Things are coming to an end. Day Three closed the active portion of the Bachmannpreis with a thoroughly underwhelming set of texts. Tomorrow prizes will be awarded. None of today’s writers should win one, but we’ll get to that. Meanwhile, here is my summary of Day One. Here is my summary of Day Two. Here is my general post about the event. If you want, you can read all the texts here. The writers today were Eckhart Nickel, Gianna Molinari, Maxi Obexer, Urs Mannhart.
I’m not going to dwell overmuch on this damp squib of a day. Two of the texts were good, but not as good as the four texts I already highlighted, and two of them were bad, but also, somehow, in an underwhelming way. The day came, passed, I ran out of alcohol, etc. Well, let’s get on with things: to the crapmobile!
Eckhart Nickel wrote a story that one of the judges correctly connected to Adalbert Stifter (I have a bad? review of his masterpiece Indian Summer here), but that, in the end, had more in common with that German master of awful short stories, Bernhard Schlink. This was regrettable because Nickel, who is German literature royalty (outside of Wray the “biggest” name in this year’s lineup) started his text with extraordinary skill. From top to bottom, the technical execution was clean and nice, but the payoff was uninteresting. In the ease and skill of execution he reminded me (despite no overlap in plot or themes) of last year’s third place winner Zwicky. It was the best text today and while I’d rate it a distant fifth overall, it’s the only of today’s texts that should be in a prize discussion at all.
Gianna Molinari offered a text based on a real life case where an unknown refugee fell from a plane and died, nameless. In her attempt to give him back some dignity, she uses photos, and a careful examination of the workers who found him and the way the state dealt with him. I liked much about the story, but not so much the story itself? Regretfully, she reminded readers of the many writers in German who did much of this better, particularly Sebald and Lenz. The story was so directionless and boring that the audience, when the writer took a sip, applauded in apparent relief for the story to be over. Alas, no dice.
Maxi Obexer – man. So Molinari did make use of the experience of a refugee to write a German story (to apply for a German story award), but she did it with care: she was interested in that person. Maxi Obexer however also wrote about the refugee crisis, but the story was blind to the author’s own privilege, degraded other foreigners, appropriated the difficult experience of thousands to tell a small story that moved a persona very similar to the white author, who had teaching gigs in Georgetown and Dartmouth, front and center. Obexer is talented enough for the writing to be solid, and smart enough to include some good observations, but the overall feeling was creepy and unpleasant. It came really close, as a story, to offer the same blindness as the jury did yesterday. She also kissed a girl.
Urs Mannhart closed out the day and the competition and, I mean, I don’t know what to say. Molinari and Obexer both used foreignness as a trope and foreigners as props, but Mannhart told a story about wolves and men and rugged nature and horses that was set in an unnamed country (Kirgizstan?), overloaded with foreign names, occasional flat out racism; the worst aspect of the story was the undeniable solid skill of the text. Written in a 19th century adventure novel tone, it had no obvious stylistic problems or weaknesses. Except, you know, for the, uh unimaginative racism and toxic masculinity.
Tomorrow, awards will be handed out. There will be a first award, the Bachmannpreis, a second award, the Kelag Preis, and a third award, the 3sat-Preis. There’s also an award voted on by the audience. As I said yesterday, the only two writers who are on an almost equal footing in competing for first place are John Wray and Ferdinand Schmalz. Barbi Markovic, Jackie Thomae and maaaaybe Eckhard Nickel should be competing for third place. That’s not to say that this sad spectacle of a jury will vote this way. I think that the unbearable Verena Dürr stands a real chance of beating one of the better texts. And the audience is a real wild card. My ideal order is Wray, Schmalz, Thomae. Fingers crossed?