Scheingehacktes and Schaufenster-hypnosis are two short prose pieces of bizarre fantasy. Both pieces have an unmistakable humor, also a beguiling linguistic humor, which is admittedly curious for this Dutch woman writing in German, but the humorousness of the stories has something oppressive, makes one suspicious until the story ends, only to suddenly become full humor again. In this style, of a story like Schaufenster, which has as its subject the obsession of a kleptomaniac man, who keeps calmly and emphatically assuring himself not to be deviant, the humor is tangled. There's not much way out of it; the humor of the style brings occasional relief, but the whole thing is oppressive, and it actually becomes even more oppressive because of that imprisoned funny. This man arrives in a big city one fine day with the intention of learning about one of the many facets of that city's life. As if guided by an invisible hand, he comes across a shop window, which is completely filled with artfully stacked blue enameled milk churns. At the bottom are large milk ducts, but towards the top are smaller and smaller ducts, which are finally connected again somewhere in the background so that the whole thing forms a gateway. The man falls under the spell of this series. In this hypnosis he can no longer understand how he could have lived so long without these milk chutes, indeed he even wonders whether a life is conceivable without the fulfillment of these milk chutes, and then he thinks with fear of all the Chinese who walk somewhere very far away, without a milk chute, to one village or another. All the milk churns are bought - they are followed by large objects and small objects, but a series of everything, until the man's house has become the triumph of the series and he has no possibility and no way out to buy more and there comes a desperation, which first leads to exchange, then to stealing smaller and smaller objects and finally to a psychiatric institution.It is a very remarkable mind that has written this story, because in every line it has a distinction, which contrasts so strangely with the hastiness in which the story is written. This hastiness is also a feature of the first piece, Scheingehacktes. This describes how people go from vegetarianism to a sublimated vegetarianism. A struggle against the flesh, in which finally the bacteria begin to enjoy protection and where in the elimination of the fleshly finally the smallest sounds become corporeal attacks. At last, then, man comes to the rediscovery of blood and there comes a kind of Fall from vegetarianism, in which everyone eats what he can get hold of and the most terrible cannibalism reigns supreme.