This chapter discusses the publication of the correspondence between Ingeborg Bachmann and Max Frisch. Despite mixed reviews, the heirs of both writers agreed to its publication. The editor of the edition is expected to maintain a high level of care in presenting the material. It is revealed that there are approximately 300 letters filling around 600 pages, along with additional material such as a detailed commentary, afterwords, timelines, and an image section. The publication was a result of the combined efforts of two teams, representing the "Frisch side" and the "Bachmann side".

Konfliktstoff

This chapter discusses the controversy over the choice of the book title and the literary dispute between Frisch and Bachmann. It also explores the tight connections between the letters and literary works, highlighting the importance of considering life documents in the interpretation of fictional texts. Additionally, it analyzes the significance of Bachmann's poem "Böhmen liegt am Meer" and the motifs of water in her famous stories, as well as the utopian theme of freedom in her literary work.

Zerstörte Mythen

This chapter discussed the romantic relationship between Bachmann and Frisch and the myths that surrounded it. It also mentioned the "Venedig Treaty" proposed by Frisch, which allowed both partners sexual freedom. The chapter highlighted Bachmann's medication use and the impact it had on her relationships, particularly with Chiarini. It also examined the themes of addiction in Bachmann's literary works, as well as the irresponsible prescribing practices of doctors at the time. The chapter revealed that Bachmann received a new medication from a Swiss doctor, which appeared to have a strong impact on her mood and behavior. This led to the start of the affair with Chiarini.

Das Krankheitstagebuch und die „Sache mit Lila“〔45〕

This chapter discusses the diary of illness and the "issue with Lila," brought to attention after Bachmann found Frisch's recordings from 1959 and took possession of them. Frisch implicated living with Bachmann for his illness, and she revealed that she destroyed the diary, but later told her brother that she gave it to her psychiatrist. Frisch expressed concern over the violation of his property rights, especially because Bachmann was emotionally affected by the content. Franza, as a character, found a dossier where her husband analyzed her like a pathological case. Bachmann felt violated after reading Mein Name sei Gantenbein, which contained real-life events and quotes from her letters. Frisch, despite her requests, furthered her hurt by mentioning her love affair in his books. Bachmann felt betrayed, believed she was being used and left out, and couldn't see the book's potential as an homage to her. The completion of the book coincided with the end of their relationship. This was reminiscent of an earlier event when Bachmann's relationship with Hans Weigel ended after he turned her into a literary figure in Unvollendete Symphonie.

Die Liebe aus Sicht der „anderen Seite“

This chapter discusses Bachmann's representation of the utopian "explosive power of love," as demonstrated in her radio play "The Good God of Manhattan." The play foreshadows the relationship between Bachmann and Frisch, who, in their correspondence, express their complex views on the concept of love and marriage. Bachmann, despite expressing opposition to marriage in general, also conveys a desire for a complete and uncompromising relationship. Throughout the correspondence, Bachmann reflects her struggle for independence and freedom, ultimately being labeled an icon of popular feminist victimhood. The chapter also explores hints of Bachmann's prospective literary projects, particularly her major prose work "Ways of Death," which might have contributed to a multi-perspective portrayal of Austrian society. Despite her premature death, Bachmann was on a path of liberation from her narrative of being a pure victim.