a savaged essay

• 160 pages
• no series (außer der Reihe)

978-3-929232-16-5

If we can not have an „exact“ scientific character, no rational brain, no behaviour which takes marketing into account, then let’s have at least „secured“ and BITTERBLUE content from the biographies of the authors of the presented texts and their stories. – No! Well, what else if not that, you will ask. You will be offered an exciting story, which tries to narrate Frankfurt’s city character literally. Exactly as this character shines through in narratives, novels, stories, drama and audio plays. As a literary text constitutes itself through the readers point of view and not as a representative, in terms of Jean-Francois Lyotard’s concept of the representation, for the author’s internationality, I will adhere to Maurice Blanchots maxime and „expect“ the text, forget the alleged authors, or rather ascribe an independent existence.

As the title already implies, Frankfurt is going to be presented in a pleasant, aching blue, with tendency towards a bright essay melodrama. The book presents text settings with the author’s significant preference for converations with staff people, rather than with the „ladies and gentlemen“, with which the author feels drawn to, no matter if the promote, work or appear as service slut.

It is going to be the first attempt for the 1.200-year-celebration of a literary and philosophical „aesthetic of the inner homelessness“ – with transgression into the pathos. Another piece of „Camp“, as a knowledgeable person, educated about the staff people’s business, already recognises from the title of the book. I stole that tile from one of Bonie Tylers’ pop pieces, for which she, as she worked in service, will raise sympathy and goodwill. Bitterblue also stands for that manifestation of inner non settledness, which in Hölderlin broke through after his quartering at the Gontard’s in Frankfurt and whose literary picture formed itself nowhere better than in Christa Wolf’s Kleist/ Günderrode scenario, „No place nowhere“.

• 40 pages
• Series »16pages«

978-3-929232-85-1

9.00 €           

Dirnfellner's notion of »new-romantic« narrative takes up romanticism at that point at which it was virulent, (still) withhold itself from the established pictures and the anxious short kept sentiment and unsheathed with artistic impression. This moment he takes as a new starting point; from there he constructs his texts, which he does based on the characters, yes in the characters, which remained role models in their desire for intensity: the romantic musicians Schumann, Schubert and Liszt. This results in a Komposituers-Trilogy agreeable to romanticism and especially in a bold attempt to the narrative form congenial to music.

• 32 pages
• Series »16pages«

978-3-929232-73-8

9.00 €           

After he already approached the musical trajectories of Robert Schuhmann and Franz Schubert in his prose, Berthold Dirnfellner attends to a third composer with Franz Liszt. A narrative form emerges, which is most likely denotable as new-romantic. While he is faraway from a flat reproduction of the biographic stages or musical »contents«, Dirnfellner makes the attempt to write a text-parallel to the compositional structures and the moods of the respective compositions. – All of the three »16pages« booklets about the composer are available as »Komposituers-Trilogy« in a boxed set.

• 24 pages
• Series »16pages«

978-3-929232-43-1

9.00 €           

Berthold Dirnfellner's shimmering attempt to new-romantically narratively approach the composer.

The first volume of Berthold Dirnfellner's »Komposituers-Trilogy«.