Volume 47, Number 14 · September 21, 2000
Apocalypse Now
By J.S. Marcus
Die Fahrt im Einbaum oder Das Stück zum Film vom Krieg[The Journey in the Dugout Canoe, or The Piece about the Film about the War]
by Peter Handke
Frankfurt am Main: Suhrkamp, 126 pp., DM32.00 (paper)
Unter Tränen fragend[Questioning Through Tears]
by Peter Handke
Frankfurt am Main: Suhrkamp, 158 pp., DM36.00
OTHER BOOKS REFERRED TO IN THIS ESSAY
My Year in the No-Man's-Bay
by Peter Handke, Translated from the German by Krishna Winston
Farrar, Straus and Giroux, 468 pp., $30.00
A Journey to the Rivers: Justice for Serbia
by Peter Handke, Translated from the German by Scott Abbott
Viking, 83 pp., $17.95
A Sorrow Beyond Dreams
by Peter Handke, Translated from the German by Ralph Manheim
Farrar, Straus and Giroux, 70 pp., (out of print)
Repetition
by Peter Handke, Translated from the German by Ralph Manheim
Farrar, Straus and Giroux, 225 pp., $18.95
Plays: 1
by Peter Handke, Translated from the German by Michael Roloff, with an introduction by Tom Kuhn
Methuen, 308 pp., $17.95 (paper)
Abschied des Träumers vom Neunten Land[The Dreamer's Farewell to the Ninth Country]
by Peter Handke
Frankfurt am Main: Suhrkamp, 50 pp., DM19.80
Sommerlicher Nachtrag zu einer winterlichen Reise[Summer Afterword to a Winter Journey]
by Peter Handke
Frankfurt am Main: Suhrkamp, 92 pp., DM24.80
Der Himmel über Berlin: Ein Filmbuch[released in America as "Wings of Desire"]
by Wim Wenders, by Peter Handke
Frankfurt am Main: Suhrkamp, 170 pp., DM29.00
Noch einmal vom Neunten Land[One More Time from the Ninth Country]
by Peter Handke, by Joze Horvat
Klagenfurt: Wieser Verlag, 110 pp., DM29.80
On a Dark Night I Left My Silent House
by Peter Handke, Translated from the German by Krishna Winston
Farrar, Straus and Giroux, 185 pp., $23.00
One of the last German films to win an international following was Wim Wenders's 1987 fantasy Wings of Desire, about an angel, played by Bruno Ganz, who longs to be mortal; he sees everything but feels nothing. The film is remarkable for its muted black-and-white images of West Berlin, which shows up on screen as a blank, almost abstract, cityscape (the Potsdamer Platz, then in the shadow of the wall, appears, memorably, as a vacant lot), and for its stern, incantatory dialogue.
Review, 6678 words
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