For decades, Robert Walser wrote with diligence and 'the most sincere pleasure imaginable' for daily newspapers, literary and art magazines, for magazines, fashion magazines and sports magazines from Bern to Berlin, from Prague to Vienna. At the beginning of the 20th century, the press was booming, and the feuilleton was flourishing. There were opportunities for earning money and, for writers who were able to adapt to the taste of the time and the various journalistic programmes with skill, the opportunity to create linguistic works of art and to demonstrate "modernity" on a daily basis. In this respect, Walser refined and varied his feuilleton style. He drew on his imagination, adapted to changing themes and varied the standard repertoire. In the feuilletonistic form, he found a suitable and effective instrument for viewing the world in its charmingly confusing diversity kaleidoscopically, without allowing himself to be spellbound by the sometimes hopeless conditions. The text corpus of Robert Walser's feuilletons, considerable in its dimensions, is important in literary history, not least because it contrasts with the intellectual essay writing of Thomas Mann, the committed journalism of Kurt Tucholsky or the powerful language criticism of Karl Kraus, as the best entertainment literature for a broad reader-hungry audience.