{"id":15862,"date":"2026-02-10T07:13:25","date_gmt":"2026-02-10T06:13:25","guid":{"rendered":"https:\/\/www.bestforming.de\/blog\/ein-roman-in-6d-18h-50min-teil-2\/"},"modified":"2026-02-10T08:13:03","modified_gmt":"2026-02-10T07:13:03","slug":"ein-roman-in-6d-18h-50min-teil-2","status":"publish","type":"post","link":"https:\/\/www.bestforming.de\/en\/blog\/ein-roman-in-6d-18h-50min-teil-2\/","title":{"rendered":"A novel in 6d 18h 50min (Part 2)"},"content":{"rendered":"

Part 3 \u2013 Four mentors \u2013 four functions \u2013 four deaths<\/strong><\/p>\n

If you read \u201cKaleidokosmos: Zauberberg, Sonnenalp und bestforming in Venedig\u201d as the product of a writing week, it\u2019s easy to overlook that in truth it comes from decades \u2013 and that these decades consist not only of projects and systems, but of people.<\/p>\n

The dedication is the place where these people do not appear as characters, but as source: as authority, as counterpart, as standard. It is therefore less ornament than threshold. Before the actual narrative begins, it says: This is not only invented here, this is a report \u2013 about an inner result.<\/p>\n

Four mentors stand there, and all four are dead. All four were considerably older. All four, from the distance of death, give a form of commission, protection, and burden. And it is precisely this constellation that changes the whole temperature of this work: It is not only about optimization, but about a kind of belated answer.<\/p>\n

Joachim (Goth)<\/strong><\/p>\n

Joachim (Goth) is the first name, and if I want to understand why in my dedication he does not sound like a \u201cthank you\u201d but like a foundation, I have to go very far back: to the moment when I moved from primary school to the Karls-Gymnasium in Stuttgart \u2013 as the only one from my class, because the humanistic Gymnasium existed only there. This is one of those inconspicuous biographical miniatures in which entire mechanisms later appear: a person falls out of a familiar system, not dramatically, but lonely; and then he meets someone who does not save by explaining, but by allowing.<\/p>\n

Joachim was my Latin teacher in fifth grade, and he taught Latin without pressure \u2013 in such a way that it did not impoverish into a compulsory exercise, but remained interesting throughout all the years. He read us fairy tales from all over the world; that was not \u201cmaterial\u201d, that was opening the world. I did not sit in this class only as a pupil, but as someone who \u2013 without knowing it at the time \u2013 was collecting an experience that would later recur in my texts: that education is not first a program, but an atmosphere in which you are not made smaller.<\/p>\n

In twelfth and thirteenth grade this teacher then became a person: advanced Greek course, two students, Joachim and me \u2013 a relationship that is no longer called \u201cclass\u201d but encounter. After school the contact did not break off, but became a lifelong friendship that also included his wife and his 3 children and that did not end after Joachim\u2019s death; the connection continues as if death were not a break, but a changed form of closeness.<\/p>\n

Added to this \u2013 as an almost comical, almost touching proof of how serious this relationship was \u2013 was a shared idea that rarely occurs in normal acquaintances: the idea of a Platonic democracy with randomly chosen representatives of the people. Joachim was intellectually formative for me; above all, however, he was insanely kind: He let me be as I am, supported me, never disappointed me, was reliable and dear.<\/p>\n

In this quartet Joachim is the mentor who does not drive, but holds. And precisely because he is dead, this holding gesture has a retroactive effect like a commission: That is how it should have been; that is how it can be; that is how it must \u2013 if happiness is understood not only as thrust but as relationship \u2013 become again.<\/p>\n

~~~<\/p>\n

Werner (Kieser)<\/strong><\/p>\n

Werner (Kieser) is the second name, and he stands for a mentorship of a completely different kind: not as a surrogate father, not as a teacher of language, but as someone who recognized me in the world of method and structure \u2013 and thus gave me a form of external legitimation that I had hardly known until then.<\/p>\n

The fact that our encounter began with an interview is telling. I inquired, Werner agreed, and already in the video conference it was immediately clear that he liked me. This conversation lasted over three hours \u2013 not as an obligatory appointment, but as a resonance space. After that came emails, regular exchange, and finally a joint project: the GYMcube as a franchise, designed in a collaboration that went far beyond business.<\/p>\n

Werner sent me his book on franchising for SMEs personally; and at this point this mentorship became almost physically tangible: The handwritten note with \u201cLiebe Gr\u00fc\u00dfe, Werner Kieser\u201d has been hanging on my wall to this day like a small relic. Anyone who lives in a restlessness that constantly wants to start anew sometimes clings to a piece of paper in order to fix a relationship that does not consist of blood, but of recognition.<\/p>\n

For me Werner was the mentor type \u201cstructure as dignity\u201d: less impulsive, less airborne, more repetition, more silent law \u2013 and thus a counter-image to what so readily overruns itself in me. At the same time he was astonishingly courageous in his recognition: He would have built with me a personal training concept that could have stood in direct competition to Kieser Training; financially it would not have mattered to him, but symbolically it was enormous, because he considered my approach to be the better training.<\/p>\n

And he insisted on precision: devices, not machines \u2013 they do nothing by themselves. In this pedantic correction lies an ethic: It is not the system that does it, but the person. His death in 2021 cut off this project before the first visible success appeared. And yet it is precisely this interruption that makes Werner so effective for me: He left behind an open loop that acts not as frustration, but as a door to the future.<\/p>\n

Today I am taking up this franchise again \u2013 now from a state of contentment \u2013 and, following Werner\u2019s methodology, I am setting about building, together with AI, a modern, digitalized structure for managing franchise companies.<\/p>\n

But the decisive sentence that makes Werner in my life a kind of inner antidote is his last piece of advice, given in a moment of my impatience:<\/p>\n

\u201cBe patient, dear Mr. Erhardt, you are still so young and have so much time left.\u201d<\/p>\n

I was 41 at the time. I have finally understood that. And if you take that seriously, then Werner is not only a mentor of my projects, but a mentor of my time.<\/p>\n

~~~<\/p>\n

Ulrich (Borucki)<\/strong><\/p>\n

Ulrich (Borucki) is the third name, and \u2013 like Werner \u2013 he is a mentor whom I do not remember as a pure figure of warmth, but as an ambivalent, yet indispensable intervention in my way of life.<\/p>\n

Even the entrance door is typical of this modernity in which roles are not cleanly separated: Ulrich is a dermatologist, but I did not meet him as a skin doctor, but as a nutritionist for a concept called \u201cMetabolic Balance\u201d. In this setting Ulrich immediately recognized ADHD \u2013 not as a fashionable label, but as a diagnosis at a glance: as someone who saw something that others did not see.<\/p>\n

I met Ulrich in 2010; in 2015, when I was \u201cdoing\u201d the startup AGILEMENT, my behavioral therapy with him was completed in the sense in which I understood my progress at the time. These five years were not a completed therapy block, but a laboratory. Ulrich not only taught me techniques, but above all not to \u201cdock\u201d with other people \u2013 and thus the first step towards my own needs, boundaries, and relationship.<\/p>\n

And yet Ulrich remained ambivalent. For years he billed dermatological treatments because he did not officially do the ADHD behavioral therapy. On the one hand that was good because it took place at all; on the other hand it was bad because classification, control, and a larger framework were lacking. He did not classify many things correctly; I did not understand the big picture.<\/p>\n

Above all: Ulrich did not see the autism. And so, after all the progress, a residue of strangeness remained that could not be explained by saying \u201cthat\u2019s just how ADHD is\u201d \u2013 because even compared to other people with ADHD, including my wife, I always experienced myself as different. This blind spot is not incidental. It is the reason why method eventually reaches its limit.<\/p>\n

Ulrich helped me with many things \u2013 AGILEMENT is a direct result here \u2013 but he could not heal everything that cried out for healing, because not everything is method that cries out for method. Added to this is a second, unpleasant note of modernity: Ulrich carried \u2013 not in character, but in medical approach \u2013 something of that attitude that in the novel is attributed to Dr. Porsche: profit logic before medical necessity.<\/p>\n

And finally the temperature of grief also belongs here. Ulrich \u2013 like Werner \u2013 occupies a different position than Joachim and Jean. I say openly that his death did not affect me with the same depth. He remains nonetheless indispensable: as the first who understood \u2013 and who at the same time showed me that understanding is not identical with completeness.<\/p>\n

~~~<\/p>\n

Jean (Rennette)<\/strong><\/p>\n

As the fourth mentor, Jean (Rennette) is the one who seems the least \u201ctextbook-like\u201d \u2013 and precisely for that reason one of the clearest figures in my psychographic tableau.<\/p>\n

You can call Joachim Goth the good teacher and surrogate father: the order that does not shackle, but holds. Ulrich Borucki was the first who understood \u2013 not only in diagnosis, but in practice. Werner Kieser is the mentor type \u201cstructure as dignity\u201d: less impulsive, less airborne, more repetition, more silent law.<\/p>\n

Jean, however, is the exceptional figure, esteemed reader, dear reader: mentor as elective affinity, as elective twin, as energy that does not order, but ignites. The fact that I recognize myself in the images from Jean\u2019s life as his elective twin is not mere sentiment; it is a precise self-description of my closeness to a principle. Jean stands for \u201cI do it because it doesn\u2019t exist yet\u201d \u2013 and thus for a form of creating that does not ask for permission.<\/p>\n

In this sense the images are not decoration, but pieces of evidence of a mentorship that consists of action. There is the photo with the line:<\/p>\n

\u201cAt 18 months, Jean teaches Pierre to ski. He made the skis because they didn\u2019t exist that small!\u201d<\/p>\n

The sentence is so casual that it almost sounds like a joke; and yet it contains an entire relationship to the world that I immediately recognized as related to me: If what is necessary does not exist, you build it. If the world is too big, you make it smaller.<\/p>\n

Another picture bears the laconic sentence: \u201cRemoving his cast with lobster scissors\u201d. Not just cutting off the cast himself with any scissors, no, with lobster scissors. That is Jean in pure form \u2013 improvisation as care, being loco as service to the concrete. If something has to go, you find a means. If you have no means, you invent one. And in this I recognize not only the mentor, but the brother in impulse: this quick trust that the world is repairable if you only lay hands on it.<\/p>\n

Then the sentences \u201cAlways teaching\u2026\u201d and \u201cAlways staying busy\u2026\u201d \u2013 and along with them those images in which Jean works with children, kneels, gardens, builds. Busy not against the world, but for it. They are scenes that, precisely in their unspectacular nature, show the core of mentorship: not the grand lecture, but the repeated gesture in which a child \u2013 and I \u2013 learns that things are allowed to be made.<\/p>\n

And then the quieter images in which closeness and work do not appear as opponents. Jean on the phone, a child leaning against him, asleep. Jean on the couch, laptop open, a toddler beside him. Jean at the table, paper, computer, pen; two children writing along. As I look at these images, I realize why they affect me so much: They show a way of life in which work is not played off against relationship, but fits into it.<\/p>\n

<\/div>","protected":false},"excerpt":{"rendered":"

Part 3 \u2013 Four mentors \u2013 four functions \u2013 four deaths If you read \u201cKaleidokosmos: Zauberberg, Sonnenalp und bestforming in Venedig\u201d as the product of a writing week, it\u2019s easy to overlook that in truth it comes from decades \u2013 and that these decades consist not only of projects and systems, but of people. The […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":15288,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[642],"tags":[],"class_list":["post-15862","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":[],"yoast_head":"\nA novel in 6d 18h 50min (Part 2) - bestforming<\/title>\n<meta name=\"description\" content=\"Part 3 \u2013 Four mentors \u2013 four functions \u2013 four deaths If you read \u201cKaleidokosmos: Zauberberg, Sonnenalp und bestforming in Venedig\u201d as the product of a\u2026\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.bestforming.de\/en\/blog\/ein-roman-in-6d-18h-50min-teil-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A novel in 6d 18h 50min (Part 2) - 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