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06.00 PM
rsc_34 / new releases: Unstable Orbits
Mit Alessandro De Francesco, Elisabeth Wandeler-De…
etkbooks store
Bern
06.30 PM
"Der Letzte löscht das Licht"
Tobias Aeschbacher
Stadtbibliothek Biel
Biel
07.00 PM
Lesung und Gespräch: Queer Kids
Christina Caprez, Moderation: Sara Boy
Aargauer Kantonsbibliothek
Aarau
08.00 PM
Madame Phishères Boudoir Bizzarre
Andrea Fischer Schulthess
Millers
Zürich
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.
Andreas Neeser, Unsicherer Grund: A narrator remembers a football game when he was at school, while he was silently watching a beautiful woman in the swimming pool. Or he goes to the theatre in the evening and his heart almost comes to a standstill. Andreas Neeser’s stories contain moving events, yet without any obvious external impact. States of consciousness are described with fine analysis and they hold up a mirror in which the world collapses into meaningful particles. The narrative identity attempts to secure a firm position on uncertain ground. Andreas Neeser’s eight new narratives reveal the true lyricist. The author visibly attempts to position every word in the right place and not to employ a single word too often. His prose gains a concentrated density which produces coherence but lacking overhasty conclusiveness. This precision is in tantalizing contradiction to the uncertain ground on which the narrative identity stands with respect to characters within the narrative. The “changing uneventfulness of my provisional existence”, which must be absorbed with all the senses, only wins stability and permanence through flashes of memories. Neeser’s prose is bound-up instability. Even if or precisely because nothing happens, this works surprisingly well, because true stories are concealed behind poetic masquerades – in spite of everything. (Beat Mazenauer)
Tim Krohn, Vrenelis Gärtli: Quatemberkinder live in two worlds. They are humans, and at the same time they frequent ghosts and demons of all kind. Melk is a Quatember child. He is not very skilled in magic though, because he finds it insanely dreamy. But Vreneli holds her protecting hand over him. In 1998, in his novel «Quatemberkinder», Tim Krohn told the story of Melk and how he just wouldn’t understand that Vreneli quite liked him. The novel «Vrenelis Gärtli», then, puts his friend at centre stage. Compared to the reticent Melk, Vreneli is a real tomboy who escapes any social control. His world of magic is fading though. In the very moment in which Melk and Vreneli finally come together, logos, as embodied by Melk, wins over myth, and Vreneli silently disappears from this world. Tim Krohn surprises the reader again with his inimitable mix of German and the Alpine dialect of the Canton of Glarus. He smoothly weaves together these two idioms into a magical narrative flow such that the language itself mirrors the essential conflict between myth and modernity. Subtle nuances sometimes suspend Krohn’s fine diction and bring forth a wondrously humorous effect. (Beat Mazenauer, transl. by Anja Hälg) Full version in german on viceversaliteratur.ch.
Eugen Gomringer, vom vers zur konstellation: Abstract poetry can be achieved in most diverse ways. Herein, however, also lies the dilemma: how can it be plausibly understood? Eugen Gomringer already reacted to this dilemma when he began to conceive his first concrete poems. His manifesto «From Line to Constellation – Purpose and Form of a New Poetry» was first published in 1954, with revised editions to follow. In his work, he ascribes concrete poetry to the contemporary requirements of technological-scientific progress and the needs of modern society. According to Gomringer, present-day people want communication to be fast. Catchphrase and headline coined his everyday life right down to its visual aspects. And such concision and memorability demanded, similarly to concrete art, a new visual and graphic form of expression, he says. The resulting small print, typography and economic use of words were therefore far more suitable than free verse. The «new poem» should be «simple» and could be perceived «visually as a whole as well as in its parts. It becomes an object (...) its concern is with brevity and consciousness.» Accordingly and most likely, it was to be realised with the term «constellation», coined by the French poet (1842–1898). The constellation, so Gomringer, as a shaped word order as well as playful force field allowed for innumerable linguistic combinations and variations. Concrete poetry «constitutes a reality in itself and not a poem about something or other.» (Severin Perrig, trans. by Simon Froehling)
Milena Moser: Schreiben. Eine Ermutigung. Kein & Aber.
Anne Funck: Mein magisches Museum und Vincent van Gogh. Léman Publishing Claudia Frankl.
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