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07.00 PM
Weil die Wunden Vögel werden. Landschaften der Ukr…
Artur Dron, Anatolij Dnistrowyj, Alexander Kratoch…
Literaturhaus Basel
Basel
07.00 PM
Buchpräsentation: «Man kann die Liebe nicht stärke…
Oliver Fischer
Buchhandlung Weyermann & Queerbooks
Bern
07.30 PM
Seinetwegen
Zora del Buono
Kantonsbibliothek Baselland
Liestal
07.45 PM
Residenzabend mit Deniz Ohde
Aargauer Literaturhaus Lenzburg, AMSEL, Klagenfurt…
Aargauer Literaturhaus Lenzburg
Lenzburg
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.
Jens Nielsen, Alles wird wie niemand will: «Alles wird wie niemand will» brings together a curious set of stories that already reveal their flightiness in the print space. They do not appear as compact as prose text usually does, rather, they frazzle at the edges – when the sentences jump onto the next line. It is Jens Nielsen’s stage experience that informs this loose form. His texts are ideal for oral performances. «Alles wird wie niemand will» signals in its very title that reality cannot be controlled. The first few stories set a fairy tale tone. Once upon a time, for example, there was a man, «who could say anything». Like a plant he unexpectedly grew from a meadow. People listened to his words, they still listened when, after a thousand years, he had said everything and became grass again. Later, a first-person narrator appears who literally is beside himself. From a theatre balcony he loses one body part after the other. They fall down and grow onto a woman wearing a strapless dress. Sometimes Nielsen’s stories remind us of Bichsel’s «Kindergeschichten» insofar that they encounter things with a seemingly innocent naivety. Or they call to mind the existential slapstick in Beckett’s dramas. They are absurd, and wonderfully true – it seems. (Beat Mazenauer, transl.by Anja Hälg)
Thomas Hürlimann, The Envoy: The Foehn wind is blowing up a storm but Heinrich’s blind father still wants to welcome his son with garlands, lampions and flags when he returns home from a successful mission on 8 May 1945, the day of Germany’s surrender. The son has led the Berlin legation through «momentous, testing times» and skillfully preserved Switzerland from war. However, the family welcome takes the worst possible turn in Thomas Hürlimann’s play «Der Gesandte» (first performed: Schauspielhaus Zürich 1991) as Heinrich Zwygart is dropped by the Federal Council. It is the «General’s uncompromising resistance» alone that has saved Switzerland, and not a diplomatic balancing act of adaptation and neutrality towards the Third Reich. Zwygart finds himself isolated as a «traitor to his country» and forgotten as all trace of him disappears in a flurry of thick-falling snow and strains of Wagnerian piano. Performed for the first time in the 700th year of the Swiss Confederation, Hürlimann’s play provocatively draws attention to a period of transition in which clever opportunists changed their convictions as quickly as they redefined their understanding of Swiss history. In the confusion of such a collective living of lies, those who clung onto their historical significance like Zwygart, and Hans Frölicher, the fashionable, controversial Swiss delegate to Berlin from 1938-1945 he is based upon, simply went under. (Severin Perrig, transl. by Andrea Mason Willfratt)
Kathrin Schärer, Johanna im Zug: We are sitting alongside the artist at her worktable. In front of us lie coloured pencils, brushes, scissors, Max Frisch’s «Biography: A Game» and a nearly empty sheet of paper. A railway locomotive and two wagons have been outlined. «I’m drawing a long train, a train with lots of wagons. Does that make a story yet?», she asks. Yes, a beginning, certainly. Then the train’s passengers are introduced – a goat, a dog, a cow and a small pig: Johanna. Johanna intervenes in the story, prevents the small polar bear (is it Hans de Beer’s Lars ?) from getting into the wrong train. She asks for company and makes the acquaintance of a wolf, a fierce monster. Eventually she begins to banter with Jonathan, a pig from another train. Which should do, right? The two pigs pull the piece of paper from the artist’s hand and release her to work on the next story...
Patrick Greiner: Der Teufel von Luzern. Emons Verlag.
Eveline Hasler: Anna Göldin. Die letzte Hexe. Nagel und Kimche.
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