Georg Büchner Prize – Frankfurter Rundschau

June 28, 2016

The 50-year old writer Marcel Beyer, in which for decades every word counts, gets the Georg Büchner Prize.

deep drilling is sometimes obviously a delicate operation, even if the impression is created that it would thereby brachial to. Brachial may what is brought to light.

wrongheaded could already call when Marcel Beyer in his Frankfurt poetry readings earlier this year under the title “The Blind (blindgeweinte) century” scenes with and without tears forward and then took apart. The surprise at even the just anger against Heintjes verheulte but also calculated lyrics, culturally but otherwise giving Chancellor Helmut Kohl modest at the grave of Rainer Maria Rilke or the historian Guido Knopp, which the eyewitnesses of tears Adorno given the famous Frankfurt Breast attack posing – bewilderment over and the just anger against the commonly sentimental, amused or wurschtig Durchgewinkte, it asks the reader, listener, observer and writer Marcel Beyer out and he accepts the challenge. From the meticulous, from the intellectual ambition arise – were also apparent in the poetics lectures in Frankfurt – sharp political observations. Leaning memories – of all the television historian Knopp as an exemplary representative of “idiocy of witness what had been.” – Are interesting, the longer you dissected and illuminates

The Georg Büchner Prize of the Year 2016 goes to an author, the attention to detail and diversity broadly estimates and its readers should be interested in flora and fauna and for German history, opera and comics, for narrative prose, essays, poetry, and cross-border experimental arrangements. The jury of the Büchner Prize, which divided the German Academy for Language and Literature on Tuesday, drawing a writer, “the well mastered the epic panorama as the poetic microscopy”. Language in any form is for Beyer “always exploring”. Yes, explorations of the German past, the worlds of animals and plants, to also: “He has the sound of the street in the ear, he knows the testing ground of the aesthetic vanguards, he is familiar with the treacherous magic of the media.”

of course, it was no coincidence that Beyer mitmachte as a narrator, as last year, the Ensemble Modern Frankfurt opened the Poetry day with a text-music experiment. And of course, while we know what is a pit, but at Schachtzabel and finally when Schachtzabel book most are yet even have to start read, where in turn Marcel Beyer could have referenced. For his poetry – most recently in the cited Suhrkamp Band “graphite” – is famous for, to quench the thirst for words. “Timide, timide”, it says in the same poem, “We need to talk about / boys spit, / on the Wilgefortis, Kumerana / Ontcommer, Hulpe, sorrow. / About Nasalstriche. The money Generic. / About Bastarda. “That is, we have fortunately not, but it revived tremendously.

Also remember those cascades that, Beyers poetry is able to tie into the large, puzzling become and therefore abgedrängte poetry of the middle ages, the Baroque, the European words collector and Anspieler who knew the stories of the saints and the art of writing, which may also made a game of it, rabelaishaft lists of their readers pour.

the magic of Beyers word finds outlasted the way accessibility through the Internet, which has become vastly easier, since he published his first band, “Walkmännin”, in the late eighties was the small Neu-Isenburg patio Publisher.

however, there is an inevitable automatism in the German book market since the 19th century, that Beyer is not thick his today certainly most success with, but the Epic towering Roman “bats” had. However, Beyer can also – “his lyrics are bold and delicate”, the jury – offer a very stunning, delicate, truly captivating access to an act in the Nazi era: An audiologist, who is responsible for the technology at propagandistic major events , to one of the eerie many Goebbels daughters are the main narrator and -erzählerin in a dazzling panorama of years, which were believed mid-nineties, it may be known already all necessary action about (for many at that time younger readers was “flying foxes” and therefore the beginning of a new reading experience and past performance). As in his poems it is Beyers researchers urge that here the seemingly self-evident phenomenon of the human voice vorknöpft itself -. Only with written words

Marcel Beyer, who in October in the Büchner Prize Darmstadt State Theatre will get more presents than 50-year-old, came in 1965 in Tailfingen in Baden-Württemberg the world, grew up in Cologne and Neuss and studied in Siegen German, English and literature. Today he lives in Dresden, the Pegida City what is now eat a lot of energy, he said in an interview. More and more people, so Beyer, “crawl out of their holes” that would have previously not dare to express their views, and in the historical context of his books that is frightening, even if just Beyer – probably as against the historical background of his books – do not want to dramatize

the 27-year-old he published his first novel, “human flesh”, the round balanced highly ambitious between alleged eroticism and factual duration discourse.. The stretching of the possibilities that language offers this but (possibly) not simply just with fashion, but with elegance and casualness, accompanied his work. That did not stop even after the “flying foxes’ achievement undisputed: The third novel,” spies “(2000, inter alia, the German role in the Spanish Civil War), the fourth,” Kaltenburg “(2008, the title character wears biographical traits of for generations of people and geese influential behaviorist Konrad Lorenz). So Next they circled around the National Socialism, the time before, made the time after that, in intricate, multi-layered narrative structures.

Even poetry books emerged at all times, “Geography” (2002) as of to talk – said lack of response was total Beyers problem never – by here instead of today so familiar nature poetry a kind of history Poetry offered. His most recent publication in 2014 of the mentioned band “graphite”, in between he also wrote libretti (for Enno Poppe) and volumes of prose. Particularly striking “Putin’s Mailbox” (2012), although this is a question of secondary use of newspapers and anthologies. Those who had the opportunity to experience Beyer about as town clerk in Frankfurt’s Bergen-Enkheim (also 2012), was with, that there is no additional work to be completed and en passant appearances for him. Everything counts.

On Tuesday, the happy author amazed by his own admission and therefore on the Büchner Prize, because he received last already so many awards and had expected a break. Among the Kleist Prize, the Oscar-Pastior rates and Lichtenberg poetics lectureship (all 2014), the Literature Prize of the City of Bremen (2015) and a few days ago only the Düsseldorf Literature Prize

.