Ronald Weber – författare

Ernest Hemingway devoted a large part of his writing life to nonfiction in the form of newspaper and magazine journalism and especially in the form of five full-length books. His nonfiction, however, is usually taken only as a diversion from the main business of his career, fiction, and examined only for light shed on the fiction. In this study - the first devoted exclusively to Hemingway's nonfiction books, the heart of his effort as a fact writer - the work is considered in its own right as a central part of his achievement.

Ernest Hemingway devoted a large part of his writing life to nonfiction in the form of newspaper and magazine journalism and especially in the form of five full-length books. His nonfiction, however, is usually taken only as a diversion from the main business of his career, fiction, and examined only for light shed on the fiction. In this study - the first devoted exclusively to Hemingway's nonfiction books, the heart of his effort as a fact writer - the work is considered in its own right as a central part of his achievement.

Vividly capturing the heady times in the waning months of World War II, Ronald Weber follows the exploits of Allied reporters as they flooded into liberated Paris after four dark years of Nazi occupation. He traces the remarkable adventures of the men and women who lived, worked, and played in the legendary Hôtel Scribe, set in a highly fashionable part of the largely undamaged city. Press jeeps and trailers packed the street outside, while inside the hotel was completely booked with hundreds of correspondents. The busiest spot was the dining area, where the clatter of typewriters combined with shouts of correspondents needing hot water to brew coffee from military powder. But the basement-level bar was the hotel’s top attraction, where famed war correspondents like Ernie Pyle, Walter Cronkite, A. J. Liebling, Ernest Hemingway, Martha Gellhorn, Janet Flanner, Lee Miller, Marguerite Higgins, Irwin Shaw, Edward Kennedy, Charles Collingwood, Robert Capa, and many others held court while in the company of military censors and top brass. Weber uncovers the struggles between correspondents and Allied officials over censorship and the release of information, the heated press chaos surrounding the war’s end, and the drama of the second German surrender orchestrated by the Russians in shattered Berlin. The elation of total victory was mixed with the abrupt emptiness of a task finished. While work on the Continent remained for journalists, it now dealt with the slog of the occupation of Germany rather than the blood and glory of war. Yet Weber shows there were many reasons to carry on after VE Day in this delightfully entertaining account of the hotel where correspondents were regularly briefed on the war and its aftermath, wrote their stories, had them transmitted to international media outlets, and rarely neglected the pleasures of a Paris reborn until December 1, 1945, when the Hôtel Scribe was officially vacated by the American military.

The Lisbon Route tells of the extraordinary World War II transformation of Portugal's tranquil port city into the great escape hatch of Nazi Europe. Royalty, celebrities, diplomats, fleeing troops, and ordinary citizens desperately slogged their way across France and Spain to reach the neutral nation. Here the exiles found peace and plenty, though they often faced excruciating delays and uncertainties before they could book passage on ships or planes to their final destinations. As well as offering freedom from war, Lisbon provided spies, smugglers, relief workers, military figures, and adventurers with an avenue into the conflict and its opportunities. Ronald Weber traces the engaging stories of many of these colorful transients as they took pleasure in the city's charm and benign climate, its ample food and drink, its gambling casino and Atlantic beaches. Yet an ever-present shadow behind the gaiety was the fragile nature of Portuguese neutrality, which at any moment the Axis or Allies might choose to end.

The Lisbon Route tells of the extraordinary World War II transformation of Portugal''s tranquil port city into the great escape hatch of Nazi Europe. Royalty, celebrities, diplomats, fleeing troops, and ordinary citizens desperately slogged their way across France and Spain to reach the neutral nation. Here the exiles found peace and plenty, though they often faced excruciating delays and uncertainties before they could book passage on ships or planes to their final destinations. As well as offering freedom from war, Lisbon provided spies, smugglers, relief workers, military figures, and adventurers with an avenue into the conflict and its opportunities. Ronald Weber traces the engaging stories of many of these colorful transients as they took pleasure in the city''s charm and benign climate, its ample food and drink, its gambling casino and Atlantic beaches. Yet an ever-present shadow behind the gaiety was the fragile nature of Portuguese neutrality, which at any moment the Axis or Allies might choose to end.

Lottery winner and ex-journalist Donal Fitzgerald joins forces with his girlfriend, DNR conservation officer Mercy Virdon, to solve the mysterious death of a beloved angler, Charlie, who was murdered in his tent in a state campground and who was known by all—and who may have known too much. Set in the engaging small town of Ossning on the Borchard River in Michigan’s Upper Peninsula—an angler’s dream, filled with eccentric, believable, sympathetic, and unforgettable characters—Riverwatcher is a classic whodunit. Fitzgerald and Mercy’s investigation to discover the deadly secret among the locals leads to dead ends until a surprisingly bookish theory surfaces. Weber expertly weaves this character-driven novel with a strong sense of place, creating a great yarn for anglers and mystery lovers and, as it turns out, a literally literary mystery.

Der Streit zwischen Peter Hacks (1928–2003) und Heiner Müller (1929–1995) zählt zu den bedeutendsten Auseinandersetzungen innerhalb der DDR-Literatur. Auf der Grundlage detaillierter Stückanalysen sowie unbekannter Aufzeichnungen aus den Nachlässen wird der Streit der beiden wichtigsten DDR-Dramatiker erstmals umfassend in den Blick genommen. Im Fokus stehen ein literarhistorischer sowie ein systematisch-ästhetischer Aspekt: Die Arbeit zeichnet zum einen die Auseinandersetzung zwischen Hacks und Müller als bedeutende Teilgeschichte des DDR-Dramas sowie der Brecht-Schule nach. Darüber hinaus untersucht sie die dramenästhetischen Programme beider Autoren als antagonistische Konzeptionen sozialistischen Theaters. Innerliterarische Konflikte bilden in der Forschung zur DDR-Literatur bis dato einen ‚blinden Fleck‘. Am Beispiel von Hacks und Müller zeigt sich, dass der ästhetische Autonomisierungsprozess der DDR-Literatur als ein in sich selbst widersprüchlicher Vorgang innerhalb des literarischen Feldes verstanden werden muss. So ist die Arbeit auch ein Beitrag zur Frage, inwiefern sich die Feldtheorie auf die Literatur der DDR anwenden lässt.

Der Streit zwischen Peter Hacks (1928–2003) und Heiner Müller (1929–1995) zählt zu den bedeutendsten Auseinandersetzungen innerhalb der DDR-Literatur. Auf der Grundlage detaillierter Stückanalysen sowie unbekannter Aufzeichnungen aus den Nachlässen wird der Streit der beiden wichtigsten DDR-Dramatiker erstmals umfassend in den Blick genommen. Im Fokus stehen ein literarhistorischer sowie ein systematisch-ästhetischer Aspekt: Die Arbeit zeichnet zum einen die Auseinandersetzung zwischen Hacks und Müller als bedeutende Teilgeschichte des DDR-Dramas sowie der Brecht-Schule nach. Darüber hinaus untersucht sie die dramenästhetischen Programme beider Autoren als antagonistische Konzeptionen sozialistischen Theaters. Innerliterarische Konflikte bilden in der Forschung zur DDR-Literatur bis dato einen ‚blinden Fleck‘. Am Beispiel von Hacks und Müller zeigt sich, dass der ästhetische Autonomisierungsprozess der DDR-Literatur als ein in sich selbst widersprüchlicher Vorgang innerhalb des literarischen Feldes verstanden werden muss. So ist die Arbeit auch ein Beitrag zur Frage, inwiefern sich die Feldtheorie auf die Literatur der DDR anwenden lässt.