"I’m well over two meters rough, I’m made of rubber, and people point with your finger to me."
Pop Literature – Bah! Benjamin of Stucuzzi Barre – Extra Bah! No trend in the German literature landscape was so heated and vehemently discussed as the so-called pop literature. No young German author has in the last ten years with his appearance and work in such a polarized as Benjamin of Stuckrad Barre. Admiring or contempt for the self-billed young writer – there was not much. Now the column author, MTV moderator and prose-pop star has written a new book. And everything is different.
The book is called "German theater". It is almost 300 pages thick, the envelope looks like with ink hastily painted and inside there are in addition to about 40 texts (partly already published in the FAZ, in the star and the world on Sunday) numerous photos, the stucco bare bar with one Digital camera has taken. The author himself is (unfortunately) to see on any picture. The book is about Germany, of campaign events, shareholders’ meetings, Formula 1 race, musicians and drug apparelers. It does not act from Benjamin of Stucuzzi Barre. It is a very word-minded book, only one word rarely occurs in it: I.
The book was traveling. Stucco barre ran across the republic, sometimes to Sylt to Gosch, the "North Light Fish Bud Germany", Time to Berlin to Manfred Krug, sometimes to Braunschweig in the editors of an Abi-Zeitung and often just so rum. He talked to people, people watching and overpasses the eyes and ears very far. By the way, the 26-year election Berliner handed around with a digital camera – photographed, which came to him in front of the lens. That was a lot and the photos have already become very. Clearly and without Firefanz. Simple images with background symbolism. Clever snapshus. I’m well over two meters rough, I’m made of rubber, and people point with your finger to me.
The texts are very already. These are the best those who have been to be read by Benjamin from Stuckrad Barre in bound form. And they are better than most of what else you get to read. Only with literature you hardly have something to do. "German theater" is a journalistic reporting role, with investigative, sharp observing and precise articles formulated. Rarely is commented, mostly people and situations are so effective that everything and everyone explains themselves. Only a few at this level can. Take the story about Helmut Karasek. Stuccine Barre visited the literary critic at home, accompanied him to the literary quartet and remained until the turn of the broadcast. The story ends how a complexed Karasek red wine is protected on a valuable gastebook, then hectically rumwish on the paper and "You can not see anything" lapping.
Quite rarely the Dandyeske Schreiber is artistic. Then, for example, he writes the conversation, for example, the conversation that he carried with Claus Peymann – the director of the Berlin Ensembles – when he tried to buy a pair of pants. The leg dress merb failed, the Schnoddrige Yuppie drama "Claus Peymann buys no pants, but goes with food" was in the Harald Schmidt show great and later shown later at the Berlin Ensemble. That was press! "Kilke", said the stucco barre critics. Ingredientless, self-renewed, elitar pseudo-intellectual quark was the stucco for you. That was nonsense too.
And at all, the multi-storey of his critics with his fifth book is plenty of wind from the sails – at least what his written work is concerned, because this is better this time than ever. That stucco barre can write, but it was always clear – you read only articles from his time at the Rolling Stone or so some passage from his bookers and articles, which sometimes against ideas and eloquence only so sparkled – sometimes, not always. Nevertheless, many liked to fell into a what-of-writes-can-I-also-and-I-bin-non-famous-sermon, with only too often misstone of envy and insulted pamphuff. And this eternal discussion about whether all this has to do with literature or not – extra.
Very well-criticized, however, his permanent content circle was around its own microcosm, which was so expired as the ex-gaggle of the Harald Schmidt show in its first four beers. This endless lamentation and monting from the ego perspective, which is its aching high point in the inflated containment booklein "Royal Tristesse" found the stucco barre bacht, bessing, crash, nickel, and Schonburg-Glauchau initiated. All and also the slightly helpless literature Kalauer "Reading" on MTV Stank after self-righteousness, ignorance, egomania and fit only too well to his overcandideled appearance and arrogant-elitent enhanced. There are many good bases to hate Benjamin from Stuckrad-Barre.
But now a few less. Because that’s me and only comes back when stucco becomes politically. Politically? Of the? Very well. In Gunther Wallraff-Manier, he has set itself to the logging of the German theater as a laborer at Gosch:
My two colleagues are hardly talking German, Jurgen Gosch is no longer no longer, there are only choleric sounds out of him, he prevails me because I do not put the bank exactly parallel to the transport door on the ground…Do you know something, guy? You pack your stuff now, right now, immediately let you look here again!
And he ran as a uberdimensional rubber mobile phone through the Berlin Olympic Stadium – just before kick-off:
I’m well over two meters rough, I’m made of rubber, and people point with your finger to me. I should bash. they laugh at me…
The pop slash at the front insert. He smokes around where nothing else wants to volunteer, reported, which is for imposeless unprivileged everyday life. That’s political. And that is no longer the pitched stucco barre, which is sad onanizing in the shower ("Solo album"or the misery as a touring reader ("Live album") Write.
"German theater" will meet his claim, "The staging of public life, the role-playing game also in the private, the costume, the permanent bualation situation" to describe. In which the author from left to right, travels from top to bottom through land and society and pointed up his experiences, creates a sharp mosaic, a colorful, deep, low and entertaining image on Germany and the people who live here. Kurt Tucholsky has already made in cooperation with the photographer John Heartfield already in 1929. Tucholsky put his lyrics about the country in which he lived, which he loved at the same time and abused, next to Heartfield’s photomontages. He called the book "Germany Germany above all". It was one of his last works. When it appeared, the controversial polemist and Yuppieske was educational burgers 39 years old and at the end of his career.
Benjamin from Stucrad Barre to compare with Kurt Tucholsky is Schierer Madsinn – Let’s do it: Both polemize, both polarize, both droves admirers and adhesion equally. And like Kurt Tucholsky, Benjamin of Stuckrad-Barre has recently been outstanding to bring eloquent and clear observations to paper, and to describe situations urgently with a few words that the writer’s crowd escape. Self-sharpening that he has not reached the sharp, originality and punching force Tucholskys for a long time. But Benjamin of Stuckrad-Barre is 26 years old. Tucholsky was best in his early 30s. And Kurt Tucholsky’s time of his career was laughing as a surprising slicer and a world-friendly better-minded.