Anti-mainstream-a fart concert of horror

Building novels are the enemy. When beautiful souls experience funny adventures of the heart so that the readership still gets a active life full of feelings in the armchair at the armchair in the armchair, then this is often Ramsch. The Austrian writer Florian Neuner has started the Ruhr area and the American Rust-Belt as a psychogeographer, he keeps loyalty to the aesthetic avant-garde as a cultural journalist. He recently published a book with the uncompromising title »the final total framework. Unabridged edition «. In it, he assembles excerpts from countless popular novels into an extremely entertaining fart concert of horror.

In the three chapters “action”, “figure speech” and “description”, the author demonstrates what happens if authors do not understand the language as a particularly artistic material, but rather level their resistance. Nothing is shaped in the cascades of banal blablas to create knowledge about reality in poetic paths, but the sentences must be used as a cheap meaning for imaginative actions, for talk and any views.

This reading can also cause pain as assembly, but ultimately has a liberating effect. Because Neuner knows how to play with the trash. The quotes are not identified, so it’s not about proving how bad success novels XY is in truth. Instead, the syntactic structures, adjectives, scraps of dialogue develop their own dynamics, creates a consideration from a standardized manner: »The expectations are high. Friends & acquaintances are looking for outsiders and are always confronted with German history. The emigrants develop desperate coping strategies & face their lies. After all, there are violentness between the men. But that is on another leaf. The feelings make unexpectedly high waves. “

The need to passively told a life linear to have a world replacement in literature is radically questioned in Neuners’ total framework. A completely different radical case is the band “Haiku” with the triple subtitle “(for a season) (pera stagione) (for a season)” by the Italian poet Andrea Zanzotto (1921–2011). As a young man, he fought in anti -fascist resistance, then worked as a waiter in Switzerland and also as a teacher of old languages ​​in Veneto. The landscape, etymology and the meaning and nonsense of poetry dealt with it all his life, as well as his own mental suffering. He was familiar with Lacan’s language -fixed psychoanalysis.

The text structures described by himself as “Pseudohaiku”, which he wrote down in 1984 in a mini -English so -called Minienglisch, only saw a few. Thanks to Theresia Prammer, which also translated Pasolini’s poetry, they are now in German for the first time. You are a testimony of the barely thorough-speaking skills in a serious depression and how a foreign language enables to write again as a detour. In her worth reading, Prammer informs the Haiku Konvolut in the work of the Italian and makes language-philosophical considerations. Zanzotto, to which the disappearing Italian dialects were so close, “turns the world and science language against their own cliché,” writes Prammer. “As if the language that is evade, could also be the one that enables cover between word and thing”. There are “poppy flowers”, in English “Poppies”, a “Star System” appears several times and Hamlet will also be quoted “or not his / a ophthalmet / in a speaking face / lips of a mouth that screams”.

The poet Theresa Luserke refers to Shakespeare in her debut “is behind the house”, but to such different text sources as the Matthew Gospel, the work of the Holy Teresa of Avilá, Lyrics of the Band Karat, the baroque Andreas Gryphius or the poets Elke Erb and Monika Rinck. Luserke does not expressionistic on the desk, but works with small shifts of meaning, permutations, builds neologisms that shake firm grammatical constructions. It gives the German syntax great freedom, sprinkled in English -speaking, puts greased titles on one side without writing a poem underneath. Maybe that’s always the beginning of a mini cycle, maybe only space for silence between the very different groups. No side remains orphaned.

Luserke finds many words for the fleeting snow, operates body observations, deals with wax dogs, horses such as deer and adopts their readership with the “dear news of smartphone”: “You are such a nice weather!” You think of “Écric Féminine” procedures, which avoids main clauses with immovable subject; But you also think of the language -critical procedural types of the Vienna School and there is also space for everyday formlessness.

The language is not standardized and dominated, but carefully left off the leash: »The captivating speech / dogs hang on it // or are they lambs? / or pigs? / Are you hanging on it? / Or can you also strangle the figure that speaks? “

Florian Neuner: The final total framework. Knight. 120 p., Br., 15 €.
Andrea Zanzotto: Haiku. Übs. u. Hrsg. in. Theresia Prammer. Klever. 110 S., Br., 20 €.
Theresa Luserke: Is behind the house. Roughbooks. 72 S., Br. 12 €.