So, man what a bummer this day was. Yesterday I wrote “what’s notable about today’s writers is just a continuation of things I already noted. This is the first time that the selection and treatment of writers seems so cohesive – and not in a good way. Following along in real time is like looking at a thesis statement, of a thesis you do not particularly care about.”
This absolutely continued in the award voting. In my German language commentary I wrote a 1000 word mini-essay on how these awards exemplify the typical Bachmann-text and I cannot summon the energy to do it a second time. But the main thing to understand is this: there are always typical Bachmann texts, and texts that are different. If your text is good enough, it will make it onto the awards list even if it doesn’t fit the mold.
There was no room for exceptions this year. The special kind of voting leads to every award coming down to a two-text runoff ballot, so for four awards you can have up to 8 texts competing – and since the shortlist (voted on before the beginning of the public awards voting) consists only of 7 texts, you’d assume all texts get a look-in. Not so. Each of the four runoff votes involved Yannic Han Biao Federer’s text, until it won the fourth award. The winner is Birgit Birnbacher’s text – excellent and fitting for Klagenfurt. Leander Fischer’s and Yannic Federer’s catnip won second and fourth place respectively, and Julia Jost won third place. The only other text that made it into the runoff election was, bizarrely, Daniel Heitzler’s absurdly bad story. Although both Sarah Wipauer and Ronya Othmann had made it to the shortlist, neither of which even received runoff consideration, not to mention an award, which is enduringly strange.
It felt like a circling of the wagons around the cultural capital that is amassed by the gatekeepers represented by the Bachmannpreis-jury and the whole unsavoury theoatre surrounding it. “We are important and the texts we like are important” seems to be the message. As all people of privilege in Germany and Europe and the world are circling the wagons, whether it is men, or white people or the financially dominant class, afraid of losing that privilege, this group of critics, professors and academics replicates a process that is happening everywhere, shutting the door hard on difference. But what today’s awards also make clear is that a solid portion of the public is no longer behind them. In this small microcosm, this is represented by the public vote – which went to Ronya Othmann’s important, excellent text, who thus won the fifth, public award. This tension, the closing of doors by the gatekeepers is regrettable, but what’s most remarkable that the two best writers of the competition are two young women, who have not even published one book of prose – and thus represent an exciting future.
Below is my list of all my posts about this year’s award: