Like her short films Petra Szöcs poems appear personal and intimate. They revolve the issue family with all its beautiful and dark sides and reflect the social relations. Parents, grandparents, uncles, aunts are the protagonists oft he ironic-melancholic milieu study and dreamlike-surreal daily routine, in which strange, disturbing moments undercut the familiar atmosphere and security and cruelty are close to each other.
The volume Pushkin´s Breast´s presents a selection of Márió Z. Nemes´ lyrical works. With his outrageous texts, where the characters from a visionary private-ideology come upon famous agents of history and just seemingly harmless fairytale staff, Nemes promptly advanced to a cult figure in the Hungarian poetry scene.
If it´s her street in her hometown – or her office in Saratoga Springs in the US state New York in which her American business comrade Sylvia Plath has lived – or her memories about a one-eyed fish which she fished as a child and set it free again – every time when she describes her object, the reader learns more about her special, unique view of all that is happening, she creates a connection to her inner life.
The volume of poems Blaue Stunde provides a selection of Alice Miller's poems as well as an exchange of letters between her and the Pakistani author Bilal Tanweer translated into German by Nicolai Kobus.
In The Sacred Book of Silence, Doug Rice explores languages for beauty and for love. Through memoir, philosophical fragments, and poetic breath, the narrator reflects on desire and jouissance and on his life with Mai and with Amber, women who unnerved his own way for being in the world.
»In keeping with tradition, András Gerevich is averse to any staginess, any rhetoric. The tone of his poems is factual, almost rough. Their calm scares, because they deal with first and last things: birth, childhood, death, and transience of life.
Inserted like in a romantic novel, Dan Coman’s poems in Ghinga arise from an apparent fantastic mind that knows how to combine the burlesque with charm. In Coman’s poetry the controlling powers behave curious, breaking down the barriers between human and thing.
One is flabbergasted and holds his breath, when being introduced to the worlds, Zolt Nagy Koppány creates in his stories. With his crude, manly protagonists, he conjures archaic times and pictures.
»Ich weiß nicht was soll es bedeuten, dass ich so traurig bin ... « (I don’t know what it means that I feel so sad) – this familiar melody comes to the reader’s mind when reading the melancholy poems by Vipul Rikhi. Topics about love, separation, loneliness, exclusion and death expand across borders of time and space.
Life and death intertwine, biography and metaphysics painfully coexist in this book about reality beneath reality. It deals with the body, about the fear of being touched.
In l´ange nu – The naked angel – the French writer Gérard Haller publishes two articles, which are poetry and reflect poetry. The title of the book is also a poem Haller dedicates to the painting La petite fille au ballon (1908) by František Kupka.
The year that protagonist Sonia experiences is not paradise at all. After not being allowed to university, the young woman from a south eastern province is confronted with a failing escape from miserable circumstances.
»The Lithuanian language: melancholic, but dignified, a shop rich of things, like a second-hand bookshop or, to continue the comparison, like a cubbyhole – a rich language«.
Laurynas Katkus proves himself as a gentle but effective narrator. He elaborately reveals everyday life, social circumstances and the atmosphere in the still communist and in the end post-communist Lithuania.
With uncompromising precision but still with care, Dénes Krusovszky discusses the fragmental character of human relations and situations in his prose poems.
After a warehouse fire – between Samuel Beckett's manuscripts and documents –, the diary of a yet unknown assistant of Beckett is found. The diary reveals that Beckett and his assistant jointly rearranged the author's archive ... Rich in lightness and irony, the novel unfolds a marvelous ironic discourse about an artist’s life and cult. It's an homage to Beckett and an instruction for reading.
The breath of Beatrix Haustein's language is cool, the form of her poems clear and mostly rhymeless. She artistically weaves Eichendorff and Heine, but she asks her most important question with Hölderin’s Hälfte des Lebens (Half of Life). »Weh mir, wo nehm' ich, wenn / Es Winter ist, die Blumen (...).«