Rituals are part of politics, and the confessions on the importance of literature, which are prayed down every year to open the Leipzig book fair in the Gewandhaus every year, are certainly not a lie. However, it does not get beyond the self -calming of a community that has long since lost the belief in the knowledge of the knowledge of deep reading.
The flashes, which may throw Mayor Burkhard Jung with his memory of Paul Auster in the direction of the White House, remain a table fireworks. And the emphasis consisting of nothing but formulas, with the Minister of Culture Claudia Roth conjures up the democratic community, does not sound as if she had read even one of the books mentioned by her in relation to the host country.
© DPA/Hendrik Schmidt
Should it be comforting that the AfD only reached almost 40 percent in the Bundestag election in the Free State of Saxony? Is Germany still doing gold because the censorship hammer that Donald Trump is getting out of in the USA has just failed to materialize in this country?
The breaking voice, with the Börsenverein leader Karin Schmidt-Friderichs, points out that a free Gewandhaus seat is devoted to the Peace Prize winner Boualem Sansal in Algeria, still has what it takes to be emoted.
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The great European novel art is threatened today.
Alhierd Bacharevich
But when the sky of the gray words tears open and actually comes out of the power of the literature from a appointed mouth, the ceremonial gets his meaning back.
With the choice of Bacharevič, who lives in Berlin exile in Berlin, a writer is awarded a writer of the Leipzig Book Award for European Communication, who has profiled himself as the opponent of the brutal regime of Alexander Lukaschenko as as a language powerful narrator.
Fight on two fronts
Both the apt appreciation of his novel “Europe’s dog” by the laudator Sieglinde Geisel and his own acceptance speech are evidence of a thinking that reflects this double performance in her ambivalence. He is concerned with a letter that “also tries to be more in exile than a dark charges or a documentary certificate”. With his defense of the fiction and the attack on a purely informational letter, Bacharevič fights on two fronts.
The political opponent is more clearly defined than the cultural. “The great European novel art is threatened today,” he states. “Complexity and polyphony, depth and experiment, language and secret, the internal period of the novel and its psychological power – modern people have less and less desire to do so. He forgot to read slowly.” And so he also shares a creeping marginalization with writers who do not have to fear direct political persecution.
His plea applies to the pausing in the endless news feed, and although one can argue about Bacharevič’s claim “Only as a news reader, we are all the same”, he rightly claims that every big novel causes different resonances. His resistance applies to a newly strengthening utopia of political, national and historical nature in Europe.
The fairy tale serves as a counter -concept. As a memory of archetypal experiences and model of moral behavior, it contains human knowledge that may not be irrefutable, but in contrast to the air closers of utopia.
The escapist is utopia, not the fairy tale that confronts you with all aspects of creativity: “The knife drills itself. Yes, the literature makes us unhappy. But everyone in its own way.” As a reader, you have to see this misfortune as happiness.