In Akira Kurosawa and the Pensive Frog, Nicholas Mahler focuses on himself—and a few other people who are important to him. imaginary? wonderful car!
Nicholas Maher likes it short and crisp. Wenn er sich von Marcel Prousts Monumentalwerk „Auf der Suche nach der verlorenen Zeit“ (sieben Bände, gemeinsam 5300 Seiten) zu einem Comicband inspirieren lässt, genügt ihm ein knappes Fünfundzwanzigstel des originalen zuumfangs, um auf die for ihn wichtigsten Pune Prote’s Come. His “incorrect biography” by Thomas Bernhard can easily be completed in three-quarters of an hour, which is a lot of fun. And it hardly takes any longer for someone who wants to get acquainted with Romy Schneider’s 58 films, “reviewed and drawn” by Mahler.
No wonder Mahler also tries to sum up Karl of Knausgaard’s self-denial more succinctly: “A Norwegian writer suffers from diarrhea of speech and still finds enough time to have children,” is Mahler’s terse summary of the six volumes of “Main”. Camp”. It can be read in Mahler’s latest work, along with the acknowledgment that “the only book over 1,000 pages” that Mahler accepts is “Halliwell’s Movie Guide,” a lexicon that – according to Mahler – set itself the task of “everything on LAUNCH Gather films that were regularly shown in cinemas in one volume: “Each film is retold in just two or three lines. Mahler – What else? – Brief conclusion: “That is usually enough.”
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