... and is hot off the press before the book presentation in three days on Thursday.
The evolution and the content
Only three months I had time for a text which in time had by January 2010 will be ready so he still could be translated into Romanian and published, in the Honterus Verlag.
first litter
But this does not mean that the book is only a sketch, a design is. I am here to pursue my literary activity, that is to write on my novel and a text for publication. And I the first half (and beyond) was mainly used for this text, the rest of the time I wanted to primarily focus my novel. In my contract is, by 1 January, but I had to 17 January period and then about a month to select the photos and place them in the text. had
If I had more time, the book would not necessarily become better when Goethe believed, said:
"I have learned that an author altered by a second edition of his history, and if they would have become even more poetic, the better his book must necessarily harm. "
have eyes, big eyes, eyes daily, curious eyes
'm in my early days I arrived extensively by the often very high summer Sibiu striped and have photographs made of photos. The desire came to me irresistible. The city is not totsaniert, the facades are not smooth and perfect, silent and sterile.
eyes to the city to have large eyes, daily eye, curious eyes was a consistent action, the feeling was mutual: watching the city at me with her umbrella eyes, I look back to the city with my eyes of a stranger - I look back and notice take on , in both senses: absorb and take photos. And it's not just the roof eyes, me . View
My sense of sight was primarily addressed. Was it for Krakow, where I recently lived for five months with a residential fellowship, the sense of touch, so it should be for Sibiu the sense of sight. remain
the first fresh impression, not bogged down
This was one of the impulses that I have received and from which I came. I knew I would have a hundred thousand impulses and lose me easily, I would investigate all suggestions. So I wanted to consciously in my first fresh impressions remain: the eyes and the colorful glazed roof tiles. As I learned during my studies of art history - life drawing in the interpretation of a painting or when - you should stay with a first fresh impression.
By photographing it also has another meaning: I wanted to continue to perceive the city intense, with the sense of sight. My photo folder is now one of 2500 objects, but also copies and adaptations. This means an average of nearly 20 photos a day.
records I've made to the photos and with numerous photos, the book is finally safe. Except for a photo from Avrig they are all made in Sibiu been. They are aware of "non tourist" photos. I came though inevitably the tourist magnets - the Great Ring, the Pfempflingerstiege - before the lens, but without intention I took this all too familiar with it lots of places not not scanned superb motifs.
The bigger art it was then chosen from the many photographs and records so that a rounded in the text was written.
Genre
Without question, the text is a tribute to Sibiu. This genre designation applies without restriction. The book is not a journal. I only go from diary-like Records go out, but time and again in fiction. A miniature narrative is built into it. The text hovers between reality and fiction and reality.
poetic exaggeration / sublimation
Three literary figures are to meet me grown from Sibiu ground: Ruxandra, my literary alter ego, her boyfriend Milán, half Hungarian, in Berlin, and Mr. Herman P. of bathing agents (with "ck" as Samuel, Kristina, actually with "ck" read), a key figure in my access to Sibiu, born in Sibiu, married to a Romanian, as the mayor. The four most important people of Sibiu are comfortable she Hermann Green, Samuel von Brukenthal, the Mayor Klaus Johannis, and the pastor Kilian Dörr.
In this figure, Hermann S. of bath thickener I would gather all the possible properties of all possible inhabitants of Sibiu, whom I met. In this book the character is just a barely edited rib that I've broken out of his body and beschnitze with Sibiu. But I hope she follows me home to Berlin and find their birth in this text out a more detailed life, whether in a feature, be it in a novel chapter.
leitmotifs
is the strength of my text - as I see it - in the leitmotifs, is what themes are and how they develop. It can be guiding principles that I have only here in Sibiu, which I found only because I was here, just as I unfolded it, I can develop. Leitmotifs as delicatessen, lucky finds. may go along and the reader -
There is, for a two-Ding-motives to other concepts or ideas as the themes that recur through the text.
To one of the tiles (see and eat), on the other books, and that valuable books: precious in a figurative sense and precious in the non-figurative sense: first, a battered songbook, with low-savvy music box in the thick envelope cover, but from a German scatting speaking bus driver "with eyes on it" kept - as I formulate a biblical expression. On the other hand, and the precious works in the Brukenthal'schen library, rare books, especially the so-called amicorum Alba. And then dipped even a liturgical book, a antiphonary no accident in a city where so many religions coexist and by the daily toll in so many different bells the air, mind and bones.
are the non-physical themes:
- the little word "ocupat", the "Besetztsein" (be it buses, be it human, be it banks on the main boulevard)
- the creation ( draw, be creative), the conductor as a profession [1] , the line embroidery as a "housekeeper of life" (Emil Sigerus)
- danger, which is dangerous (which is extremely dangerous what soul is-dangerous, which is in danger of collapse?? the church, a man)
- the soul (the human soul, the eggplant soul of a poem by Patior and how they interpret my various interviewees)
- the happiness ("mouth happiness", "head lucky," the omnibus luck)
- the question of the meaning, but generally the meaning of life, that would be measured (to the treat on the small space of a town clerk book do) but the meaning of Oskar Pastior poems, and I limit myself to a few poems (to Harmonie du soir, by Charles Baudelaire) and I also question how important and necessary it is to "understand" Pastior, and understand what may be called
- communication (when possible a conversation can start a conversation "poetic? begin to succeed, "as she thought Patior?)
As I write, I bump me all words that have to do with my leitmotifs, purple. But in the printed book, they are all the letters is uniform, I make them aware, so I do not forget, I concentrate on them and not passages in which they occur, delete. They emerged once, as a candidate for guiding principles, then they stayed and matured and faded again.
An example: The luster: refers in part to the glaze of the tiles, on the other on the fat of the tile specified fat breads, but also points to the theft, only subtle, but the thought the magpie, shiny objects steals is not out of place. The thought of going to want to steal tile (such as horse stealing to go, that is, with someone on reliance, even something crazy once, can make out of the ordinary), is not by chance, the statement for stealing the theft is in the gloss of the tiles and objects that sparkle and shine, it has abandoned the magpie, the thieving bird (another bird) per se, apart - note the word: from - to see. Just as an example of how a theme his barely visible stringy.
As my guiding principles is not waving the fence post, I hope readers who read the text on a train, so that you weave the theme is also aware of and take pleasure. I trust that this effect occurs because I trust Aristotle recognition in humans calls forth an aesthetic pleasure. I have during my art history studies learned over the decades and it remained in my memory. Aristotle leads the Nikomachi'schen from his poetry.
My themes keep cropping up, but subtle, not excessive, and I did not want to - as I said - waving the fence post and cry: Dear reader, look and observe and nod her / he was quite impressed, here emerges the theme Numero on such and such again. set the guiding principles for the identification italic style of writing would have made them uneasy. Also, it does not seem necessary because I think my readers to carefully enough.
How the world to write such a popular
I have no plot constructed in advance. Nothing devised. Whenever I note a story that a narrative device is invented, because it serves the plot, I shake my head, I'm lost for the text. What has emerged in history, has told me about himself. This is part of my profession, as I understand it and live: is known as a writer, not in advance, like the world to write a popular as me here in Sibiu, wrote that could - would say nothing - and I do not imagine. The World God is a surprise to have a nice word of Eginald Schlattner (Überrraschungsgott ") have been not just once.
Chapter 0 is not trivial, but a perfectly ordinary everyday occurrence. I have not been attacked (which happened to me in London and Paris, two times in life enough, I think about it, I wrote in my first novel, once is enough). I'm not hitchhiking in a truck with relief goods for Taiti, was smuggled into the brake system drugs. I'm not traveling abroad fell on pavements, have not broken my leg and I was not admitted to a local hospital. I am not herabsausende stone figure on the head by just rushed to the floor.
following completely escaping event - event would be too much to say, strictly speaking, it is more of a non-event as an event - hold I wish it was precisely because of its volatility, non-tangibility alleged banality of its appeal. I sit so deliberately in contrast to the event and cultural event which is celebrated on TV as excessive.
The non-event so I'm in the middle Sibiu, looking up to the church, look forward to the colorful glazed tiles and a passer-by walks past silent and invisible to me.
A critic once wrote, I would float a lyrical inches above reality. I think that's true. Would add, however: only an inch, not so far up that I am not just starting. One need only to give up on tiptoe, I ask no more from my readers, and then you can follow me. I withdraw not, am not "fucked up".
The poetic exaggeration of everyday perceptions, so it's to do me. I am not here as a statistician who would like to say: such and such percentage of Sibiu know the term "tile" for a special type of fat breads. I'm not here to say as Minister of Health to: breads are fat but not healthy. Nich as a diplomat, politician, adviser to the government to give in terms of tax on junk food advice.
Something that I "somewhat certain Sibiu" call is latent in my text. Something some Transylvanian and Romanian are somewhat certain of it, more than one might think at first glance. Almost every word carries the stamp of "Sibiu".
I could write for example: Berlin is an anonymous city, Sibiu, a village is not an anonymous city, in Sibiu, everybody knows everybody, which is at least a perceived fact. I write: Lord Bath takes thickener like great places querplatzein (marked by "cross country"). Why? Because he is so well known that he would always greet someone else, would get into a conversation.
In the words but also in the photos, all taken in Sibiu (up to two in Avrig) is something certain Hermann Municipal present. An example: A characteristic of the way of life here seems to me a certain amount of ingenuity. In addition I have also done a series of photos for the booklet but was no more room.
Hungarian woman who confirmed this impression by going to your category, improvisation in the European Union pointed out. Particularly stood out for me is a small platform in front of a bank ATM, where you imagine a little old lady.
What I was not told: Book worms, which one moves with the air pump body. fried eggs, to an iron be roasted corn cake that is cut with a thread, a molar tooth for a tooth as a bell laboratory resourcefulness with wit.
Cape 0
The title of Chapter 0 is "bold and colorful glazed tiles" - no comma after tile because it is poetic without a comma - formed after the pattern of red rose - and also formed on the model of culinary terms for courts, trout bleu about. Roof tiles as a visual treat.
in the opening chapter, in the zero-section, time has stood still "stored" in both senses. And this appeared later zero again, in a word from a poem by Oskar Pastior, "Oh Zero Ozero". In his poem "O-Ton Automne - Autumn Linguistics", which I used as a source of inspiration for my Sibiu 5 months, comes before the word.
This poem had to attract my attention because I work as a writer of artistic feature with original sounds and this poem entitled "O-Ton" and "automne" bears So the French word for "autumn", and the season is when I arrived in Sibiu.
O-Ton "Automne" - Linguistics autumn
O-Ton "Automne" - Linguistics Fall
Stick Harwest / Osenj / Toamna / Stick
Stick Lipps Tick Nota Bene - today
what abwest there in Dümpel-Sermon:
Zero - grows phoneme
The pumpkin
Sense In Eros-shirts
Tristia
Trestia
Delta braid
Since (Kusnejtschik / Zinziwer ") Synopsis
delivered from Colchis ago:
Seerosensee / lily bay
East-West Phantom
Ovid's Metamorphoses
on the Bösendorfer Luch
morse The semaphore
"is still there dental / to haaresbrei
to pot and bunnies / it is forest
the year it marks / horn up and down "
O Zero Ozero - Lake
Rien ne va plus - O Zero Stick
O Lambda duckweed Hair Nest Fälfä
most reed
hay shelf
O - Sound
Automne
I rosi dent phantom
Semiramis / Sorbonne / Sa-To-Woe
Hermann Municipal Oh - tones hovers before me as a working subtitle for a radio broadcast.
the "Ozero" sounds oser to - the French word dare . And there he sits me now again in the very heart, Oskar Pastior, the undead, his mind, because: who wanted something with art, nothing ventured?
And the "o" may be seen quietly for Verbbeugungsendung the first person, as well as future in the "r".
See you then these backgrounds, not that I complain:
The church clock is not!!
This cursed Sibiu is not working!
You can not do!
I go!
No, not yet. Who am I? I'm not Mecker mouth. Not yet! This to me is my time here is too precious.
The fact that I have tried to sing in a choir singing bus driver is something that one episode that I could hardly have invented in Berlin. A raid can invent any, but the bus driver episode probably not. It is not a spectacular event, but my Dagewesensein attested in the meaning of Herta Müller. In the largest treasure is: Because I was. to understand triple: DA I was. Or: Because I WAS. Or: Because I was
Chapter 1
A second important impulse that I have received was the question that unless a city clerk. Therefore I tell in chapter 1, which is a city clerk, as I'm a writer, which is a feature, an innovative, not so exciting radio format known.
Especially in Germany Radio literary features are estimated. That seems to match, but I'm Germanist. That's why I thought about what an author I had to choose the best. I have to because the audience in Germany in mind: Oskar Pastior? Yes. Born here. got Büchner Prize winners and then Herta Müller for your Pastior "biography" in October when I began to live here, the Nobel Prize. In the book, lives very much Oskar Pastior.
Herta Müller I have always deliberately quoted because it has become important in the German public by the Nobel Prize, which was given in October 2009.
Chapter 2
The second chapter is called "first moment". The roof fell into my eyes Eye. I did not want to perform the way they have perceived x people in front of me, but different. How else, it gives an impression that the selection of photos that have been included in the book: flowers vs roof eyes. Broken eyes, eyes make the roof stalk eyes (pipe protrudes), roof with white eyes in the eye (satellite dish) vs. Black in the eyes of the dictator in Herta Müller's work; badger sleep eyes with dirt in the eye.
And then, the contrast between the human appeal that the city has for me, and the influence of a number of inhabitants of Sibiu, which look like those eyes still the gun barrels pointed at him.
This Considerations lead to present current observer eyes, namely those in the shops and the theft, which is seen here, unlike in my country.
Chapter 3
The third chapter is titled "To the gentle bends in the streets." I wanted to take something that is peculiar for a he-walked Sibiu. They are gently curved streets. I had recently was in Krakow and Krakow as a floor plan a checkerboard pattern, so I was probably the most on. Strangely, I've run in Krakow's city center, here in Sibiu, never.
And as the center of the Protestant church - and building facades in bold exterior paints, bonbonsüß, neon lights, shocking, awesome happy, whatever you want to call these colors. Even for that I have a whole series of photos in my folder facades, which I also like to publish on my blog.
Chapter 4
Chapter 4 is entitled "Alba amicorum - poetry albums - Facebook."
suggest this theme I have two huge arches chain: from the Reformation up to my childhood right up to the immediate present. All albums are friendly to the shortened here said in the room to leave.
Chapter 5 say "life is your reputation or Nerztalers"
The focus of Chapter 5 is a quote by Herta Müller - Life is a F. .. in the lantern, the encounters on the head. Writing down I can say it, I do not like it. You read it. When asked what I write, I say to you that I try to follow the advice as: follows: One should only write about it, can not talk about it.
chapter 6 is "Pastior'sches mouth happiness.
Chapter 6 provides an insight into my workshop as a feature writer. It shows us brings to ear as I try to evoke the spirit of Oskar Pastior.
I ask my partner to associate freely and to be frank words from poems by Pastior, reminiscent of dining. I lead a happy returnee a mouth-talk in the spirit Pastior - an outspoken voice player and experimenter - namely as an attempt at poetic approach as happy-border communications.
play two interlocutors, each one Homo ludens in the sense of Huizinga: A God is man, he plays (Hölderlin, when he dreams), he is serious, he needs power.
language game was against the disgusting Pastior finished components - he expresses himself - directed ideological language. open up new perspectives and ways of being: for me.
ago Pastior I also stretched once the weapons: Help, I understand nothing at all. But then I was always more to do with his poems, though not in the usual sense. A principle of his letter, the Anagrammieren, I make clear in this chapter.
I let quite a lot of returnees to speak, not about a going away, quite deliberately. This can only do so Sibiu well.
And I would like to conclude with a reference to the blurb: You can tell the most important thing: it was very there, happy and impressed. And this is also for the supposedly negative a plus sign.
[1] As Schaffner was originally a money manager (a city, household, etc.), referred to as housekeeper the clerk of the housewife with keys of a kitchen and cellar. Returning civil servant at times railroad is now generally Schaffner associated a member of the crew, but also employees of other public transport companies , but are not yet an official job title (Source: Wikipedia).
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