Ror Wolf speaks again this Wednesday.

More than two years after his death, on June 29, when he would have been 90 years old.

Or rather, his literature speaks with the voice that Ror Wolf once revealed in a personal conversation over schnitzel and beer in the “Gebirg” above Mainz near his home on Kästrich: “I always wrote with Brückner’s voice in my ear.” Brückner is Christian Brückner, who became famous as the dubbing voice of Robert De Niro.

In the Romanfabrik he is now reading, himself a Wolf admirer immortalized in audio books, in a one-two with the jazz musician Michael Wollny from Wolf's work - in a combination worthy of the jubilee and jazz lover Wolf, which two years ago to commemorate the death in the Alte Oper occurred.

Daniel Meuren

Editor in the Rhein-Main-Zeitung.

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Brückner is one of those ways that facilitates access to the work of Ror Wolf, who wrote very differently from everyone else.

For the grand master of word acrobatics with the diverse roots in the Frankfurt School, the world was already far too serious and reasonable, so it didn't have to be his art as well.

Entrance gates in Ror Wolf's world

As well-ordered as he has composed his fragments of the real into surreal contexts, they can get in the way like chunks on a mountain of rubble.

It needs an entrance gate like Brückner's voice, through which one finds one's way from the familiar world into Wolf's sphere.

For me it was once a different goal: football, from which Wolf wrested more language than any other author in the 1970s, mainly in an obsessive confrontation with Frankfurt Eintracht game, more often with schnitzel and beer.

On a poster that could be seen last weekend in an exhibition in honor of Wolf at the Kunstverein in Essenheim in Rheinhessen, one could read a tiny part of the wording from the dropped ball to the rebounded, dented, dragged through midfield to the shoveled in ball that Wolf dem wrested football.

“For me, football was first and foremost radio.

The voices that described football, that direct description, that spontaneous word, that was an art form,

which, due to the inherent susceptibility to errors in live reporting, was also a source of comedy that I could deal with," Wolf once told me.

He trawled through hours of tape recordings of Saturday Bundesliga conferences for such vocabularies, dissected the tapes himself into small snippets, which he then reassembled using the technology of the time with excruciatingly complicated precision work.

Between Cordoba and eroticism

He succeeds most impressively in the unsurpassed literarization of football in his eleven radio play collages, in which he so artfully processes the phrases of radio reporters and Kiebítzen in the Riederwald and combines them with imaginary passes by Eintracht players with names that sound so euphonious to Wolf, such as Stein, Stinka, Sztany, that it becomes unique literature.

The genre was most wonderfully successful with "Cordoba June 1:45 p.m.", a one-two between the enthusiastic ORF reporter Edi Finger and his North German cool NDR colleague Armin Hauffe.

Wolf also cultivated this joy in language in other varieties of his word acrobatics.

In his novels, which are not aptly described by this term, he brings eroticism into play by opening eyelets or buckles, buttons or zippers.

Each set is an adventure, not a routine.

Surrealism, fantasy, detective novels, horror novels, eroticism and above all, of course, humor - all of these are attributions with which Wolf's work is documented