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LEXIKON DER SPERRIGEN WÖRTER (The Dictionary of unwieldy words)
October 2010
In cooperation with the Literaturhaus Stuttgart, the Akademie Schloss Solitude invited 140 authors (current and past fellows from the areas of literature, theater, theory and philosophy as well as jurors, employees and guests of the Akademie) to each write a »unwieldy« word in their mother tongue.
 
Körper (Bodies)
September 2009
They work in offices or in city sanitation, or even work themselves to the bone. They are in search of something, stuck in the mud or waiting for the moment that life takes them on another course. They have desires, fears and fantasies. They live, love and fall ill. They are like us.
 
Sandfuge (Sand fugue)
September 2009
In a cathedral, a Burger King and a coffee house, on the backseat of a taxi, while beheading a fish or scrubbing the floor, the characters in István László Geher’s poems are always in search of something.
 
Was schön ist und dem Daniel gefällt (What is beautiful and Daniel likes)
September 2009
Ernest Wichner, who translated Daniel Bănulescu’s poems into a German that is sometimes tender, sometimes nearly disturbingly raw, describes the Romanian poet’s work as »simultaneously repulsive and beautiful.« Was schön ist und dem Daniel gefällt is a mélange of the affectionate and erotic, the bawdy and strange.
 
Schule. Unterstufe (School. Elementary)
September 2008
In his novel School, Latvian author Pauls Bankovskis refrains from depicting pretty remembrances of an untroubled youth. Rather he tells dark stories packaged in a clear, almost disturbingly sober style.
 
Naive Pflanze (Naïve Plant)
September 2008
Bálint Harcos volume of prose, Naiv Növény/Naïve Plant, appeared in September 2008 in German translation at merz&solitude;. It tells of a young man’s attempt to liberate himself from all social and cultural contexts to achieve full freedom and emerge completely anew.
 
Dream Homes
Snapshots and Short Stories from Capetown
September 2008
Yet, in Dream Homes, Henrietta Rose-Innes offers manifold changes of perspective. Her protagonists demonstrate the moment of self-awareness, which is triggered by extraordinary experiences with foreign people and unfamiliar places.
 
Europa hat die Form meines Gehirns (Europe has the Shape of my Brain)
September 2007
The Akademie publishes a collection of eight texts under the title »Europe has the Shape of my Brain«. Cartarescu wrote them between 1990 and 2007 and half of them have, until now, been unpublished in German. Even if the subjects of his texts are »circumstantially« Romanian, he rejects the role of »resident Romanian« and claims the universal »creative spirit« of literature.
 
Diese Fremden (These Strangers)
September 2007
»These strangers« are completely normal people - they have families and neighbors, superficially chat about the weather or their children, and live in single-family homes like those you see in American television series.
 
KaltWasserKult (ColdWaterCult)
September 2007
Térey’s literature is marked by a quiet ironic game with words and images that constantly capture the reader. Artfully written and translated into German, his poems have a reader-friendly surface that creates both fun and pensiveness in its audience.
 
9 Kilo (Nine Kilos)
October 2006
The Hungarian author Zsuzsa Selyem, who lives in Cluj, has given her new novel the title 9 Kilo. In the subtitle, she provocatively juxtaposes this consciously trivially chosen title with psalm 119 from the Book of Psalms.
 
Körper und Tage (Bodies and Days)
Os corpos e os dias
2006

Laura Erber’s Körper und Tage (Body and Days) is a finely woven lyrical volume of short verses that are repeatedly interspersed with silence. The sequence of texts refers to both the image sequences of cinema and the stream of desire.

 
Das Geisterschiff (The Ghost Ship)
2005
Miracles sometimes occur in the world of theater. Modest, fearless young people appear who dare to deal with the major topics of theater history. Like Margareth Obexer, who asks anew about the material of the Greek tragedies and confronts us with a new kind of tragedy.
 
FUCK YOU, Eu.ro.Pa!
2005
The piece FUCK YOU, Eu.ro.Pa!, was created at Solitude and was first performed in early 2005 in the former Soviet Union and Romania and can be read as a call of a youth that (not only), in the countries of the former eastern block - feels as if its hopes were let down and betrayed by a neoliberal, profit-oriented world
 
Zentrifuge (Centrifuge)
September 2004

It is a literary work filled with humor, bitter irony and distance, a permanently furious game with language, levels of style, types of text and genres in a well-executed translation from the Romanian by Eva Wemme.
 
Lazarus!
September 2004
Gábor Schein has a miracle occur in his novel. Péter makes contact with his dead father one last time and conducts a conversation with him that would never have been possible during his lifetime. In his life he was missing the language; in death it is the only thing that can resurrect what never was.
 
Milch (Milk)
September 2004

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 (...)” “Woe is me, where do I go when / It is winter, the flowers (…)”

 
Der Autobus mit den Buckligen (The autobus with the crookbacks)
2003

n this round of episodes, Nora Iuga accompanies Sam through all life situations and illustrates ironic moments that reflect - despite or exactly because of their apparent arbitrariness - the male-human existence in its grotesque entirety.

 
Drei (Three)
2003
Three travel reports, three diary entries, three poems, three beginnings of prose pieces, three times and even more often, Péter Zilahy plumbs the boundaries between the genres of poetry and prose, fiction and chronicle, history and stories.
 
Tiefausläufer (Troughs)
2003

In her first collection of stories, »Tiefausläufer«, Klischat succeeds in depicting human togetherness in its fragility and scurrility in a way in which existence only once reveals itself: arbitrary, illogical, absurd and always unique.