elements serve as recurring literary motifs, with Beckmann's dreams and dreamlike elements regularly infiltrating the reality of the plot. A door slamming shut ends each stage of Beckmann's journey, after which he finds himself "the man outside". Beckmann's gas mask goggles continually prompt negative reactions and are symbolic of the fact that Beckmann's view of the world is still shaped by his wartime experiences. A further core element running through the play is the use of interrogative clauses. Beckmann's questions, which he directs to various characters over the course of the play, remain largely unanswered up until he intensifies his questioning in the final climax of the drama: "Will no one at all give an answer? Will no one give an answer??? Will no one, anyone, answer???" Historical and Literary Context The end of the Second World War has often been described as the "zero hour" () for German literature. The collapse of the old order, as well as German cities lying in ruins, radically changed forms of expression in literature. This was later referred to as Kahlschlagliteratur or Trümmerliteratur, of which Wolfgang Borchert's short stories are considered examples. During the post-war period, the fate of German prisoners of war and Heimkehrer (those released from imprisonment) were central themes in everyday German life, which were also frequently dealt with in contemporary art. The Man Outside is one of a large number of similar works based on the theme of soldiers returning home from war. The vast majority of radio dramas produced in the years following the war with returning soldiers in central roles focused on their private problems. The topic of adultery, for example, was often a central theme, whilst wartime experiences themselves remained largely ignored. The soldier returning home was mostly depicted as an outsider, and through his eyes it was possible to take an alienated view of the present. However, in its critique of post-war society, The Man Outside clearly went further than most contemporary plays. In many cases, what the plays had in common was their didactic appeal and great moral gestures, which can also be seen in Beckmann's pathos in The Man Outside. Production history The play received its US debut at the President Theatre in New York on March 1, 1949 under the name Outside the Door. It was directed by the head of the Dramatic Workshop, German expatriate stage director Erwin Piscator. The New