On Sunday, the winners of the four prizes plus the audience award were announced. Yes, that’s right, I’m a bit late. Sue me.
If you feel you need to catch up with what’s happened over the three days of readings – and I recommend you do take a gander – here is my summary of Day One., a day about whiteness and the blindness of writers and judges in the face of it. Here is my summary of Day Two, a day mostly about mediocrity and the praise it can elicit if it is narrowly tailored to MFA standards (in this country: Literaturinstitut (see this review). And finally, here is my summary of Day Three, a day which saw the competition’s best text by a country mile, and one of its worst and if you’re still completely lost as to what the hell is going on, here is my general post about this year’s event. If you want, you can read all the texts here, though you should hurry, they won’t be online forever.
The five winners
So on Sunday, the venerable judges voted in a dramatic fashion. The day was full of surprises. You know what wasn’t a surprise? That the best text, a brilliant reckoning with Germany’s post-reunifaction history of violence, Özlem Dündar’s text in four voices, did not win. It didn’t even come in second, not until Bjerg’s MFA-by-numbers meditation on fatherhood and sad white men had its place in the spotlight.. Last year’s decision to sideline the politically interesting texts for Schmalz’s solid, but politically empty monologue was, as it turned out, a sign O’ the times. At least this year’s winner, Tanja Maljartschuk’s text, was very good, and sharp enough in focus and moral clarity, likely the second best text in a field that was, overall, stronger than last year’s.
Indeed, of the five texts I personally considered best, my three favorite texts also won three awards. Only Corinna T. Sievers, whose sharp text about womanhood, sex and the struggles of addiction confounded the judges, and Ally Klein, whose text about anxiety and panic attacks, a text which I would not have properly understood without help myself, went unrewarded.
The five writers as I would have liked them to win
Dündar did win an award – the third place Kelag award. And Raphaela Edelbauer won an audience award. Regrettably, the second and fourth place awards went to Bov Bjerg and Anna Stern respectively. I want to talk about these for a moment: most observers of the voting that led to Anna Stern award saw judges changing their vote, voting tactically – because here’s what almost happened: Joshua Groß’s bad text almost won, because Klaus Kastberger suffered some kind of mental breakdown and kept throwing his hat in the ring for Groß’s text which was politically and literarily dubious.
It was stunnning. I could not believe it – but in the end the explanation is simple enough. Despite women winning the majority of this year’s awards, the structure of the Bachmannpreis favors men. The reason women did well this year (unlike last year, for example) is that Edelbauer, Dündar and Tanja Maljartschuk have written texts that are generally considered among the best texts, across the board. Nobody could have excluded those three texts from awards. But that a mediocre writer of MFA or Literaturinstitut pabulum like Bov Bjerg not only gets praised , but also takes home an award at least three women would have deserved more, is a sign of a certain tolerance of white male mediocrity – or rather, a certain critical appreciation for a tone and style of writing, a nonchalant irrelevance.
Indeed, Kastberger compounded his sad performance when he praised Bjerg as one of the most relevant German writers of our time – which, if true, is a horrible indictment of contemporary German literature. Honestly, I don’t think it’s true, but it’s instructive that this is where Kastberger’s brain went, this is his category for Bjerg – and maybe that also explains his support for Joshua Groß. Important Male Novelist – a category he leaped to defend.
There’s another little nugget that turned up in the award’s aftermath: Anselm Neft, whose text used slurs and appropriated the voice of a socially weaker person with a language of cliché and stereotype that aimed for effect rather than depth, went on a Facebook rant about a critical voice on Twitter. He defended his use of that language and slurs and assembled a crowd of angry Germans who agreed with him. That crowd contained almost every signifcant participant in the #tddl-discussion on Twitter, plus some of the judges. Everybody agreed that it should be fine to use slurs against Roma and stupid, biased or cowardly to complain about this minor matter. Interestingly, among his supporters appear to be people involved in running the award: in the comments, he noted that someone had told him that he had only barely lost out on the audience voting, which Raphaela Edelbauer had ended up winning.
The whole sorry affair both underlined why texts like Dündar’s that critically interrogate German narratives have a steep hill to climb to win an award like this one, and why writers like Neft and Bjerg will for the foreseeable future have a shortcut to such honors. There’s no topic like the vague sadness of adult white men to win awards. That’s been true for decades, and at least on the basis of this year’s TDDL, it still appears to be true.