Gerald Bisinger

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Gerald Bisinger (born June 8, 1936 in Vienna ; died February 20, 1999 there ) was an Austrian poet , editor and translator.

Life

Bisinger studied psychology and Romance studies (Italian) in Vienna . From 1962 to 1970 he was in charge of the poetry editorial team of the Viennese cultural magazine Neuewege . In 1964 he moved to Berlin , where he worked from 1964 to 1968 at the literary colloquium and from 1980 to 1986 editor of the journal Literatur im Technische Zeit . In 1986 he returned to Vienna, where he worked as a freelancer for the ORF and lived until his death. From 1989 to 1994 he was a member of the editorial team of the Linz literary magazine Die Rampe .

In 1973 Bisinger was one of the founders of the Graz authors' assembly . As a long-time companion of the literary avant-garde in Austria, he was an essential mediator and worked early on for recognition of the Viennese group . In addition, he made available the lyrical complete works of HC Artmann (without the dialect poetry ), which were only scattered until 1969 (HC Artmann: a lilienweisser letter from Lincolnshire. Ffm. 1969). The rank of “master”, as Bisinger Artmann called it, was inscribed in literary history. Bisinger also worked as a translator of works by Edoardo Sanguineti , Umberto Ecos and Nanni Balestrini and others. Overall, he played an important mediating role for German-language and Central European literature from the 1960s to 1980s. An example of this mediating role is the recommendation of the first manuscript by Elfriede Jelinek, who later won the Nobel Prize for Literature, to Rowohlt Verlag .

In Vienna in the 1960s, Ernst Jandl and Friederike Mayröcker had contact with the “Vienna Group” around HC Artmann, so named by Gerhard Rühm - Mayröcker, who is now one of the most important poets of our time, most intensively with Andreas Okopenko and Gerald Bisinger. According to Mayröckers, after 1945 it was initially not possible for Ernst Jandl, Andreas Okopenko and they themselves to publish their works. This possibility only existed in the Federal Republic of Germany in the early 1960s: Bisinger brought Mayröcker to the Rowohlt Verlag , where in 1966 her first volume of poetry, “Tod durch Musen” was published. (Ernst Jandl went to the Swiss Walter Verlag.) In a review of Mayröcker's volume of poems "metaphorisch", Bisinger had already shaped a classification that is still central to Mayröcker research today by speaking of an "Austrian variant" of the long poem. In Bisinger's observation, the category of breathing plays an important role: the freer breath of Mayröckers takes shape in verse and typeface, says Bisinger. As for many Austrian authors of the avant-garde, building bridges with the Federal Republic, especially with Berlin, was decisive for Friederike Mayröcker. Bisinger, who was then working for the Berlin Literary Colloquium, invited her to Berlin for one year each in 1971 and 1973 with Ernst Jandl.

The encounter with Bisinger in 1966 marked the beginning of Barbara Frischmuth's career as a writer. He suggested her as a participant in a conference of the Berlin Literary Colloquium at Wannsee, where she met Walter Höllerer, Klaus Reichert and Norbert Millern. Her first prose book Die Klosterschule appeared in 1968 with the help of Gerald Bisinger and Klaus Reichert at Suhrkamp-Verlag. The success was great. Frischmuth was soon invited to book tours, author meetings and radio broadcasts and made the acquaintance of a number of literary personalities.

In the film "The literary profile of Rome" made by Walter Höllerer , Renate von Mangoldt and Bisinger, Bisinger interviewed Ingeborg Bachmann alongside Italian avant-garde artists such as B. Pier Paolo Pasolini . (While making the film, a famous shot of Bachmann was also taken strolling down Via dei Condotti, with the Spanish Steps in the background, sunglasses in her hands and all dressed in black.) The accompanying volume “The literary profile of Rome ", Which Bisinger and Höllerer put together for the colloquium in 1970, presented Bachmann as the only German-speaking author alongside the Italian avant-garde, which means that Bachmann was increasingly perceived in the German cultural landscape in the Italian context.

The edition concept for the new edition of Hertha Kräftner 's 1997 work follows a thesis that Bisinger formulated as early as the 1960s, according to which Kräftner's writings are actually a coherent and coherent text, something like an integrative novel.

For his own literary works, which have been published in hand presses, small and author publishers since 1963, poetry was decisive, and he wrote his works partly in both Italian and German.

In “7 Gedichte zum Vorlesen” (7 poems to read aloud) (1968) Bisinger won what he considered the dominant and concise form of the ancient long poem. Bisinger turned more and more to everyday things that were exposed to a canalized flow of associations through the severity of the form. In his works (Poema ex Ponto I-III (1972–1982)) and the publications after his return to Vienna (1986), he expanded this procedure to the poetological formula typical of him: "Here I sit and write". At the end of his texts, which in later years increasingly revolved around old age and death (An old poet, 1998), there was the apparently banal, but highly artificial insight: "I am still here, I still remember myself."

Wolfgang Rath wrote in the Critical Lexicon of Contemporary German Literature :

“Love and death; Knowledge and intoxication; Knowledge of time, thinking; locus amoenus and locus terribilis ; the motifs and topoi from the literary legacy are unobtrusively recapitulated in Gerald Bisinger's texts and reappear in momentary visions. "

- Wolfgang Rath

In the experienced here and now, the cultural memory wants to open up. As a matter of course in the poetry tradition of the modern age, whose worldview Bisinger recognized as being received in antiquity, the world of experience appears as a monumentalized sense of self:

“Inside and outside are convertible; Space is a metaphor of temporal existence. […] The title Poema ex Ponto is borrowed from Ovid's epistulae ex Ponto . The associations encompass the occidental world memory from 'now' to mythical times. "

- Wolfgang Rath

Ludwig Harig characterized Bisinger's poetry in 1982 on the occasion of the publication of “Poems on Life and Death” ”as“ a psalmodying and lamenting speech, accompanied by a tricky comedy that does not let his poetry slide into a sentimental tirade. ”In 1986, Friederike Mayröcker advocated Not to be underestimated by Bisinger's poems in their everyday garb:

"May this parlandoverse, which he has thrown effortlessly, flow to him for many years to come: these private documentary magical poems."

- Friederike Mayröcker

Michael Hammerschmid characterized Bisinger's poetry in 2016 as follows: In his poetics, Bisinger relies on poetry as a means of knowledge. A poetics that is committed to Latin poetry as an ideal reference space. With a thoroughly cheerful consistency, Gerald Bisinger kept the self-exploration of his poet's ego as part of the world going, which in every poem provides information about his existence. At first glance, the external similarity of the poems shortens the long period of their creation, which spans a good 40 years.

Bisinger's poems are kind of an original scene with a few elements. The place of the action is the tavern, the inn, sometimes the café or the beer garden. Another element is drinking, eating, smoking cigarettes and thinking and writing to make sure of your own existence, to see it also called into question. The repetitions and variations of these elements can be understood as an inner metamorphosis.

The poems take on a serene naturalness that transmits their curiosity about the world and the inner world to the reader through an inner movement of remembering, mental wandering and observation. The most universal element in the poems is place and time. They are in tension in the poems that keep the work in motion as a whole. All of Bisinger's poems are marked with a place and time in which the passing time sounds like an elementary keynote. In this way, the impression of a continuous narrative running in stages is suggested, comparable to a biography in individual chapters. This relationship to time gives each poem the characteristics of a note, making them appear light and light and not forced under the dictates of eternity.

The supposed persistence of the places opposes the passage of time. But places also change, for example when the time of day and the seasons change. The ego reacts differently to time:

“The I, which reacts differently, as a third entity, mixes itself in actu with its thinking, imagining, perceiving and writing into these interactions of spaces and times. In Bisinger's Parlando between the categories of existence, the complexity and contradiction of these poems open up. As uninterrupted as time, they seem to flow by without punctuation, which is why the breaks and discontinuities in their interior seem all the more surprising: the assembly and intersection of motifs and calculated line breaks call into question the unity of the thought images and the meaningful units of the individual verse, stretch or break connections, push Information on or condense and accelerate it. In short: this kind of "wild dramaturgy" creates a multitude of dynamics and reading opportunities and changes the pre-configured structure of thought and perception of the grammar from within. "

- Michael Hammerschmid

Bisinger's interest in the phenomenon of time is also evident in the titles of poems and chapter headings. The flowing of the moments of change is incidentally opposed to the discontinuity of a before and after and an in-between. The motif of vanitas is inscribed here in Bisinger's lyrical record of existence. As contemporary poetry, it points back to the poetry practice of antiquity, where it finds its aesthetic resonance space. Quotations from Latin poets are often chosen as the mottos of the poems, and the poems are permeated by the ancient meters and their organization into pentameters and hexameters and cannot be thought without them. Bisinger's poetry is neither high nor low, but the body of the poet's ego always seems to be present as the “highest low point”.

The name Bisingers is often mentioned in his function as a mediator and companion of Austrian authors. Reasons why Bisinger's unpretentious poems are less publicly perceived than his services as a mediator are seen in the fact that they appear in the guise of an “aesthetic of the inconspicuous”. Daniela Strigl and Friederike Mayröcker pleaded that Bisinger's "Parlandoverse" in this "everyday garb" and its accentuated casualness should not be underestimated. An I is created in them by being absorbed in the act of perceiving. The fact that Bisinger's protocols of situational residence often include simple facts has often shortened the reception of his poetry to anecdotal, local coloristic realism, although the catalogs of real names and brands, for example repeated mentions of cheap Eastern European cigarettes such as "Petra" or the precisely noted names of inns and Coffee houses function as linguistic objets trouvés that structure this world of text.

schnitzel
Eva-Maria Geisler , 1988

Link to the picture
(please note copyrights )


I have just got in Moser heuriger
cellar at the Maroltingergasse in
Vienna, but a so-called
action Schnitzel eaten with
potato salad for ATS-five
thirty costs the same otherness
where more double or even more
sips I drink red wine
dark in this and also nationwide
th Cellar with butcher's hooks instead of
clothes hooks under the windows, my
coat, always on the chair, I
write
this poem with a strained look

(Excerpt from In Moser's Heurigenkeller )

Bisinger was married to the writer Elfriede Gerstl and had a daughter with her, Judith Bisinger (born 1960). His second marriage was to the painter Eva-Maria Geisler , and with her he had a son, Johann August Bisinger (born 1977). In 1999, after a long illness, he died a few days before receiving the Austrian Prize for Literature . The last two volumes of poetry of his late work appeared posthumously. His estate is in the Austrian National Library (ÖLA 313/07).

He was buried in the Ottakringer Friedhof (Gr. 3, R. 1, No. 6) in Vienna.

Appreciations

Works

  • Cicadas and genever. Prose. Vienna 1963.
  • A dragon devil & devious. Prose. Berlin 1968.
  • 5 short poems for connoisseurs. Berlin 1968.
  • 7 poems to read aloud . Published by Berlin, Literarisches Colloquium, 1968
  • 7 new poems. 7 nuove poetry. Turin 1971 (bilingual).
  • Poema ex ponto. Poetic News from Eastern Latinity. Poems. Erlangen 1977.
  • Fragments to the ego. Frammenti sull'io. Turin 1977 (bilingual).
  • Poema ex Ponto II. Poems. Berlin 1978.
  • Poems for life and death. Basel 1982.
  • Poema ex ponto III. Poems. Berlin 1982.
  • A piece of nature. Berlin 1983
  • What else do I expect or a self-evident manifesto of postmodernism. Berlin 1984.
  • Early in life . Trilogy: Poems on Life and Death; In this way knowledge advances; Near the cemetery. Graz 1987.
  • Le poème du lac Léman. The poem from Lake Geneva. Berlin 1988
  • My place remains only the poem. Vienna 1989.
  • Gaining a foothold in Vienna in this new present. Autumn press, Vienna 1991
  • Reality touches me. About poetry and poets. Selected poems from the 1970s. Vienna 1993.
  • An old poet. Poems. Graz 1998.
  • This gossip. Poems. Graz 1999.
  • In the seventh decade. Last poems. Graz 2000.

Publication:

  • Gerald Bisinger, Peter O. Chotjewitz (ed.): The Landgrave of Camprodon. Festschrift for the hussar at the cathedral Hieronymus Caspar Laertes Artmann . Published by his friends Gerald Biesinger and Peter O. Chotjewitz. Ulrich Ramsegger publishing house, Berlin 1966.
  • with Walter Höllerer : The literary profile of Rome . Berlin 1970.
  • HC Artmann: a lily-white letter from lincolnshire . Frankfurt am Main 1969.
  • About HC Artmann. Frankfurt am Main 1972.
  • Authors in the House - Twenty Years of the Literary Colloquium Berlin. A reading, picture and source book of contemporary literature. Edited by Walter Höllerer together with Gerald Bisinger, Detlef Krumme, Ursula Ludwig , Renate von Mangoldt , Wolfgang Ramsbott . Galerie Wannsee Verlag, Berlin 1982.

Translations (selection):

  • Edoardo Sanguineti : Travel Pictures. Berlin 1972.
  • Umberto Eco : The three cosmonauts. Children's book. Frankfurt am Main 1971.
  • Nanni Balestrini : Rambling verbal dances. Munich 1978.
  • Nanni Balestrini: All at once. Berlin 1991.

literature

Web links

Individual evidence

  1. ↑ a b c biography of Gerald Bisinger in the personal dictionary of the literary archive of the Austrian National Library .
  2. ↑ a b Killy literary dictionary . Berlin 2008, vol. 1, p. 566 f.
  3. ^ A b Marie-Thérèse Kerschbaumer : Gerald Bisinger . In: The hammer. The newspaper of the Alte Schmiede No. 56, 05.2012
  4. ↑ Alexander Cammann: Friederike Mayröcker: Zirpen von Weltfülle . In: The time . December 27, 2017, ISSN  0044-2070 ( zeit.de [accessed January 30, 2018]).
  5. ↑ Brita Steinwendtner: Along the world: From the magic of poet landscapes. Haymon Verlag, Innsbruck 2016, ISBN 978-3-7099-3732-7 .
  6. ↑ Friederike Mayröcker: The year of snow - planetlyrik.de . In: planetlyrik.de . September 16, 2010 ( planetlyrik.de [accessed January 30, 2018]).
  7. ↑ Urs Büttner, Ines Theilen (ed.): Phenomena of the atmosphere: A compendium of literary meteorology. Springer-Verlag, Stuttgart 2017, ISBN 978-3-476-04492-1 .
  8. ↑ Daniela Riess-Beger: "one head, two Jerusalem tables, one dream" - Friederike Mayröcker on her seventieth birthday. In: Daniela Riess-Beger (ed.): Friederike Mayröcker: Life event. Inventions Findings of a language. Catalog for an exhibition of the Berlin Academy of the Arts and the Literaturhaus, Documentation Center for Newer Austrian Literature, Vienna, November 1994, pp. 101-103 (ZIRKULAR special summer 43).
  9. ↑ Renata Cornejo, Ekkehard W. Haring (Ed.): Wende, Bruch, Continuum: Modern Austrian Literature and its Paradigms of Change , Praesens Verlag, Vienna 2006, ISBN 3-7069-0339-3
  10. ↑ Marion Giebel: Fictional female figures in a selection of Barbara Frischmuth's works viewed from a psychoanalytic and feminist perspective . The University of Montana 2002
  11. ↑ Ina Hartwig : Who was Ingeborg Bachmann? A biography in fragments , S. Fischer, Frankfurt 2017, ISBN 978-3-10-002303-2 ( limited preview in Google book search)
  12. ↑ Monika Albrecht, Dirk Göttsche (ed.): Bachmann Handbook: Life - Work - Effect , Springer-Verlag, Stuttgart 2016, ISBN 9783476012418
  13. ^ Klaus Kastberger : Hertha Kräftner: Cool stars. In: Literaturhaus.at. October 15, 1997, accessed March 7, 2018 .
  14. ↑ a b Quoted from Killy Literaturlexikon . Berlin 2008, vol. 1, p. 566 f.
  15. ↑ a b c Wolfgang Rath: Gerald Bisinger . In: Critical Lexicon of Contemporary German Literature 3/2000, 64th Nlg
  16. ↑ Bernhard Fetz (Ed.): Ernst Jandl: Music, rhythm, radical poetry . Magazine of the Austrian Literature Archive . Paul Zsolnay Verlag, Vienna 2005
  17. ↑ Eva-Maria Geisler (ed.): For Gerald Bisinger. Rose petals on hoarfrost . Klaus G. Renner, Munich 1986, ISBN 3-921499-89-5 .
  18. ↑ a b c d Michael Hammerschmid : Drinking, smoking, eating, writing, or the original scene of Bisinger's poetry . In: The hammer. The newspaper of the Alte Schmiede No. 83, 5th 2016: Gerald Bisinger - No old poet . (PDF document)
  19. ↑ Jörg Thunecke (Ed.): Echo des Exils. The work of Austrian writers who emigrated after 1945 . Arco-Verlag, Wuppertal 2006, ISBN 3-938375-05-1 .
  20. ↑ Helge Schmid: Resurrection 2007. Gerald Bisinger's last poems - “In the seventh decade”. In: Literaturkritik.de. November 21, 2016, accessed March 7, 2018 .
  21. ↑ Janko Ferk : Approved and cross-written: essays, Hermagoras, Klagenfurt 2003, ISBN 3-85013-968-9
  22. ^ Daniela Strigl: Winter luck and misfortune. On the age poetry of Friederike Mayröckers, Ernst Jandls, Gerald Bisingers and Michael Guttenbrunners. In: Markus Knöfler, Peter Plener and Péter Zalán (eds.): The living and the dead. Contributions to contemporary Austrian literature. ELTE, Budapest 2000 (= Budapest contributions to German studies . Vol. 35)
  23. ↑ Chris Zintzen-Bader : To the iron time. The Viennese poet Gerald Bisinger (1936–1999) ( Memento of the original from November 2, 2013 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / www.lyrikwelt.de archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . In: Neue Zürcher Zeitung , 2000 (online at lyrikwelt.de )
  24. ^ From: In the seventh decade. Last poems. Graz 2000
personal data
SURNAME Bisinger, Gerald
ALTERNATIVE NAMES Biesinger, Gerald
BRIEF DESCRIPTION Austrian poet, editor and translator
DATE OF BIRTH June 8, 1936
PLACE OF BIRTH Vienna
DATE OF DEATH February 20, 1999
Place of death Vienna