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Cover zur kostenlosen eBook-Leseprobe von »2. Bubenreuther Literaturwettbewerb 2016«

2. Bubenreuther Literaturwettbewerb 2016

tredition


Fühlt es sich nicht zuweilen an, als ob Poesie in der Luft liegt? Wenn der Geist der Dichtung durch die Welt weht, schwerelos, frei und ungebunden ... Er mag sich von Zeit zu Zeit mit dem Geist eines Sterblichen verbinden. Der Kairos, der günstige Augenblick, kann mal den Einen, mal den Anderen heimsuchen. Diese Gunst der Stunde muss man nutzen. Auch Prosa kann uns packen, mitreißen, Blicke gewähren, die wir uns nie vorstellen konnten. Das Werk will entstehen, drängt nach außen. Solche Werke waren für diesen Wettbewerb gesucht. Das Ergebnis kann sich sehen lassen. Eine bunte Mischung ist zusammengekommen, die für (fast) jeden etwas bereithält.

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Christoph-Maria Liegener. Geboren 1954 in Berlin. Lebt heute in Bubenreuth bei Erlangen. Physiker. Viele Jahre Wissenschaftler an verschiedenen Universitäten, promoviert, habilitiert. Zahlreiche Artikel in Fachzeitschriften. Familie, zwei Söhne. Nun im Ruhestand. Lyrische und philosophische Texte.

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Cover zur kostenlosen eBook-Leseprobe von »Hanebüchner. Meine Gedichte und Fotos: 70 Jahre Klaus Büchner - Mitbegründer und Sänger von Torfrock«

Hanebüchner. Meine Gedichte und Fotos: 70 Jahre Klaus Büchner - Mitbegründer und Sänger von Torfrock

Acabus Verlag


Wenn das Gas nich’ funktioniert und dein Haus dir explodiert, denn is’ egal, wie laut du schreist. Du kriegst bloß noch den Grundstückspreis.

Wenn es um Weisheiten geht, kennt Klaus Büchner (Sänger und Mitbegründer von „Torfrock“ sowie die Stimme von „Werner“) kein Pardon. Auf langen Spaziergängen mit Hündin Fienchen denkt er tief nach, über die allerletzten Wahrheiten des Lebens, und schon reimt und fotografiert er wieder. Fienchen ist dabei eine sehr gute Kritikerin, denn sie findet alles spitze. Als er sie fragte, ob er vielleicht einen Gedichtband mit 50 Reimen und Fotografien veröffentlichen soll, hat sie gewedelt. Derart im Selbstbewusstsein gestärkt, kann er nun sagen: „Da isser.“

Auf den Einwand, ob es nötig ist, dauernd lustig zu sein, meint er: „Nein, man kann sich das Leben auch durch dauerhaften Ernst verscherzen.“

Büchner charakterisiert seine Reime als eine brisante Mischung aus Satire, Klamauk, Tatsachen und Falschmeldungen. Illustriert werden die 50 Gedichte von selbstgeknipsten Fotos.

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Klaus Büchner wurde 1948 in Hamburg geboren. 1964 zog die Familie Büchner nach Schleswig. 1965 verließ er die Schule und trat der ersten „Beat“-Band bei. Gleichzeitig begann er eine Lehre als Großhandelskaufmann.

In Schleswig war er durchgehend in verschiedenen Bands aktiv und arbeitete nebenbei in ca. 25 gut bezahlten „Knüppeljobs“, wie Dachdeckerhelfer oder Messgehilfe.

1975 zog er wieder nach Hamburg, wo er Raymond Voß begegnete. Sie begannen, in Clubs und Kneipen Musik zu machen und vertonten englischsprachige Lyrik. Sein letzter Job in der freien Wirtschaft war Bühnenarbeiter im Ernst-Deutsch-Theater. Dadurch kamen Raymond Voß und er an den lukrativen Auftrag für die Theatermusik in dem Shakespeare-Stück „Wie es euch gefällt“.

Eine Schnapsidee aus Schleswig führte erst langsam, dann rasant zum Projekt „Torfrock“. Während einer Party sang Büchner „Hey Joe“ von Jimi Hendrix auf Plattdeutsch. Die Publikumsreaktionen waren derart, dass Büchner und Voß mit drei weiteren Gründungsmitgliedern „Torfrock“ entwickelten.

1977 erschien das erste Album, vier weitere folgten. 1983 bis 1988 legten sie eine Pause ein, in der Büchner das Projekt „Klaus & Klaus“ verfolgte. „Klaus & Klaus“ erhielten eine monatliche Musiksendung beim NDR 2 und nannten sie „Das Ohrenkino“. Dort entstanden die ersten Reime. Später führte er immer zwei oder drei dieser Reime während der Auftritte auf; später auch bei Torfrock.

1997 entschied er sich ausschließlich für Torfrock.

Seit 1990 spricht er in den Zeichentrickfilmen „Werner“ denselben.

Ab 2015 hat er sich intensiver mit Kurzgedichten beschäftigt, woraus der vorliegende Band entstand.

Klaus Büchner lebt heute in Dithmarschen.

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Cover zur kostenlosen eBook-Leseprobe von »THOU«

THOU

BookThug


In THOU, Aisha Sasha John knows the day - biblically. What if time itself was an object of desire? And the book was a theatre for that? Aisha Sasha John has a crush on time. Which is why she discipled in it. For three years. Also for three months. Also for three months at 33. Ya. Aisha Sasha John has a crush on time and discipled in time, moving it across her body, watching it, um, course the day. She slowed it down and thought along it, she cut it up. She slowed it down and thunk along it and sped it up. She cut it up and spaced it out and rhythmed it down and laid it flat and looked at it hard. Aisha Sasha John has a crush on time. She did it. She did time. It was gross and funny and it was hard and it was good. The result is/was - THOU.

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Aisha Sasha John’s THOU re-plays that archaic pronoun as a constantly present movement and rhythm of attention: the suddenness of the interpolative "moment.” These lines of poetry "shake...a little” as the "I” narrates and choreographs a monologue of the self in motion; each page is the dance floor and John’s words break through the "I-as-you” with both the foreignicity of anticipation and the reflection of grace.

- Fred Wah

THOU is physical, fearless in its vulnerabilities, a sensing amid thought’s most succulent folds. THOU is a choreography of irresolute bodies, the insistent shifting of their positions. Aisha Sasha John is a poet of centrifugal energy, of reverberant intimacy.

- Michael Nardone

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Aisha Sasha John is a dance improviser and poet. She was born in Montreal, but spent most of her childhood in Vancouver, and currently lives in Toronto. John has a BA in African Studies and Semiotics from the University of Toronto and an MFA in Creative Writing from the University of Guelph. Her first book, The Shining Material, was published by BookThug in 2011.

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Cover zur kostenlosen eBook-Leseprobe von »kiyam«

kiyam

Athabasca University Press | Mingling Voices


Through poems that move between the two languages, McIlwraith explores the beauty of the intersection between nêhiyawêwin, the Plains Cree language, and English, âkayâsîmowin. Written to honour her father’s facility in nêhiyawêwin and her mother’s beauty and generosity as an inheritor of Cree, Ojibwe, Scottish, and English, kiyâm articulates a powerful yearning for family, history, peace, and love.

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“In a clear and engaging voice, McIlwraith provides an intriguing view of a woman and a

writer navigating the pathways between the European literary tradition and the oral tradition of the First Nations and Métis, negotiating these two vastly different linguistic worlds.”

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NAOMI McILWRAITH is an educator, poet, and essayist, with a mixed Cree, Ojibwe, Scottish, and English inheritance. She currently works at Grant MacEwan University and has held instructional positions at the University of Alberta and The King's University College.

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Cover zur kostenlosen eBook-Leseprobe von »Agony«

Agony

BookThug


Agony is the first in a trilogy of long confessional poems. It uses semi-rigorous mathematical and logical constraints to view the author's life and body, telescopically, as little bits of time and space. Everything written here is as true as possible - that is to say, pretty true. It attempts autobiography as a refutation of autobiography, and an elevation of the self as self-effacement. Love pops up as a theme quite a bit. So does self-mutilation, etc. There are a lot of numbers, but don't worry, it's more about politics and fantasy than numbers, even though, as usual, they show up everywhere. Just like pieces of your body after you've cut them off and scattered them all over the world, and then go out looking for them again, for some reason.

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Praise for Agony:

Steven Zultanski’s Agony is a guide to making millions with a startup that puts human faces (literally) on the windows of suburban homes. The key word here is "literally:” the literal is Zultanski’s most important discovery, a reinvention of Shklovsky’s "making strange” for a tertiary age, a time when the language of metaphor has been zombified (after first being deadened and then deconstructed). In a manner that parodies and surpasses the lunacy of American pundits, Zultanski leads us on a mathematical journey into the volume of humanity’s tears and saliva exchange in kisses, and the square-footage of breasts and pet-intestines to explore the Markson-esqe, Mobius sociality of the solipsistic self. This unabashed autobiography, told through a hyperbolic argot of tax-code and quantum physics, is a sacrifice that atones for the banality it is born of (QED). Using the body as a literal yard-stick - its intimate history of inspirations and exhalations, excretions and accretions, pressed flat against the world, as a face against a window - this book leads the advance attack on the insipid dehumanization performed by standards of measure, statistics, and self-help. Call it conceptualism, lyricism, the new literality, or agonic financial planning - whatever it is, Agony is not for the faint of heart.

— Matvei Yankelevich

The best way to enjoy Steven Zultanski’s Agony is to remove your skin, including your facial skin, and spill into the mathematical calculations of how many cubic inches of human tears it takes to fill a fountain. When you put your skin back on and go outside for a walk, you'll realize that the lyric poem has just endured a substantial 21st century upgrade.

— Robert Fitterman

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Steven Zultanski is the also the author of Pad and Cop Kisser. He co-curates the Segue Reading Series and occasionally curates and edits other things too. He lives in New York City.

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Cover zur kostenlosen eBook-Leseprobe von »Windfall Apples«

Windfall Apples

Athabasca University Press | Mingling Voices


The venerable tanka and her upstart cousin kyoka mingle with Kerouac’s American pop haiku in five-liner imagist poems and linked sequences. In Windfall Apples, Richard Stevenson mixes east and west with backyard barbecue and rueful reflection.

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Richard Stevenson teaches English and Creative Writing at Lethbridge College. His most recent books include a lyric/narrative collection of poems, Wiser Pills (2008), and two collections of haiku, senryu, and tanka: The Emerald Hour (2008) and Tidings of Magpies (2008).

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Cover zur kostenlosen eBook-Leseprobe von »The dust of just beginning«

The dust of just beginning

Athabasca University Press | Mingling Voices


Don Kerr knows prairie culture better than most?he knows it from the inside out. He has made us aware of ourselves through his numerous volumes of poetry, his fiction, his many plays, his histories, and his interest in heritage. In this mature, accomplished collection, we can once again admire his unique prairie voice?minimalist, self-effacing, direct yet subtle and nuanced, immersed in his love of the vernacular language of this place. His line is muscular, his timing impeccable, his broad strokes with so few words exemplary.

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"Kerr's latest is beautifully designed, & full of sharp wit & the (necessary?) awareness of passing time & mortality that comes with age. ... Kerr writes a vernacular open form that moves with ease across literary class lines, but always seeing clearly from below."

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Don Kerr is the author of numerous poetry collections, plays, and short stories. He served on the Saskatoon Public Library Board for eleven years, and as chair for five of those years. He was the first chair of the Saskatoon Heritage Society and the first chair of the Saskatoon Municipal Heritage Committee. He was also the Saskatchewan governor for the Heritage Canada Foundation. He lives in Saskatoon.

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Cover zur kostenlosen eBook-Leseprobe von »Secession/Insecession«

Secession/Insecession

BookThug


Secession / Insecession is a homage to the acts of reading, writing and translating poetry. In it, Chus Pato’s Galician biopoetics of poet and nation, Secession - translated by Erín Moure - joins Moure’s Canadian translational biopoetics, Insecession. To Pato, the poem is an insurrection against normalized language; to Moure, translation itself disrupts and reforms poetics and the possibility of the poem. In solidarity with Pato, Moure echoes Barthes: "A readerly text is something I cannot re-produce (today I cannot write like Atwood); a writerly text is one I can read only if I utterly transform my reading regime. I now recognize a third text alongside the readerly and the writerly: let's call it the untranslatable.”

In Secession / Insecession, a major European poet and a known Canadian poet, born on opposite sides of the Atlantic in the mid twentieth century and with vastly different experiences of political life, forge a 21st century relationship of thinking and creation. The result is a major work of memoir, poetics, trans-ethics and history.

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Chus Pato’s Secession was chosen 2009 Book of the Year by the Revista das Letras, literary supplement of Galicia Hoxe (Galicia Today).

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A central figure in contemporary poetry and one of the most iconoclastic figures in Galician and European literature, Chus Pato’s sixth book, m-Talá, broke the poetic mould in 2000. Hordes of Writing, the third text in her projected pentology Method, received the 2008 Spanish Critics’ Prize for Galician Poetry, and the Losada Diéguez Literary Prize in 2009. Pato continues to refashion the way we think of the possibilities of poetic text, of words, bodies, political and literary space, and of the construction of ourselves as individual, community, nation, world. She brings us face to face with the traumas and migrations of Europe, with writing itself, and the possibility (or not) of poetry accounting for our animal selves. Secession is Pato’s ninth book and her fourth to be translated into English.

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Montreal poet Erín Moure has published seventeen books of poetry in English and Galician/English, and thirteen volumes of poetry translated from French, Spanish, Galician and Portuguese into English, by poets such as Andrés Ajens, Nicole Brossard, Rosalía de Castro, Louise Dupré, and Fernando Pessoa. Her work has received the Governor General’s Award, the Pat Lowther Memorial Award, the A.M. Klein Prize, and has been a three-time finalist for the Griffin Prize. Moure is currently revising the bilingual French/English impossible play Kapusta, a sequel to The Unmemntioable, and is translating Chus Pato’s Carne de Leviatán into English as Flesh of Leviathan. She is also working on a new book of poems called The Elements, and on a translation of Wilson Bueno’s Mar Paraguayo. Follow her on Twitter: @erinmoure.

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Cover zur kostenlosen eBook-Leseprobe von »The Metabolism of Desire«

The Metabolism of Desire

Athabasca University Press | Mingling Voices


The fact that Cavlacanti’s friend, Dante Alighieri, was a supremely fine poet ought not blind us to Cavalcanti’s own, rather different excellence. Both men were attracted to the dolce stil nuovo, the “sweet new style” that emerged in thirteenth-century Florence. While Dante’s poetry was devoted to his childhood sweetheart, Beatrice, Cavalcanti’s poetry had more the tang of real-world experience: he struggled against unruly passions and sought instead to overcome love – a source of torment and despair.

It is chiefly through the translations of Rossetti and Pound that English-speaking readers have encountered Cavalcanti’s work. Pound’s famous translation, now viewed by some as antiquated, is remarkably different from the translation provided here in the graceful voice of poet David Slavitt. Working under the significant restraints of Cavalcanti’s elaborate formal structures, Slavitt renders an English translation faithful to the original poetry in both rhyme and rhythm.

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"Bringing his genuine poetic gifts to the project, Slavitt's translations provide stronger evidence of the originals' poetic qualities than has been available for at least a century."

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Guido Cavalcanti (ca. 1255-1300) was, after Dante, the most important Italian poet of the thirteenth century. Adapting the courtly traditions of Provencal poetry into the dolce stil nuovo (sweet new style), Cavalcanti’s shorter poems broke fresh ground - creating models that influenced Petrarch and most other poets of the renaissance.

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Cover zur kostenlosen eBook-Leseprobe von »Here in There«

Here in There

BookThug


Here in There, Angela Carr’s third book of poetry, is a lyrical petition to the human faculty of attention. In constant motion, the poems locate unusual instances of connection. They ask, do we give or pay attention? And what do we attend to? How do we decide what merits our attention? In a world where stillness is elusive, can we give or pay attention to anything but that which outlives our own distraction? Turning our attention to the senses, in Here in There, touch informs inscription, credit becomes an audible vibration. Carr’s poems form traceable and untraceable patterns, disappearing economies of material.

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Carr achieves an exquisite balance of sensual fleshiness, confession, and conceptual abstraction.

&dnash; Sonnet L'Abbé, The Globe and Mail

Carr makes texts, bodies, and buildings pliable.

- Canadian Literature

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Angela Carr is the author of two poetry books, Ropewalk (2006; nominated for the McAuslan First Book Prize) and The Rose Concordance (2009). As a translator, she translated Coit by Chantal Neveu (2012). Originally from Montreal, Carr now lives in New York City, where she teaches Creative Writing.

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