Angela Gutzeit: I have Marcel Beyer reached before the broadcast, he lives in Dresden since 1996th I first asked him how important it was for him to repeatedly switch from one genre to another. To what extent would fertilize his letter
Marcel Beyer: I started with 14 to write and wrote poetry, and from the work on poems the stimulus has then revealed prose to write. Even today, when I write prose or even if I write essays, is simply the dimension of the human voice, the idea that I am delivering a text, always very strong case that I so to speak poem tools and a poem attention whatsoever in prose and essay writing or naturally when writing opera librettos always inclusive
Gutzeit:. So it’s sort important to these various fields to try for you
<. strong> Beyer: this is very important to me, and I enjoy the course very much. I regret authors who write only novels. What is it, if you have an idea that perhaps such a small exploration would, wears so 10, 15, 20 pages long, which can then yes these colleagues write not. I take then the notes aside and think if I’m invited once to a lecture or invited to write an essay, then I can as follow that track
Gutzeit:. Marcel Beyer, stand for a searching look, as indeed is also frequently at recent German history. This can be seen in all your work, especially in your novels, I know now even better – “bats”, “spies” and “Kaltenburg”. The novels have something, if I may make that claim even as an internal correspondence – so you overlook the postwar period in the Federal Republic of Germany, in the novel “Kaltenburg” makes the DDR a role – and that each with back-references to Nazi period. Now one can say, as a 1965-born author like you did not play such an important role for your generation in the ’80s, when you publish started story actually. Where was it for you as the turning point, the turning point in order to deal with history
Beyer: So my parents were born in ’44 and ’47, so these are post-war children , Even less was for me when growing German history in the foreground. The real turning point was accurate daily reporting on television about the fall of the Wall in Berlin. That was the moment when I said to myself, history is not something that concerns the grandparents, but history is something very acutely can take place in this second. As a result, as of then German writers until the great turning novel, then the great reunification novel was called, there was safe with me so a little defiance moment. I thought, I can but the story can not be told only from the previous generations. I must also tell me himself. I need me my popsozialisierten look I’m just, and as someone who grew up with English Radio, with BFBS, I have me make my very own image and has the whole thing again re-engage. So I went into it slipped in this time and in the media history of National Socialism or almost stumbled
Gutzeit:. We have just mentioned: the Nazi era plays in your works an important role, albeit in a special way, as for example, in your latest novel “Kaltenburg” – is now already a bit ago, this is the novel of 2008. if I sometimes just summarize now briefly: in the center stands as a prominent zoologist, Ludwig Kaltenburg who studies the behavior of animals and over again applies his speculations on the nature of man, and in Poznan, as I recall, these scientists worked during the Nazi era clearly in a clinic for the mentally ill, and his students do not really know what he has driven there, and we readers know that not so exactly. I have always to read that I thought, now is somewhere maybe something more about this activity, but whatever resonates, we guessed it. My point: If you there is no simple explanations or truths and no filling of blind spots. What’s that you – memory, so also in the literature, with literature? Difficult, but …
Beyer: No, I think not so difficult that. For me is just in the blind spots a big stimulus for writing. I think this tension you have to endure that there are areas in which one can not shed light. This presupposes enormous psychological processes in transition. Now what concrete terms this work of Ludwig Kaltenburg in Poznan in a military hospital, This dates back to a real figure, Konrad Lorenz, the behavioral scientist who has worked in Posen time. It’s just that you actually do not know what he was doing there precisely because the documents were destroyed, do believe in the ’40s.
“The clear answer that there is never there, where it gets really interesting “
Gutzeit: But maybe there is this concrete figure not so important
Beyer:. Yes, the actual figure is for me of course … so Konrad Lorenz was only something like a springboard to develop its own figure for me -,
Gutzeit: just .
Beyer: – but I’m interested in precisely such thing as the dark spot in the life of this figure, and from that dark spot there is a certain perspective on the world and result simply acts – which he responded, which he does not respond, where he moved and so on – and these processes that are in the dark and those moments of his biography, which in turn coincide with the history which are quite strong drive torques , This means you can follow in their figures sometimes confused, inexplicable movements and can not do more than speculate on what is behind it. This could really end up being a psychoanalyst might work out
Gutzeit: This means you refuse concretely a reason or you do not want to somehow hint of it were even manage or contribute to – that. is now anyway somewhat difficult word – but it avoided so, and that makes precisely this pull from your literature that one thinks repeatedly, you will now be led to an explanation, but you really can not get away
.
Beyer: Yes, I think that has to do with the fact that it is for me really when writing concretely as a motor to follow the dark parts of my characters. I see it simply in reality too. If today processes are performed to very old men who have worked in the security service in the concentration camp, where then was a very big sense of guilt and the other but to date only said he had only been following orders, then you can tell yet, however far the margin is the response, or shall we say the means of one’s life. The clear answer that there is never where it gets really interesting
Gutzeit:. Marcel Beyer, in your work play voice, pictures, maybe you can also supplement looks a major role. In “flying foxes” was a vocal researcher in the center – I know that you have been concerned for a long time with music, visual arts, media. Are the decisive inspirations
Beyer: Yes, of course, media are crucial for me inspiration, simply because they belong to my quite unselfconscious living environment, since I perceive. I remember that my father, who studied Romance languages at that time, a tape recorder bought the late 60s to learn vocabulary and take myself, you know, if you do pronounciation exercises. That is so a real tape recorder, which is in the living room and which is used belongs to me from the very beginning of my conscious life to it, and if one looks back to the 20th century, you can see of course that about such movements or horror worlds like Nazism throughout , has very much counting on the effect of technological media
Gutzeit:. And the music? I mean, this is indeed repeatedly said also quite rightly, that this tissue, which it manufactured there just in your novels, but of course also in your poetry, something musical has. So that needs a not so necessarily be aware of as a writer, I would say so, but for a long time deal indeed so, and that’s something like a really sophisticated composition that you make there.
Beyer: Yes, music is for me in my life just terribly important. Something like an alternative world, for me that is just the world where I do not really pay attention to the words and the meaning, but also a very big inspiration when writing. I also have writing music running or listen to records really so precisely that I recognize certain structures and also think about how can something take parallel also in the letter
Gutzeit:. Her latest novel is now back eight years. Can you tell us whether you are sitting again on a new
Beyer: I do not work on a new novel, but at the moment on a libretto for the Japanese composer Toshio Hosokawa and am going to make the Frankfurter poetics lecture that I held in January and February, a book
Gutzeit:. Then I wish you well, Marcel Beyer, and warm Congratulations again to the Georg Büchner prize!
statements of our interlocutors give their own views again. The Germany radio makes utterances of his interlocutors in interviews and discussions as our own.
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