Now they are finally available, the texts for which you are doing all this, all this 17-hour march of violence in literature. Develops the fullness of agony, which shares some sports fans, that the World Cup is literally away-Listen, along with all the games with losing. (Games with losing – this is every cup of the world! Pay attention to Yawa) Qatar against Ecuador, these moments existed at this Bakhmann competition, but: “The winners of the tournament: in – they could already be noticed.”
Natasha Gangle, who in her text “da hundred” goes to a place in Central Europe, where the boundaries of three countries are found. Behind him is the same thing everywhere: soft, wet land. It is important to attribute first: “Between the sorted before and after the cadastst: Germans, German, friendly, moderate and radical Settlement, Hungarian, Jewish, Jewish, German, German, chew, price, German Western veins, Hungarian Germans,” says Gangl.
Your narrator is looking for crimes that hide this landscape and continue to carry it using a recording device; The graves are still there. People and their words registered in the ground, they literally rise as soon as someone finds it on him, now they are in the room if you want to see them. Gangle combines the most artistic dialect and massacre, water and Wehrmacht with each other: “We-aa-Judal, go?” One asks alone. “Wine-stondn-o?”, Another. From the Jews there? Who interviewed there?
“Amazing,” says the language game, the jury Thomas Stracel. Other members of the jury also praise the gangl. This Friday there are two texts that rotate around national socialism and laws adopted in his name. Thomas Bissinger looks at historical Netherlands. “Hippopotamus” is mainly obtained positively, the language is usually “bitter,” says Laura de Age. The jury was less convinced: the internal team, on the other hand, the text of Sophie Sumburan, which is negotiating sexual violence in Sice Mine Blue.
Professional author: internal videos
What is amazing, in this 49th publication of “Days of German Literature”, is the author’s professionalism: internal videos. You know how to put yourself, cuts are skillfully set, conclusions about your own face are either avoiding (as in the films “Light Painting”), or indicated by proportionality. Thus, Josefine Rieks allows the camera to monitor the book of the social darwinist anti -communist Ain Rand before the author himself makes a picture.
Ricks, whose books appear in the right anti-German XS-Werlag, reads from his future novel “If you like it” and cause memories of the dark years of pop-literature in endurance, in the context of the environment, which is somewhere exaggerated between Swake and Chluntly. “Zero Chardonnay, Zero G&T, zero literature,” says Castberger (“Less zero” means that the Ellis, the Note of Java).
Kay material proves that you can also place your video in the service of your own text, which probably still spends the smallest money from all readers for his idea. As the author of the theater, he had the necessary tools for the correct independent stage. The introduction of the material is limited by his own, unpretentious biography, vague multilingualism, poetry and reality corresponding to the language. We are talking about literature, and the environment is a word, not a picture.
Reading matter would also make Roland Bart happy, because here, it seems, the whole thing is in the text and history. In a clear language that is never associated with idiosinocrazia, (The last qualitative judgment?, Note Juhu) The material describes Splitter from the life of Paolo, a trance person who completes the training with the boys team in the rowing club. At first you think that you are in the usual story about adulthood, but soon it becomes clear: Paolo ten years older than his 18-year-old crests, and because of his own transsexuality, less interested in the rowing, but rather perceived as a half-difficult person.
Completed masculinity
“Double Two Light” is a text about a trans-usbot, that is, the need to read as relatives: R from the floor that you actually feel belonging. With excellent observation, matter describes small, internalized rituals of masculinity and from the point of view of an outsider, their arbitrariness – codified manual rhythms, small outbreaks of violence and the inflationary use of masculinity, such as “Bratan” – all the more.
The traditional narrative, criticized by the jury, is actually a great power of this text and makes it literally universal: you feel how you remind of your own youth, your own outsider’s own experience. We are talking about a growth in a society that passes so early through gender specifics, and also deprives the CIS people of the people to breathe. At a time when the trans -people should also be afraid in allegedly “enlightened” societies for their life, an important, effective text and, in addition to the gangle, a clear price favorite (Let’s see, pay attention to Juhu).
