in silent nights

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Till Lindemann in 2009.

The second collection of poems by the German poet Till Lindemann , published in 2013, is in silent nights . It was published by Kiepenheuer & Witsch . The graphic artist, draftsman and childhood friend of Lindemann's Matthias Matthies added 25 uncommented black and white drawings to the work. The work has been translated into Dutch, Polish, Swedish, English and Russian.

background

Alexander Gorkow and Rammstein spent a few months traveling across the United States for a report in the Süddeutsche Zeitung magazine , for which he was later awarded the German Reporter Prize. Gorkow had already read Messer and wondered whether Lindemann was still writing poetry. He had been enthusiastic about Messer , but thought it was not cut enough from the texts that Lindemann wrote for Rammstein. In his foreword, the later editor Gorkow mentions how he showed some of Lindemann's poems to the actor Matthias Brandt , and what he replied to him the next day by email: “ The interesting thing about these poems is that hardly anyone would think of it. that this is from Till Lindemann. There is so much silence and depth and humor from this poetry in the Rammstein texts. These poems are amazing. For an actor, they're paradise, so to speak. They sound like someone picked Rammstein songs and put them in the flower press. The pure Lindemann herbarium! ".

content

Many different emotions and topics are addressed in the anthology, including Weltschmerz , fatalism , comedy and longing . There are references to Romanticism and Expressionism . Lindemann said: “ Most of my poems could have been written a few hundred years earlier. "

Motifs, themes, symbols

The seafaring, the water, the suction are the main motifs and images in Lindemann's volume of poems. Origin of the tides , At sea , Everything is wet , Very lonely with fish One reason , Yes , sweat , crack , Father's Day and Why , the metaphors and the flowing and flowing take on very different ways. Fire, which is otherwise such an important motif in Lindemann and Rammstein texts, only finds its way into The Experiment and The Beautiful Man . Also, sexual deviance , in this case, necrophilia , is just a poem ( Elegy for Marie Antoinette theme).

(Tragi) komik is in logic , Samenraub , Only , Spring , welding and True joy expressed.

Parallels to Rammstein texts can be found in I find myself good (cf. Zwitter ), love song (cf. Give me your eyes ) Ferien (cf. Haifisch ) and not living like a dog (cf. Bend down and punish me ).

In general, the sexual act is a dominant theme of the tape. In response to the remark of an interviewer from Metal Hammer that “almost every second poem in his work is about sex”, Lindemann said: “That's true. Sometimes even hidden in some allegories. I think that sex is far too little sampled, painted or described. Sex occurs permanently in life, but is always treated too latently. He meets us every step of the way, if you are not hiding in the forest. Sex constantly triggers stimuli that are also played around in the media, on television, or on the Internet. You can't walk two meters, hardly open a website without being caught immediately. ”Sexual relationships between older people and younger people ( New Year's Eve , fresh snow , Think Far ) or non-violent pedophilia ( dream ) are discussed. In Rammstein's texts, the subject is only taken up in spring in Paris .

The heart, Lindemann's main symbol, is always taken up again in Very lonely with fish , No , No heart , The knife , We two , Origin of the tides , Nightingale , Fresh snow , Schade , Auf's Land , Where is your heart and the violin .

Lindemann dispensed with punctuation in all poems and wrote in the old German spelling. The editor Gorkow did not edit the poems.

criticism

  • Linius Schöpfer (October 3, 2013): “ Lindemann's violence, however, is not a triumphant, self-pleasing one. But a pathetic, disgusting one - one that happens out of a misunderstanding, out of need, inability or despair, and which often ends in self-torture. Lindemann's lyrical self is reminiscent of the giant from Steinbeck's “Von Mäusen und Menschen”, who wants to caress a dog and strangles it in the process. Or "Edward Scissorhands". It's the same tragedy. Sex may dissolve the aggression and yet it always leads to disappointment: "I found meat on the bed / It had a face / I thought it was love / But it wasn't" ("Meat"). "
  • Jan Fischer (November 4, 2013): “ So is it worth reading in quiet nights? Yes, it's worth it. Once because of the illustrations. But then also because Lindemann - the complete Lindemann package, with band and stage shows and curriculum vitae and everything - is not just some kind of singer, but a total work of art that is worth penetrating. And his lyrics are part of it. An important part, perhaps, because it is that part of the total work of art that is least accessible to you - in its entire existence. "What's that supposed to mean now?" Is a good question that can be asked of In Quiet Nights. But nothing is a very incomplete answer to this. "
  • Bedroomdisco (October 17, 2013): “ With In silent nights Till Lindemann draws an abysmal, but at the same time vulnerable lyrical self. While the stage is bold and brutal, Lindemann enters into an intimate dialogue with the reader with his poems. His highly associative lyrical texts are bursting with melancholy, longing and feeling, only the words with which he writes often serve as a cover. But it is precisely this deep tension, this inner conflict that makes the poems particularly worth reading. "
  • Brigitte Helbling (November 27, 2013): “ [...] On the other hand, there are the ballad-like poems, which are seldom longer than one page and therefore seem more like the prelude to a ballad. There is a lot of rhyme here and there. Lindemann likes rhymes, and like no other in the German-speaking music world, he masters the game with harmony, which subjugates the content to a second level - the wholeness that the cross rhyme asserts into the fragment, the comedy that pushes itself through the pair rhyme into the tragedy . "
  • Georg Diez (October 4, 2013): “ Till Lindemann's poems are hard and wooden. It's hard to believe that the poet Rammstein singer wrote them himself, they read like a bad joke by David Lynch and Slavoj Zizek. Did the German feature section fall for a fake? "

Web links

Footnotes

  1. ↑ a b c Linius Schöpfer: The misunderstood. Till Lindemann, singer of the band Rammstein, has published a fascinating volume of poetry. Visiting an artist who seems to have fallen out of time. Tagesanzeiger, October 3, 2013, accessed January 10, 2014 .
  2. ↑ a b In silent nights. Poems. Kiepenheuer & Witsch, 2013, accessed on January 9, 2014 .
  3. ↑ Interview with sputniknews.de
  4. ↑ a b Fred: TILL LINDEMANN - In silent nights. Poems. Bedroomdisco, October 17, 2013, accessed January 10, 2014 .
  5. ↑ Till Lindemann: In silent nights , Kiepenheuer & Witsch, 2013, p. 7 f.
  6. ↑ Till Lindemann: In silent nights , Kiepenheuer & Witsch, 2013, p. 9 f.
  7. ↑ Till Lindemann (Rammstein) on sex, poetry and borders. (Interview) Interview on the volume of poems 'In silent nights'. In: Metal Hammer. November 2013, accessed on November 18, 2014 (German).
  8. ↑ Till Lindemann: In quiet nights , Kiepenheuer & Witsch, 2013, p. 11 f.
  9. ↑ Jan Fischer: collateral lyric. The Rammstein singer Till Lindemann has published a volume of poetry - In silent nights. JAN FISCHER tries to understand what this is actually about. Title - Kulturmagazin, November 4, 2013, accessed on April 5, 2014 (German).
  10. ↑ Brigitte Helbling: I blow out the candles. Till Lindemann: In quiet nights. Culturmag, November 27, 2013, accessed on February 19, 2014 (German).
  11. ↑ Georg Diez : A joke called Till Lindemann. In: SPIEGEL ONLINE . October 4, 2013, accessed March 31, 2019 .