Excursus NY Spring 1971 The Austrian Cultural Package Arrives for a 21 events in 28 days marathon...

http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html By the time the Austrian threesome arrived in New York in the Spring of 1971 I had been beseeched by Siegfried Unseld, as he does the Left-Handed woman – Herwig who quotes from LHW misses Handke’s succinct x-ray portrait of the great suitor - to become  the Suhrkamp agent to replace the fine ex-Berliner Joan Daves, who had her nose full of that representation. See  http://www.roloff.freehosting.net/index.html\ for a detailed account of what transpired during the two years I endured, also for the relationship with Farrar, Straus + Giroux. I had managed to put Handke’s work over at Farrar, Straus with support from Susan Sontag – barely: had it not been for  Robert Giroux realizing Handke’s talent that ass-licking stiletto man Michael DeCapua as I will memorialize him justly in the annals of literature would have had his way again and shot down another of my projects. KASPAR AND OTHER PLAYS had been published, to some fine reviews, of as yet officially unperformed plays. I had given up my own royalties as translator to get two plays finally done, officially, at B.A.M. A clown had appeared in my office who wanted to do them and since I had not gotten anywhere in a couple of years I had no reason to say no. Since Princeton 1966 I had seen Handke once more, in 1969, in Berlin, to discuss my translation of KASPAR ["more abstract, as abstract as possible" had been the author’s wish] and my heart had sunk at the prospect of finding the German originals for the quotes from American black mask type novels that DER HAUSIERER contains, I might have asked Handke whether he could help me find them. As it was, GOALIE was substituted for HAUSIERER in the contract I had drawn prior to becoming Suhrkamp agent  and thus also Handke’s US agent. I had translated that, too, by then.  I had already run around town with a wild ex-pat troupe that had re-appeared from San Miguel de Allende with my friend Michael Locascio and a certain JB in whose scrawny arms “the Hammer” – Neil Cassidy - had expired one cold Mexican Tequila night  on some railroad tracks - to give a hint of how relatively hardcore down-low hippie we are now - and will not except for mere mention indicate what the weed they brought with them elicited in me - and arranged for  one shot performances of PUBLIC INSULT and SELF-ACCUSATION at any venue that would have us, me and my trusty Sony tape recorder, weight about 20 pounds those days. I had worked with Herbert Berghof and E.G. Marshall at his HB studio on two two week performances of these plays and of KASPAR. E.G. Marshall! A memorably intelligent actor.  During the five years 1961 and 1966 that I got a job at Farrar, Straus I had not only been a scout in Germany but been a reader for a lot of US publishers, for George Braziller’s Book Find Club, had been a reader for my friend the Trotskyite novelist Danny Gordon’s Columbia Pictures Reading Service, Robert Phelps had proved to provide a whole new dimension to my appreciation of British and American literature. I was the Suhrkamp Scout and so got to read a lot of wonderful things in manuscript. I had had magazine, Metamorphosis whose publisher from one day to the next started to lift imaginary rocks in his head as he joined a Sufi sect, and that was that. I had translated quite a bit and wanted to stay out of offices of any kind. In Berlin Handke had shown me Baby Amina as we left his dank prince’s apartment in the Uhlandstrasse, Adorno had told me of the  ownership of this anything but princely seeming rat hole,  and I had thought it perfectly normal -  look at Handke’s A CHILD’S STORY,  a pretty good account [but for its leaving out the lay-a-broad’s womanizing or any real mention of the girl’s mother!]  of those years that also touch on Berlin, and am I ever glad that I like little more than liebäugeln with babies -  as compared to the revolutionaries who lacked time and interest for the like in their self-important endeavors. Handke’s “showing” and invariably wanting to go quickly outdoors [we worked at a table at an outdoor at my old familiar Ku-Damm] would eventually become to seem other than “normal.” I had translated GOALIE by then, and all of the early plays all but Quodlibet, which I would do a few years later during a half year’s trip half way round the world and back on the Hellenic Splendor.     The Austrian Threesome appeared to think that the Suhrkamp Rep’s small apartment was their home away from home. Handke at once moved them out of the Austrian assigned hotel on Lexington Avenue into his there-after forever preferred New York abode, F. Scott Fitzgerald’s Algonquin. Uwe Johnson would stay in the next door, far cheaper, Iroquois. I was beginning to learn the odd ways of the once               fabulous writers’ invariable eccentricities. We trouped to the premiere of what struck me as a barely good enough performance, the reviewers, Steve Kroll in Newsweek still comes to mind, seemed to like it fine, so did Mel Gussow at the NY Times. Not so Herr Handke who felt it was just as well it had been done in Brooklyn, of course how would he know that B.A.M. and being outside Manhattan was becoming an “in” thing. He went backstage and must have had unhappy words with the director, Wieland Schulz [passport name, a.k.a. Schulz-Keil. http://www.schulz-keil.faithweb.com/photo.html for during our ride back to Manhattan, to Elaine’s, my home away from home since 1965 when it had just been a hole in the wall on Second Avenue, Handke said that he thought                                   Schulz was very dark. When I who had no particular reason to be apprehensive questioned that assessment, Handke qualified himself by saying “at least very German.” I of course was keenly aware that Handke was a genius, but learned to appreciate his x-ray vision for character only with time; that he, too, would prove “very dark” and “very German”, differently of course and with that admixture of salvaging Slovenian Maria Sivic, and incomparable to the ultimate masochist Schulz-Keil whom John Houston sent to Mexico City to bring some real whores on to the set of Under the Volcano, proud of being a pimp, I could not imagine such perverse character structures at the time – live and learn, never live long enough - came as a surprise only because Handke’s genius had made me forget all about my initial 1966 impressions. Translating these works – challenging, but to understand them  would take half a life time, to understand what genius can accomplish.     I had not had time to attend rehearsals, the Jezebel, the only one who could have accomplished this, for whom I had broken out of a six year marriage had had the part of the woman in Self-Accusation; however, Pamela Bellwood [King] who had been married to Peter Bellwood ofThe Fringe had got a good part, in the touring company of Butterflies Are Free I think it was, and had flown the coop, and had mentioned that the director shouted. What German director did not shout? – well, I never saw Herbert Berghof shout. It was a first alert, like others tucked away in the                                   underground storage bin. Handke I imagine was unaware of most of the preceding, and he never asked, as a matter of fact during the 20 years that the relationship translator author lasted he never asked the                                   simplest of questions, such as where were you born, when did you get to the U.S., where did you go to school, whose parents child are you – and so I have to agree with Marie Colbin’s assessment that Handke is a one-eyed mono-maniac, entirely self-involved which numerous documents that Herwig cites prove, especially the letter to Siegfried Unseld seceding from Suhrkamp Verlag because Siegfried is also publishing the Reichs-Kanickel, and the lengthy diary complaint about Sophie Semin’s son from an earlier affair behaving as unselfconscious                                   possessor of Handke’s space in his house in Chaville. I was never at ease with Handke even prior to what he did with my girlfriend Judith Thurman, and I don’t think just because I was awed by his genius, the early impressions that that then proved so premonitiously accurate I expect played into that, if there had been a chessboard out during my visits to Rue Montmorency in the 70s we might have gotten something on, those days when some of us at Elaine’s and the crossstreet bar Eric’s followed every move of Bobby Fischer’s championship games was the last hey-day of my chess. I was at ease and talkative as could be with no end of people but my then uncomprehended gut feelings made me freeze in the presence of murderers and major criminals. Schulz with his act of being one of the guys and saying “shit” at the right moment  - it took me a long time to admit that Handke had been right about him in five minutes.   At Elaine’s it seemed perfectly normal, as though we had been flirting for a long time, for Libgart and me to play footsie and hold hands under Table 3 while the Bicyle-built-for-Two Kolleritsch-Handke was entwined intellectually. As we left Elaine’s Handke wanted to take a photo of the three of us, Libgart in the center, and I realized by the way she moved my hand away from her tush and placed it around her right hip that she was a woman with finesse. I wanted to “walk back” – to the Algonquin, a mere two miles, but Handke was tired. I seemed to have lacked the finesse to instruct Libgart to spend an afternoon at “a hairdressers.” Either by that evening                                   or subsequently, at the Austrian Institute, I saw Libgart “perform” an entrance from that marvel TE RIDE ACROSS LAKE CONSTANCE on its long winding staircase – I noticed how proud Handke was of her as a bewitching and light as air performer. Within a day or so I gave a party at my three room apartment at 55th and 6th Avenue and invited                                   two of Handke’s earliest American backers, the critics Richard Gilman and Stanley Kaufman, maybe a dozen people, no one from Farrar, Straus best as I recall, and it was when the two critics and Handke and I were a foursome, and Gilman who had noticed Handke’s use of Wittgensteinian [Philosophical Investigations] forms of querying language in RIDE [Gilman had not experienced a performance and so we, good friends to be, would forever argue about the irrelevance of Wittgenstein to that], it may have been Gilman asking some lit-crit question along those lines that Handke                                   dropped out and squatted down by my record player on the lowest shelf of a book case and put on a Beatles Record [?] that I subsequently realized something had been … too much… perhaps one of those episodes that he tersm “autistic” to Herbert Gamper. The “dark fellow” with the Alan Ginsberg Karl Marx visage all the time stood by the window to the apartment building shaft. After everyone had left, it occurred to Handke to say that I had was gay. Libgart might have of course pointed to herself, but mentioned the also departed flaxen-haired beauty, Renate Karlin, who had had to leave to look after her two splendid kids. In retrospect what strikes me as odd                                   about myself that here I am having this passionate affair with Renate, which founders on insane jealousy on my part, and I’d have been willing, money allowing, to run off with Libgart, to wherever. Renate was a recently divorced professor of art at                                   Sarah Lawrence, who could what my wife had been too stubborn and socially incompetent to do, hold her own, and not be fazed by the tough talk at the so male oriented Table 4, the “big table”, at Elaine’s – it took very little really to be admitted to the circle if you were a woman, but only two other women come to mind who could handle it, Anthea Sylbert who was married to my close friend and author Paul Sylbert, and the woman who did the acrostics for the New York Magazine and tended to hang out with friend Tom Buckley, a New York Times reporter who had been in 'Nam, she had a touch of that forties hard drinking reporter gal about her that seemed to admit you to the male club. Renate was entirely feminine but smart, and charming. And yet… so much for my sainthood. Perhaps Handke still had Ginsberg’s pass at him via me of 5 years earlier in mind, or noticed that I held my cigarette they way my mother had. I                                   might have pointed out to him that he had squatted down by my record player like a woman!   At the Threesome’s return from their jaunt through the US they seemed to have headed straight for my apartment, Fredi Kolleritch collapsed on what had been my marriage bed, Libgart, too, was exhausted and got to rest on the daybed in my work space studio, all I did was some liebaeugeln  as Handke seemingly energized by the experience asked whether there were                                   any international news stands about: indeed, he had come to the right area, both Rizzoli’s and a fancy hotel had them and were within about a block. Would there be images of him in those pages? I failed to ask at his return. Oh yes, Handke asked me whether I could guess whose signature they had managed to get during a flight. I threw up my arms. Muhamed Ali’s on their way to Atlanta. What kids we all were, straight out of the Ride Across Lake Constance, not to forget is sinister bass line.     We also has lunch one time at the Russian Tea Room on West 57th, they had gone to see a play with Lauren Bacall in it, Handke was disappointed in her of whom he of course had those marvelous memories as a film actress. At one point we also met with the translator Joachim Neugroeschel, another mama's boy whose mother via the Austrian Institute had arranged for the meeting. Handke nearly threw up at the physical ugliness of Neugroeschel, whose character would turn out to match his physique. The people I was willing to put up with, Joachim was a pretty good translator, I used him a lot later at Urizen, and when I read my translations of                                   INNERWORLD at the Goethe House asked him to join me with his Celan. There would be a second time that Handke nearly puked, at Barbara Rose as the then wife of friend Jerry Leiber when I was working on putting some songs into THEY ARE DYING OUT, this was in Paris, at the Rue Montmorency. Her character, too, would match her physique. Thus Handke's sense of the aesthetic and the moral seem to match. No wonder he sometimes is overcome with self-disgust.   Later, back on the West Coast in the 80s, I heard of Handke’s behavior at UC Riverside’s Austrian shin-dig, he had cursed everyone as idiots and gone off with a woman not his wife. Donald Daviau who ran that operation before he took Summer’s off to drive the USA in his Goldwing, of French Canadian working class origins, and in many ways a splendid man, did not take kindly to                                 Handke’s Tourettism, and it cost Handke a special issue of the magazine he edited.

 

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LOTHAR STRUCK FINALLY GETS SOME NOTICE FOR HIS DEVOTION TO HANDKE!

Ich bin ein Bewohner des Elfenbeinturms

Bloggen im Bleistiftgebiet: Eine Düsseldorfer Begegnung mit Peter Handkes treuestem Fan

Von Marc Reichwein

Eigentlich wollte man ja nie so genau wissen, ob Peter Handke wirklich solche Anhänger hat. Aber halb unheimlich, halb faszinierend war er dann doch, dieser Typ aus dem Roman "Mein Jahr in der Niemandsbucht". Ein Leser, der seinem Autor nachstellt: In einer Pariser Vorortkneipe lauert er dem Schriftsteller auf - und rückt ihm für den ganzen Rest des Tages nicht mehr von der Pelle.

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"Befremdend", so Handke, "daß der Leser, ausgenommen für mich, für nichts Augen hatte. Meinen Sohn, nachdem ich den abgeholt hatte, übersah er ebenso wie Leute und Räumlichkeiten der Vorstadt, durch die er uns dann beim Einkaufen begleitete. Im Haus, wo ich ihn zum Nachtmahl einlud, streifte er mit keinem Blick auch bloß das Feuer im Kamin, und all die Zeit, da ich zuvor im Garten das Holz hackte, stand er daneben und trug weiterhin aus meinen Werken vor, bis ich wünschte, eins der Scheiter sollte ihm an den Kopf fliegen."
Das tut weh. Wenn schon Handke selbst sich seine treuesten Fans als fiese Stalker und geistige Sektenmitglied vorstellt, was sollen dann all die anderen denken? Jene, die Handke-Leser sowieso schon immer für eine abgefahrene, undurchsichtige, esoterische Spezies gehalten haben? Und war es nicht Helmut Krausser, der in seinen Tagebüchern als neues Schimpfwort vorschlug: "Du Handkeleser!"
Naja, es war ja nicht immer so: Handke war bis Ende der Siebziger richtig hip, ein echter Star des Literaturbetriebs. Dann verschrieb er sich der Innerlichkeit. Und in den Neunzigern kam Serbien. Heute, sagen böse Zungen, sind vor allem die Leser übrig, die ihn wirklich so wollen. Geht echtes Handketum also nur noch unironisch?
Machen wir die Probe aufs Exempel und suchen ihn auf, den bekennenden Handke-Leser. Es ist einer, den so nur das Internet in unsere Aufmerksamkeit spülen konnte: Gregor Keuschnig, der uns mit seinem Blog "Begleitschreiben" seit bald fünf Jahren als Ein-Mann-Feuilleton, Hort der Handke-Expertise und natürlich wegen seines Namens aufgefallen ist. Allein schon dieser Nickname "Gregor Keuschnig" bedeutet Handke-Anhängern ja ein literarisches Programm: Die multiple Figur tritt in gleich mehreren Handke-Werken auf.

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Erklärter Patron des Blogger-Keuschnigs ist, wie er später verraten wird, "Keuschnig I", also der Pressereferent für die österreichische Botschaft in Paris aus "Die Stunde der wahren Empfindung" von 1975. "Der gefiel mir irgendwie", sagt Keuschnig (der Blogger), und tatsächlich macht Keuschnig I einen Job, der dem heutigen Monitoring und Watchblogging in nichts nachsteht: Er muss das Österreichbild in den französischen Medien überwachen und hat bei Bedarf "korrigierende Briefe" an die Zeitungen oder das Fernsehen zu schreiben. "Keuschnigs berichtigende Briefe wurden selten beachtet", heißt es in dem Buch. Und auch für "Begleitschreiben" kann man nicht gerade von heftigem Traffic sprechen: 80 bis 120 Besucher am Tag - im Vergleich zu einem Niggemeier ist das nichts. Aber ein Niggemeier bloggt auch nicht über Handke-Briefwechsel.
Verabredet sind wir jetzt aber ganz öffentlich, mitten in Düsseldorf - heikles Handke-Pflaster seit der beispiellosen Posse um den 2006 dann doch nicht verliehenen Heine-Preis für Handke. Wir sind so frei und treffen uns direkt am Heine-Geburtshaus in der Bolker Straße. Da also steht er schon, Gregor Keuschnig. Im echten Leben heißt er Lothar Struck und trägt eine interessante Herrenhandtasche aus Leder. So ziemlich genau das, was man bei Leuten wie Dieter Thomas Heck als Herrenhandgelenkstasche eigentlich fürchtet, das baumelt bei ihm an einem meterlangen Riemen leger über die Schulter. Ist das jetzt ein Accessoire, das man beim Botschaftssekretär Keuschnig überlesen hat? Oder gar ein tribalistisches Erkennungszeichen? Stellt die Herrenhandtasche in der Handke-Gemeinde sozusagen das Pendant zu dem dar, was für Judith-Hermann-Jünger die Umhängetasche aus LKW-Plane bedeutet?
Wir suchen uns ein Straßencafé in der Fußgängerzone. Struck ist ein rheinisch-frohnaturiger Gesprächspartner, ohne auch nur einen Hauch von Handke-Esoterik. Die hatte man aber auch gar nicht erwartet, im Gegenteil. Wer "Begleitschreiben" kennt, weiß, dass es da sowieso nicht nur um Handke geht, sondern auch um Politik, um Sachbücher, um Medien. Dem bloggenden "Tagesschau"-Chefredakteur Kai Kniffke las Struck mit seiner berechtigten Kritik an der Kachelmann-Berichterstattung schon die Leviten. Den Kritikern an Steffen Seiberts Wechsel vom ZDF zur Kanzlerin sagt er: "Journalisten sind keine Meinungseunuchen."
Struck hat indes niemals nur einfach eine Meinung (wie viele Blogger), er kann und will sie auch immer begründen, verlässt sich nie allein auf die Kraft der bloßen Pointe oder Polemik. Auch deshalb ist er ein im besten Sinne des Wortes kritischer Mensch, ja seine Beiträge wirken, gemessen am üblichen Standard der Blogosphäre, manchmal fast zu ernsthaft.
Die Tatsache, dass er in seinem Brotberuf mit Chemikalien handelt, mag Struck auch für seinen umsichtigen Umgang mit den brisanten Handke-Stoffen (Jugoslawien) prädestinieren. Anti-süffisant, anti-alarmistisch, einfach angenehm nüchtern ist sein Ton, den man im Handke-Feuilleton - zumal seit seiner Forderung nach "Gerechtigkeit für Serbien" - strukturell eher vermisst. Wie aber gerät ein nicht unbedingt literaturwissenschaftlich sozialisierter Leser wie Struck überhaupt zu so einem "Germanistenschmaus" wie Handke?
Am Anfang des Handke-Lesens stand bei Struck, wie bei so vielen, "Die Angst des Tormanns beim Elfmeter". "Zähl ich heute nicht mehr zu den Highlights", sagt er nonchalant und ergänzt etwas, das Handke-Hasser wahrscheinlich aufhorchen lässt: "Ich find' den späten Handke ja viel besser als den ganz frühen." Struck meint damit tatsächlich auch den Jugoslawien-Handke, der die Weltöffentlichkeit bis mindestens 2006 beschäftigt hat, aber "leider nur im Sinne eines vulgär-politischen Diskurses". Er verweist auf frühere Jugoslawien-Geschichten, etwa"Die Wiederkehr" oder "Die Abwesenheit". "Da fing das erst an, dass ich kein Buch mehr ausgelassen hab."
Und wie kommt der Fan eines Autors, der am liebsten mit dem Bleistift schreibt, zum Bloggen? Struck fing mit privaten Lektürenotaten an, brachte sich 2005 für eine kurze Zeit beim Mitmachforum Nensch.de ein, seit Anfang 2006 ist er eigenständig mit seinem "Begleitschreiben" aktiv. 400 Beiträge mit insgesamt 4000 Kommentaren hostet er inzwischen. Wenn er über Handke bloggt, schalten sich vom Handke-Übersetzer Michael Roloff bis zu Malte Herwig, dessen Handke-Biografie demnächst erscheint, die Spezialisten ein. Insofern ist Strucks Werdegang natürlich auch eine Erfolgsgeschichte des Internetzeitalters: Leute wie er waren und blieben im Literaturbetrieb alter Schule unsichtbar und allein.
Heute, und diese Errungenschaft der Netzkultur ist gar nicht hoch genug einzuschätzen, hat ein Leser ohne Beziehungen zum Betrieb, ohne Vernetzung im klassischen Sinne, ganz andere Möglichkeiten. Auch die knallharte Dichotomie zwischen Laien-Lesern und Profi-Kritikern, die uns die Branche noch vor Jahren einbleuen wollte, steht nicht mehr unangefochten. Qualitativ sind Strucks Buchbesprechungen allein von ihrer Länge her die pure Anmaßung gegen die etablierten Feuilletons, in Sachen Gründlichkeit können sie es sowieso mit der Großkritik aufnehmen. Struck selbst sieht das bescheidener, vermutlich auch realistischer: "Meine Sachen sind zugegeben zu lang, vermutlich auch viel zu speziell." Wobei bestimmte User genau das schätzen: "Die Buchrezensionen sind nach meinem Eindruck besser als die in den renommierten Zeitungen. Nicht gar so verschwurbelt formuliert und mehr mit Originalzitaten belegt", so ein Kommentar.
Dem ganzen Blog "Begleitschreiben" liegt ein beinahe provozierend altmodischer Glauben an das Leitmedium Literatur zugrunde. Struck beharrt auf dem Unterschied zwischen literarischer und journalistischer Sprache (etwa in "Gerechtigkeit für Serbien"), auch wenn alle Welt in Sachen Handke auf eine aufgeregte Medienwirklichkeit abonniert ist. In Handkes Jugoslawien-Nostalgie sieht er keine Dummheit oder gezielte Provokation, sondern nur ein Zerfallsprodukt jenes Jugoslawien-Traumbildes, das Struck "Handkes Arkadien" nennt - eine These, die er in einem eigenen Buch weiter vertiefen möchte.
Also Gerechtigkeit für Handke? Weiß Gott nicht: Wer Struck bei "Begleitschreiben" oder auch im Online-Magazin "Glanz & Elend" liest, wird feststellen, dass hier kein blindwütiger Eiferer am Werk ist. Wohl einer, in dessen Referenzsystem auch bei Buchbesprechungen zu ganz anderen Autoren der Name des Österreichers öfter fällt. Aber einer, der Handke auch unverblümt einen "Autisten" nennt.
Auch wir sitzen wie halbe Autisten mitten in der sommerlichen Düsseldorfer Fußgängerzone: Der Cappuccino ist längst ausgetrunken, die Cola warm geworden, und erst jetzt merken wir, in was für ein Handke-Setting wir hier eigentlich geraten sind: Erst wurde gedrehorgelt, dann fuhr die Kehrmaschine, jetzt wird Kanal abgesaugt - ein Lärm wie in der "Niemandsbucht". Es gibt da diese Szene, wo der Erzähler sich seitenlang über die ganzen Rasenmäher, Laubbläser und Häckselmaschinen seiner "Allmaschinennachbarn" auslässt. Und was setzt der Schriftsteller dem entgegen? Naja - er tritt vor die Tür und versucht, sich beim Bleistiftspitzen bemerkbar zu machen, indem er "lautestmöglich in das Spitzgerät" bläst: "Ein anderer Lärm fiel mir nicht ein." Bornierte Handke-Hasser finden das natürlich peinlich. Struck aber schultert seine feine Herrentasche und sagt: "Wenn das kein Humor ist, dann weiß ich auch nicht!"
Lothar Strucks Blog: begleitschreiben.twoday.net

AND THE COMMENT I LEFT AT 'DIE WELT


 Als Handke's erster Amerikanischer Uebersetzer und Verleger und jetzt Handke Wissenschaftler habe mich lange mit Lothar Struck ueber Handke unterhalten, bis der liebe Lothar sich als unkritischer Anbeter entpuppte [anhand MORAWISCHE NACHT] Er was  Lektor  meines  "Dem Handke auf die Schliche"
http://www.van.at/see/mike/index.htm
Handke nennt sich selbst Autist, ein Mediziner hat's ihm gesagt, siehe das Ganter Interview "Ich Lebe doch nur von den Zwiwchenrauemen." Die volkommen programmierte Welt, insgesammt  fernsehenden Intellektuellen, haben es Handke leicht gemacht gegen die primitive Verteufelung der Serben zu wettern. Aber als es darauf ankam fuer Milosevics als Zeuge aufzutreten, da genuegte die Kurasch nicht. Handke ist ein selten zwiespaeltiger Mensch, es steckt ungeheurlich viel Liebe in ihm, und sehr viel das mich zum kotzen reizt. http://handke-magazin.blogspot.com/2010/06/handke-magazine-is-over-arching-site.html

This is a post about a man WIELAND SCHULZ [KEIL] who poses a danger to Handke and everyone else in the world

Liebe Frau Becker, Vor ein paar Tagen hat Peter Stephan Jungk mich darauf aufmerksam gemacht {* #1} dass er und Wieland Schulz [Keil] eng miteinander befreundet sind... Vielleicht ist Jungk naiv, eingewickelt , [/]wie so viele von Schulz vor dem Peter Handke der erste war der mich vor ihm warnte nachdem Schulz die ersten öffentlichen Aufführungen von Handke in der USA bei BAM  in 1971 gemacht hatte und Peter mit der Regie gesprochen hatte, "wenigstens sehr Deutsch" als ich von "dunkel" mir in dem Zusammenhang noch nichts vorstellen konnte. Weiter unten [auch als Attachement] gibt es eine Aufzählung von Schulz Untaten... Unendlich vielen Betrügen. [/ oder dumm, leidet an Scotomie, nicht wissen wollen, oder auch sehr dunkel?} Urizen Books wurde zum illegalen durchschleusen  von durch Pornographie dubbing eingenommene Gelder benutzt etwas ich erst zwei Jahre nach der Gründung des Verlags, von Susan Sontag erfuhr. Dem [auch Suhrkamp] Autor Olaf Hansen wurden vier Filme die auf seiner WPA [works progress administration] Arbeit beruhten unbezahlt gelassen, Schulz hat  den "silent Partner" Leo Felsberg betrogen [$ 50. k] beinah alle meiner Verlagsfreunde die er durch mich kennengelernt hat, Inge Feltrinelli die in dem UNDER THE VOLCANO investierte, die inzwischen verstorbenen Christian Bourgois und Marion Boyars, , den Schlotterer bei Hanser hat er vollkommen eingewickelt, Michael Klett [sein Schulfreund 50 K] das Herz von Urizen, die wichtigsten 12 Titel, hat der am Ende an Werner Linz von Continnuum Books fuer 25 k [tausend] Dollar verkauft, Leute die die Brooklyn Bridge kaufen sind genau so Gauner wie die Verkäufer,   um die Rechte zu UNDER THE VOLCANO von meinem Freund Gonzalo de Herralde Grau zu stehlen, und dann hat er sich bei John Huston in New Jersey eingenistet, der dort ANNIE drehte, einem film wo "Clown" Schulz perfect Dieb und Einbrecher spielt; bei der Verfilmung vonVOLCANO in Cuernavaca hat er das selbe wie immer gemacht: double-billing. Ist auch, wie immer erwischt worden, alter Freund und Autor, der Filmmensch Paul Sylbert sagte einmal: "He wants to get caught and then he wants to do it again." How true , as Verena von Zobeltitz auch ueber seinen Masochimus bemerkte: hinter Schulz  wirbelt die Zerstoerung! So'n Walter Benjamin Bild!   Aber der Untergang von Urizen ist ganz meine Schuld, und zwar aus zwei oder nur einem Grund: ich bin nur am End zu nem Rechtsanwalt, und als der Process Server den Schulz servierte, wurde der blau im Gescicht und ist geflohen, ja das Dunkle ist dann immer ganz feige!  und weil er soviel Angst hatte auch nie vor Gericht aufgetaucht - so dass ich sagen kann dass ich einen Process eigenhändig, ohne Rechtsanwalt vor Constance Baker Motley, dem Haupt Richter des Southern District von New York gewonnen habe! Etwas aehnliches auch in California 1987. Also: die Chancen den zu servieren gab es schon seit langer Zeit, aber ich dachte: kannst es auf eigne Faust schon durch-kriegen - der liebe Handke weiss das auch seit ich ihm einmal sagte "you have to do everything on your own"waehrend dessen, wenn ich   zurückschaue genau so ver-rückt wurde [mich machen liess] von Schulz wie sein Partner in der Pornographic dubbing Firma Vicland Productions [auch so'n verbaler Witz] wie den VICtor Bertini, dem Mafia Soldati Partner in dieser Firma dessen "Familie" dieses  Zeug besorgte - einigen davon hat der liebe Handke Don Juan wohl während des Schreiben der LINKSHÄNDIGE FRAU sich angeschaut! Und das ist der hauptsächliche Grund dieses Schreibsels, denn von einem Auzug von Stephan Jungks   Tagebücherndie mir Milena Findeisen aus Prag schickte sah es so aus als ob er und Jungk jedenfalls zu einer Zeit gut genug befreundet waren um zusammen in den Sierras Gemsbock zu spilen, lesen von dem mich darauf aufmerksam machte dass Handke immer noch Tachychardia und Panik hat. Trotz der Kritik, und den graesslichen ausser den lieben Sachen die er mir angetan [wim wenders machte mich darauf aufmerksam dass Handke alle die ihm nah sind verwundet, weh tut, malice aforethought!] liebe ich den Idiot Savant wie nur einen anderen Menschen, finde nur dass er sich nur während er schreibt spalten solle, und mehr Witz und a' bisserl minder Selbstgerechtigkeit. T'ja und haetter er wirkliche Kurasch wuerde er sich mal auf eine wirkliche Psychoanalyze einlassen und dann wuerden wir auch Zeuge fuer Milosovics sein, nicht nur dieses Ereignis zur Reklame des eigenen Selbst benuten, n'est pas? http://www.roloff.freehosting.net/index.html Allen ein  sommerliches Wochenender wuenscht euch, Michael Roloff http://www.facebook.com/mike.roloff1?ref=name =========================================================================================== # 1 of 3 footnotes Peter Stephan Jungk  to me show details Aug 10 (2 days ago) for instance: i can hardly read what you write, since you but red over your sentences! schulz-keil is a close friend... 2010/8/10 mikerol <mikerol@gmail.com> o.k. if you have not the time.. and are not interested... by the way did you ever meet this person?  http://www.schulz-keil.faithweb.com/photo.html I expect that at least your wife did since she worked for his fellow producer Cohn on The Children .... best ever, michael r 2010/8/10 Peter Stephan Jungk <peterjungk@gmail.com> no, it's not that! i don't mind criticism at all, on the contrary. it's just much too much. i don't read your mails,i don't have the time for them and they do not interest me, i'm sorry! kind regards, peter ]} -============================================================================== #2] Subject: re: Wieland Schulz , a.k.a Wieland Schulz [Keil] Passport in name of Schulz From: To: http://www.schulz-keil.faithweb.com/   February 25, 2001 Rechtsanwalt Wirth Berlin Dear Rechtsanwalt Wirth: Re: 82 Civ 2108 JMC  [SOUTHERN DISTRICT OF N.Y. JUDGE CANELLA] Today I am sending you a small packet in the above matter, which includes: 1] A copy of the original judgment, dated September 12, 1983, by Judge John M. Canella, United States District Judge, Southern District of New York. 2] Copies of two Subpoenas “duces tecum” addressed, respectively, to Wieland Schulz-Keil & his corporation WSK Productions, dated December 21, 1983 and 2/10/84. 3] An order to the U.S. Marshall’s office to take possession of Wieland Schulz-Keil’s property, dated October 26th, 1983, signed by the Clerk of the Court & witnessed by the Chief Judge of the U.S. District Court, Constance Baker Motley. [It’s a wonderful document as you will see, beginning with the words: “The President of the United States…”] & the U.S. Marshall’s proof of service. 4] Some evidence to the effect that upon being served by the U.S. Marshall & some dozen subpoenas, Schulz-Keil finally provided himself with counsel & sought to vacate the judgment, using a variety of arguments claiming ignorance of the significance of having been served, etc. etc. I only enclose these materials to apprise you of debtor’s modus operandi: on being served he will turn ashen, run away; once a court has entered a judgment and collection is imminent he will seek counsel to create space and time to secrete his assets; these maneuvers have proved repeatedly futile, yet he keeps taking recourse to them. He did precisely the same thing in the Judgment that Mayfair International, a British firm, acquired over him in a matter concerning the production of the film “Mesmer” [see enclosure, for illustrative purposes only]. To the best of my knowledge, the Hungarian producer of “Freischuetz,” Andreasc Hamori, also holds a European judgment; and some other enclosed materials apprise you of further legal actions that may still be pending, e.g. you might want to check with Philip Kreuzer and Cinerenta, a firm of considerable substance, what measures they took to recover embezzled monies.             Service, if it should come to that in Germany, can be an extremely difficult matter to execute in the instance of Schulz. After numerous failed attempts, I devised the ruse of a French woman friend of mine calling Schulz and making arrangements to drop off a French “screenplay” from a French publisher, with whom we were both acquainted. Schulz stood in the doorway of his little “mews” on Carmine Street in “the village” in New York, coat hanger in hand – it was surprising he did not also have a bouquet in hand: he is like that, very old-fashioned, having been raised by his grandfather in Frankfurt; that also explains some of the spell he cast, always seeming so much older than his actual age, nearly as bald as now already at thirty; very humble, self-abnegating with frequent professions of ignorance can be his act when caught in a tight spot; it took me some time to realize that his mesmerizing effect derives as much from what he does with his hands and eyes as whatever “reasonable” lies flow from his fat lips; so, a close examination of that series of photos may prove useful at some point. 5] One letter each from the original Banta lawyers involved in the case, Richard Kilsheimer; and Richard Fine in Los Angeles for background purposes only. I assisted Richard Fine’s assistants royally while I was in Los Angeles, at UCLA, though living in Malibu hills, but to little avail. 6] Some further material from other creditors that I accumulated over the years, also for background purposes, both American and German matters these. 7] Some material that has Schulz’s handwriting on it, for identificatory purposes, Urizen Books checks that he wrote to himself during the debtor in possession phase. To the best of my knowledge Schulz still has an account with Bankhaus Meltzer I think it is in Frankfurt; and he and his wife have an apartment in Paris, which is in his wife’s name. If you should have need of them for any reason, I also have transcripts of some of the bankruptcy hearings and Schulz’s prevarication to the Trustee in Bankruptcy; as well as perjured testimony in a related matter [to Urizen Book author Sam Shepard] where Schulz illegally sold Shepard’s publishing rights, to the sort of man who will “buy the Brooklyn Bridge” as the saying in New York goes; once again, attorneys, though apprised of Schulz’s perjury, relating to his ownership of the off-shore corporation Princeton N.V. , failed to press for prosecution. A terribly nice team of lawyers, they had their offices in the basement of which was the club where I went swimming…. As you will note, the original judgement is in the amount of  appr. 75 K plus attorneys cost of appr. 4 k. At the rate of 10 % per annum, but non-compounding, it is now worth appr. 225 K. You will know better than I what attorney fees can be added in the Federal Republic. This communication will accompany the sending. Sincerely, Michael Roloff ============================================================== #3   RE: WIELAND SCHULZ [KEIlL Of Cyber Cinema/Mediastadt Babelsberg/ .....VOLUME I, # 1, APRIL 1997  THE INTERNATIONAL WIELAND SCHULZ [KEIL]  WIELAND-SCHWEIN WILD BOAR JAGD SOCIETY JOURNAL Eingetragener Verein O.H., Societe Non-Anonyme...  Haupt-Jagdmeister & Headhunter, Michael Roloff  Charter Members and Officers, Beaters, Beagles, Bloodhounds & Buglers. The injured parties in order of the appearance off their stigmata. Including a variety of judgments the Schulz [Keil] has incurred. The reasons for their incurrence And the Keiler method employed in the instance  ADMISSION REQUIREMENT TO THE SOCIETY: A GORING BY the Keiler, A FLUMMOXING BY the Schulz, A mesmerizing treatment to a performance of accounting wizardry  TABLE OF CONTENTS:   A list in the making of financial Keilers administered and of the project + of the crime[s]committed Description & characterization of the beast... How to hunt such a one....  HUNTING & BOUNTY ANNOUNCEMENT  Please supply the names of fellow victims from the boring boars early childhood and student days in Europe, as well as those of his internationally acquired victims since: the sums of losses incurred, the method employed: Rome, Paris, Berlin, Hungary, etc... Small and large, its a thoroughly democratic club, as democratic as the animal is in picking truffles with his fat lips, as giving the small fry the runaround, as cheating, defrauding & fooling big and small... 1945-1970 Grammar School, Gymnasium & University Years  Note claims in the self-made resume affixed at the end  1970 Arrival in U.S.  1971-2-3-4 some theater work and documentaries for WDR television 1972 I recommended Schulz to a variety of German publishers on leaving the agenting for them through the Lantz-Donadio Agency. Evidently the infamous Vicland [pron: Fickland = Fuckland porno film  dubbing company was founded during this period in association with the poor sap of a soldati, Victor Bertini 1975 Founding of Urizen Books, with me and Leo Feldsberg, the latter as silent partner via Oberon N.V.  1977 Olaf Hansen $ 50,000 minimum, Bodo Beer, camera man [10,000] on the 10 part W.S.K. Production Works Progress Administration Project for West German Television, simply didnt pay, stealing from a brother who had been tempted by the line= =Well mak some money Olaf.= Those informal and fraternal late 60s and early 70s days! Victor Bertini [150,000 minimum + loss of firm] in his partnership with W.S.K. in the pornographic film dubbing firm Vicland Films [i.e. =Fuckland= in Amurrican]  Leo Feldsberg [50,000], W.S.K. welches on his share of the development costs for a pornographic Midsummer Nights Dream film screenwriter, source of information, Judith Thurman, N.Y. N.Y. Anyhow, Judith got a few months to write out of it. Atlantis Film [Wolfram Juergens] [250,000 minimum + loss of his West German/Swiss pornographic film import company. Check with Munich law firm.... 1978 Jonathan David, Lawrence Pithkethly [NY Center for Visual History [25,000], W.S.K. is eliminated as =treasurer=. 1979 Michael Klett [50,000], his loans to Urizen Books...but at least Michael didnt get taken for the entire $ 500,000 buy-out buy- Back loan scheme that the Schulz had developed in one of his most  ingenious moves: a triple play to take out two partners and the new investor at the same time... I do duff my Marine cap to the Chutzpah. 1980 Patrice Marden & Ralph Cotta [500 & 5,000 resp.], Mardens film, firm had incurred some costs trying the help W.S.K. Productions  to find a distributor for its Gonzalo de Herralde Grau film. Cotta was the first co-producer whom Schulz screwed on the Under the Volcano Project after he had stolen it from Gonzalo de Herralde.  1981 Anne Hemenway [200], W.S.K. stop payment on her last two Urizen paychecks!!!! Never think that the grand old man cant be petty. Pepon Coromina [Figaro Films] $ 50,000 minimum] =accepts= W.S.K.s magical accounting! The grin on W.S.K.s face when the teletyped message =We accept your accounting= appears on the Urizen-registered charade teletype! Gonzalo de Herralde [$ 50,000 minimum], his investment in developing UNDER THE VOLCANO for film, + whatever monies he might have been paid if W.S.K. had not =dropped= out of the project, making Gonzalo believe he had lost interest while  actually trying to produce grandfather John Hustons version.  1982 Leo Feldsberg [100,000 plus interest], his investment in Urizen Books. Loeb-Block-Wachsman [judgment], a welch on the servicing of W.S.K.s offshore corporation, Princeton, N.V., Curacao!!! Set up for him by Leo Feldsberg, Oberon, N.V.  Urizen Books Creditors, including authors [150,000], sluicing of investments through Urizen, while establishing equity, into Vicland then into W.S.K. Productions... a preferred method of tripling the value of your money on a good days afternoon; double invoicing for expenses.  Continuum Books [Werner Linz] [25,000], illegal sale of 5 Sam Shepard titles, which included 20 plays. Jerry Tritz [1,000], welching on a lawyers fee. The George Banta Corporation [180,000 -- their original $ 90,000 third party judgment now worth appr. $ 250,000]  Michael Roloff [1984 Civ. Ctd. 86 default judgment in the amount of $ 250,000 now worth $ 500,000]  Sam Shepard [50,000], loss of royalties, costs incurred in having to buy back the rights to his titles from Continuum Books, however poor little Werner Linz is just the sort of man to sell the Brooklyn Bridge to at a good price.  Du Art Laboratories [judgment] welching on line of credit.  Carey Cameron, Jeanette Naida, P. Handke [10,000 each], their investments in Urizen Books, plus interest  1983 Michael Fitzgerald [150,000], cost & losses incurred in legal actions involving his executive producing Under the Volcano which had been double and triple billed by W.S.K.; M.F. is a good source of information on this project. W.S.K. was then proud to procure real whores from Mexico City for John Huston in Guernavaca, e.g. the slavish nature of the ego-weakened creature when serving the surrogate grandfather. Moritz Bormann, co-producer in Under the Volcano, was then innocently involved in W.S.K.s shenanigans. Check with him in Los Angeles to find out what his losses were. Inge Feltrinelli [$ 800,000] investment in Under the Volcano Inges publishing firm with which Schulz had been introduced by Roloff through Urizen Books is the Italian publisher of Malcom Lowry. BEWARE OF INTRODUCING W.S.K. TO YOUR FRIENDS AND ACQUAINTANCES, THEY ARE BOUND TO GET SCREWED, TO BE ROBBED!!!  Christian Bourgois [??????], on Under the Volcano project.  1984....PLEASE SUPPLY ANY INFORMATION YOU HAVE...  1985….  1986 ...PLEASE SUPPLY ANY INFORMATION YOU HAVE...  Produces John Hustons THE DEAD in Valencia, Cal., evaded a lot of summonses and subpoenas in L.A. during the period,  1987 PLEASE SUPPLY ANY INFORMATION YOU HAVE...  1988 PLEASE SUPPLY ANY INFORMATION YOU HAVE...  Produces =Twister= in Wichita Falls....  1989 PLEASE SUPPLY ANY INFORMATION YOU HAVE...  1990 PLEASE SUPPLY ANY INFORMATION YOU HAVE... 1991 Goodale Esq./ c.o. David Bowie [$ 250,000], inveiglement in  project, welching... 1992 The Parisian Co-Producer of The Kings Whore is bankrupted to the tune of $ 3,000,000 + 1993 Mayfair Ent., Ian Scorer [500,000 Brit Pound judgment on W.S.K.s wizardry in making two films {MESMER} & { } with the Mayfair Money he had for MESMER. Also acquires two further Judgments in the process [sometimes life IS fair!], the Mayfair judgment and one by Andrazc Hamory [$ 300,000 judgment], the co-producer of # 2. Ian Scorer and Andrasc in L.A. are excellent sources of information.  1994 PLEASE SUPPLY ANY INFORMATION YOU HAVE...  1995 PLEASE SUPPLY ANY INFORMATION YOU HAVE... 1996 Meyer-Weill $ 500,000] on W.S.K.s isolating of a screenplay for a Kondrachko [500,000] film, taking a part interest in it and blackmailing for liberating it. THIS, to my knowledge is a new, but obvious twist to his sadism. Obviously, producing A.K., the name game, is not [or was not] sufficient recompense at the time. The destructive sadism appears to be becoming  more pronounced and breaking through.  1997 Phillip Kreuzers creature does it again! But this time he is pretty well forced out of the film business into CyberCinema digitalizing.  TOTAL JUDGEMENTS: At least a dozen to my by no means any longer complete knowledge.  TOTAL DAMAGE CAUSED: many many millions, and count the heart aches. DESCRIPTION & CHARACTERIZATION OF OUR PREY  BIRTH DATE: 5/22/1945  HEIGHT 6 2=  HAIR: Brown-Grey/ No longer prematurely balding... BEARD: nicely trimmed at this point...  MOUTH: powerfully cannibalistic, voracious, thick lips, tremble when scared, thus and for reasons of the thickness of the lips and the weakness of the chin there is that affected beard... EYES: Light blue, will wear sun-glasses even in the shade to conceal what he is looking at.  OVERALL PHYSIOGNOMY: Gaunt, looked prematurely aged at one time, thats what happens if your grandfather is your model.  Brought up by his grandfather, a banker from Frankfurt. According to the German artist Rebecca Horn, grandfather Keil in business matters  behaved just as his grandson does now. Belonging to the fatherless but not to THE grandfatherless generation, it makes some sense that our subject reveres grandfather figures, such as John Huston, whose  admiration he seeks. Will do anything for them, and thus can be an effective agent in their behalf.  PERSONAL CHARACTERISTICS  Excellent [psychotically energetic] organizer. Likes to live off other peoples work. Effective overseer in the sense of being niggling, schoolmasterish, bullying, shouting. Charming & helpful when he wants to ingratiate himself, overly helpful is the give-away. Purpose: to obligate people and somnolize them. After he has made his first hit likes to schmooze so as to neutralize hurts and angers, so as to get in a second  hit. Suckers beware!  Has a mesmerizing quality, but watch what his hands are up to while he is looking and talking to you. i.e. a card mechanic. No compunctions, absolutely brutal when it comes to the rip-off. Then does asthough nothing had transpired {=Oh, what are you up to=}. Faux-naif is not quite the right word for the sang-froid with which he can pronounce the biggest of lies. Undercuts arguments with Jesuitical carping.  His over-bearing arrogance is one of his most obvious, =natural= qualities and weaknesses, thus the most dangerous moments are when our boar goes into his =humble humble= act. His defense is =not to look=, to be above, i.e. pretense at disdain. Excellent at picking brains and, if the pickings are good, in using them as though they were of his own manufacture; also in instilling doubt. Schoolmasterish fussy air, but can also be the kindly patriarchal teacher. Fear of flying. Since he knows what it is =to feel like a piece of shit=, he is a sucker for love; and thus is married to the insanity that resides inside him, his wife Helene Mueller. Doesnt forget the slightest slight, especially from the famous. So one wonders what slights the now bankrupt Holzkamp relatives subjected the comparatively impoverished mother and her only child to.  Incessant need for company, hyper-active, at least during the appr. 15 years that I knew him  sporadically at first, intimately for about five years, and the only in court and at depositions that he had to make - in N.Y. Intellectualizes his actions.  BOAR HUNT DIRECTIONS  Though our cornered animal will bare its teeth and screech as viciously as a wounded Neutria in the levees of the Louisiana Delta, though it is capable of the instantaneous and breath-=taking sang-froid big lie [=He/shes crazy= being a typical rejoinder],  though it will stomp its feet and do a little Adolf dance fit and threaten to run out of the room [which is how it must have got its way as a spoiled child], although the animal will instantaneously try to obscure and complicate matters [not at all like a boar but rather as a spiderous inkfish], though the boar has the mesmerizing quality of a snake charmer and the practiced deceptive arts of a card sharp pickpocket [keep watch on the periphery of the vision inside the eye inside your head]... our prematurely aged wizard, it turns out, is a dreadful physical coward¦ a simple uppercut will do the trick, would have done it long ago... hes at intimidatable as the biggest scaredy cat... just lift your arm and hell scoot off like the most cowardly barking cur.... that he will regroup is another matter... Our man is really a pussy-cat at heart! Just another kid-gloved killer, just another plain old Schulz, married to a plain but crazy Muller, its just another petit-bourgeois German tragedy which a Heinrich Mann, a Fallada could proper justice to. Once cornered, once confronted [and the beast will know it before Athena or hunter/ress might him or herself], our beasts lips will tremble in the now well-kempt beard. Turns out that hes not without conscience! The archaic grandfatherly conscience is rather too severe, too sadistic, it has been incorporated rather too thoroughly, and it is being acted out to the very end.  Let him charge past you and run full force into the net.... Set the elephant trap well... His overbearing arrogant manner is the most obvious chink in the armor, so especially beware when he comes on =humble humble=... you are due for a goring.... Or when poor little Wieland has been =screwed,= his seeking pity means that he is setting you up... If he wants to buy you a meal, treat you to a small loan, help you out, watch out, [Unless you be a pitiable old man or a pitiable cat.=], you are being set up. If he goes through the act of being oh-me-god so proper and exacting in his accounting, so excellent in the performance of his fiduciary duties, you are being treated to a charade, you are being set up.... If he goes through the act of being a regular guy, who curses and says =fuck shit corruption= at the right moments: the comedian is setting you up!  Suffers from occasional kidney stone attacks! Below, Schulzs bio in his own words, and annotated with corrections by me: =Wieland Schulz-Keil was born near Frankfurt/Main, West Germany, in 1945. He studied classical philology, literature and philosophy at the universities of Frankfurt, Heidelberg, and Berlin. During these years, Schulz-Keil began directing plays, first at the City Theater in Frankfurt and then at various theaters in Europe. [Well, maybe one or two plays, he certainly was not getting anywhere in that field when he arrived in the U.S. with his American hippie girlfriend Barbara Becker.] In 1966 he became a contributing editor to Theater Heute, Germanys leading theater magazine, [dont see him on the masthead, so this would seem to be another self-inflation. I notice one single report from N.Y. on the off-Broadway scene.] and at the same time began working as a consultant for Hanser Verlag, a major Munich publishing house. Invited by the Chelsea Theater Center in New York to direct plays at the Brooklyn Academy of Music in 1969, [our Keiler talked Bob Kalfin into doing two Handke plays, neither the Chelsea nor Kalfin had heard of him before he called to present himself. Invited, like Pina Bausch!!!] Schulz-Keil took up residence in New York City, [taking up residence are somehow not quite the right word for living in that hovel of a loft 65 West Broadway,] forming a documentary film production company, WSK Productions. During the next ten years he produced over forty documentaries [these little documentaries were financed by WDR, and one or the other was then sold to PBS, etc. - The infamous Vicland – Victor + Wieland Productions is conveniently left out from this inflated resume; inflation at one end invariably means deflation on the other lower depth end.] for the BBC and PBS, as well as for German, Canadian, and Japanese TV. During the early Seventies, Schulz-Keil published numerous essays on culture and the arts, [I know of not one essay from that period!]organized art exhibitions, [never saw one, would have been invited as I was to his funky parties at his loft]and in 1975 formed a book-publishing firm in New York, Urizen Books, remaining a publisher until it was sold in 1983.[As noted above, Urizen was founded by me and Schulz, in 1975, with Leo Feldsberg joining us; Urizen was bankrupted by Schulz-Keil in 1981 and dissolved in a chapter 7 proceeding in 1982, the only sales were in bankruptcy sales]  In 1978 he founded the New York Center for Visual History, a non-profit organization that produces and collects films on historical subjects. He remained a director of the center until 1983. [As noted above, the other members of the NYCVH were Lawrence Pithkethly and Jonathan David who to rid of Schulz as their =treasurer=if you want to lose everything you treasure!] Through his documentaries Schulz-Keil was introduced to theatrical motion pictures, [well what he was introduced to on making a documentary on the making of porno films was the dubbing of same; his first real film was something unreleased called Pretty Maggie Money Eyes, filmed in Cartagena, an unreleased disaster; then he did Gonzalo de Herralde Graus JET LAG, on which he managed to screw the Spanish co-producer] and in 1977 produced his first flim. From then on Schulz-Keil worked on many films in many different capacities. [You can catch him playing the burglar in Houstons Annie] Motion pictures produced by Wieland Schulz-Keil include: Under the Volcano (1983), directed by John Huston, which was an official entry at the 1984 Cannes Film Festival, and was nominated for three Academy Awards; The Dead (1987), directed by John Huston and opening that 1987 Tokyo and Venice festivals and receiving three Academy Award nominations; Twister (1989), directed by Michael Almereyda and nominated in the category Best First Feature for the 1991 Independent Feature Project Awards in Los Angeles. Wieland also produced The Innocent, directed by John Schlesinger, and Decadence, starring Joan Collins and Steven Berkoff, who also directed. [On all these films, Schulz was co-producer] Since 1997 Wieland Schulz-Keil has devoted most of his time to the CyberCinema project, [since screwing his benefactor Phillip Kreuzer had the consequence of driving him out of the producing business] a network of public spaces throughout Europe, primarily located in rural regions and in culturally underprivileged urban neighborhoods. By presenting a varied and up-to-date program of films, CyberCinema will return cinema to places and to people for whom it had seemed lost. Through interactive technology it will also provide an infrastructure for Europe-wide learning and multilingual group discussions and debates. ....[no doubt the collaborators in this venture, underprivileged as they may have become, will have interesting recollections, as do all the executive and co-producers who encountered Schulz during his film producing days.] This biography is a piece of fiction, of ill-conceived deception of an unusually gross kind. What is amazing of course is that the Rasputin-like Schulz keeps finding a new bed to soil when a prior one proves too dangerous, as now he has inveigled himself into Filmstadt Babelsberg. my other site..... http://www.ecoplan.org/advocates/schulz-keil-bio.htm e-copy: Ron Kneezel, Esq. -- This is the e-mail address associated with  Michael Roloff  [as "Der Getreue Korreptitor"] http://artscritic.blogspot.com/ http://www.facebook.com/mike.roloff1?ref=name Member Seattle Psychoanalytic Institute and Society http://www.roloff.freehosting.net/index.html This LYNX will LEAP you to my HANDKE project sites and BLOGS http://www.handke.scriptmania.com/favorite_links_1.html "Degustibus disputandum est" {Theodor Wiesenthal Adorno} "May the foggy dew bediamondize your hoosprings + the fireplug of filiality reinsure your bunghole! {James  Joyce} "Sryde Lyde Myde Vorworde Vorhorde Vorborde." {von Alvensleben} "Siena me fe, disfescimi Maremma." {Dante} "Ennui [Lange Weile] is the dreambird that hatches the egg of experience." {Walter Benjamin, the essay on Leskov.} http://analytic-comments.blogspot.com/ http://summapolitico.blogspot.com/ SCHULZ-KEIL HUNTING SOCIETY BULLETTIN.doc 86K   View   Download   Reply Reply to all Forward der is not available to chat

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