Editing Michael Ende (section)

==Career==

===Early career===
During his time in Stuttgart, Ende first encountered [[Expressionism|Expressionist]] and [[Dada]]ist writing and began schooling himself in literature. He studied [[Theodor Däubler]], [[Yvan Goll]], [[Else Lasker-Schüler]] and [[Alfred Mombert]], but his real love was the poetry of [[Rainer Maria Rilke]], [[Stefan George]] and [[Georg Trakl]]. He also made his first attempts at acting, performing with friends in Stuttgart's America House. He was involved in productions of [[Chekhov]]'s one-act comedy "The Bear", in which he played the principal role, and in the German premiere of [[Jean Cocteau]]'s ''[[Orpheus (film)|Orpheus]]''. Ende's first play "Denn die Stunde drängt (As Time is Running Out)" dates to this period. It was dedicated to [[Hiroshima]], and was never performed.

Ende decided that he wanted to be a playwright, but financial considerations ruled out a university degree, so in 1948 he auditioned for the [[Otto Falckenberg School of the Performing Arts]] in Munich and was granted a two-year scholarship (Haase).
On leaving drama school, his first job as an actor took him to a provincial theatre company in Schleswig-Holstein. The troupe travelled from town to town by bus, usually performing on makeshift stages, surrounded by beer, smoke and the clatter of skittles from nearby bowling alleys. The acting was a disappointment, he usually had to play old men and malicious schemers, and had barely enough time to memorize his lines. Despite the frustrations and disappointments of his early acting career, Ende came to value his time in the provinces as a valuable learning experience that endowed him with a practical, down-to-earth approach to his work: "It was a good experience, a healthy experience. Anyone interested in writing should be made to do that sort of thing. It doesn't have to be restricted to acting. It could be any kind of practical activity like cabinet making—learning how to construct a cabinet in which the doors fit properly." In Ende's view, practical training had the potential to be more useful than a literary degree.

Thanks to the numerous contacts of his girlfriend [[Ingeborg Hoffmann]], Michael Ende was introduced to a variety of cabaret groups. In 1955, {{Interlanguage link multi|Therese Angeloff|de}}, head of {{Interlanguage link multi|Die kleinen Fische|de}} (the 'Little Fish' cabaret), commissioned Ende to write a piece in commemoration of the 150th anniversary of [[Friedrich Schiller]]'s death. Ende produced a sketch in which a statue of Schiller was interviewed about newsworthy issues, and replied with quotes from Schiller's work. "There was rapturous applause, and commissions arrived from other cabarets too." Michael Ende began to compose sketches, chansons and monologues. He also worked as a film critic during the 1950s.<ref>{{Cite web|url=https://www.inhaltsangabe.de/autoren/ende/|title=Michael Ende • Biografie und Werke|website=www.inhaltsangabe.de}}</ref>

===Commercial success: writing ''Jim Knopf''===
In the late 1950s, Ende wrote his first novel ''Jim Button''.
{{Quote|I sat down at my desk and wrote: "The country in which the engine-driver, Luke, lived was called Morrowland. It was a rather small country." Once I'd written the two lines, I hadn't a clue how the third line might go. I didn't start out with a concept or a plan—I just left myself drift from one sentence and one thought to the next. That's how I discovered that writing could be an adventure. The story carried on growing, new characters started appearing, and to my astonishment different plotlines began to weave together. The manuscript was getting longer all the time and was already much more than a picture book. I finally wrote the last sentence ten months later, and a great stack of paper had accumulated on the desk.}}
Michael Ende always said that ideas only came to him when the logic of the story required them. On some occasions he waited a long time for inspiration to arrive. At one point during the writing of ''Jim Button'' the plot reached a dead end. Jim and Luke were stuck among black rocks and their tank engine couldn't go any further. Ende was at a loss to think of a way out of the adventure, but cutting the episode struck him as disingenuous. Three weeks later he was about to shelve the novel when suddenly he had an idea—the steam from the tank engine could freeze and cover the rocks in snow, thus saving his characters from their scrape. "In my case, writing is primarily a question of patience," he once commented.<ref name=birth>{{Cite web|url=http://www.michaelende.de/en/author/biography/a-famous-first-line-that-gave-birth-to-a-novel|title = A Famous First Line That Gave Birth to a Novel|date = 17 March 2011}}</ref>

After nearly a year the five hundred pages of manuscript were complete. Over the next eighteen months he sent the manuscript to ten different publishers, but they all responded that it was "Unsuitable for our list" or "Too long for children". In the end he began to lose hope and toyed with the idea of throwing away the script. He eventually tried it at a small family publishing-house, K. {{Interlanguage link multi|Thienemann Verlag|de}} in Stuttgart. Michael Ende's manuscript was accepted by company director Lotte Weitbrecht who liked the story. Her only stipulation was that the manuscript had to be published as two separate books.

The first of the ''Jim Button'' novels was published in 1960. About a year later, on the morning of the announcement that his novel, ''Jim Button and Luke the Engine Driver'', had won the German Prize for Children's Fiction, Ende was being sued by his landlady for seven months' rent back payment. With the prize money of five thousand marks, Michael Ende's financial situation improved substantially, and his writing career began in earnest. After the awards ceremony, he embarked on his first reading tour, and within a year, the first ''Jim Knopf'' book was also nominated for the [[Hans Christian Andersen Award]] and received the Berlin Literary Prize for Youth Fiction. The second ''Jim Knopf'' novel, ''Jim Button and the Wild Thirteen'', was published in 1962. Both books were serialized on radio and TV, and the [[Augsburger Puppenkiste]] famously adapted the novels in a version filmed by Hesse's broadcasting corporation. The print-runs sold out so rapidly that K. Thienemanns could barely keep up. Translations into numerous foreign languages soon followed.<ref name=birth/>

===Writing style and themes===
Ende claimed, "It is for this child in me, and in all of us, that I tell my stories", and that "[my books are] for any child between 80 and 8 years" (qtd. Senick 95, 97). He often expressed frustration over being perceived as a children's writer exclusively, considering that his purpose was to speak of cultural problems and spiritual wisdom to people of all ages. Especially in Germany, Ende was accused by some critics of [[escapism]].<ref>{{Cite web|url=http://www.michaelende.de/en/author/biography/escapism-censured|title=Escapism Censured|date=17 March 2011}}</ref><ref>{{Cite news|url=https://www.welt.de/kultur/article5174581/Michael-Endes-Buecher-waren-Opium-fuer-Kinder.html|title = 80. Geburtstag: Michael Endes Bücher waren "Opium für Kinder"|newspaper = Die Welt|date = 12 November 2009|last1 = Freund|first1 = Wieland}}</ref> He wrote in 1985:

<blockquote>One may enter the literary parlor via just about any door, be it the prison door, the madhouse door, or the brothel door. There is but one door one may not enter it through, which is the nursery door. The critics will never forgive you such. The great [[Rudyard Kipling]] is one to have suffered this. I keep wondering to myself what this peculiar contempt towards anything related to childhood is all about.<ref>"''Man darf von jeder Tür aus in den literarischen Salon treten, aus der Gefängnistür, aus der Irrenhaustür oder aus der Bordelltür. Nur aus einer Tür darf man nicht kommen, aus der Kinderzimmertür. Das vergibt einem die Kritik nicht. Das bekam schon der große Rudyard Kipling zu spüren. Ich frage mich immer, womit das eigentlich zu tun hat, woher diese eigentümliche Verachtung alles dessen herrührt, was mit dem Kind zu tun hat.''{{-"}} [http://www.thienemann.de/me/galerie.htm Page on Michael Ende] {{webarchive|url=https://web.archive.org/web/20091119045820/http://www.thienemann.de/me/galerie.htm |date=2009-11-19 }} by Thienemann, the publishing house that published most of Ende's works.</ref></blockquote>

Ende's writing could be described as a surreal mixture of reality and [[fantasy]]. The reader is often invited to take a more interactive role in the story, and the worlds in his books often mirror our reality, using fantasy to bring light to the problems of an increasingly technological modern society. His writings were influenced by [[Rudolf Steiner]] and his [[anthroposophy]].<ref>Peter Boccarius, ''Michael Ende: Der Anfang der Geschichte'', München: Nymphenburger, 1990. {{ISBN|3-485-00622-X}}. German.</ref><ref>[http://www.michaelende.com/bio.php?id=10&lang=de Michael Ende biographical notes], "Michael Ende und die magischen Weltbilder" (German). "...es sei nicht nur die Steinersche Anthroposophie gewesen, die Michael Endes Weltsicht geprägt habe." ("...it was not only Steiner's anthroposophy that defined Michael Ende's world view.") Accessed 8 September 2008</ref> Ende was also known as a proponent of economic reform, and claimed to have had the concept of aging money, or [[demurrage currency]], in mind when writing ''Momo''. A theme of his work was the loss of fantasy and magic in the modern world.<ref>{{Cite web|url=http://www.rossipotti.de/inhalt/literaturlexikon/autoren/ende_michael.html|title = Michael Ende &#124; Rossipotti Literaturlexikon}}</ref>

===Japan===
Michael Ende had been fascinated by [[Japan]] since his childhood. He loved [[Lafcadio Hearn]]'s Japanese legends and ghost stories, and in 1959 he wrote a play inspired by Hearn's material. ''Die Päonienlaterne'' (The Peony Lantern) was written for radio, but never broadcast. Ende was primarily interested in Japan because of its radical otherness. The Japanese language and script were so different from Ende's native German that it seemed they were grounded in a different kind of consciousness—an alternative way of seeing the world.{{fact|date=July 2020}} He was particularly intrigued by the way in which everyday circumstances were shaped into intricate rituals, such as the tea ceremony.{{fact|date=July 2020}} There was, he realized, a sharp contrast between the traditions of ancient Japan and its industry-oriented modern-day society.{{fact|date=July 2020}}

Ende won a devoted following in Japan, and by 1993 over two million copies of ''Momo'' and ''The Neverending Story'' had been sold in Japan. 

In 1986 Michael Ende was invited to attend the annual congress of the JBBY (Japanese Committee for International Children's Literature) in Tokyo. He gave a lecture on "Eternal Child-likeness"—the first detailed explanation of his artistic vision. 1989 marked the opening of the exhibition ''Michael and Edgar Ende'' in Tokyo. The exhibition was subsequently shown in [[Otsu]], [[Miyazaki (city)|Miyazaki]], [[Nagasaki]], [[Osaka]], [[Nagoya]] and [[Fukuyama, Hiroshima|Fukuyama]]. At the invitation of ''Shimbun'', a Japanese newspaper, Michael Ende attended the opening and spent two months touring Japan. It was his third trip accompanied by the Japanese-born Mariko Sato, whom he married in September 1989. The following year an archive devoted to Michael Ende was established at Kurohime Dowakan, a museum in the Japanese city of Shinano-machi. Ende donated letters and other personal items to the collection. On 23 October 1992 Michael Ende made his final trip to Japan. In the course of their three-week visit Michael Ende and Mariko Sato-Ende visited the Dowakan museum, joined Ende's Japanese publishers, Iwanami, in celebrating the millionth sale of Momo, and travelled to Kanazawa and Hamamatsu and a number of other cities that were new to Ende.<ref>{{Cite web|url=http://www.michaelende.de/en/author/biography/mariko-sato-and-japan|title = Mariko Sato and Japan|date = 30 March 2011}}</ref>