19th century nutcracker from Nuremberg, Germany. I wonder if he’s ever been to the Land of the Dolls… 🥜🐀

jtrsullivan97  asked:

Do you have any suggestions for good Christmas / winter books?

Sure! :) 

Lovely Christmas books: 
- “A Christmas Carol” by Charles Dickens (of course!)
- “Little Women” by Louisa May Alcott (While not technically a ‘Christmas book’ it is so endearing, heartwarming and homely that it is hard to resist)
- “Letters from Father Christmas” by J. R. R. Tolkien (especially in the illustrated edition!) 
- ”Nutcracker and Mouse King” by E. T. A. Hoffmann (but also the later version called “The Tale of the Nutcracker” by Alexandre Dumas!)
- “The Night Before Christmas” by Nikolai Gogol (absurd, surreal and fun!)
… And of course the new Penguin Christmas classics series, which includes short stories by Louisa May Alcott and Antony Trollope. 

Beautiful winter books:
- “The Snow Child” by Eowyn Ivey. Atmospheric, fragile and unforgettable. 
- “Deathless” by Catherynne M. Valente. Lyrical, intricate, and oh so cold. You’ll actually feel the snowflakes on your skin while you read it. 
- “Peter Pan” by J. M. Barrie. For no particular reason this simply reminds me of a long, cold and nostalgic winter.
- “The Lion, the Witch and the Wardrobe” by C. S. Lewis. Filled with snow, wonder and adventures.
- “The Golden Compass” by Philip Pullman. Polar bears, ice castles and beautiful writing! (also written as a protest against the before-mentioned C. S. Lewis)
- “Anna Karenina” by Leo Tolstoy. A classic filled with snowflakes, love and scandals.
- And, oh, of course. We must not forget the very underrated “Doctor Zhivago” by Boris Pasternak. It is majestic. 

<3 Hope this helped! 

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A Look in the Mirror - Team Free Will and the Moment of Reflection (4x22 “When the Levee Breaks” / 7x01 “Meet the New Boss” / 9x23 “Do You Believe in Miracles”)

All members of Team Free Will had their descent, their moment of falling apart, of hitting rock bottom and veering over to the dark side. One of them is still in the middle of the journey while two of them have made their way back from their own ashes and could be understood being in the stage of recovery. Despite how different each of their downfalls was, how different their motivations to build uneasy alliances have been, there is one particular visual that has been playing an important part at a certain point in all of their arcs: the mirror shot.

While the most hauting and telling mirror shots in Sam’s and Cas’ arcs had been used really just once to emphasize this moment of realization, in Dean’s case we were given more than just one of those wonderful and revealing scenes. The last on in 9x23 „Do You Believe in Miracles“ being the most haunting one.

This stylistic device serves not only as a sort of stepping stone that links all of Team Free Will’s arcs, but also as a wonderful instrument to force the characters to self-connect and self-reflect, which is something Sam in season 4, Cas in season 6 (and early season 7) and Dean in season 9 have been working really hard on not to do. Really until it was inevitable.

All of them knew to a certain extent, what they were getting themsleves into when they started working with demons, but all of them also excelled at ignoring the looming consequences of the paths they had chosen and averting their eyes from the truth. Not only the truth about their repsective missions and how they were rationalizing their actions and decisions to themselves and others, but most of all the truth about themselves.

The moment when all of them finally decided to look in the mirror, take a look at themselves and being scared of what they saw looking back at them, was also the moment of reflection. The moment none of them were able to keep running from themselves, hiding behind a facade and pretending to be blind to all of the changes all of them went through. They had to face the music, own up and see what they have become. It’s a sort of revelation about the outside vs. the inside and how they might relate to and influence one another.

Especially in the era of the romantik and the fantastik the aspects of „seeing“ and „perception/deception“, mirror image as well as the shadow self and the topic of madness/split from reality (all aspects that are heavily at play in all of the darkside-arcs) have been popular discourses in literature and were explored in some of the most famous books of all time („The Picture of Dorian Gray“ by Oscar Wilde, „Dr Jeckyll & Mr Hyde“ by Robert Louis Stevenson and „The Sandman“ by E. T. A. Hoffmann or „The Horla“ by Guy de Maupassant).

In Team Free Will’s case all of these aspects played heavily into their arcs as well. But there is not just the aspect of all of them being forced to deal with their reflection and and therefore reflect about themselves that connects these scenes of Sam, Cas and Dean looking at their mirror image, there is also the notion of „loss of control“, „madness“ and „withdrawal“ playing into it.

The moment they look at themselves in the mirror they see the evil within. In Sam’s case it is still uncertain if he just hallucinated the blackness crawling over his arms over his face and – even though we weren’t being shown this – into his eyes or if it really happened. He was detoxing at the time so he might have very well been seeing things that weren’t there (just like he saw Mary and his younger self). I kind of like the thought that this moment was the only thing that was truly happening, but that is just a headcanon of mine and doesn’t belong in here. It would have marked the moment the evil within took over, which would – no pun intended – mirror Cas’ scene of looking in the mirror nicely since in his case we could see the evil within him, burning him out. One could think of Cas being in „soul withdrawal“ (as a parallel to Sam being in „demon blood withdrawal“) as well, I guess since he had planned to repair himself once he was done – which, as far as I can remember – would have only been possible by consuming more souls, but I might be misremembering things. And then there is Dean. Dean, who is locked up and detoxing from the blade and – as Crowley put it – „yacks his guts out“ (I btw still like the idea that Dean was coughing up remnants of his damaged soul, his body wanting to rejects it, because of his kills – you know, sort of a parallel to Sam wanting to scar his vessel so that he could keep his soul out in S6). It’s a way of showing how far they have fallen. It’s the moment they cannot deny any longer that they are out of control. Even only for a short while, because most of the time those hshots couldn’t prevent them from going all the way.

All of this and maybe a million amazing aspects more a playing into why I love this particular visual – the mirror shot – so much. But one big part for me is the notion that it is the moment of truth, the moment of reflection, the moment of them realizing and acknowledging the „evil/darkness within“ for what it truly is: a part of them, nothing external, but something that has always lived within (and that was merely amplified by their “drug” of choice).