A story from Klagenfurt goes like this: In ancient times, the night watchman had to blow from the tower of the town church every hour in his horn and rotate it in all directions. At midnight he was allowed to blow only to the west, north and east, so as not to wake the dead in the cemetery St. Ruprecht in the south. One night, however, difficult bezecht and teased by his companions, he wanted to know: Although his wife tried to stop him in tears about it, he blew towards the south, and a crowd of skeletons crawling on the tower. The is fortunately high, today it rises far above the old town, and to the skeletons were at the top, it struck one, and the nightmare was over. One would like to know what followed in the towers predominated: the horror of what he had done, or the clandestine pride about the success of his performance: A presence that attracts the dead from their graves – that’s what
Whether the writer Burkhard Spinnen said such artistic ventures when he “risky texts” demanded in his opening speech on the fortieth competition for the Ingeborg Bachmann prize of the fourteen authors and the seven-member jury willingness “mitzutragen these risks”, may be doubted; and also whether the stimulants Türmers general production daring literary texts convey. The yield of this year’s competition but can be satisfied. The authors trust that and of course the judges that made by their selection bulky texts the concert. The venture began with the presentation, because of the peculiarities of this literary competition before an audience has always heard the performative element, long before the poetry slams sprang up. In fact sung, sighed, whispered and sometimes silent longer, it was gesturing and grimacing or presented tremendous stoic expression and uniform voice. What may be true in such a framework as a risk, however, it went opinions differ. Was it, for example, the difficult form of thumbnails, it was inappropriate because politically misleading content, or it was not that emphasizes conventional narrative that could appear as a provocation just at a talent competition?
discussed the occasion of the texts the jury to the Chairman Hubert Winkels sure like basic questions, including on the necessary participation of the reader or listener, so that a text could evolve at all. And thus after the decorous limits of this contract: Of course the famous hollow sound upon collision of head and book can even be due to the book, and how well cooperates this jury in total, showed the reciprocal complain too benevolent interpretations of others. But conversely, blindness is always bad, not only for professional critics; and the eyes just zuzukneifen if the text sets up its signals, is also not ideal. Specifically, the jury discussion about Bastian Schneider miniature Reigen “Mezzanine: Pieces” could benefit from the more accurate reading of the very first sentence. “No man is an island, but …” the sentence begins, and it is this tension between isolation and desired participation in the life of the other holds then subsequently these 29 clever built shortest texts together, their supposed disintegration lamented violently.
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the question of participation in the fate of the others proved at all as one of the secret centers competition. So Stefanie Sargnagel sparked with her text “Penne from Kika” which won the Audience Award, the expected fireworks: Your protagonist, a young woman, the texts written for magazines and hates eloquent and metaphor blessed for this work, controls between gloom and megalomania by two days in which they shrink from any foreign contact and at the same time full of interest in the fate told the other, more drastic, the better. And while it is then available in a tavern, whose floor is being mopped, because the blood of a guest dripped on it, then drops a phrase that you want to call center: you should not have so says the waiter, so unfortunate passing constantly , Sure, she says surprising, but “it is therefore not care less”.
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