Laut and Luise

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Laut und Luise is a volume of poetry by the Austrian poet Ernst Jandl , which was published in 1966 by Walter Verlag . Later editions appeared in 1971 by Luchterhand and in 1976 in Reclam's Universal Library . Laut und Luise is the first extensive volume with Jandl's experimental poetry , including sound poems and visual poetry . It contains mostly poems written between 1956 and 1958 as well as some prose pieces by the author and an afterword by Helmut Heißenbüttel . The most famous poems from the volume include wien: heldenplatz , schtzngrmm , falamaleikum and lichtung . In 1968 a selection of the poems was published as a speech record by Wagenbach .

content

The volume is divided into a total of thirteen sections:

  1. with music: According to Heißenbüttel, songs , including etude in f (“hurry with file”) or calypso (“I was not yet / in brasilien”).
  2. people's voice: poems in dialect and everyday language , including talk
  3. war and such: political poems like Vienna: heldenplatz , schtzngrmm or falamaleikum
  4. double choir: love poetry, so the poem you were a good girl to me , which consists of omissions of words and variations of the vowels of a sentence.
  5. author's voice: autobiographical poems, introduced with "s ---------- c ---------- h / tern"
  6. Brief geography: Geographical poems, for example about the "niagaaaaaaaaaaaaaaaaa / ra felle" and the prose from the whisper gallery
  7. cures: After Heißenbüttel didactic poems, for example about a visit to the dentist (“boooooooooooooooooooooooo”) or a Kneipp cure (“water / cold”).
  8. der blitz: According to Heißenbüttel, a longer didactic poem .
  9. seasons: nature poetry .
  10. ten evening poems: here, too, Jandl picks up on a classic topos of poetry, the evening poem .
  11. bestiary: poems about animals like owls , in the country or Ernst Jandl's Christmas carol .
  12. epigrams : epigrams , such as BESSEMERBIRNEN , two kinds of hand signals or clearing .
  13. clear stirred: a visual poem made up of the letters "clear stirred".

interpretation

In the epilogue Helmut Heißenbüttel described : "The poems by Ernst Jandl combined in this volume are poems as always (as far as there have been poems as always)". They are poems, "written at the beginning of the second half of the twentieth century", the style of which is very different from that of Andreas Gryphius or Joseph von Eichendorff . Nevertheless, they consist of “sentences whose content and form are historically determined.” Jandl's poems faced language and pursued its openness. They are not determined by grammatical logic, but by surprise and wit: "Hardly any volume of poems is as funny as this one by Jandl."

Karl Riha continued: In his epilogue, Heißenbüttel “opposes a cliché, which is still strange today, according to which 'modernity' and 'tradition' are mutually exclusive”. In fact, Jandl, inspired by HC Artmann and Gerhard Rühm , presented a “wealth of experimental writing forms” in the volume, but those poems that “reflect avant-garde poetics back to traditional forms” stood out. Jandl explained: “Mine Experiments often take on traits of traditional lyric poetry, which caused stronger reactions through the simultaneous confrontation of known and unknown elements than was the case with texts without this tension ”.

In his speech of thanks for the Austrian State Prize in 1984, Jandl declared on the title: “ Loud and Luise - a title like this will not come up a second time. And why - he stands for everything. ”He referred to his mother, whose name was Luise, who encouraged him to write poetry, and who died when Jandl was fourteen years old.

Release history

After the first publication of Jandl's spoken poems in the May 1957 issue of the magazine neue wege had caused a scandal, Jandl found no further publication opportunities in the following years; there was a real boycott. Nevertheless, over the years, especially in the very productive spring of 1957, the manuscript for a volume of poetry, named by Jandl Laut and Luise , was created. In January 1964, Jandl met Max Bense at a reading in the Niedlich bookstore in Stuttgart . Ms. Heißenbüttel reported to her husband, who appeared at Jandl's next reading. Heißenbüttel suggested that Laut and Luise be published in the Walter Drucke series , which he edited together with Otto F. Walter . Although the new series first had to establish itself and Jandl had to wait two years for a publication , Jandl turned down an alternative offer from Limes Verlag for a heavily shortened edition of Laut and Luise .

In October 1966 the volume Laut und Luise appeared in bibliophile format and a limited edition of 1000 copies. Walter had anticipated problems with the Catholic management board of the publishing house in advance and asked Jandl to remove the poem progressive mange ("him hanfang was the word") and a poem on Jesus ("jeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee - suss") Blasphemy could be understood. Jandl agreed to the former, but defended the second poem as a confession , and it remained at the beginning of the section author's vote . Despite all attempts to withhold the specimen copies from the Board of Directors and not to advertise the volume in Switzerland, the publication ultimately led to a scandal. The supervisory bodies of the publishing house found Jandl's poetry "unbearable provocation". Walter was fired and left the publishing house with Jandl and sixteen other authors in the direction of Luchterhand , where he would publish Jandl's works in the future, including the new edition of Laut and Luise in 1971 . Jandl's later editor Klaus Siblewski commented: "No book by another author brought about a comparable upheaval in German-language publishing in the post-war period."

Otto F. Walter explained in retrospect that there had been tension with the supervisory board before, because the program for which he was responsible had called into question "the formal content of the Christian-Occidental tradition, which the publisher also referred to". Jandl's poetry "caused the explosion that was due at the time". The poems are political in the sense that they “hit a central nerve” and even small representatives of a publishing house “lose their heads and act until their worldview is saved again.” Urs Widmer , the then editor of Walter Verlag, who jointly ran the publishing house left with Walter, described in his memory "how the typesetters tapped their foreheads and called Jandl ."

At a reading during the Second International Frankfurt Forum for Literature on November 24, 1967 in Frankfurt , Jandl met Klaus Wagenbach , who suggested that the young Wagenbach Verlag publish a record of Jandl's spoken poems. The record Laut and Luise. Ernst Jandl reads spoken poems was published in 1968 and made Jandl known to a large audience for the first time. Klaus Siblewski assessed: "He is the first author who becomes famous through a phonogram." In 1976, Jandl's Laut and Luise were republished in Reclam's Universal Library . When Jandl decided in favor of the Reclam publishing house, it was particularly important that the volume should remain permanently available at a low price.

reception

According to Klaus Siblewski, Laut und Luise is the volume of poetry "with which Jandl became famous". By the year 2000 it had become a “standard work of poetry”. In contemporary reviews, Helmut Mader described: “It is obvious that Jandl's poems have a strong subjective component, that they do not leave you indifferent, is shown by the success of each of his readings, and also by an utterance meant as a critical objection such as: these are poems for Bütt, only confirms their liveliness ”. Helmut Salzinger recommended Jandl's poems “as instructions to make yourself […], as play poems”, but also expressed reservations: “Whether letter games do justice to the experience of the trench? Jandl seems to experience reality primarily as a linguistic phenomenon, and that necessarily results in a certain aesthetic immoralism. "

Karl Riha also objected to the fragmentation of individual words: “What do you do - in honor of Dada - with 'schtzngrmm'? In such a ball of consonants, Jandl's linguistic talent ends up on rocky terrain; the extreme point where the 'spoken poem' comes up here justifies itself as an extreme point: [...] the lip breaker takes pleasure in himself. " Peter O. Chotjewitz took one with him Head teacher poetry adorned attitude of the literary cabaret artist ”is true, which“ anticipates a collectivist state of society in which everyone is free to playfully deal with everything that is and has been. Literary history, even the most recent genres, and any literary elements only appear by chance and are no longer questioned about their literary quality. "

For Dietrich Segebrecht , Laut and Luise were primarily fun: “ There's no question, for example, that Ernst Jandl's poems would be useless as an appeal, as a pamphlet. They are unintentional poems. They don't talk much, they evoke nothing. Nothing - except what is taken for granted. But the author tries to determine this very precisely. "In contrast, Alfred Kolleritsch found :" Ernst Jandl writes concrete poetry . But he proves, whether he wants it or not, that he is a committed concrete poet. Even where he only seems to be playing with the sounds, he is playing with the world. Only this game succeeds in humor, which loudly and experimentally confronts a luise-like world. "

“How much his most successful poems live out of the sound of speech”, proved the speech plate Laut and Luise 1968 for Herbert Gamper: “It presents the poet as the ideal interpreter of himself”, so that Gamper drew the conclusion: “The speech plate is suitable for the experimental literature to attract people who would otherwise be uncomprehending about it due to the hermetic print image. ”In retrospect, Klaus Wagenbach described that the record was first“ a hit among children ”, a fact that the publisher initially withheld from the author. It was only when the speech record had found its way through the children to the adults that the publisher found the language rule: "The record is successful with children and adults."

expenditure

  • Ernst Jandl: Laut and Luise . Afterword by Helmut Heißenbüttel . Walter, Olten 1966.
  • Ernst Jandl: Laut and Luise. Ernst Jandl reads spoken poems . Wagenbach, Berlin 1968.
  • Ernst Jandl: Laut and Luise . Luchterhand, Neuwied 1971; ibid. 2002, ISBN 3-630-62030-2 .
  • Ernst Jandl: Laut and Luise . Reclam, Stuttgart 1976, ISBN 3-15-009823-8 .

literature

  • Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. 60th birthday texts. Work history . In: Circular. Special number 6. Documentation Center for Newer Austrian Literature, Vienna 1985, ISBN 3-900467-06-6 , pp. 71–75.

Individual evidence

  1. ↑ Ernst Jandl and the experiment ( Memento of the original from August 9, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . With a reading from etüde in f on ernstjandl.com. @1@ 2Template: Webachiv / IABot / www.ernstjandl.com
  2. ↑ talk ( Memento of the original from July 15, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Text and reading on Culture and Language , a website of the Federal Ministry for Education, Art and Culture . @1@ 2Template: Webachiv / IABot / www.kulturundsprache.at
  3. ↑ Vienna: Heldenplatz . Text and reading on lyrikline.org .
  4. ↑ darling . Text and reading on lyrikline.org .
  5. ↑ Ernst Jandl and the War ( Memento of the original from March 9, 2012 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / www.randomhouse.de archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . With a video from falameleikum on ernstandl.com.
  6. ↑ Ernst Jandl and the experiment ( Memento of the original from August 9, 2011 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . With a video by bist oulen on ernstandl.com. @1@ 2Template: Webachiv / IABot / www.ernstjandl.com
  7. ↑ in the country . Text and reading on lyrikline.org .
  8. ↑ two hand signals ( memento of the original dated November 7, 2011 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / www.ernstjandl.com archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Poem text on ernstjandl.com.
  9. ↑ Helmut Heißenbüttel: Afterword . In: Ernst Jandl: Laut and Luise . Reclam, Stuttgart 1976, p. 156-159, citations p. 156, 158.
  10. ^ Karl Riha : Orientation. On Ernst Jandl's literary “localization”. In: Heinz Ludwig Arnold (Ed.): Ernst Jandl . text + kritik 129, edition text +kritik, Munich 1996, ISBN 3-88377-518-5 , pp. 12-13.
  11. ↑ Ernst Jandl: The poet who concerns us . In: Author in Society. Essays and speeches . Poetic Works Volume 11, Luchterhand, Frankfurt am Main 1997, ISBN 3-630-87030-9 , p. 9.
  12. ↑ a b Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. P. 71.
  13. ↑ Klaus Siblewski (Ed.): Ernst Jandl. Texts, data, images. Luchterhand, Frankfurt am Main 1990, ISBN 3-630-61907-X , pp. 52-53.
  14. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures. Luchterhand, Munich 2000, ISBN 3-630-86874-6 , p. 133.
  15. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures. P. 106.
  16. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures. Pp. 106-107.
  17. ^ Otto F. Walter : Draft of a memory. Ernst Jandls and the various questions about the effect of literature . In: Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. Pp. 51-52.
  18. ↑ Urs Widmer : Insomnia, a consideration, for Ernst Jandl . In: Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. Pp. 54-55.
  19. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures. P. 138.
  20. ↑ a b Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures. P. 123.
  21. ↑ Helmut Mader: Poetry for the Bütt? In: Stuttgarter Zeitung of February 22, 1969. Quoted from Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. P. 74.
  22. ^ Helmut Salzinger : Do-it-yourself play poems . In: The time . dated March 28, 1969.
  23. ^ Karl Riha: Ernst Jandl: Laut and Luise / Hosi-anna . In: New German Issues . 13, 1966, issue 4, p. 152 ff. Quoted from Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. P. 74.
  24. ^ Peter O. Chotjewitz : Ernst Jandl: Laut and Luise . In: literature and criticism . 18/1967, p. 493 ff. Quoted from Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. P. 74.
  25. ↑ Dietrich Segebrecht: The language is fun . In: Frankfurter Allgemeine Zeitung of March 4, 1967. Quoted from Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. P. 74.
  26. ^ Alfred Kolleritsch : Ernst Jandl: Laut and Luise . In: manuscripts . 18/1966, p. 35. Quoted from: Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. P. 74.
  27. ^ Herbert Gamper: Emancipated Language . In: Die Weltwoche . of December 13, 1968. Quoted from: Kristina Pfoser-Schewig (Ed.): For Ernst Jandl. P. 83.
  28. ^ Klaus Wagenbach: Jodl . In: Klaus Siblewski (Ed.): Ernst Jandl. Texts, data, images . P. 73.