Robert Walser - Knowledge

709:. Its purpose is to promulgate Walser's life and work as well as to facilitate scholarly research. The center is open to both experts and the general public and includes an extensive archive, a research library, temporary exhibition space, and two rooms with several workstations are also available. The Center furthermore develops and organizes exhibitions, events, conferences, workshops, publications, and special editions. The translation of Robert Walser's works, which the Center both encourages and supports, also represents a key focus. In order to fully meet its objectives and responsibilities as a center of excellence, it often collaborates on certain projects with local, national, and international partners as well as universities, schools, theaters, museums, archives, translators, editors, and publishers. 2601: 455:, Walser repeatedly had to go into military service. At the end of 1916, his brother Ernst died after a time of mental illness in the Waldau mental home. In 1919, Walser's brother Hermann, geography professor in Bern, committed suicide. Walser himself became isolated in that time, when there was almost no communication with Germany because of the war. Even though he worked hard, he could barely support himself as a freelance writer. At the beginning of 1921, he moved to 51: 2620: 521:, about their talks. Seelig tried to revive interest in Walser's work by re-issuing some of his writings. After the death of Walser's brother Karl in 1943 and of his sister Lisa in 1944, Seelig became Walser's legal guardian. Though free of outward signs of mental illness for a long time, Walser was crotchety and repeatedly refused to leave the sanatorium. 488:

In the beginning of 1929, Walser, who had had anxieties and hallucinations for quite some time, went to the Bernese mental home Waldau, after a mental breakdown, at his sister Fani's urging. In his medical records it says: "The patient confessed hearing voices." Therefore, this can hardly be called a

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writer. He additionally worked as a copyist, an inventor's assistant, a butler, and in various other low-paying trades. Despite marginal early success in his literary career, the popularity of his work gradually diminished over the second and third decades of the 20th century, making it increasingly

448:(1925). Walser, who had always been an enthusiastic wanderer, began to take extended walks, often by night. In his stories from that period, texts written from the point of view of a wanderer walking through unfamiliar neighborhoods alternate with playful essays on writers and artists. 599:

in his youth, but was a notable and often published writer before World War I and into the 1920s. After the second half of the latter decade, he was rapidly forgotten, in spite of Carl Seelig's editions, which appeared almost exclusively in Switzerland but received little attention.

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During his time in Bern, Walser's style became more radical. In a more and more condensed form, he wrote "micrograms" ("Mikrogramme"), called thus because of his minuscule pencil hand that is very difficult to decipher. He wrote poems, prose, dramolettes and novels, including

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and Hermann Hesse were among his great admirers. Since then, almost all his writings have become accessible through an extensive republication of his entire body of work. He has exerted a considerable influence on various contemporary German writers, including

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resident. In the following years, he often worked as a "Kommis", an office clerk, but irregularly and in many different places. As a result, he was one of the first Swiss writers to introduce into literature a description of the life of a salaried employee.

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Walser enjoyed long walks alone. On 25 December 1956 he was found, dead of a heart attack, in a field of snow near the asylum. The photographs of the dead Walser in the snow are reminiscent of a similar image of a dead man in the snow in his first novel,

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hand, the letters of which measured about a millimeter of height by the end of that very productive phase. Werner Morlang and Bernhard Echte were the first ones who attempted to decipher these writings. In the 1990s, they published a six-volume edition,

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where his brother Karl lived. He was an office worker at the Deutsche Verlagsanstalt and at the Cotta'sche Verlagsbuchhandlung; he also tried, without success, to become an actor. On foot, he returned to Switzerland where he registered in 1896 as a

536:; it was the first English translation of his writing and the only one that would appear during his lifetime. Upon learning of Middleton's translation, Walser, who had fallen out of the public eye, responded by musing "Well, look at that." 493:. While he was in the mental home, his state of mind quickly returned to normal, and he went on writing and publishing. More and more, he used the way of writing he called the "pencil method": he wrote poems and prose in a diminutive 421:, where she worked as a teacher. There, he got to know Lisa Mermet, a washer-woman with whom he developed a close friendship. After a short stay with his father in Biel, he went to live in a mansard in the Biel hotel 346:, where his brother Karl Walser, who was working as a theater painter, introduced him to other figures in literature, publishing, and the theater. Occasionally, Walser worked as secretary for the artists' corporation 479:

and retold, for example, the plot of a pulp novel in a way that the original (the title of which he never revealed) was unrecognizable. Much of his work was written during these very productive years in Bern.

595:, and was in fact better known during his lifetime than Kafka or Benjamin were known in theirs. He never belonged to a literary school or group, perhaps with the exception of the circle around the magazine 400:

They became his trademark. The larger part of his work is composed of short stories – literary sketches that elude a ready categorization. Selections of these short stories were published in the volumes

564:; that is, with contemplations and variations of other literary works, in which Walser often mixes pulp fiction with high literature. Walser has been regarded as the missing link between 183:, which he had to leave before the final exam when his family could no longer bear the cost. From his early years on, he was an enthusiastic theatre-goer; his favourite play was 471:). In these texts, his playful, subjective style moved toward a higher abstraction. Many texts of that time work on multiple levels – they can be read as naive-playful 1744: 428:

In Biel, Walser wrote a number of shorter stories that appeared in newspapers and magazines in Germany and Switzerland and selections of which were published in

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Ahmadian, Mahdi; Mohsen, Hanif (2018). "An Existential Crisis: The Significance of the Opening and Concluding Passages of Robert Walser's Jakob Von Gunten".

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