#tddl, Day Three: The Nopocalypse

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?

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#tddl: Germany’s Next Literary Idol

imageIf you follow me on twitter, you’ll see a deluge of tweets this week from Thursday to Saturday under the hashtag #tddl, let me explain. I will be live-tweeting the strangest of events from my little smelly book cave.

Once a year, something fairly unique happens in Klagenfurt, Austria. On a stage, a writer will read a 25-minute long prose(ish) text, which can be a short story, an excerpt from a novel, or just an exercise in playfulness. All of the texts have to be unpublished, all have to be originally written in German (no translations). Also on stage: 9 to 7 literary critics who, as soon as the writer finishes reading, will immediately critique the text they just heard (and read; they have paper copies). Sometimes they are harsh, sometimes not, Frequently they argue among each other. The writer has to sit at his desk for the whole discussion, without being allowed a voice in it. This whole thing is repeated 18 to 14 times over the course of three days. On the fourth day, 4 prizes are handed out, three of them voted on by the critics (again, votes that happen live on stage), one voted on by the public. All of this is transmitted live on public TV and draws a wide audience.

This, a kind of “German language’s next (literary) Idol” setup, is an actually rather venerable tradition that was instituted in 1977. It’s referred to as the “Bachmannpreis”, an award created in memory of the great Austrian writer Ingeborg Bachmann, who was born in Klagenfurt. The whole week during which the award is competed for and awarded is referred to as the “Tage der deutschsprachigen Literatur” (the days of German-language literature). Since 1989, the whole competition, including all the readings and all the judges’ arguments are shown on live TV, before, the public was only shown excerpts. The writers in question are not usually unknowns, nor are they usually heavyweights. They are all more or less young writers but they don’t have to be novelists.

Last year’s winner was British expat writer Sharon Dodua Otoo (here’s my review of some of her fiction), who read a text that was heads and shoulders above the sometimes lamentable competition. This year’s lineup, with the exception of an interesting writer here and there seems similar in quality, minus Otoo and Tomer Gardi whose novel I’ve also reviewed.

The great exception is John Wray. John Wray is an American novelist with Austrian roots who writes in English. I’ve interviewed John Wray on Bookbabble years and years ago. See here. Really, listen. He’s luvverly. On this blog I reviewed his debut novel The Right Hand of Sleep and his third novel Lowboy. His second novel, not under review, is also quite excellent! I’m interested in what text he will be reading. Below is the full list of authors. If you check their publications, you’ll see a sad and unsurprising number of white German language writers writing about immigration and/or people of color from a very Germanic perspective. If you’ve read Jenny Erpenbeck’s awful recent novel, imagine that, but worse. And yet…I cannot help but be excited. Follow along! There’s a livestream! You can also read the texts during the competition here. So here’s the full list:

  • Jörg-Uwe Albig
  • Verena Dürr
  • Daniel Goetsch
  • Urs Mannhart
  • Barbi Markovic
  • Gianna Molinari
  • Eckhart Nickel
  • Maxi Obexer
  • Karin Peschka
  • Ferdinand Schmalz
  • Noemi Schneider
  • Jackie Thomae
  • Björn Treber
  • John Wray

Bachmannpreis