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08.00 PM
Märchen für Erwachsene
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Theater Fauteuil
Basel
08.00 PM
2024 UUSMISCHTE – Ein Zuger Schauhaufen. Die zupac…
Judith Stadlin, Michael van Orsouw und Severin Hof…
Oswalds Eleven
Zug
22-12-2024
Märlitheater - Pinocchio
Debi Althuser, Beat Gärtner, Jeremy Müller & Giann…
Millers
Zürich
22-12-2024
Bald ist Weihnachten
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Liechtensteinisches LandesMuseum
Vaduz
Mitteilung 2024-07-12 [«Topshelf Night» Schloss Lenzburg]: Eine Sommernacht zwischen Lichtern und Stars, die ganz der Literatur und dem Lesen gehört! Und Bookstagram! Und BookTok!
Mitteilung 2024-06-26 [Bachmann-Preis]: Statt Fussball 3 Tage lang Literatur gucken: Heute starten die diesjährigen «Tage der deutschsprachigen Literatur».
Mitteilung 2024-06-24 [Pro Litteris Preis 24 – Sasha Filipenko & Maud Mabillard]: ProLitteris verleiht zwei Preise in der Sparte Literatur an Sasha Filipenko und Maud Mabillard.
Mitteilung 2024-06-21 [Literaturfestival Zürich]: Nicht verpassen: Vom 8.-14.7.24 steigt wieder das Literaturfestival Zürich.
Mitteilung 2024-06-17 [Stiftung Lydia Eymann Literaturstipendium]: Bis 30.6.24 bewerben fürs Stipendium der Lydia Eymann Stiftung.
Mitteilung 2024-06-11 [Markus Bundi «Wilde Tiere»]: Beat Mazenauer bespricht «Wilde Tiere» von Markus Bundi für Viceversaliteratur.ch.
Alex Capus, Der Fälscher, die Spionin und der Bombenbauer: The Forger, the Spy and the Bomb Maker is a novel about three reluctant heroes.
Roman Graf, Herr Blanc: Mister Blanc could be a recent ancestor of an inhabitant of Gottfried Keller’s Seldwyla, one of those who think they are particularly smart in how they go about life – and who thereby totally miss it. Mister Blanc shows us what inhumanities a person who is full of scruples himself can commit. It is only after the death of the three women with whom he could have been happy – his mother, his lover Heike and his wife Vreni – that he notices how important they would have been to him. Incapable of loving the living, he is outstanding in his veneration of the deceased. Only while defending their legacy life, unruliness, even mischievousness awake in him. In a desperate sarcasm towards himself and his missed life he shows a kind of humour in his old age, an unintentional humour which was completely lacking in his former life. Masterfully rhythmised phrases offer space for the quirkiness of the protagonist and at the same time go beyond those lines. (Daniel Rothenbühler, transl. by Anja Hälg)
Kuno Raeber, Das Ei: The first-person narrator is sitting in a café in Rome just opposite the Lateran and ponders over a white sheet of paper. He is thinking about the shameful act of Laszlo Toth. In 1972 Toth had damaged the Pietà in the Vatican with a hammer and had thereby pre-empted the first-person narrator. So the latter can only repeat the inglorious act and make it “more complete and more perfect” through words. “The Egg”, this fascinating, extravagant testimony of an effusive passion is the fantastically meandering tale about the desire to extinguish Maria – representative of the woman and the mother – and with her the very own existence as a son. The narrator then imagines himself into the line of succession of Christian martyrs. Yearning for freedom, at the same time captive in the realm of mothers he dreams of a brotherly community. Raeber’s novel is one big shrill outcry against the motherly, Marian institution. The desperate rebellion against woman paired with a male-mythical rapture in this prose is oddly anachronistic. However, the author manages to absorb this anachronistic dimension through a pompous language that brings forth the holy gravity and the rebellious spirit. No one mirrors the inner turmoil between discipline and debauchery as Raeber does, a turmoil that for a long time characterised the Catholic milieu of Central Switzerland. (Beat Mazenauer, transl. by Anja Hälg)
Nadja Köffler: Die Kunst hinzusehen. Das wahrnehmen, was anderen entgeht. Versus/allerArt.
Nadja Köffler: Die Kunst hinzusehen. Das wahrnehmen, was anderen entgeht. Versus/allerArt.
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