Anton G. Leitner

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Anton G. Leitner
Anton G. Leitner on October 23, 2012 in the Literaturhaus Munich at the "International Summit of Poetry"

Anton G. Leitner (born June 16, 1961 in Munich ) is a German writer and publisher .

He was also known as an editor, reciter and literary organizer. Between 1980 and 2018 Leitner edited over 35 anthologies for Artemis & Winkler , dtv , dtv / Hanser , Goldmann and Reclam, among others . He is co-founder and editor of the magazine DAS GEDICHT , which has been published since 1993.

Leitner mainly publishes poetry, as well as short stories, essays, literary reviews as well as children's and audio books. Since the 1980s he has dedicated himself to the cross-generational communication of poetry, without shying away from public controversy.

life and work

After graduating from high school in 1981, Anton G. Leitner studied law and philosophy at the Ludwig Maximilians University of Munich from 1982 to 1988 at the humanistic Wittelsbacher Gymnasium in Munich . Following the first state examination in 1989, he completed his legal clerkship at the Munich Higher Regional Court from 1990 to 1993 . In 1992 he founded the publishing house of the same name in Weßling in order to publish the annual DAS GEDICHT in addition to Latin learning aids .

He has been married to the doctor Felizitas Leitner since 1991 . He lives and works (full-time since April 1993) as an author, critic, editor and publisher in Weßling (Starnberg district), because "he prefers dealing with poems to sitting in courts." As a high school student, Leitner published his first private prints with his childhood friend Helmut Krausser , which testify to his remarkable talent in the implementation of editorial and journalistic companies - such as the booklets Füllhorn und Nachböen from 1980/1981.

Young authors' initiative

Cover Schreite weiter, step (1986), illustrated by Michael Gattnarzik

Together with Friedrich Ani , Michael Lentz , Nicola Bardola and others, Anton G. Leitner founded the Initiative Young Authors (IJA) in the early 1980s and was its chairman until 1991. Under his aegis, in 1988 the IJA organized the Festival Interactions / Days of Young Literature in Munich's Gasteig Culture Center in cooperation with IBM Germany , which was the largest literary event in the Bavarian capital up to that point. The Tagesspiegel wrote with amusement about the independent organization: "This young writing movement is not limited to intimate orange tea readings."

The organ of the IJA was the Munich leaflet for young literature , Der Zettel . Many writers published their first poems there, sometimes reinforced by international authors such as Vladimir Sorokin .

The work for the Young Authors Initiative and a series of public appearances trained Anton G. Leitner's personal presentation style. As a law student he was already editing young poetry and prose for Goldmann and was a juror at the meeting of young authors in Berlin (national competition "Student Writing").

Poetry

Leitner's extensive literary work so far includes eight volumes of poetry and two booklets. His poems also appear in magazines, daily newspapers, on radio and on television (including Brigitte , mare , Süddeutsche Zeitung , Die Zeit , BR , Radio Bremen and the original sound trilogy "Wenn Verse lure" in the Deutschlandradio Kultur program "Lesart") ". His poetry has been included in numerous anthologies. Leitner's lyrical drafts stand in the tension field of the author's extensive editorial work (see below), which informs and shapes his poetry and places it in a unique production-aesthetic situation, as many observers of his work emphasize. With regard to the classification of Anton G. Leitner as a poet, Manfred Lange wrote in 1986: "He is difficult to classify, and that makes him likeable. He does not offer a ready-made worldview, but thoughts, cuts, appeals for a departure."

"So! Stop / The calm of / objects: “Poetry as a predetermined breaking point

Cover: The sea drips from the tap (2001)

Some commentators located Leitner's lyrical approach in a fugue between modern and postmodern. The Süddeutsche Zeitung stated that "the conquest of new territory between the words [takes place]" in a linguistically recoded terrain, where "a large space opens up between the apparently secured connections." His poetry grasps reality in the fragment, in which the perception is broken, but without stopping at mere fragments, "since Leitner's technique of fragmentation and the constant playful change of tones and perspectives are suspended in a whole." The direct evidence of the images that Leitner offers with his verses is noticed by his advocates as well as his despisers. In the Hamburg weekly newspaper Die Zeit , Alexander Nitzberg wrote : "The verbal glare usually only forms the outer framework for sentences full of silence and poetry." What characterizes Nitzberg, but also, for example, Joachim Sartorius here in Leitner's work, is a figure of lyric poetry that balances the balance between ostensible obviousness and unfathomable magic. Leitner, the lyric poet, "reaches a peak in the art of enjambement that almost borders on charlatanism" (Nitzberg). Furthermore, Nitzberg noted that Leitner was showing "no more splashing ocean waves, only small painful drops".

Style and technology

Leitner undermines the traditional verse structure through the systematic use of the enjambment, whereby a multiple coding of the lines is achieved. Steffen Jacobs, for example, noticed this procedure during a review of the poem Abends, always in Die Welt : "Anton G. Leitner's poem Abends, always offers interesting visual material for an extreme form of enjambment: here the line fall often gives the poem a completely new direction. At the start seems to want to put Leitner's poem in a car: 'In the evening, always // more often in a traffic jam.' But then it turns into a dynamic pair constellation: 'Preferably // he / she is crooked. She // gets up.' A tense dialogue could be meant, but also an erotic change of position. " Since Leitner stages a "shattering of the sentence and word context" in his poems, he creates alienating effects that give new interpretations to the linguistic and visual elements of everyday language. In combination with an extremely shortened language, Leitner's style is particularly well suited to bringing contemporary phenomena into poetry: "His verses reflect the high-speed present in the rhythm of the new age, not a word, not a syllable, not a letter too many." "Leitner repeatedly works with intersecting and overlapping semantic vectors that generate paradoxical effects and are capable of surprising. He repeatedly mixes families of words, crosses word fields, separates compounds, threads unusual chains of associations and tears those we expect."

Poetry as a form of time criticism

The literary scholar Ulrich Johannes Beil observed the specific form of criticism that emerges in Leitner's poetry very early on : "Leitner uses language to create resistance that reality no longer offers him." Fritz Deppert also notes this impulse in a review, in which he refers to the peculiar tension between "Love and Social Criticism" with regard to Leitner's volume of poems, Steps, Steps. Leitner often varies the motif of indeterminacy, as Lutz Rathenow notes in an analysis of the poem Engel in Die Welt : "Anton G. Leitner goes on: And when the angels no longer know what they are and should be? They are in these slim ones , the 27-word poem has one thing above all: exhausted. The author succeeds in placing almost every word so ambiguously that the poem raises more questions than answers. "

While some commentators capitulate to an alleged "pessimism", others accentuate the aspect of "cynical reason:"

“So is Leitner working on a kind of lyric poetry of cynical reason? Maybe [...]. These are poems that are reminiscent of Haikus, Leitner's role models G. Ungaretti , J. Ritsos , JR Jimenez and, last but not least, Karl Krolow , the master of lyrical weightlessness - poems that seem a little lost or lost among the others, like texts hammered with compressed air. 'Everything I need / About me: You want to say / You're the stop, but turn around / With me in a circle', it says, for example, in 'KLEINE WELT RUNDE'. At the same time, these poems prove that the overwhelming power of our talk show culture can always be found a little space for miniatures, for the 'wisdom / a melon fruit', for looking back at the antiquity of Catullus or Properz - that there is and find niches there for verses like this: 'My house / is dark / because it is built on / shadow /.' "

The gesture of criticism, in which the core of the subject has become free of all standards, moves Leitner's lyrical work in particular into the spirit of philosophical existentialism . Thomas Krüger records the struggle for authenticity, which is documented in Leitner's work, in a review in Die Horen : "The ironic break in this attempt is the proof that there is none in the context of market orientation, political disorientation and the vanities worn by the brand authentic existence - not even its plausible mirage called utopia. "

Humor - irony - parody

Cover design by Peter Boerboom & Carola Vogt, Münsing, for Daedalus Verlag, Joachim Herbst e. K., Munster

Contrary to the opinion of some despisers, who would like to attribute a certain incomprehensibility to Leitner's poetry, others, like the Süddeutsche Zeitung z. B. in relation to The Truth About Uncle Spam, his verses are "playfully light and airy [...] because he distrusts any false depth, his miniatures are enjoyable to read." While the young Leitner was accused of "pessimism", recently critics like Salli Sallmann have given him the title of joker: "Leitner wants to expose the everyday madness and nonsense that surrounds us, but playfully and not with any morally sour fingers." In numerous reviews, the criticism emphasizes Leitner's penchant for enlightening irony. Peter Kapp wrote in the Rheinische Post regarding the volume of poetry The digital shark is high: "With hearty language wit and tricky wordplay, Leitner makes you want poetry." Leitner does not hide behind fictions of seriousness: "From the widespread view that poems are only good for the quiet little room, the publisher and publicist thinks nothing: poetry belongs in everyday life and it should be fun." Günter Kunert says in the foreword to The digital shark is high: "It is rare for a poet to have three special properties combined and at the same time, like Anton G. Leitner. A man has a sense of language and a desire for language, sex in his head and where does that happen? "Humor, joke, mother joke. A mixture that hardly exists in German poetry."

Also the lyrical stories, the Leitner publication Schnablgwax. Bavarian verse cabaret (2016) are interspersed with caricaturing and humorous stylistic devices . With the change to the Upper Bavarian dialect, the author is building on his linguistic roots. Sabine Zaplin confirms Leitner's similarities with Georg Queri , the author of Kraftbayrisch and farmer eroticism and Bauernfehme in Upper Bavaria, and finds in his "poem stories": "the desire for provocation, the unmistakable feeling for ambiguity and a fine antenna for the nuances of language" . Rudolf Siegl from MUH. Bavarian aspects emphasize the pleasurable use of the dialect, which corresponds to the content of the poems: "The Bavarian flow is round and soft, but through all the onomatopoeia the anarchy can be heard in every verse. This is how a pointed portrait of the Bavarian nature emerges from the everyday observations, mal coarse, sometimes cryptic, sometimes thick-headed, always quite calm - that's how you can hear Upper Bavaria. "

Cover design by Peter Boerboom & Carola Vogt, Münsing, for edition DAS GEDICHT, Weßling, and edition lichtung, Viechtach

Poetry in the public eye

Not only about the person, but also in the execution of Anton G. Leitner's work, the literary genre of poetry is at the center of public debates, so that Salli Sallmann says on RBB Kulturradio when reviewing the volume of poems The Truth about Uncle Spam : "He is one who tirelessly fights for the public perception of the literary genre poem. "

The openness of Leitner's poetry means that "there are no precious verses for the lonely joy of the Germanist guild", "rather it is addressed to a broad audience." It is precisely this trait of his poetry, its acceptance and accessibility, that makes Leitner's person the focal point of public debates about the role of poetry in society: "While many contemporary poets are struggling in the dry, Leitner moves smoothly through the turbulent sea of ​​language."

Anonymous caller leaves threatening speech

His motifs and thematic elaboration are based on a real reception situation and are aimed at a broader literary audience. The starting point of his poems is curiosity, which also justifies commitment to his lyrical project: "We can all support free and committed publishers. A solidarity-based curiosity on the part of our readers about their books can provide first aid to survival. Because poetry lives above all the commitment of publishing enthusiasts. " Leitner does not write with his back to the audience, but rather integrates "the poetry into normal everyday communication". The intentional structure of this compositional principle meets with resistance from some poets who have given up their search for an audience, as the debate initiated by Axel Kutsch about a more pluralistic promotion of the genre of poetry in 2011 showed. While some poets and publishers were outraged by Kutsch's demands, Anton G. Leitner defended him and said: "Some of the comments [some contemporary poets] read almost as if they were posted by upset children to whom their parents or father had previously been the state threatened with pocket money withdrawal. " Leitner emphasized here that poetry that wants to be publicly promoted must also open up to the public; otherwise it would have to be fed from private resources. This was not a question of a subsidy policy debate, but a debate about the economic conditions of contemporary aesthetics. In the case of a publicly funded poet, according to Leitner, one must bear in mind that "it is not the poetry, that is, his readership, that feeds him, but subsidies and prize money, most of which come from tax money."

Activity as editor

Between 1980 and 2018 Leitner u. a. for Artemis & Winkler , dtv , dtv / Hanser , Goldmann and Reclam over 35 anthologies. From 2007 to 2008 he published his own lyric series in the edition Chrismon. In February 2007 his CD "Herzenspoesie" was published by Eichborn Verlag . It contains his favorite love poems and, in addition to his own love poems, is collected. a. Poetry by Goethe , Heine , Klabund , Wedekind and Gernhardt .

In his work as editor, Anton G. Leitner was style-defining for a relaxed and new approach to poetry among a broader readership, such as u. a. Hanns-Josef Ortheil in his review of the anthology "Fire, Water, Air & Earth" states: "With this anthology [...] I could well imagine such a new beginning." In his thematic compilations, Leitner found an appropriate relationship between contemporary poetry and the poetry of bygone eras; At the same time, he identifies texts that make an interesting and balanced selection, so that the critic Franz Schuh writes in Die Zeit : "I can't imagine a better one."

His innovative energy lyrical formats remains remarkable through the anthologizing merging of texts to constitute a core - for example around the SMS lyric or the cultural area of ​​Bavaria in the anthology Ois is Easy. Here, Leitner's editorial activity becomes a style-forming moment under real market conditions. Therefore, more and more reviewers judged: "There has never been a book like this before." Regarding the Bavarian anthology Leitners Ois is Easy , Bayerischer Rundfunk said: "This is a collection of contemporary poems from Bavaria, in many pitches, in standard language and dialect, from all Bavarian linguistic and cultural landscapes. The series of poets extends from Friedrich Ani via Hans Magnus Enzensberger , Michael Krüger , Reiner Kunze and many others to Ludwig Steinherr . In this book, contemporary Bavarian literature is re-measured. "

From a formal point of view, the lyrical anthology is an inconclusive undertaking for Leitner, but has to be carried out again and again, whereby the assertiveness of individual texts is tested in the audience: Thus every anthology project is an "open project" for Leitner.

At the same time, Leitner deliberately created some anthologies so that they can also be made available as instruments for communicating cultural poetry. "For an anthology," writes Dietmar Dath in a review by Heiß auf Dich, "youth-appropriate , youth-oriented or just 'somehow more youthful' 'lock and love poems' as published by Anton G. Leitner and Anja Utler , speaks that the time in which you can make your formative experiences with the other - or your own, well, the main thing is any gender, at the same time is one in which you have not read, heard and seen so much that you would have developed semantic habits about it, which, when you write about love, suggest that you know pretty well from your writing hand what you are writing about. "

THE POEM. Journal of poetry, essay and criticism

In 1993 Anton G. Leitner started the magazine Das Gedicht together with Ludwig Steinherr . Journal for poetry, essay and criticism from the baptism, which he published alone from 1994 to 2007 and has been editing with changing co-editors since 2008. It is now one of the literary magazines with the highest circulation in the German-speaking area and is published annually in book strength.

In addition to many other authors, institutions and readers, the editors of the magazine Die Horen paid tribute to the newly founded magazine several times: “[Leitner] gave the marginal phenomenon a new center and created a publication organ of a format that exceeds mere theoretical power because it is more contemporary with currents Poetry gives a forum and the opportunity to prove yourself to one another. "

Memberships

On September 26th, 2009 Leitner was appointed as a new member of the circle of the Munich tower scribe, on October 30th, 2012 he was admitted to the "Karl Valentin-Gesellschaft".

In 2012 he was artistic director of the "International Poetry Summit" , the anniversary celebration of the magazine Das Gedicht on October 23, 2012 in the Literaturhaus in Munich .

Awards

Anton G. Leitner was awarded for his literary work a. a. Awarded the AusLese cultural award from the Reading Foundation (1995), the Victor Otto Stomps Award from the City of Mainz (1997), the Kogge Award from the City of Minden (1999) and the Culture Award from the Starnberg district (2001). On October 28, 2015 he was awarded the Bavarian Poet Thaler by the southern German literary association of Munich tower writers . In 2016 he received the Tassilo Culture Prize from the Süddeutsche Zeitung .

Works (selection)

As an author

Poetry
  • Move on, step. Poems . Federal Ring of Young Authors (BjA), Aachen 1986, ISBN 3-925638-03-2 .
  • Small World Round (Edition Lyrik; Vol. 4). Landpresse, Weilerswist 1994, ISBN 3-930137-20-8 .
  • Image umbrella is snowing, red cast. One hundred selected poems. Landpresse, Weilerswist 1997, ISBN 3-930137-53-4 .
  • The sea is dripping from the tap. Flow, leaves. 1998-2001 . Extended new edition. Poetry edition 2000, Munich 2002, ISBN 3-935877-14-5 (reprint of the Berlin 2001 edition).
  • The digital shark is high. Or the songs of a fished fisherman. Poetry edition 2000, Munich 2004, ISBN 3-86520-052-4 .
  • The sand is ticking in the glass. Real-time poems 1980 to 2005. Edition lichtung, Viechtach 2006, ISBN 3-929517-75-2 .
  • Egg for two. Poem picture book . Verlag Sankt Michaelsbund, Munich 2011, ISBN 978-3-939905-81-3 (illustrated by Peter Boerboom and Paula and Carola Vogt).
  • The Truth About Uncle Spam and Other Revelatory Poems. Daedalus Verlag, Münster 2011, ISBN 978-3-89126-192-7 .
  • Head. Railway station. Poems by Anton G. Leitner. Pictures by Alfred Wäspi. Carl-Walter Kottnik, Hamburg 2013, without ISBN.
  • So a shit. Bavarian Schnablgwax. Carl-Walter Kottnik, Hamburg 2015, without ISBN.
  • Schnablgwax. Bavarian verse cabaret. Lichtung Verlag / Anton G. Leitner Verlag, Viechtach / Weßling 2016, ISBN 978-3-929433-27-2 (print) / ISBN 978-3-929433-28-9 (e-book) / ISBN 978-3-929433 -34-0 (audio book).
  • Anton. G. Leitner, Selected Poems 1981-2015 . Translations into English by Richard Dove, Paul-Henri Campbell, Anatoly Kudryavitsky and Yulia Kudryavitskaya, Survision Books, Dublin 2018, ISBN 978-1-9995903-8-3 . ( Online )
  • Anton G. Leitner, voix en plein trafic / Voices in traffic. Translation into French by Joël Vincent, Alidades | collection Bilingues, Thonon-les-Bains 2020, ISBN 978-2-919376-71-1 .
prose
Children's books
  • Napoleon's first case. A story (Pixi books; 1200). Carlsen, Hamburg 2003, ISBN 3-551-05739-7 (illustrated by Jörg Hülsmann).

As editor

Poetry
Essays
  • Experiments with the echo sounder. Getting to the bottom of modern poetry; the best essays from ten years "The Poem" . Poetry edition 2000, Munich 2002, ISBN 3-935877-13-7 .

literature

Web links

Commons : Anton G. Leitner  - Collection of images, videos and audio files

Individual evidence

  1. Tageblatt . The newspaper for Luxembourgers, We are wanderers. Anton G. Leitner on the power of poetry, August 22, 2006.
  2. ^ Anton G. Leitner Verlag: Publisher Profile, aglv.com, accessed on February 14, 2015.
  3. Kölner Stadt-Anzeiger , The Solidarity of the Curious, August 8, 2001.
  4. Süddeutsche Zeitung , Step forward, step, March 11, 1986: “Step forward, step: A play on words, but also an accusation between the lines, not stubborn forward walking is meant, but walking as a movement against rigidity and ordinaryness . "
  5. Süddeutsche Zeitung , Sparkling source of the offense. Poems do not fill you up, but make you happy: the life of the poet and provocateur Anton G. Leitner, January 26, 2011.
  6. Der Tagesspiegel , On the way to the public. Young authors help themselves, January 18, 1987 p. VIII.
  7. ^ Münchner Merkur , midwife for new talents. The Federal Ring of Young Authors in Munich, June 26, 1986 p. 38.
  8. Starnberger Merkur , Progress Poems Towards Downfall, September 3, 1986.
  9. When verses lure (1) - The poem in love: http://www.deutschlandradiokultur.de/wenn-verse-locken-1-das-gedicht-im-liebesendung.1270.de.html?dram:article_id=313695 ; When verses beckon (2) Can you tear someone up with poems ?: http://www.deutschlandradiokultur.de/wenn-verse-locken-2-kann-man-mit-gedichten-jemanden.1270.de.html?dram: article_id = 313749 ; When verses beckon (3) On the appeal of reciting: http://www.deutschlandradiokultur.de/wenn-verse-locken-3-vom-reiz-des-rezitierens.1270.de.html?dram:article_id=313926
  10. Die Horen (Morawietz) No. 189 Schreite weiter, step, 43rd vol. Vol. 1, 1998 No. 189 p. 209: "Leitner never got stuck in any phase of his lyrical development. Instead, according to his own motto, he stepped on, Step has now found the way that will gradually but surely lead him to Paul Wühr , Ernst Jandl and Karl Riha , namely to dismantle the word in order to find new meaning for the sub-elements in the refraction, in the language game, in the reassembly. "
  11. Die Welt The publisher as a poet, April 21, 2001 p. 42.
  12. Deutsche Tagespost Schreite fort, May 17, 1986 p. 15.
  13. ^ Die Zeit , feuilleton literature, December 8, 2011 p. 71.
  14. ^ Aachener Nachrichten Anton G. Leitner's new volume of poetry "The sea drips out of the cock." Sea full of linguistic islands, April 25, 2001: Jürgen Nendza wrote there: "The idyllic tranquility of the exotic is undermined in Leitner's observations."
  15. Süddeutsche Zeitung , poetry with and by Anton G. Leitner. Holiday mood through the power of poetry, 11./12. August 2001.
  16. tz , From the island for the island. Leitner am Lit-Telefon, June 7, 2001, p. 4: "In his tense, canted speech eruptions, delicate melancholy is repeatedly cushioned by witty puns."
  17. ^ Süddeutsche Zeitung The Vulkan in Analysis, April 17, 2001.
  18. Anton G. Leitner: The sea drips from the tap, sea ​​- island - love. An introduction by Joachim Sartorius 2001.
  19. Jump up ↑ Die Zeit , Taking the Word at its Word, October 4, 2001.
  20. Anton G. Leitner: The sea drips from the tap, sea ​​- island - love. An introduction by Joachim Sartorius 2001.
  21. Jump up ↑ Die Zeit , Taking the Word at its Word, October 4, 2001.
  22. Die Welt , Evenings, Always, March 2, 2005.
  23. Kölner Stadt-Anzeiger , Not in this heat, July 30, 1998.
  24. ^ Westdeutsche Allgemeine Zeitung , Critique in a Nutshell, 23 August 2011.
  25. Ulrich Johannes Beil , epilogue to The Truth About Uncle Spam 2011, p. 114.
  26. ^ Anton G. Leitner: Schreite weiter, step , afterword by Ulrich Johannes Beil , 1986.
  27. Darmstädter Echo , Leitner's poetry. Love and Social Criticism, June 16, 1995, p. 13.
  28. Die Welt , Engel, April 24, 1999.
  29. Starnberger Merkur , progress poems in the direction of downfall, September 3, 1986: "Anger and horror outweighs a world that has fallen out of joint."
  30. Ulrich Johannes Beil , foreword, to picture umbrella snowing, red line, 1997.
  31. Die Horen No. 192, Spiel mit Perspektiven, Vol. 43 Vol. 4 1998 No. 192 p. 203.
  32. Süddeutsche Zeitung , Between the Lines, Vol. 43 Vol. 4 1998 No. 192 p. 203.
  33. ^ RBB Kulturradio , Anton G. Leitner: The truth about Uncle Spam. New poems about everyday madness and nonsense, August 25, 2011.
  34. Starnberg Mercury , There are always human sheep, June 25, 2011.
  35. Aargauer Zeitung , This lyric is not airy, it is easy, especially pleasurable, December 22nd, 2004: With regard to The digital shark is high , Markus Bundi writes : "Despite all the shrewdness and the sure feeling for punch lines, these thirty chants are not poetic from."
  36. Kölner Stadt-Anzeiger , The I stands in a draft instead of a train, 9./10. June 2011.
  37. ^ Rheinische Post , Anton G. Leitner. The digital shark is high, May 10, 2005.
  38. Stuttgarter Zeitung , "Everything turns in circles" - cats, whales, digital sharks, September 5, 2009.
  39. Günter Kunert , foreword to The digital shark is high February 27, 2004.
  40. Sabine Zaplin, contribution to Bayerischer Rundfunk, B5 Kultur, broadcast date: June 8, 2016
  41. ^ Rudolf Siegl: Review: Anton G. Leitner, "Schnablgwax. Bairisches Verskabarett", 2016 . In: Josef Winkler (Ed.): MUH. Bavarian aspects . Spring 2017, no. 24 . MUH GmbH, Truchtlaching, S. 24 .
  42. ^ RBB Kulturradio , Anton G. Leitner: The truth about Uncle Spam. New poems about everyday madness and nonsense, August 25, 2011.
  43. ^ Rheinische Post , Anton G. Leitner. The digital shark is high, May 10, 2005.
  44. ^ Rheinische Post , Anton G. Leitner. The digital shark is high, May 10, 2005.
  45. Kölner Stadt-Anzeiger , The Solidarity of the Curious, August 8, 2001.
  46. Eßlinger Zeitung , Fischzüge im Meer der Sprach, March 4, 2005.
  47. lyric newspaper, frightened children November 24, 2011.
  48. lyrikzeitung, children  ( page no longer available , search in web archivesInfo: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. November 24, 2011.@1@ 2Template: Toter Link / lyrikzeitung.com  
  49. ^ Neue Zürcher Zeitung , Hundred times Passion, March 27, 2002.
  50. Die Welt , Lustvoll zur Lyrik, September 13, 2003.
  51. ^ The World , The Vicissitudes of Love, November 4, 2004.
  52. Bayern 2 , Ois is easy, September 7, 2010.
  53. Die Welt , Lyric Instructions for Use. From the fairy tale king to the set, August 18, 2010.
  54. Frankfurter Allgemeine Zeitung , Lieber nothing to rhyme with 'Triebe', May 25, 2002.
  55. ^ The poem , article, Basler Zeitung , November 19, 1993
  56. ^ Magazine review, radio contribution, Bayerischer Rundfunk , broadcast on September 24, 1996, 10:20 p.m.
  57. Poets play about advancement. Article, Frankfurter Allgemeine Zeitung , September 23, 1999
  58. Erotic poetry in the crossfire: Better wheat beer than exciting prelude. , Article, Der Spiegel , January 25, 2000
  59. Die Horen No. 192, Spiel mit Perspektiven, Vol. 43 Vol. 4 1998 No. 192 p. 203.
  60. ^ Süddeutsche Zeitung , Dichter und Zänker, April 19, 2011.
  61. Central organ of real poetry. , Article, Die Welt , October 16, 2012
  62. DAS GEDICHT magazine celebrates its 20th anniversary. , Article, Abendzeitung , October 16, 2012
  63. 20 years of the literary magazine DAS GEDICHT. , Article, Die Neckarquelle , October 16, 2012
  64. Culture Prize of the Reading Foundation for Anton G. Leitner Verlag, Bayerische Staatszeitung , November 8, 1996
  65. The poetry magazine Das Gedicht receives the Victor Otto Stomps Prize, news item, Neue Zürcher Zeitung , May 22, 1997: "The press praises the cleverly thought-out concept of the magazine, describes it as a forum for current thinking about poetry 'Das Gedicht' as a panorama of current German poetry. "
  66. Jump up ↑ Bad Times for Poets. Academic Lectures for the Cog Conference, Mindener Tageblatt , September 30, 1996
  67. ^ Süddeutsche Zeitung , Anton G. Leitner receives "Poetentaler" , July 21, 2015
  68. ^ Bayerischer Rundfunk , Anton G. Leitner receives the Poetentaler ( Memento from October 26, 2015 in the Internet Archive ), October 28, 2015
  69. Udo Watter: Tassilo Prize: Honoring and Encouraging . In: sueddeutsche.de . ISSN  0174-4917 ( sueddeutsche.de [accessed June 30, 2016]).
  70. Sabine Reithmaier: SZ Culture Prize: Which artists are awarded the Tassilo . In: sueddeutsche.de . ISSN  0174-4917 ( sueddeutsche.de [accessed June 30, 2016]).
  71. ↑ available as audio book / CD from beefree records, ISBN 978-3-929433-29-6 Weßling 2003
  72. as an audio book: words have their say. 50 poems from 10 years "The Poem". Patmos, Düsseldorf 2002, ISBN 3-491-91110-9 (1 CD).
  73. The book on the network Anthology of the second Ecumenical Kirchentag . 2010, ISBN 978-3-939905-60-8 .