Read Ebook {PDF EPUB} Tideland by Mitch Cullin Tideland by Mitch Cullin. Exclusive to Dreams: the Terry Gilliam Fanzine. Author Mitch Cullin discusses Terry Gilliam and the Film Adaptation of his novel, Tideland. by Tim Woo Since 1998, Mitch Cullin has published a string of highly acclaimed novels, among them the startling novel-in-verse Branches and the bittersweet The Cosmology of Bing, marking him as one of the best and most distinctive new voices in American literature. A writer who avoids publicity tours and readings, he has already established himself as something of a cult figure, working outside of mainstream publishing, and writing books that don't fall easily into current literary trends. His recent offering is a global-spanning collection of eight longish stories (From The Place In The Valley Deep In The Forest) that has garnered the usual amount of praise, including a starred review from Booklist, and will be published next year in the United Kingdom by Weidenfeld & Nicolson. With major publishers from other countries such as Japan and The Netherlands translating his work for forthcoming editions, the 34-year-old author seems poised for even greater success beyond his own country. As a result, it's no surprise that maverick filmmaker Terry Gilliam would take notice of Cullin's unique worldview, a vision that mixes dark themes, humor, and a deep sense of compassion for his unusual characters. I caught up with Mitch Cullin via telephone at his home in Tucson, Arizona. Expecting to hear the voice of a serious, intense young novelist, I was surprised by the warmth and friendliness he extended toward me, answering every question frankly and with the slight hint of a Texas accent. Often quick to digress from the subject of himself, he seemed more comfortable talking about his passion for contemporary underground bands like the desert-influenced Giant Sand/Calexico collective and Kurt Wagner's neo-country outfit Lambchop, the unrecognized genius of the late Gene Clark, and his growing collection of import Japanese DVDs. But when director and former Monty Pythoner Terry Gilliam was brought up, it was evident that I'd found a subject that pleased him as much as his hobbies. It's seems you're a lover of movies, especially world cinema, so I'm wondering if you've ever entertained any ideas of directing? As a kid I wanted to be Stanley Kubrick. Wait, I take that back - I wanted to be Terence Fisher, the guy who directed a lot of those great old Hammer horror films. I had my Super 8 camera, and shot a lot of short movies with friends, things with titles like Don't Open The Door and U.F.O. But it seems I was meant to be a writer, so one aspiration simply evolved into another. Now I much prefer just watching movies. And, in a way, being a writer of books is like being a director for the mind. When writing something, I get to do the set design, casting, work out the look and feel of the scenes, the editing, all that stuff in my head and then on paper. So I've got final cut, as it were. On a whim, I can even kill off the actors with total impunity if I want. But it doesn't pay as well as film directing, I guess. But then again, I don't have to deal with studios or countless egos, and no one is re-writing my work to suit their agenda of making potential millions. To be honest, I probably lack the social skills and logistical aptitudes required to direct anything or anyone other than myself. Don't you have to put up with a certain degree of compromising when dealing with publishers? No, I've been pretty lucky there, especially since the books have proven themselves. Then you get known for writing odd, curious little books, and there's quite a bit of freedom in being perceived that way. I know writers who've had some incredibly miserable experiences with editors and publishers, but I've been fortunate. Of course, a lot of that crap goes on in the larger publishing houses, which are gradually operating more and more with a Hollywood mentality. So you've got a lot of twenty-ish corporate types telling fifty-year-old writers what makes viable fiction. But I started out with small presses, dealing exclusively with editors and publishers who value good writing, regardless of whether it sells in the hundred thousands or not. It's the template way of thinking that I despise the most. What is that exactly? You know, if something isn't based on a successful model then it isn't even worth considering. So Oprah recommends a book, and suddenly publishers and agents are looking for something just like it and little else. Flavor of the week stuff, right? This kind of thing goes on in Hollywood and in the music business all the time. It's really sick, just the biggest enemy of innate creativity that I can imagine, because it forces artists to alter or stifle their own natural tendencies. It's a dangerous thing when writers or filmmakers or musicians become caterers. Along those lines, Terry Gilliam has a reputation for being David to Hollywood's Goliath. Have his battles been an inspiration to you? Again, I've had few battles to get my art out there. That said, I do think his uncompromising integrity has been an inspiration to many, and not only for writers and other artists. But I can't equate my industry hardships with his, because either I've been incredibly lucky or it's just that I'm not worth taking on. Also, my medium is tiny compared to his, so it's easier to fly under the radar because there's not millions of dollars involved. So I quietly write my books, they get published with a minimum amount of fanfare, and it's a fairly straight line from one end to the other. If I had to deal with the kind of people he's had to deal with while trying to get his films made, I'd probably have dived headfirst into a drained, empty swimming pool by now. Is his interest in turning Tideland into a film a dream come true? Well, for me it is, very much so. Although it might become a nightmare for Terry (laughs). You know, I sent him the book before it came out--when it was still in galley form--because I wanted him to see it and hopefully enjoy it, and I wanted him to know how much his work has meant to me. In a way, books are a benign way to make contact with those people who've been your dream weavers, and Terry is certainly one of mine. No one believes me when I tell them this, but I wasn't trying to sell him on it as a movie. Maybe, I thought, he'd give it a blurb, or at least acknowledge my work in a note, something like that. I knew he had other projects going on, and I'm not presumptuous enough to think that what I create must be made into a film. In fact, aside from Whompyjawed, I've always thought my books would be tough to film well. That said, once the ball got rolling on Tideland I was delighted, amazed, and a bit doubtful. Still am, actually. I'm also pleased that Jeremy Thomas is producing it, because he's worked with many of my favorites, people like Takeshi Kitano and Nagisa Oshima. I take it you were a Monty Python fan as a kid. Absolutely. I first saw Python as a second or third grader in Dallas. It completely altered my reality--I'd never seen anything like it, but it also made sense to me, in a way that also made no sense whatsoever. (laughs) Does that make sense? Anyway, I think Dallas was one of the first cities in the U.S. to show it on TV, so this was probably 1977, maybe earlier. It was shown on Sunday nights, and because my mother liked it too, I was allowed to stay up past my normal bedtime to watch it. That alone guaranteed a tremendous amount of devotion from me. Favorite Monty Python sketch? Lord, there's just too many. The Fish-Slapping Dance never fails to crack me up. And Terry Jones sitting naked at the organ, something about his expression and bare ass, go figure. The exploding sheep, too. At what point did you become aware of Terry Gilliam's films? The first one that impacted on me was Time Bandits, and it impacted on me in a big, big way. I was living with my father by then, in Santa Fe, and I must've seen the film every night that it played. In fact, my dad would pick me up from school, we'd do errands and eat, and then he'd drop me at the theater. This was before we had cable TV and a VCR, of course. Even though your work is occasionally experimental, your novels tend to be character driven and much more literary than fantasy. Why do you think a director known for his surreal, fantastic take on things picked Tideland? Well, it just appealed to his sensibilities, or his insensibilities, I guess. Actually, Tideland does mix elements of fantasy with the real, and I guess that combination gives it a slightly more surreal edge over my other books. But if you look closely at something like Branches, it has those elements as well. When I was writing Tideland, I spent a lot of time reading about and looking at the work of Andrew Wyeth. Now I make no mention of Wyeth in the acknowledgements, and I didn't use any of his imagery in the text. But I was trying to put the feeling his art gave me into the marrow of the book. Later, after Terry read it, he mentioned that parts of it reminded him of a Wyeth painting, and I was amazed. No one else before or since has made the connection, but he did. So apparently he was able to visualize those elements while reading it--that mixture of the natural and the surreal, the juxtaposition of images--and maybe that's what grabbed him. I don't know for certain though. At what stage is the film version in? I'm not really sure. I suspect it's at the we-need-money-pronto-to-make-it stage, so we'll see. It's a long, potentially gnarly road from where it is now and the big screen, and a good number of things could just prevent it from getting made. But the script is done, and I think Tony Grisoni did a great job at compressing the book and making it film worthy. So far they're staying pretty faithful to the novel, but I hope to god if it's made Terry will embellish and add and turn it upside-down somehow. Why would you want that? That's a pretty rare thing for a writer to say. Well, because I'm a fan of his films, and if it's made I'd like to sit in the theater and not be too aware of the fact that it's based on my book. For that matter, I have absolute faith in both Terry's and Tony's artistic leanings, much more so than my own and most others. So I want to see a Terry Gilliam movie, not a Mitch Cullin book. Really, I'm a much bigger fan of what he does than I am of what I do. In fact, it's probably fair to say I'm not a fan of Mitch Cullin at all. I mean, Christ, I see him every day, and naked too! He can really be a moody fucker. Still, he's mostly a nice guy, just gets on my nerves at times. But what can I do, other than die (laughs). Is that true? You don't really like what you do? Oh, I do for the most part. It's hard work, you know. It's just not much fun, and I certainly don't curl up with what I write, feeling all giddy and full of delight about my books. That'd be a bit masturbatory, wouldn't it? And not in the best sense. It's a strange road, I suppose, because I'm not sure I had much say in this writing life. It's like I stepped into a room over fifteen years ago and shut the door--meanwhile relationships ended, new ones began, people died, my friends got married and some had children--and I end up emerging one day, staring at myself in the bathroom mirror, thinking, "Where'd my hair go?" Going back to Tideland, have you had any input in the film? You mean in terms of it being realized for the screen? Yes. As well as ideas about the script, actors, things like that? No, not really. I'd rather stay out of that one. If asked, I offer my two cents, but the truth is, that sort of stuff is a bit premature at the moment. Actually, I did read through the first draft of the script, and prior to it being written Tony asked if I had any research that might help him get going, so I sent over some articles and photographs I'd used while writing the book. Sent him some music too, if I recall. Not sure how helpful that was, though. Actually, I recently sent Terry some CDs of my pal Howe Gelb's music, thinking there might be something there he could use for the film. Other than that, I've tried my best not to be a pest. There are few things more annoying than pesky writers, really. Even more annoying than pesky journalists? Okay, you got me there. Pesky writers are actually third, right after pesky journalists and pesky waiters. What about pesky editors? That's right, I forgot. Pesky writers are fourth then, right beneath the editors. Tideland. Tideland is the third published book by author Mitch Cullin, and is the third installment of the writer's Texas Trilogy that also includes the coming- of-age novel Whompyjawed [1] and the novel-in-verse Branches . [2] Contents. Footnotes See also External links. The story is a first-person narrative told by the young Jeliza-Rose, detailing the summer she spent alone at an isolated, rundown farmhouse in Texas called What Rocks. With only the heads of old Barbie dolls to keep her company, Jeliza-Rose embarks on a series of highly imagined and increasingly surreal adventures in the tall grass surrounding the farmhouse. [3] Tideland was first published in the United States in 2000 by Dufour Editions. [4] The book received major notices upon publication, including a review from New York Times Book Review [5] [6] which wrote that the novel was "brilliant and beautiful." Some have favourably compared the book to earlier Southern Gothic American literature such as To Kill a Mockingbird and A Rose for Emily , [6] while others, including Terry Gilliam and film producer Jeremy Thomas, have called the book a modern hybrid of Psycho and Alice's Adventures in Wonderland . [7] A subsequent United Kingdom paperback edition followed in 2003 from Weidenfeld & Nicolson, with Gilliam's infamous blurb on the cover: "F*cking wonderful!" [8] Other editions have since been published in the Netherlands, [9] Japan, [10] France, [11] Greece, [12] Italy, [13] Poland, [14] Russia, [15] Turkey, [16] and Korea. [17] In 1999, Cullin sent a pre-publication galley to Gilliam for a cover blurb, but Gilliam so liked what he read that he optioned the book with an eye to direct. [18] The controversial film version was produced by Gabriella Martinelli and Jeremy Thomas for Capri Films and Recorded Picture Company, and was directed by Gilliam and shot in Canada in 2004. Cullin was given a brief cameo in the movie and contributed lyrics to the soundtrack, [19] and the name "M. Cullin" appears on the mailbox at the farmhouse where much of the film takes place. [20] The script adaptation was written by Gilliam and screenwriter Tony Grisoni. [21] Footnotes. ↑ Mitch Cullin (1999-08-08). "Whompyjawed publication info". Redroom.com . Retrieved 2010-11-27 . ↑ Mitch Cullin (2000-04-01). "Branches publication info". Redroom.com . Retrieved 2010-11-27 . ↑Tideland plot from IMDB.com ↑ Mitch Cullin (2000-08-28). "Tideland publication info". Redroom.com . Retrieved 2010-11-27 . ↑ Lewis, Jim (2000-09-24). "New York Times, Decomposition 101 by Jim Lewis (9-24, 2000)". New York Times . Retrieved 2010-11-27 . 12"Dufour Editions review page for Tideland". Dufoureditions.com. 2001-04-09 . Retrieved 2010- 11-27 . ↑"Terry Gilliam's Fields of Insanity Oct. 13, 2006". Nysun.com. 2006-10-13 . Retrieved 2010-11-27 . ↑"The Skinny, Aug. 14, 2006". Theskinny.co.uk. 2006-08-14 . Retrieved 2010-11-27 . ↑ Mitch Cullin (2002-01-11). "The Netherlands edition". Redroom.com . Retrieved 2010-11-27 . ↑ Mitch Cullin (2004-12-01). "Japanese edition". Redroom.com . Retrieved 2010-11-27 . ↑ Mitch Cullin (2006-05-01). "French edition". Redroom.com . Retrieved 2010-11-27 . ↑ Mitch Cullin (2006-02-02). "Greek edition". Redroom.com . Retrieved 2010-11-27 . ↑ Mitch Cullin (2006-01-01). "Italian edition". Redroom.com . Retrieved 2010-11-27 . ↑ Mitch Cullin (2006-07-01). "Polish edition". Redroom.com . Retrieved 2010-11-27 . ↑ Mitch Cullin (2006-09-01). "Russian edition". Redroom.com . Retrieved 2010-11-27 . ↑ Mitch Cullin (2005-03-23). "Turkish edition". Redroom.com . Retrieved 2010-11-27 . ↑ Mitch Cullin (2008-05-21). "Korean edition". Redroom.com . Retrieved 2010-11- 27 . ↑"Cullin interview at Dreams". Smart.co.uk . Retrieved 2010-11-27 . ↑Tideland soundtrack ↑IMDB.com film triva page ↑IMDB.com page. See also. Fantasy Southern Gothic Southern literature Speculative Fiction. External links. Official website for author Mitch Cullin The novel's webpage with 1st chapter available to read. v t e. Whompyjawed (1999) Branches (2000) Tideland (2000) The Cosmology of Bing (2001) UnderSurface (2002) A Slight Trick of the Mind (2005) The Post-War Dream (2008) Tideland (2005) Mr. Holmes (2015) Related Research Articles. Terrence Vance Gilliam is an American-born British film director, screenwriter, animator, actor, comedian and former member of the Monty Python comedy troupe. Ender's Game is a 1985 military science fiction novel by American author Orson Scott Card. Set at an unspecified date in Earth's future, the novel presents an imperiled humankind after two conflicts with the Formics , an insectoid alien species they dub the "buggers". In preparation for an anticipated third invasion, children, including the novel's protagonist, Andrew "Ender" Wiggin, are trained from a very young age by putting them through increasingly difficult games, including some in zero gravity, where Ender's tactical genius is revealed. Mark Z. Danielewski is an American fiction author. 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A blurb is a short promotional piece accompanying a piece of creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust jacket of a book, and are now found on web portals and news websites. A blurb may introduce a newspaper or a book. Guthrie is an unincorporated community and census-designated place (CDP) in, and the county seat of, King County in the U.S. state of Texas. It is in the northern part of the state, 93 miles (150 km) east of Lubbock. It serves as the principal headquarters of the Four Sixes Ranch. As of the 2010 census the population was 160. Vincent Joseph Flynn was an American author of political thriller novels surrounding the story of the fictional assassin Mitch Rapp. He was a story consultant for the fifth season of the television series 24 . He died on June 19, 2013, after three years with prostate cancer. Jodelle Micah Ferland is a Canadian actress. She made her debut at the age of four, with the television movie Mermaid (2000) for which she received a Daytime Emmy Nomination, making her the youngest to be nominated. She has since appeared in several films, which include Tideland (2005), Silent Hill (2006), Good Luck Chuck (2007), Case 39 (2009), The Twilight Saga: Eclipse (2010), and The Tall Man (2012). Aside from her film roles, she has starred as Mary Jensen in the television series Kingdom Hospital (2004), and as Five in the television series Dark Matter (2015–2017). Mitch Cullin is an American writer. He is the author of seven novels, and one short story collection. He currently resides in Arcadia, California and Tokyo, Japan with his partner and frequent collaborator Peter I. Chang. His books have been translated into over 10 languages, among them French, Polish, Japanese, and Italian. Tideland is a 2005 British-Canadian neo-noir fantasy horror film co-written and directed by Terry Gilliam. It is an adaptation of Mitch Cullin's novel of the same name. The film was shot in Regina, Saskatchewan, Canada, and the surrounding area in late 2004. The world premiere was at the 2005 Toronto International Film Festival where the film was met with mixed response from both viewers and critics. After little interest from U.S. distributors, THINKFilm picked the film up for a U.S. release date in October 2006. Recorded Picture Company is a British film production company founded in 1974 by producer Jeremy Thomas. Branches is a novel-in-verse by American author Mitch Cullin, with illustrations by the Japanese artist Ryuzo Kikushima. It is the second installment of the writer's Texas Trilogy that also includes the coming-of-age football novel Whompyjawed and the surrealistic novel Tideland . From the Place in the Valley Deep in the Forest is a short-story collection by American writer Mitch Cullin, and is the author's fifth book. It was first published as a trade paperback in November 2001 by Dufour Editions in the US. A UK trade paperback edition was published by Weidenfeld & Nicolson in January 2005. In 2007, the Italian publisher FBE released a trade paperback translation of the collection as Da Quel Luogo Nella Valle Dentro La Foresta . Peter I. Chang is a Taiwanese-born mixed-media artist, illustrator, and filmmaker. He has often collaborated with the author Mitch Cullin who is also his domestic partner. A Slight Trick of the Mind is the seventh book by American author Mitch Cullin. The Post-War Dream is the eighth book by American author Mitch Cullin and was published by Random House in March 2008. Watchmen is a 2009 film based on the twelve-issue graphic novel series of the same name created by writer Alan Moore, artist Dave Gibbons, and colorist John Higgins, published by DC Comics between 1986 and 1987. The graphic novel's film rights were acquired by producer Lawrence Gordon in 1986. 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Escaping into the fantasies of her own over-active imagination she discovers fireflies with names, bog men who awaken at dusk, and monster sharks swimming down railroad tracks. Her collection of disembodied Barbie heads share in her adventures along with her real friend Dickens. In the tradition of such cult classics as Iain Banks's THE WASP FACTORY and Patrick McCabe's THE BUTCHER BOYy, and playfully recalling ALICE IN WONDERLAND, TIDELAND, Tideland is a brilliantly dark and ingenious creation. Set in a landscape populated with singular characters and stark imagery, TIDELAND illuminates those moments when the fantastic emerges from seemingly common occurrences and lives - and a lonely child discovers magic and danger behind even the most mundane of events. Отзывы - Написать отзыв. LibraryThing Review. This is a dark but well written book featuring a very memorable character and voice. Jeliza-Rose is a young girl living in a run-down house on the Texas plains and adrift, mostly, in her own . Читать весь отзыв. TIDELAND. Cullin returns to the rural Texas landscape of his Whompyjawed (1999) and Branches (p. 5), in a narrative that veers unevenly between mordant humor and a self-conscious quirkiness that too often . Читать весь отзыв. Tideland by Mitch Cullin. I am in awe of Mitch Cullin’s novel Tideland , but I am well-aware there are a whole lot of people who would intensely hate this book. The unusual perspective is what I admire most about Tideland , but it is also the very thing that makes it an uncomfortable read. It is from the point-of- view of 11-year-old Jeliza-Rose, a child of irresponsible junky parents. Telling a story through the eyes of an 11-year-old is daring in itself, but to tackle the perspective of a child who has never been to school, and has hardly seen a person apart from her well-meaning but unfit father, and her abusive, emotionally unstable mother, is something else entirely. Amazingly, Mitch Cullin absolutely nails it. Jeliza-Rose has an enormous imagination, and a mind that is always buzzing, but a much more naïve and innocent perspective than we would expect from an 11-year-old. But, of course, her maturity would be light-years behind because of her isolation. The reader objectively sees Jeliza-Rose’s world as lonely and unsafe, but also sees Jeliza-Rose infuse magic into everything around her with a child’s innocence and imagination. Yet, it isn’t that kind of story. Jeliza- Rose isn’t simply rising above her circumstances. The bleakness of her world is affecting her in ways she can’t possibly realize. The reader is left wondering how much living inside a world of imagination is just being a child, and how much might be indicative of psychosis. The next worry is the trouble Jeliza-Rose could find herself in if she continues to refuse reality. I believe it was Harry Crews that said something along the lines that what happens in a book and what a book is about are two totally different things, and usually, when faced with the question, “What is this book about?” it is best to answer in one or two words. In reverence to that, one of the words I would use to answer what Tideland is about is “Isolation.” This book takes place almost entirely in and around an abandoned farmhouse in rural Texas, a place Jeliza-Rose calls What Rocks, with only occasional flashbacks to the already-isolated life she had before in Los Angeles. Jeliza-Rose moves to What Rocks with her father after her mother chokes to death. Soon after, her father dies of a heroin overdose. For much of the book, the only characters are Jeliza-Rose, and four disembodied Barbie doll heads she imagines as alive when placed on her fingers. The scenes involving the doll heads can only be described as creepy, and I believe these doll heads are really just projections of different aspects of Jeliza-Rose’s psyche. I liked the scenes with just Jeliza-Rose and the doll heads, but I was feeling the impact of her isolation strongly, and was relieved when Jeliza-Rose eventually meets her mentally-impaired, adult neighbor Dickens, and he and his sister/caretaker/abuser Dell are introduced into the story. “Innocence” is another word I would use to explain what this book is about, and the addition of the mentally-impaired Dickens to the story certainly adds complexity to Cullin’s exploration of innocence. One of the most indisputably shocking elements of the book is the somewhat romantic relationship that forms between Jeliza-Rose and Dickens. And any reader would be lying, whether it be to others or to him or herself, if he or she didn’t admit that Dickens’ disability makes the relationship more palatable. Yet, as the story goes on we realize that innocence isn’t necessarily harmless. Dickens will show that although he is childlike, he is also dangerous, and his innocence in fact makes him more dangerous. As you can see, it is not so simple to say “I recommend this book,” or “Go out and read this book.” A lot of readers wouldn’t make it through the first half, and I can understand why. This is a book that will make you uncomfortable, worry you, upset you, and challenge your beliefs, and beyond all this, there simply isn’t all that much stimulus. However, what I love about this book is I was always feeling something. I have given up on many books because I felt I couldn’t care about the characters, and I really cared about Jeliza-Rose. The filmmaker Terry Gilliam, who made a film adaptation of the book, said (and I am paraphrasing again) this book helped him find the child within him. I suppose something like that happened to me as well. This book takes its reader back through childhood, all of it, even the parts we’d rather to forget. It’s what makes Tideland a challenge, but also what makes it a really special experience. Tideland. There has been an article in the EVENING STANDARD about the making of the film of TIDELAND, as well as diary pieces in the SUNDAY TELEGRAPH and the DAILYTELEGRAPH 'Alice in Wonderland relocated to a world of bizarre characters, set against a sinister rural backdrop.'FHM **** ''It has a vein of richly inventive, manic black humour running beneath is deadpan surface. Quite apart from Alice [in Wonderland] there are echoes of The Catcher in the Rye, The WaspFactory and even To Kill A Mockingbird. But dozens of books drawn these comparisons each year and TIDElAND offers something unique - it is a haunting anddisturbing novel with the power to enchant and sicken in equal measure.'WATERSTONE'S BOOKS QUARTERLY 'A book that is dark and delightful in equal measure. Rese�a del editor : Moving from Los Angeles to rural Texas with her junkie father after her mother's death, Jeliza-Rose drifts from the harsh reality of her childhood into a new life. Escaping into the fantasies of her own over-active imagination she discovers fireflies with names, bog men who awaken at dusk, and monster sharks swimming down railroad tracks. Her collection of disembodied Barbie heads share in her adventures along with her real friend Dickens. In the tradition of such cult classics as Iain Banks's THE WASP FACTORY and Patrick McCabe's THE BUTCHER BOYy, and playfully recalling ALICE IN WONDERLAND, TIDELAND, Tideland is a brilliantly dark and ingenious creation. Set in a landscape populated with singular characters and stark imagery, TIDELAND illuminates those moments when the fantastic emerges from seemingly common occurrences and lives - and a lonely child discovers magic and danger behind even the most mundane of events. ��ber diesen Titel� kann sich auf eine andere Ausgabe dieses Titels beziehen.