– This was the first presentation of the SRF’s new ‘Literature Club’
The new host of the most important Swiss literary program, Jennifer Khakshouri, received a baptism of fire. The show left me wanting more.
At SRF’s first “Literature Club” with presenter Jennifer Khakshori, there was both: the magic of a new beginning and its occasional buzz. But it was not a surprise that the first show was without presenter Nicola Steiner, who took over the coordination in the summer of 2014 after the drama surrounding presenter Stefan Zoe and debate participant Elke Heidenreich (the conflict had escalated at the time due to a false quote). From Martin Heidegger)… But the beginning of yesterday was certainly motivating!
The group, which included cultural journalist Jennifer Khakshuri (moderated next time by Laura de Weck), author and philosopher Philipp Tingler, German and literary critic Daniela Striegel, and guest Patrik Karpichenko, the author, director and satirist, was, so to speak, “classic SRF.” Literature Club: Professional, accessible, and always courteous even in contradictions. Overall, it’s a bit staid in its appearance, and sometimes actually a bit bumpy in the transition from book to book, and initially from critic to critic (and vice versa). The arguments sometimes descended from the lowly amusing level to the almost sophisticated level, but as the program progressed, the pace of the conversation increased increasingly. The four literary lovers and enthusiasts deserve a huge thank you for the diverse collection of books.
Take Karpitzenko’s souvenir The Device by Scottish author Joe Morgan: it’s a sci-fi satire that wasn’t on your radar at first, but it has what it takes to lure even sci-fi haters to cast a spell – despite the “seminar-like” (Tingler) dialogue Basic questions are sometimes asked. However, the group agreed that the evaluation was generally positive, which was not the case with the other three novels.
Carby became angry while reading, and Tingler was as eloquent as ever.
Tingler particularly liked Maxime Beller’s “Mama Odessa” for its intelligent examination of the definition of poetry and truth. Tingler defended himself against the accusation that the narrator was crying and had written himself a book of consolation, as Striegel explained. he be seen There is more contradiction than in the literary programme. Karpychenko, who himself has a Ukrainian name, reacted to reading “Mama Odessa” with both anger and “extreme boredom,” searching for a plot and finding “self-congratulation.” Khakshuri doubled down, saying the selection was “very tear-jerking.” In contrast, Tingler, as always with great eloquence, diagnosed in Mama Odyssey the “letting go of the kitsch of writing” and the romantic longing for a kind of sublime.
In other short debates – on Deborah Levy’s “Augustblau” and Teresa Mora’s “Mona, or Half-Life” – they did not give anything away, but rather introduced very interesting and different reading approaches and literary standards, and showed that disagreement is certainly cultivated and even the funny can be done. : In our polarized age, it’s an almost exhilarating experience.
Next “Literature Club” SRF (with presenter Laura de Wijk) on October 10.
Alexandra Kedvis He works as cultural editor in the Life section. She writes primarily about theater as well as social and educational issues. He studied German, English, and philosophy in Konstanz, Oxford, and Freiburg.More information