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The article offers an interpretation of Peter Handke's recent works on two levels. 1) On the one hand, the author explains the significance of mythic figures, as evidenced by the recent works, for Handke's conception of writing, language, time and narration. What is perceptible in the text is an Aspiration that undertakes to realize its identity in immediately present forms. 2) Secondly, the author points to the price that has to be paid for the realization of this identity. The mythic specimen is staged through images that transpose narration and writing as creating sense, identity and presence into the sphere of death, yet neither the texts nor the author consciously reflect this process. At the same time, this interpretation is a critique of Handke's recent work. What is problematic in this work is not the reaching out for mythic constellations but the repression of the sacrifice demanded by the continuation of the story about the subject and his presence.

Der vorliegende Beitrag liest den Handkeschen Reisebericht Die Kuckucke von Velika Hoča als Ausdruck einer Ästhetik der Nachträglichkeit, die im Modus einer in der Erzählung selbst sich radikalisierenden Abwesenheit eine sinnerfüllte Präsenz zu konstituieren sich müht. Diese paradoxe Bewegung ist Ansatzpunkt für eine dekonstruktive Lektüre, die den Text gegen das in ihm formulierte Heilsversprechen mobilisiert. Dies geschieht ganz unabhängig von der politischen Dimension des Textes, die nur am Rande berührt wird. In this article, Peter Handke's travelogue Die Kuckucke von Velika Hoča is interpreted within the framework of an aesthetics of posteriority, which strives to constitute a meaningful presence through an increasingly radical absence. This paradox is the starting point for a deconstructive interpretation in which the text is read in opposition to the promise of redemption it formulates. In so doing, the article does not take into account the political dimension of the text, which is mentioned only sporadically.