Each year at springtime scores of people on snowmobiles crash through the melting ice on the lakes of Minnesota and drown. Pressure is mounting on the new governor to pass a protective law. He, the former wrestler and bodyguard, has the only sage answer to this: "You can´t legislate stupidity."

But his most exciting action was something we witnessed ourselves. At issue were some five tons of contraband coffee, as we were informed much later. At any rate, word had got out, and one night the police were on their way to arrest Siegel Hans. He was able to escape out of a window. All he had on him was his trumpet, and the next morning when it got light, he blew down on his trumpet from the Spitzstein. The police gave chase, but by the time they got to the summit, he was blowing from the cloven top of the Mühlhorn or the peak of the Geigelstein on the other side of the valley. The police, humiliated, called up more and more reinforcements, but Hans continued tooting at them from peak to peak. We heard him. We saw troops of police running through the valley and up the slopes, but neither they nor the officials stationed at the pass got a glimpse of him. He was like a phantom. We children knew why they couldn't catch him. As far as we were concerned, he had run from the Spitzstein all along the border heading into the sunset until he had run right around the whole of Germany to the Geigelstein on its east-facing side. It was the only way he could avoid having to go down into the valley. Twelve days later, he surrendered to the police, but by then, he had a mythic status among his admirers.

A few years ago, we had a family reunion on the coast of Spain, where my brother was living at the time. At his invitation and expense, we had a wonderful evening at a fish restaurant. My brother, sitting beside me, put his arm around me as I studied the menu. Something began to smoke; I felt a light prick at my back, and suddenly I realized that with his cigarette lighter he had set my shirt on fire. I tore it off, and everyone was aghast, but the pair of us laughed loudly at the joke that didn't seem funny to anyone else. Someone lent me a T-shirt for the rest of the evening, and the little sore patch of skin on my back was cooled with a splash of prosecco.

We comprehend... that nuclear power is a real danger for mankind, that over-crowding of the planet is the greatest danger of all. We have understood that the destruction of the environment is another enormous danger. But I truly believe that the lack of adequate imagery is a danger of the same magnitude. It is as serious a defect as being without memory. What have we done to our images? What have we done to our embarrassed landscapes? I have said this before and will repeat it again as long as I am able to talk: if we do not develop adequate images we will die out like dinosaurs.

Taking a close look at - at what's around us there - there is some sort of a harmony. It is the harmony of... overwhelming and collective murder. And we in comparison to the articulate vileness and baseness and obscenity of all this jungle - Uh, we in comparison to that enormous articulation - we only sound and look like badly pronounced and half-finished sentences out of a stupid suburban... novel... a cheap novel. We have to become humble in front of this overwhelming misery and overwhelming fornication... overwhelming growth and overwhelming lack of order. Even the - the stars up here in the - in the sky look like a mess. There is no harmony in the universe. We have to get acquainted to this idea that there is no real harmony as we have conceived it. But when I say this, I say this all full of admiration for the jungle. It is not that I hate it, I love it. I love it very much. But I love it against my better judgment.

Ich las die Übersetzung des Piaveschen Librettos zu Ernani, herausgegeben in Zürich 1952, und im Vorwort steht in atemberaubender Dummheit, man habe die krassesten Unglaubwürdigkeiten ausgemerzt, wo doch gerade das Unfaßbare das Schöne an der Geschichte ist, oder besser: an der Gattung Oper an sich, weil gerade was von keiner auch noch so exotischen Wahrscheinlichkeitsrechnung mehr erfaßbar ist, in der Oper zu einer machtvollen Verwandlung der ganzen Welt in Musik als das Natürliche erscheint.

Auch die großen Gefühle der Oper, die oft als übersteigert abgetan werden, kommen mir eher in die Gegenrichtung aufs äußerste reduziert vor, auf das Archetypische der Gefühle verdichtet, nicht mehr weiter in ihrer Essenz konzentrierbar. Es sind Axiome von Gefühlen. Das ist es, was Oper und Dschungel verbindet.

With the point of a knife, our mother scratched a mark in it for each day, Monday to Sunday, allowing about a slice of bread for each of us. When hunger got to be very bad, we were each given a piece from the next day's ration because my mother hoped something might turn up in the meantime, but generally the bread was finished by Friday, and Saturdays and Sundays were particularly bad. My deepest memory of my mother, burned into my brain, is a moment when my brother and I were clutching at her skirts, whimpering with hunger. With a sudden jolt, she freed herself, spun round, and she had a face full of an anger and despair that I have never seen before or since. She said, perfectly calmly: "Listen, boys, if I could cut it out of my ribs, I would cut it out of my ribs, but I can't. All right?" At that moment, we learned not to wail. The so-called culture of complaint disgusts me.

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Meanwhile it's got stormy, the tattered fog even thicker, chasing across my path. Three people are sitting in a glassy tourist cafe between clouds and clouds, protected by glass from all sides. Since I don't see any waiters, it crosses my mind that corpses have been sitting there for weeks, statuesque. All this time the cafe has been unattended, for sure. Just how long have they been sitting here, petrified like this?