The Jib Door - Revision history

Deleatur yhe: /* In the English-speaking world */

2026-11-07T00:00:32Z

In the English-speaking world

← Older revision		Revision as of 00:00, 7 November 2026
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	===In the English-speaking world===		===In the English-speaking world===
	In ''Books Abroad'' Marianne Bonwit writes: "What ~~Franchise~~ Sagan attempts, Marlen Haushofer achieves [in ''Die Tapetentür''], through greater maturity and compassion."<ref>[https://www.jstor.org/stable/40098408 Marianne Bonwit. ''Die Tapetentür'', by Marlen Haushofer. ''Books Abroad'' 32, no. 3 (1958): 294.]</ref>		In ''Books Abroad'' Marianne Bonwit writes: "What Françoise Sagan attempts, Marlen Haushofer achieves [in ''Die Tapetentür''], through greater maturity and compassion."<ref>[https://www.jstor.org/stable/40098408 Marianne Bonwit. ''Die Tapetentür'', by Marlen Haushofer. ''Books Abroad'' 32, no. 3 (1958): 294.]</ref>

	In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.<ref>[https://www.complete-review.com/reviews/austria/haushoferm2.htm M. A. Orthofer's review of ''The Jib Door'' in ''The Complete Review'']</ref>		In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.<ref>[https://www.complete-review.com/reviews/austria/haushoferm2.htm M. A. Orthofer's review of ''The Jib Door'' in ''The Complete Review'']</ref>

Deleatur yhe: /* Reception */

2026-11-06T23:58:44Z

Reception

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	==Reception==		==Reception==
	===In the German-speaking world===		===In the German-speaking world===
	Male critics of the 1950s and 1960s were largely unimpressed by the novel. They viewed Annette as an oversensitive woman and Gregory as a man with a poorly defined character. An examination of the novel’s early reception reveals a moralizing and pathologizing tendency in the reviews, which can be found even among sympathetic critics. The protagonist of ''Die Tapetentür'' is interpreted here as a neurasthenic incapable of coping with life; her suffering at the hands of society is attributed to her hypersensitivity and thus portrayed as a purely private problem. The main character—and often even the author herself—is psychologized; the socially critical element is ignored.<ref name=":0" />		Male critics of the 1950s and 1960s were largely unimpressed by the novel. They viewed Annette as an oversensitive woman and Gregory as a man with a poorly defined character. An examination of the novel’s early reception reveals a moralizing and pathologizing tendency in the reviews, which can be found even among sympathetic critics. The protagonist of ''Die Tapetentür'' is interpreted here as a neurasthenic incapable of coping with life; her suffering at the hands of society is attributed to her hypersensitivity and thus portrayed as a purely private problem. The main character—and often even the author herself—is psychologized; the socially critical element is ignored.<ref name=":0" /><ref>Regula Venske: "Vielleicht, dass ein sehr entferntes Auge eine geheime Schrift aus diesem Splitterwerk enträtseln könnte...". Zur Kritik der Rezeption Marlen Haushofers. In: "Oder war da manchmal noch etwas anderes?" Texte zu Marlen Haushofer. Frankfurt a.M. 1986, S. 43–66.</ref>

	The work received belated recognition in the wake of a feminist reception, which places greater emphasis on Haushofer’s at times radical questioning of the patriarchal system and her approaches critical of rationality.<ref name=":0" />		The work received belated recognition in the wake of a feminist reception, which places greater emphasis on Haushofer’s at times radical questioning of the patriarchal system and her approaches critical of rationality.<ref name=":0" />

Deleatur yhe: /* Reading */

2026-11-06T23:37:29Z

Reading

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	===Reading===		===Reading===
	Annette's reading—primarily [[Kant]] and [[Arthur Schopenhauer\|Schopenhauer]]—is regularly reflected in her musings, for example, when she contemplates the horrors of National Socialism or the legitimacy of having children. Schopenhauer, in particular, proves to be a formative influence on Annette’s pessimistic worldview, according to which security can only be found in death. Annette shares all these reflections in her diary, but never with her husband, who has no interest in intellectual exchange. Gregory uses his intellect only for pragmatic purposes; his conversations with Annette are banal and superficial.		Annette's reading—primarily [[Kant]] and [[Arthur Schopenhauer\|Schopenhauer]]—is regularly reflected in her musings, for example, when she contemplates the horrors of National Socialism or the legitimacy of having children. Schopenhauer, in particular, proves to be a formative influence on Annette’s pessimistic worldview, according to which security can only be found in death. Annette shares all these reflections in her diary, but never with her husband, who has no interest in intellectual exchange. Gregory uses his intellect only for pragmatic purposes; his conversations with Annette are banal and superficial.<ref name=":0">[https://literaturkritik.de/id/3403 Rolf Löchel: ''Laster Liebe - Marlen Haushofers vielleicht immer noch unterschätzter Roman "Die Tapetentür" : literaturkritik.de.'' In: ''literaturkritik.de.'' 1. März 2001, abgerufen am 2. Juli 2020 (German).]</ref>

	===Gender Roles===		===Gender Roles===
	Annette finds it difficult to conform to the traditional division of gender roles, but accepts them as a fact of nature. Women are loving and self-sacrificing, while men are emotionally cold and self-centered. When Gregory lies to her, she sees no other choice but to come to terms with it. Her acceptance of gender stereotypes allows her to justify her husband’s transgressions and maintain her love for him.		Annette finds it difficult to conform to the traditional division of gender roles, but accepts them as a fact of nature. Women are loving and self-sacrificing, while men are emotionally cold and self-centered. When Gregory lies to her, she sees no other choice but to come to terms with it. Her acceptance of gender stereotypes allows her to justify her husband’s transgressions and maintain her love for him.<ref name=":0" />

	The dynamics of the Goldener couple, who are friends of the protagonists, mirror this situation with reversed gender roles. Here, an intelligent, tolerant man sacrifices himself for a superficial, spiteful woman. Annette sees Mr. Goldener’s love for his wife as his only vice; she cannot understand it and is therefore unable to draw an analogy to her own situation. Otherwise, she would no longer be able to excuse Gregory’s behavior and would have to admit to herself that all his faults are due to his character and not to his nature as a man.		The dynamics of the Goldener couple, who are friends of the protagonists, mirror this situation with reversed gender roles. Here, an intelligent, tolerant man sacrifices himself for a superficial, spiteful woman. Annette sees Mr. Goldener’s love for his wife as his only vice; she cannot understand it and is therefore unable to draw an analogy to her own situation. Otherwise, she would no longer be able to excuse Gregory’s behavior and would have to admit to herself that all his faults are due to his character and not to his nature as a man.<ref name=":0" />

	==Reception==		==Reception==
	===In the German-speaking world===		===In the German-speaking world===
	Male critics of the 1950s and 1960s were largely unimpressed by the novel. They viewed Annette as an oversensitive woman and Gregory as a man with a poorly defined character. An examination of the novel’s early reception reveals a moralizing and pathologizing tendency in the reviews, which can be found even among sympathetic critics. The protagonist of ''Die Tapetentür'' is interpreted here as a neurasthenic incapable of coping with life; her suffering at the hands of society is attributed to her hypersensitivity and thus portrayed as a purely private problem. The main character—and often even the author herself—is psychologized; the socially critical element is ignored.		Male critics of the 1950s and 1960s were largely unimpressed by the novel. They viewed Annette as an oversensitive woman and Gregory as a man with a poorly defined character. An examination of the novel’s early reception reveals a moralizing and pathologizing tendency in the reviews, which can be found even among sympathetic critics. The protagonist of ''Die Tapetentür'' is interpreted here as a neurasthenic incapable of coping with life; her suffering at the hands of society is attributed to her hypersensitivity and thus portrayed as a purely private problem. The main character—and often even the author herself—is psychologized; the socially critical element is ignored.<ref name=":0" />

	The work received belated recognition in the wake of a feminist reception, which places greater emphasis on Haushofer’s at times radical questioning of the patriarchal system and her approaches critical of rationality.		The work received belated recognition in the wake of a feminist reception, which places greater emphasis on Haushofer’s at times radical questioning of the patriarchal system and her approaches critical of rationality.<ref name=":0" />

	===In the English-speaking world===		===In the English-speaking world===

Deleatur yhe at 23:25, 6 November 2026

2026-11-06T23:25:20Z

← Older revision		Revision as of 23:25, 6 November 2026
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	Annette’s father left the family when she was still a child and has made no effort to contact her. When he dies, Annette meets the lawyer Gregory Xanther at the reading of the will; his personality—completely opposite to her own—both attracts and unsettles her. Despite dark premonitions and a lack of trust in his ability to remain faithful, she enters into a relationship with him, becomes pregnant, and accepts his marriage proposal. This first profound romantic experience rouses her from her previous lethargy and gives her a sense of security, but at the same time it forces her into a state of constant pretense, since the superficial Gregory shows little interest in her inner life, leading Annette to conclude that she cannot fully express any negative emotions—such as fear or anger—to him.		Annette’s father left the family when she was still a child and has made no effort to contact her. When he dies, Annette meets the lawyer Gregory Xanther at the reading of the will; his personality—completely opposite to her own—both attracts and unsettles her. Despite dark premonitions and a lack of trust in his ability to remain faithful, she enters into a relationship with him, becomes pregnant, and accepts his marriage proposal. This first profound romantic experience rouses her from her previous lethargy and gives her a sense of security, but at the same time it forces her into a state of constant pretense, since the superficial Gregory shows little interest in her inner life, leading Annette to conclude that she cannot fully express any negative emotions—such as fear or anger—to him.

	At Gregory’s request, Annette gives up her career to focus entirely on her new role as a housewife and mother. During her pregnancy, Gregory’s evening appointments—supposedly for work—become more frequent. Annette suspects he is having an affair and begins to suffer from insomnia. Her health deteriorates day by day. Complications arise during childbirth. Annette loses the baby and suffers a nervous breakdown. Not wanting to be a burden to Gregory, she leaves him.		At Gregory’s request, Annette gives up her career to focus entirely on her new role as a housewife and mother. During her pregnancy, Gregory’s evening appointments—supposedly for work—become more frequent. Annette suspects he is having an affair and begins to suffer from insomnia. Her health deteriorates day by day. Complications arise during childbirth. Annette loses the baby and suffers a nervous breakdown. Not wanting to be a burden to Gregory, she leaves him.<ref>[https://www.jstor.org/stable/43855227 Lorraine Markotic. “Melancholy and Lost Desire in the Work of Marlen Haushofer.” ''Modern Austrian Literature'' 41, no. 1 (2008): 65–93.]</ref>

	==Themes and motifs==		==Themes and motifs==

Deleatur yhe: /* In the English-speaking world */

2026-11-06T23:19:37Z

In the English-speaking world

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	In ''Books Abroad'' Marianne Bonwit writes: "What Franchise Sagan attempts, Marlen Haushofer achieves [in ''Die Tapetentür''], through greater maturity and compassion."<ref>[https://www.jstor.org/stable/40098408 Marianne Bonwit. ''Die Tapetentür'', by Marlen Haushofer. ''Books Abroad'' 32, no. 3 (1958): 294.]</ref>		In ''Books Abroad'' Marianne Bonwit writes: "What Franchise Sagan attempts, Marlen Haushofer achieves [in ''Die Tapetentür''], through greater maturity and compassion."<ref>[https://www.jstor.org/stable/40098408 Marianne Bonwit. ''Die Tapetentür'', by Marlen Haushofer. ''Books Abroad'' 32, no. 3 (1958): 294.]</ref>

	In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.		In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.<ref>[https://www.complete-review.com/reviews/austria/haushoferm2.htm M. A. Orthofer's review of ''The Jib Door'' in ''The Complete Review'']</ref>

	==References==		==References==

Deleatur yhe: /* References */

2026-11-06T23:16:20Z

References

← Older revision		Revision as of 23:16, 6 November 2026
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	===In the English-speaking world===		===In the English-speaking world===
	In ''Books Abroad'' Marianne Bonwit writes: "What Franchise Sagan attempts, Marlen Haushofer achieves [in ''Die Tapetentür''], through greater maturity and compassion."<ref>Marianne Bonwit. ''Die Tapetentür'', by Marlen Haushofer. ''Books Abroad'' 32, no. 3 (1958): ~~294–294. <nowiki>https://doi.org/10.2307/40098408</nowiki>~~.</ref>		In ''Books Abroad'' Marianne Bonwit writes: "What Franchise Sagan attempts, Marlen Haushofer achieves [in ''Die Tapetentür''], through greater maturity and compassion."<ref>[https://www.jstor.org/stable/40098408 Marianne Bonwit. ''Die Tapetentür'', by Marlen Haushofer. ''Books Abroad'' 32, no. 3 (1958): 294.]</ref>

	In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.		In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.

Deleatur yhe: /* References */

2026-11-06T23:14:13Z

References

← Older revision		Revision as of 23:14, 6 November 2026
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	==References==		==References==
			{{reflist}}

	🇩🇪 ''The majority of this content translated from the existing German Wikipedia article ''[https://de.wikipedia.org/wiki/Die_Tapetent%C3%BCr ''Die Tapetentür'']''; see its history for attribution.📚		🇩🇪 ''The majority of this content translated from the existing German Wikipedia article ''[https://de.wikipedia.org/wiki/Die_Tapetent%C3%BCr ''Die Tapetentür'']''; see its history for attribution.📚

Deleatur yhe: /* In the English-speaking world */

2026-11-06T23:13:22Z

In the English-speaking world

← Older revision		Revision as of 23:13, 6 November 2026
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	===In the English-speaking world===		===In the English-speaking world===
	In ''Books Abroad'' Marianne Bonwit writes: "What Franchise Sagan attempts, Marlen Haushofer achieves [in ''Die Tapetentür''], through greater maturity and compassion."		In ''Books Abroad'' Marianne Bonwit writes: "What Franchise Sagan attempts, Marlen Haushofer achieves [in ''Die Tapetentür''], through greater maturity and compassion."<ref>Marianne Bonwit. ''Die Tapetentür'', by Marlen Haushofer. ''Books Abroad'' 32, no. 3 (1958): 294–294. <nowiki>https://doi.org/10.2307/40098408</nowiki>.</ref>

	In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.		In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.

Deleatur yhe at 09:37, 6 November 2026

2026-11-06T09:37:31Z

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	\| italic title = <!-- (see above) -->		\| italic title = <!-- (see above) -->
	\| name = The Jib Door		\| name = The Jib Door
	\| image =		\| image = [[File:Die Tapetentür.jpg\|center\|thumb]]
	\| image_size =		\| image_size =
	\| border =		\| border =
	\| alt =		\| alt =
	\| caption =		\| caption = <center>Cover of the 1st German-language edition</center>
	\| author = Marlen Haushofer		\| author = Marlen Haushofer
	\| title_orig = Die Tapetentür		\| title_orig = Die Tapetentür

Deleatur yhe: /* Reception */

2026-11-06T08:32:28Z

Reception

← Older revision		Revision as of 08:32, 6 November 2026
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	===In the English-speaking world===		===In the English-speaking world===
			In ''Books Abroad'' Marianne Bonwit writes: "What Franchise Sagan attempts, Marlen Haushofer achieves [in ''Die Tapetentür''], through greater maturity and compassion."

	In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.		In a review of the German-language version, M. A. Orthofer writes: "[''Die Tapetentür''] is a fine life-study, and Annette a strong—and strongly drawn—character. Haushofer is a talented writer, and shows a deft touch in the shaping and presentation of her story, leaving much seemingly left unsaid and not shown—there are barely any sorts of exchanges with Gregor, for example—yet still conveying all that is essential. There's a grimness to the tale—a reflection of the times, too—but ''The Jib Door'' is a strong piece of work." Orthofer states that he would have preferred a different English title to that of ''The Jib Door''.