F.K. Waechter, F.K. Waechter (Ill.)
Christian Schünemann
Otto A. Böhmer
Tomi Ungerer, Tomi Ungerer (Ill.)
Doris Dörrie
Martin Suter
Alfred A. Häsler
Walter Nigg
Urs Widmer
Walter Nigg
Sibylle Mulot
Urs Widmer
Maria Elisabeth Straub
Anne Diekmann (Hg.), Willi Gohl (Hg.), Tomi Ungerer (Ill.)
Tatjana Hauptmann, Christian Strich (Hg.), Tatjana Hauptmann (Ill.)
Johannes Carstensen, Tatjana Hauptmann
Hartmut Lange
Sibylle Mulot
Tomi Ungerer, Tomi Ungerer (Ill.)
Slawomir Mrozek, Chaval (Ill.)
Slawomir Mrozek, Chaval (Ill.)
Friedrich Dürrenmatt
Walter Nigg
Hansjörg Schneider
Urs Widmer
Bernd Eichinger (Hg.)
Hans Werner Kettenbach
Hartmut Lange
Tomi Ungerer, Tomi Ungerer (Ill.)
Friedrich Dürrenmatt
Friedrich Dürrenmatt
Hansjörg Schneider
Bernhard Schlink
Hans Werner Kettenbach
John Vermeulen
Leon de Winter
Tomi Ungerer, Tomi Ungerer (Ill.)
Leon de Winter
John Vermeulen
Donna Leon
Donna Leon
Donna Leon
Magdalen Nabb
Magdalen Nabb
Magdalen Nabb
Anthony McCarten
Magdalen Nabb
Patricia Highsmith, Paul Ingendaay (Hg.)
Ludwig Marcuse
Hartmut Lange
F.K. Waechter, F.K. Waechter (Ill.)
F.K. Waechter, F.K. Waechter (Ill.)
Friedrich Dürrenmatt
Urs Widmer
Christian Schünemann
Hugo Loetscher
Slawomir Mrozek
Friedrich Dönhoff
Christian Schünemann
F.K. Waechter, F.K. Waechter (Ill.)
Urs Widmer
Ingrid Noll
Luis Murschetz
Jakob Arjouni
Friedrich Dürrenmatt
Tatjana Hauptmann, Theodor Storm, Tatjana Hauptmann (Ill.)
F.K. Waechter, F.K. Waechter (Ill.)
Martin Suter
Lukas Hartmann
Martin Suter
Tilman Spreckelsen
Doris Dörrie
Luis Murschetz
Friedrich Dürrenmatt
Friedrich Dürrenmatt
Friedrich Dürrenmatt
Friedrich Dürrenmatt, Peter Rüedi, Urs Widmer
Slawomir Mrozek
Viktorija Tokarjewa
Hugo Loetscher
Friedrich Dürrenmatt
F.K. Waechter, F.K. Waechter (Ill.)
Christoph Poschenrieder
Friedrich Dürrenmatt
Walter Nigg
Martin Suter
Hartmut Lange
Friedrich Dürrenmatt
Bernhard Schlink
Hartmut Lange
Hugo Loetscher
Viktorija Tokarjewa
Tomi Ungerer, Tomi Ungerer (Ill.)
Ingrid Noll
Hugo Loetscher
Hartmut Lange
Tomi Ungerer
Viktorija Tokarjewa
Martin Suter
Friedrich Dürrenmatt
Sibylle Mulot
Hugo Loetscher
Friedrich Dürrenmatt
Slawomir Mrozek
F.K. Waechter, F.K. Waechter (Ill.)
Jean-Jacques Sempé, Patrick Süskind
Slawomir Mrozek
Bernhard Schlink
Ingrid Noll
Bernhard Schlink
Erich Hackl
Tomi Ungerer, Tomi Ungerer (Ill.)
Alfred Andersch
Hans Werner Kettenbach
Hugo Loetscher
Friedrich Dürrenmatt
Bernd Eilert, F.K. Waechter, F.K. Waechter (Ill.)
F.K. Waechter
Friedrich Dürrenmatt
Friedrich Dürrenmatt
F.K. Waechter
Alfred Andersch
Hans Werner Kettenbach
Tatjana Hauptmann, Urs Widmer, Tatjana Hauptmann (Ill.)
F.K. Waechter, F.K. Waechter (Ill.)
Ingrid Noll
Lukas Hartmann
Christian Schünemann
Walter Heinrich
Patrick Süskind
Luis Murschetz
Sibylle Mulot
Sibylle Mulot
Tatjana Hauptmann, Franz Kafka, Tatjana Hauptmann (Ill.)
Christoph Poschenrieder
Friedrich Dürrenmatt
Martin Suter
Walter Muschg, Julian Schütt (Hg.), Winfried Stephan (Hg.)
Uwe Timm, Tatjana Hauptmann (Ill.)
Paul Flora, Paul Flora (Ill.)
Andrej Kurkow
Donna Leon
Donna Leon
Patrick Süskind
Donna Leon
Peter Rüedi
Auschwitz, 1941. After one prisoner has managed to escape, ten randomly chosen inmates are sentenced to death by starvation in the ›Hungerbunker‹. A man then steps forward and asks the camp commandant to exchange him for one of the doomed inmates. Who is this man? And what induces him to give his life for a man he doesn’t even know? This man is Polish Franciscan monk Maximilian Kolbe (1894–1941). With his life marred by tuberculosis from young adulthood, he established, against many odds, a Catholic magazine with a circulation of millions of copies and founded Europe’s largest monastery, Niepokalanów. There he gave refuge to Jews and other victims of persecution under the Nazi occupation and as a result ended up in the dungeons of the Gestapo and the camp hell of Auschwitz. In his novel ›The Hour of the Pelican‹, Walter Heinrich traces the life and death of Maximilian Kolbe. With great empathy – and his life-affirming esprit which again and again manifests itself in the book – he narrates the life of a man who stands by his belief and his ideals, to the last extremity.
»The ornithological symbolism often used in the novel gives the book its title. Like the pelican (who gives its blood to its young), Kolbe sacrifices his life for another human being. For a man who was a complete stranger to him. ›The Hour of the Pelican‹ never digresses to reach the heights of hagiolatry. Instead, its attractiveness rests on its narrative integrity. Walter Heinrich convincingly recreates an episode of contemporary history in the form of a novel.«Neue Zürcher Zeitung