Yes, yes and yes again. The Jury citation for the Georg Büchner Prize leaves at least in the central passages bureaucracy requirement of Institutional. The fact that the German Academy for Language and Literature an author distinguishes, “who has made with a unique intensity to the chroniclers of the present and their culture, as a participating, thinking and morally judgmental observer, who has repeatedly tried out new forms and media” fits, .
“Rainald Goetz contemporary German the last thirty years has described, can come into view and to speak, he celebrated it and damn and over again analyzed by means of the theory. Behind his nervous, tense experience willingness are a wide education and a sensitive historical consciousness that enable its language a balance of passionate expressivity, observational coolness and satirical clarity. ” Since the bit is to add except “agrees completely”, the great joy must be explained that this decision brings with it.
Actually, it’s quite become quiet around Rainald Goetz. With “Johann Holtrop” he presented a book three years ago, has been discussed controversially, but its not insignificant merit lies in the fact to substantially deal with the world of business, the Manager and the New Economy. The result is a fairly unkitschiges, interested to own perceptions book about the inner workings of that decision caste the social market economy, which has always been used to culture as pointenlieferndes bogeyman and the in the novel, in the narrative on stage and a possible short process could be made.
The greater the attraction, the greater the rejection
Goetz himself denied this impulse, even if his perception filter continue to use a narrative left the distance to this world, yes of disgust about them. But it is a disgust that is fed up close and fascination to these figures, use the power, wealth, megalomania and greed of unusual intervention in the society whole. They are the world changer, as the intellectuals yes otherwise like to understand.
why was the thesis of our literary editor Richard Kämmerlings that this route as even empathetic put forward Middelhoff -Dekonstruktion also carries features of a self-portrait. Named after the publication of the novel migrated even to jail former wunderkind of economic power Germany is only a year older than Goetz and certainly not stupid. In him Rainald Goetz looks just even motives of antisocial and lunatics, with whom he 1983 endows the persona of contemporary writer since his memorable performance in Klagenfurt.
Seine Biografie always follows the rules and maximum attraction even greater rejection. Often enough, both pulses are felt equally in the approach to an issue and to the formative for social ensemble. The Dialectical seem to be applied in neuronal Goetz. He can not and do not want different. Exactly these wild fluctuations of amplitudes partly within a half-sentence give his texts such force and adventurousness. Actually, the reader never knows where the idea ends – and perhaps this shimmering openness of thought, despite all the polemics, the wonderful poetic challenge Goetz expects of the mature, responsible readers
The nature of his lyrics is not in the words but in the sense and sensibility landscapes between them. The reader’s synthesis capability is striving constantly to the limit. A passive or even relish reveling reader he can not bear. “Do not cry, work” – the motto of his first novel “deception” also applies to the Lector in fabula . “Energized #den against meaningful”, it is on the spine of his illustrated book “eleventh September 2010″. This also explains why Goetz is one of the sharpest critics of tabloid journalism and the inclination of the reader nannying -. Even in very indelicate sense
At least critical Goetz is a Fan , in his devotion to the heroes of popular and high culture, the major thinkers of his time by Luhmann to Diederichsen that hedonistic idealists of the subculture in which Dr. Goetz loving welcome learned. When he discovered Rave, Techno and the enchanting territory of the DJ Culture, it was not just anywhere, but right next to the turntables of his formative protagonist Sven Väth and Westbam, the cliques, the doorman, club makers, DJ groupies, drug takers and public professionals.
He did in and with near no fun, went on intellectuals funny that it just is not so radical, so open-pored and without protective mechanisms did as he , Was it now aged sociology professors who mitraveten tolerably, or cheeky PhD on the subject. Hid other behind the few books they had read more, smashed Goetz not without self-hatred the bookshelves that separated him from Ravenden Woodys, Ulis and Janas.
Your courage is free, your morality bland!
He saw the wisdom of life, where no other writer she had suspected. He was captivated by the direct access to happiness and euphoria, which as it was often difficult for a Hyper Reflected. Additions in his life were encounters with figures like DJ Westbam and the night life Prince Michi Kern, who could even operate textsicher with Luhmann and Hobbes.
Rainald Goetz goes missing , his voice, his incorruptible gaze, his courage topics appropriating so that does not come out of that literature-literature-nonsense, where size and I lame life design of the author are soggy thrown into the middle of the line. The interessantizistische inner world of sensitive contemporaries and their suffering at the Modern, the difficult relationship between the sexes, or the troubles of the half-Civil in Prenzlauer Berg – all this is at most, if at all, to bear in the quiet room between two sauna sessions. Your Ennui is imitative, her courage free, their morale bland.
There remain only a few figures, which is a bit different. Above all, Goetz, then the wonderful Maxim Biller, then Christian Kracht. Otherwise so much pretension and Gleichsoundigkeit, luxurious crafts and narcissistic melancholy. And that, which one desires a great author in times where the reality every day provides figures, heroes, themes, materials, dramas, tragedies. As a newspaper reader was and Goetz is as manic as a researcher.
used to journalists and he has a special love-hate relationship. Even in the last century wrote with “waste for All” 1999 “novel of the year” as an Internet diary. So he blogged when no one used that word. When reporters and “bloggers” he toiled for a moving project as the German “Vanity Fair”, and in this time was also working on an already legendary project on the “Berlin Republic”.
Ruins and shadow of this previously unpublished work (Is it burnt? Deleted? abandoned? Is it the magnum opus , is being worked on in secret?) can be found in the magical picture book, published in 2010 the Goetz. The staff of the political Berlin he was hot on their heels. He moved cabbage, Möllemann, Schroeder, Claudia Roth, Guttenberg, Röttgen, Lindner right to my body. He sat for days in the Bundestag, magically attracted by this state spectacle, for the contemporary literature has away from the ridiculous keyhole Romans found no prescription.
Yeah !!!
Chill tens of thousands of writers living in Berlin, but the Shakespearian drama in close proximity will be ignored in favor of the petty bourgeois morality Sideshow Angels the mainstream. Although Goetz can free bases words, like no other, he has always been seduced by the active power and complexity of images. Goetz has matured even for sensitive photographer, something that he may well not like to read about yourself. But his picture book as a counterpoint to the rugged lead mountains of his novels charmed with a cheerful, almost jazzy Grundaffirmation of things and people.
For years and decades, the native Munich encountered with two watches, a camera and a small notebook. He joined the reality rarely unarmed against, he recalled in the totality of writing and documenting to his idol Andy Warhol, just that it took refuge in the end in a sanctimonious, grandiose naiveté of the deceived gaze while Goetz anschmiss decomposition machine as soon as he started to . Write
In the photographs, the love shines through for his characters. Some snapshots are like monuments: gallery as Thilo Wermke, “Superstars” as Joachim Bessing or Albert Oehlen, style icons like Jan Joswig are presented in their existential elegance. Previously, most paintings were self-portraits, now Goetz has become a contemporary, the other brings the snap shooting laugh and ever: the humor in Goetz. Is there a writer who is funnier than he? Invents virtuoso language and neologisms rausdrischt, somewhere between Oberseminar and Markus spoon. What a wonderful, deserving winners of the Büchner Prize. Yeah !!!
No comments:
Post a Comment