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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.
Anna Sommer, Das Unbekannte: It goes calmly and unspectacularly into the unknown of the author and artist Anna Sommer. With few words and a subtle stroke of the pen that leaves a lot of white space, she tells a simple and tricky relationship story. Four people seek the happiness that escapes them, hardly believing they can hold a corner of it in their hands. The teenagers Vicky and Wanda are pursuing their exciting pleasures alongside school. Vicky finds it in Paul's teacher's room. Paul is in a relationship with Helen. When he wants to give up his liaison with Vicky, Helen starts a secret relationship. In the changing room of her fashion boutique she unexpectedly finds a newborn left behind. She wants to keep it without telling Paul. Anna Sommer has designed her book as a parallel montage from the perspective of Helen and Vicky. In her change, which is not shown more closely, she creates a web of secrets, lies and self-deception. Only when a Christmas tree suddenly appears in the picture does one suspect that the graphic novel follows a far more refined dramaturgy. It comes differently than expected, but this cautiously told and finely drawn story does not lead to happiness. (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)
Bern ist überall, Im Kairo: Under the name «Berne is everywhere», six authors and two musicians* joined forces to develop a label for fulminant, polyphonic spoken-word performances. Literature does not only belong in books but also onto the stage, is their motto. The first CD, recorded live at Café Kairo in Berne, gives an overview of the variety of voices and text forms the members of «Berne is everywhere» use. Verbal stunts, witty stories of the everyday, punch-lines very much to the point and refrains spoken in chorus chase each other through the programme. Language needs to be spoken out loud, as «language unfolds in one’s mouth,» the group writes in a manifesto. Accordingly, the language spoken in everyday life, i.e. dialect, is the common denominator. Such as when Guy Krneta asks where language comes from and how it how it finds the mouth, or when Beat Sterchi declines empty quotidian phrases to a swirling staccato. «Berne is everywhere» demonstrates splendidly what the spoken-word genre is capable of. Since their first CD, the group has built an astonishing career and has expanded to include French voices. Their musical and poetic performances enjoy astounding popularity. (Beat Mazenauer, translation by Simon Froehling) * Stefanie Grob, Guy Krneta, Pedro Lenz, Gerhard Meister, Michael Stauffer, Beat Sterchi; Adi Blum and Michael Pfeuti.
Patrick Greiner: Der Teufel von Luzern. Emons Verlag.
Eveline Hasler: Anna Göldin. Die letzte Hexe. Nagel und Kimche.
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