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Authors

A

Fabiano Alborghetti,

Carole Allamand,

Urs Allemann

B

Guido Bachmann,

Jean-Luc Benoziglio,

Sibylle Berg,

Bern ist überall,

Donata Berra,

Clo Duri Bezzola,

Peter Bichsel,

S. Corinna Bille,

Hans Boesch,

Giovanni Bonalumi,

David Bosc,

Nicolas Bouvier,

Anne Brécart,

Irena Brežná,

Lukas Bärfuss,

Katja Brunner,

Ernst Burren,

Julien Burri,

Roland Buti

C

Arno Camenisch,

Alex Capus,

Maurice Chappaz,

Gaston Cherpillod,

Jacques Chessex,

Anita Siegfried (Text),

Claudia de Weck (Ill.),

Martina Clavadetscher,

David Collin,

Nicolas Couchepin

D

Flurin Darms,

Massimo Daviddi,

Martin R. Dean,

Zora del Buono,

Max Huwyler (Text),

Dieter Leuenberger (Ill.),

Franz Dodel,

Elvira Dones,

Friedrich Dürrenmatt,

Ralph Dutli

E

Dorothee Elmiger,

Lisa Elsässer

F

Urs Faes,

Luisa Famos,

Andrea Fazioli,

Michael Fehr,

Anna Felder,

Felice Filippini,

Catalin D. Florescu,

Eleonore Frey,

Ursula Fricker,

Alexandre Friederich,

Max Frisch

G

Zsuzsanna Gahse,

Katharina Geiser,

Massimo Gezzi,

Andrea Gianinazzi,

Dagny Gioulami,

Eugen Gomringer,

Nora Gomringer,

Roman Graf,

Dana Grigorcea

H

Heinz Helle,

Reto Hänny,

Franz Hohler,

Thomas Hürlimann,

Michael Hugentobler,

Sandra Hughes

I

Felix Philipp Ingold

J

Anja Jardine,

Hanna Johansen

K

Lorenz Pauli (Text),

Kathrin Schärer (Ill.),

Christoph Keller,

Birgit Kempker,

Pascale Kramer,

Thilo Krause,

Agota Kristof,

Tim Krohn,

Robert Walser (Text),

Käthi Bhend (Ill.),

Meral Kureyshi

L

Monique Laederach,

Rolf Lappert,

Doris Lecher,

Pedro Lenz,

Pierre Lepori,

Eva Maria Leuenberger,

Gertrud Leutenegger,

Hugo Loetscher,

Catherine Louis,

Jonas Lüscher

M

Urs Mannhart,

Pietro de Marchi,

Plinio Martini,

Grytzko Mascioni,

Mariella Mehr,

Jérôme Meizoz,

Klaus Merz,

Michel Mettler,

Jörg Müller,

Gianna Molinari,

Perikles Monioudis,

Adolf Muschg

N

Melinda Nadj Abonji,

Andreas Neeser,

Jens Nielsen

O

Giovanni Orelli,

Angelika Overath

P

Rose-Marie Pagnard,

Andri Peer,

Oscar Peer,

Anne Perrier,

Rut Plouda,

Marius Daniel Popescu,

Dubravko Pušek,

Fabio Pusterla

Q

Claudia Quadri

R

Kuno Raeber,

Philippe Rahmy,

Dragica Rajčić,

Ilma Rakusa,

Nicolas Robel,

Antonio Rossi,

Gustave Roud,

Anna Ruchat,

Simona Ryser

S

Catherine Safonoff,

Isolde Schaad,

Hansjörg Schertenleib,

Michail Schischkin,

Hansjörg Schneider,

Kathrin Schärer,

Jürg Schubiger,

Hans Schumacher,

Ruth Schweikert,

Monique Schwitter,

Jon Semadeni,

Tommaso Soldini,

Anna Sommer,

Peter Stamm,

Michael Stauffer,

Bruno Steiger,

Michelle Steinbeck,

Jens Steiner,

Carmen Stephan,

Beat Sterchi,

Martin Suter

T

José-Flore Tappy,

Pierre-Alain Tâche,

Matteo Terzaghi,

Leo Tuor

U

Marie-Jeanne Urech,

Raphael Urweider

V

Aglaja Veteranyi,

Christina Viragh,

Peter von Matt

W

Robert Walser,

Frédéric Wandelère,

Julia Weber,

Peter Weber,

Markus Werner,

Urs Widmer

Z

Mary-Laure Zoss,

Matthias Zschokke

Beat Sterchi

The Cow

«The cow lifts her head. All wobbles and trembles: she pulls her weight on to her front feet. She’s trying to get up. With nostrils dripping red, she trumpets through the slaughterhouse. She sits there and rolls her head round to the right, the left, the right again. I retreat……I close my eyes, with my back to the wall, I slip down into a crouch, and try not to think any more.»

"Some have milking machines, and some have foreigners in the cowshed!" as the locals say in Innerwald. Farmer Knuchel has opted for the foreigner and hired Ambrosio from Spain as a farm hand. In the cowshed Ambrosio meets Blösch, the herd’s splendid golden matriarch. Sterchi's superb first novel, which made him a best-selling author in 1983, asks what life in the Swiss backwater has in store for the guest-worker and for the cow.
“The foreigner in the cowshed” is both the basic dilemma upon which the novel is based and its driving force. Brought to Switzerland to muck out the cowsheds, Ambrosio himself ends up fouling the nest of the seemingly idyllic Swiss farming community. Through his sheer foreignness, the Spaniard shows Switzerland up as a country of cows: provincial, narrow-minded and prejudiced. In a series of dramatic scenes, Sterchi describes Abrosio's work at Knuchelbauer's farm and in the slaughter house, and confronts the population with their stereotypes. The action takes place in the course of a single day; all other episodes in the novel are memories. The narrator tells of the culmination of an exploitative production process: the day on which Ambrosio meets Blösch, now an emaciated wreck of an animal, in the slaughterhouse.
The issue of the guest-workers invited to Switzerland as cheap labour in the 1960s is still a thorny one today. But it is above all Sterchi's use of language that makes the novel a brilliant read. The High German text bursts apart in a firework of Swiss-German dialect, stylised shards of Spanish and fragments of Italian Guest-worker language.

(Christa Baumberger, transl. by Anja Hälg)

Translation of title: Blösch

Faber & Faber, London 2000

ISBN: 0-571-20052-4

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