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In the novel Cockchafer, fly by Christine Nöstlinger, author of books for children and young people, there is a pbadage where the reader breathes a little: "I thought: the Russians are coming and the old Wawra Look Like the Hannitante, I thought: the Russians are coming and the Hannitante has no more head, he is in the rubbish heap near Calvariengbade.
This suggests Slasher movies of the present rather than read for teens. Nöstlinger was a nonsense writer and never an apologist of the worlds of children and pink sugar wish with the latest unicorns and princesses in the gold dress. The "Angel", a neighborhood kid that she described in Chafer, Fly has blond hair and rolls with a stroller. But that's where a cat resides, who has squeezed a dress on his body – visibly to their reluctance. So rather cruelty to animals than Alice in Wonderland .
Christine Nöstlinger was famous in the German-speaking world, but in Austria it was an institution. And not only in her main target group, children – about whom she, quite unusual in her profession, has sometimes said that some of them are "very unfriendly" – but in general. When Cockchafer, fly in which she described her childhood at the end of the Second World War and the collapse of the Nazi regime from a Viennese point of view, appeared in 1973, the 39; Austria still sprawled in the role of "Hitler's first victim" and was far from a serious confrontation with his own role in the "millennial kingdom", which began only 15 years later with the self. Waldheim case.
New sound in youth literature
The author is from a social democratic background firmly rooted in Vienna. She began to draw and write casually in the 1960s. Her first book Friederike Red Fire was a success and allowed her to turn pbadion into a profession. The generations of children include works such as Gretchen, my daughter A husband for mother We whistle on the Gurkenkönig or with the stories of Franz – this boy with short hair, who looks like a girl with his curly hair and wrote about 19 volumes. Nöstlinger has brought a new sound to children's literature: a laconic almost hemingway, an empathy in the appearance of unconsciousness, and a wisdom that has never gone beyond the horizons of the teen storytellers of their stories and lets show that there was still a vast world of magic, but also horror beyond the perceptual possibilities of adolescence.
Christine Nöstlinger was able to serve as a model at a time that did not proclaim her ideologically, she gradually gave way to involuntary obedience in the postwar and later on. is open to antiauthoritarians at the dawn of 1968 and to the reformed pedagogy of AS Neill. were allowed to be rebellious and unsuitable and to seek their way in conflict with the authorities. About herself, the author said that in adolescence she was "even more brazen than others at my age".
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