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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.
Klaus Merz, Jakob schläft: Jakob died at birth. He has been at rest in heaven since then and watches over the family. Meanwhile, down below, stories from the family album are played out. A new gadget is being worshipped in the best parlour next to the bakery – the Grundig radio. During quieter moments, the radio broadcasts news from foreign countries. That’s why Uncle Franz cannot stand it at home and prefers to ride through the village on his Harley, while during the afternoon in the rural cinema Gary Cooper stands alone against the world. With subtle irony, Merz evokes the fifties and the family’s daily routine in brief, precise descriptions. 75 pages do not make this a long book, but its brevity certainly does justice to the whimsical subtitle, “Eigentlich ein Roman” (“A Novel, Actually”). Klaus Merz, a master of short, condensed and clipped prose also adheres to his programme of linguistic concentration, while occasionally, admittedly, the anecdotal narrative helps him to achieve longer, almost epic phraseology. For this reason, this “micro-novel” diverges from the mysterious simplicity and lucidity of his other poetic work. Merz largely foregoes the subtle, irritating network of allusions, aspersions and omissions. Nor can he dispense here with a distinct lack of literary arrogance. Merz recounts scenes from his childhood during the 1950s in Wynental in Aargau. The accounts are not real, even though they seem so. Merz’s autobiographical narrative is filtered and he invents a literary ego for his book: Lukas Renz (almost an anagram of Merz). This alter ego reminds us of those episodes, which documented familiar ruptures in Merz’s earlier narratives, such as “Report”, “Im Schläfengebiet” or “Querfahrt”. Embedded in his wonderfully simple prose there are repeated flashes of enchanting sentences and finely modulated word pictures. At first, they appear “lost”, but upon closer inspection they reveal precise descriptive qualities. Having returned from the cinema on Sunday, (“High Noon”), father prepares the starter dough in the bakery and mother “brushed the ricochets out of my hair”. Such phrases observe “what is not visible through demonstration”. (Beat Mazenauer)
Mary-Laure Zoss, Le Noir du ciel: The poetry of Mary-Laure Zoss, who published this first darkly intense work at the age of 52, clearly belongs to the tradition of Swiss-French poets Gustave Roud and Philippe Jaccottet, and is heavily influenced by the likes of Yves Bonnefoy and Antoine Emaz (who wrote the preface to the book). The dense and shadowy poetic voice ploughs, both literally and metaphorically, through the muddy landscape of «Le Noir du ciel» and on into Zoss’ next three books. The sound of the poetic feet tramping across the page evokes the darkness, and denounces it, without ever really being able to control it. Tired silhouettes of Beckettian figures endure damp winters (a winter date is noted at the end of each chapter) in the search for a light at the end of the tunnel: «même quand le soir borde la buée des doubles vitres, elles (les lampes) brillent au crépuscule – pour un moment seulement – au-dessus de la route» (even when the evening seeps into the condensation of the double-glazed windows, (the lamps) at dusk shine only – for a brief moment – above the road). (Pierre Lepori, trans. by Andrea Mason)
Massimo Gezzi, Il numero dei vivi: Six years after his collection «L’attimo dopo», Massimo Gezzi, with «The Living», has reached a new stage in his poetic journey. If, in his previous work, the influence of certain poets was evident - Eugenio Montale and Vittorio Sereni, for example, as well as Fabio Pusterla – in «The Living», such influences are less pronounced, and Gezzi comes fully into his own with poems that tend progressively towards prose.
Patrick Greiner: Der Teufel von Luzern. Emons Verlag.
Eveline Hasler: Anna Göldin. Die letzte Hexe. Nagel und Kimche.
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