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In Stimmen aus den Schützengräben #11 we deal again with War Poetry. The first guest of the episode is Siegfried Sassoon, a British soldier who belongs to the so-called „War Poets„. WWI British war poetry is regarded either as a genre on its own or as a subgenre belonging to the so-called Georgian poetry. The authors – young soldiers and officers fighting on the Western front – used to send their verses to newspapers, and some of their work was thus well-known by the public. In 1985 a memorial was unveiled at the Poet’s Corner in Westminster Abbey. It bears the names of 16 poets, many of whom died in battle. Siegfried Sassoon served as second lieutenant and managed to survive the war.

„They„

The Bishop tells us: ‚When the boys come back
‚They will not be the same; for they’ll have fought
‚In a just cause: they lead the last attack
‚On Anti-Christ; their comrades‘ blood has bought
‚New right to breed an honourable race,
‚They have challenged Death and dared him face to face.‘

‚We’re none of us the same!‘ the boys reply.
‚For George lost both his legs; and Bill’s stone blind;
‚Poor Jim’s shot through the lungs and like to die;
‚And Bert’s gone syphilitic: you’ll not find
‚A chap who’s served that hasn’t found some change.
‚ And the Bishop said: ‚The ways of God are strange!‘

Siegfried Sassoon (Wikipedia)

Guillaume Apollinaire is a key figure in the cultural scene of early 20th century. In Paris he befriended the foremost intellectuals of his time, such as Pablo Picasso, Blaise Cendrars and Jean Cocteau. He also friends with Giuseppe Ungaretti, who later became the most influential Italian poet of his time. Apollinaire was born in Rome in 1880 from a Polish mother and an unknown father, but later moved to France and was living in Paris at the break of war. He volunteered for the army in December 1914 and served first in the 38th artilery regiment, then as second lieutenant in the 96th infantry regiment. In 1916 he received a severe head wound from a shrapnell, and could never fully recover. In 1918, still weakened, he contracted the Spanish Flu and died. His body was found on the 9th of November by his friend Ungaretti, who wanted to pay him a visit in Paris.

The life on the front left a deep trace in some of Apollinaire’s writings. The poet had a contraddictory vision of war, and managed to create astonishing metaphors from its dreadful images. In the selected poem, for exemple, he compares a shell – a beautiful shell – to a mimosa in bloom.

Second Lieutenant Guillaume Apollinaire (Wikipedia)

„Si je mourais là-bas“

Si je mourais là-bas sur le front de l’armée
Tu pleurerais un jour ô Lou ma bien-aimée
Et puis mon souvenir s’éteindrait comme meurt
Un obus éclatant sur le front de l’armée
Un bel obus semblable aux mimosas en fleur

Et puis ce souvenir éclaté dans l’espace
Couvrirait de mon sang le monde tout entier
La mer les monts les vals et l’étoile qui passe
Les soleils merveilleux mûrissant dans l’espace
Comme font les fruits d’or autour de Baratier

Souvenir oublié vivant dans toutes choses
Je rougirais le bout de tes jolis seins roses
Je rougirais ta bouche et tes cheveux sanglants
Tu ne vieillirais point toutes ces belles choses
Rajeuniraient toujours pour leurs destins galants

Le fatal giclement de mon sang sur le monde
Donnerait au soleil plus de vive clarté
Aux fleurs plus de couleur plus de vitesse à l’onde
Un amour inouï descendrait sur le monde
L’amant serait plus fort dans ton corps écarté

Lou si je meurs là-bas souvenir qu’on oublie
– Souviens-t’en quelquefois aux instants de folie
De jeunesse et d’amour et d’éclatante ardeur –
Mon sang c’est la fontaine ardente du bonheur
Et sois la plus heureuse étant la plus jolie

Ô mon unique amour et ma grande folie

30 janv. 1915, Nîmes.

The third selected author is Ludwig Bäumer (1888-1928). He took part in WWI as a non-commissioned officer and after the conflict developed strong anti-war ideals.

Ludwig Bäumer painted by Christian Schad, 1927 (Photobucket)

„Dämmerung im Graben„

Wir sind längst mehr als dreimal verleugnet. In unsern Gebärden
Fielen alle Sehnsüchte zusammen, alle die waren
In unsern Müttern und Vätern. Wir stehn vor unsern Bahren
Und fangen Tode auf, damit wir zu Ende werden.

Denn das ist unser Sinn: Wir sind Kinder einer Zucht ohne das Sträuben
Von Kindern gegen ihre Zucht. Stärkelos! Wir haben die Augen
Die im eigenen Gehirn wühlen und Schmerzen saugen.
Wir sind längst mehr als dreimal verleugnet
Und müssen mehr als einen Gott betäuben.

Uns ist keine Wiederkehr gesegnet und unserm Weinen kein Amen
Zärtlicher Munde, die einmal vor Süße brachen.
Unsere Mütter versagten,
Die uns beklagten:
Wir staunen über die, die den Weg der Mütter kamen.

Und das verläßt uns nicht. — — Vielleicht wenn wir einmal wissen,
Daß wir Kinder des Irrtums sind und darum Unverzeihliche der Zeit,
Vielleicht dann … Was? … Stärkelos … Ein Land bleicht weit,
Und viele fielen, und wir sehnen uns in reine Kissen.

(Bereitschaft 1. Februar 1916.)

The fourth „guest“ of the week is Wilfred Owen (1893-1918), another British war poet. Owen served as a second lieutenant and was severely wounded by a trench mortar round. He also suffered of „shell-shock“ (PSTD), a condition that was not fully understood at the time. Owen was killed in action a week before the end of the war. The selected poem is probably Owen’s best known, and one of the most significant among British war poetry.

Wilfred Owen (http://www.oucs.ox.ac.uk)

„Dulce et Decorum est„

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.

Gas! Gas! Quick, boys!–An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime…
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.

In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,–
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

The last poem of this episode is by Giuseppe Ungaretti (see episode #6). It was written on the 23th of December 1915 in northern Italy, on the Isonzo front. All along the war, 12 harsh battles were fought in the sector, with heavy losses on both sides. These few verses depict the contrast between the dead body lying next to him and the poet’s craving for life.

Ungaretti in the trenches (on the left) – giordanicaserta.it

„Veglia„

Un’intera nottata
buttato vicino
a un compagno
massacrato
con la sua bocca
digrignata
volta al plenilunio
con la congestione
delle sue mani
penetrata
nel silenzio
ho scritto
lettere piene d’amore

Non sono mai stato
tanto
attaccato alla vita

-Credits-

Editing: Romana Stücklschweiger , Matteo Coletta.

Voices in this episode: David Hubble as Siegfried Sassoon and Wilfred Owen, Matteo Coletta as Guillaume Apollinaire and Giuseppe ungaretti, Hannes Hochwasser als Ludwig Bäumer

Jingle:

Music: Gregoire Lourme, “Fire arrows and shields”
Concept: Matteo Coletta
Voices: Hannes Hochwasser, Matteo Coletta, Roman Reischl, L.J. Ounsworth, Norbert K. Hund.

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Stimmen aus den Schützengräben #10 deals with alpine warfare. The Alps are a natural barrier between the north of Europe and Italy. Their narrow passes and valleys have a great strategic relevance, and they have been crossed through the ages by a plethora of invading armies. Between the 19th and 20th centuries many forts and defensive works were built in northern Italy to defend those precious access points. The Austrian Empire erected about 50 forts in the Italian Tirol („Welschtirol“), which were designed to work together as a defence line but also to resist for a long time if the supplies were to be cut off. The Kingdom of Italy also build several forts to protect the border with Austria (the so-called Sbarramento Agno-Assa) and Switzerland (the so-called Linea Cadorna).

Italian Alpini lifting a cannon

When Italy declared war to Austria in May 1915, the original plan was to take advantage of the surprise and cross the mountains quickly. The lack of competence and organisation of the Italian headquarters brought the operation to failure, and gave way to attrition warfare. Military commands on both sides were obsessed by the control of  high ground, and troops were deployed on passes and summits. Sometimes the fighting took place at incredible heights, e.g. the Battle of San Matteo (3678m).

The war in the Alps took many different forms. Where possible, roads (like the Road of the 52 tunnels) were built to carry artillery and supplies with the aid of mules. In several occasions tunnels were dug under enemy positions, to put mines under them: e.g. on the 13th March 1918 an astonishing 50.000 Kg of TNT blew under the Italian lines on mount Pasubio. However, the battlefield was often too unaccessible to allow the huge deployments of men and means that were typical of WWI.  On some summits and observation points the garrisons consisted of only a few dozen men, and skirmishes between patrols took the place of massive assaults. In such conditions, the men accomplished real alpinistic exploits, and Nature was often more dangerous than the enemy: on one single night, between the 12th and 13th of December 1916, about 10.000 soldiers’s lives were taken by avalanches on the Alpine front.

Austrian Soldiers ready for a gas attack in the mountains (Österreichische Nationalbibliothek)

The first „guest“ of this week is the Austrian Kaiserjäger Ludwig Pullirsch (the Kaiserjäger were a light infantry corp recruited mostly in the alpine regions of southern Austria). In a short extract from his memories he relates of an exhausting march, where he had to carry a 30 Kg backpack and climb a height difference of 1600 meters. These events took place in May 1916, on the Adamello-Presanella mountain range. Pullirsch survived the war and wrote several diaries, some extracts have been collected by his son at: http://www.menschenschreibengeschichte.at/index.php?pid=30&ihidg=13948&kid=1181. The full memories have been published under the title „Hineingeboren“, ISBN 978-3-940582-07-2.

The second „guest“ of the week is Giacomo Pesenti, an Italian Alpino (the Alpini are the oldest elite corp of mountain troops in the world. During WWI those soldiers were mostly recruited in the alpine regions of northern Italy) . Pesenti volunteered for the army in May 1915, as soon as the war broke out between Italy and Austria, and was awarded the silver medal of honour for his courage. Many years after the war he wrote his memories to pass down the legacy of those terrible events. In the selected passage he relates of a 3-days watch in a ice hole on the Thurwieser pass (3480m), together with 30 other soldiers; the cold was extreme and the enemy was hiding 50 meters below. The short extract comes from the book „La Grande Guerra in Lombardia“, by Giuseppe Magrin, and it is set between 1916 and 1917.

Austrian cabin on the verge of a cliff (Österreichische Nationalbibliotek)

The third guest is Austrian soldier Thomas Bergner. He Fought the war on the Italian front and died in 1926, aged 38,  as a result of the wounds and illnesses contracted during the war. In 1915 he was sent to the Isonzo valley, in present-day Slovenia, and in an entry dated 20th of July he gives an account of his first day in the new positions. The artilleries were shooting and the mountain was quite hostile: falling rocks were a constant threat.

The last passage is taken from the book „Un anno sull’altipiano“, by Emilio Lussu (see episode #8). In spring 1916, while coming back from a scouting mission on the Asiago plateau (ep. #2), Lussu met an Italian colonel. The conversation between them quickly became surreal: the colonel criticised harshly the strategical decisions of Italian high commands: what was the point of defending the top of a mountain, if no artillery was there to protect the valley? The enemy could have ignored it, and advance quickly towards the south. But the high commands are the same everywhere: eventually the Austrian army lost time and men trying to get the „key position„, and lost its precious chance.

-Credits-

Editing: Laura Leitner, Matteo Coletta.
Commentary: Laura Leitner.

Voices in this episode: Alex Huemer as Ludwig Pullirsch,  Matteo Coletta as Giacomo Pesenti and Emilio Lussu, Roman Reischl as Thomas Bergner.

Jingle:

Music: Gregoire Lourme, “Fire arrows and shields”
Concept: Matteo Coletta
Voices: Hannes Hochwasser, Matteo Coletta, Roman Reischl, L.J. Ounsworth, Norbert K. Hund.

Nach 23 Livesendungen und 1380 Sendeminuten heißt es nun endlich:

Lilli ON AIR goes Facebook!

Deshalb: teilen und liken was das Zeug hält 😉

Indiepartment

Die Sterne, The Notwist, Crocodiles, Scout Niblett uvm. Seit 6 jahren veranstalten 6 Musikliebhaber Bands aus aller Welt um sie auf die heimischen Bühnen nach Graz zu holen. Keine Businessman, sondern alles aus reiner Leidenschaft und Interesse an der Musik. Wie das funktioniert, was Popförderdung bedeutet, und was man mit Bands schon alles erlebt hat erzählen die Burschen vom Verein Indiedepartment.

LeTamTam

5 Jahre ist es her dass man ein Lebenszeichen von den rockigen Elektro Schraubern vom Duo LeTamTam auf Platte gehört hat. Jetzt haben sie eine Split EP  auf dem Grazer Label Willhelmshowmethemajorlabel herausgebracht. Tracks der Veränderung – musikalisch und auch menschlich. Mittlerweile sind sie teilweise Familienväter und leben wieder auf dem Land. Ebenfalls vertreten auf der EP ist Johnny Glimmer aka Martin Parrier, der vielleicht schon jetzt der würdevolle Nachfolger von LeTamTam ist, die sich eher von Veröffentlichungen verabschieden wollen.

Sendung nachhören: http://cba.fro.at/268503

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Stimmen aus den Schutzengräben #9 is dedicated to prisoners of war. More than 7 million soldiers were held prisoners during WWI. Many civilians were imprisoned as well, to be kept as hostages. The treatment of captive soldiers was disciplined by the Hague Conventions of 1899 and 1907 (see episode #5). Here follows a selection of interesting articles:

„Prisoners of war are in the power of the hostile Government, but not in that of the individuals or corps who captured them. They must be humanely treated. All their personal belongings, except arms, horses, and military papers remain their property.“ (Art. 4)

„The Government into whose hands prisoners of war have fallen is bound to maintain them. Failing a special agreement between the belligerents, prisoners of war shall be treated as regards food, quarters, and clothing, on the same footing as the troops of the Government which has captured them.“ (Art. 7)

„Work done for the State shall be paid for according to the tariffs in force for soldiers of the national army employed on similar tasks. “ (Art. 6)

„Officers taken prisoners may receive, if necessary, the full pay allowed them in this position by their country’s regulations, the amount to be repaid by their Government.“ (Art. 17)

Austro-hungarian prisoners in Russia, 1915. Rare colour picture taken by Sergey Prokudin-Gorsky (Wikipedia)

The turn of events, however, prevented often from applying the Convention, especially in the Central Empires where the food was scarce and mostly sent to the frontline. The death rate among prisoners could vary a lot. The hardest conditions were suffered from the prisoners held in Russia, of which 25% died of sickness, starving, cold and fatigue. In Germany, despite the food shortage, the fatalities amounted to 5%.

The first „guest“ of the week is Carl Schmidt (see episode #8). His letter, written on the 28 October 1915, is not always clear. It is sure that, in the night between the 27th and the 28th, 30 Serbian prisoners were brought to him while he was sleeping in a pigsty. He affirms that he massed all the Serbians „one on top of each other“ in a pigsty where normally 4 German soldiers would barely fit. He then adds that he „would have ordered the pigs to be shoot down, if they hadn’t been already registered by the battalion“. Does he mean the animals, or the prisoners? Unsettling question…A transcription of Carl Schimdt’s letters is available at: http://www.europeana1914-1918.eu/de/contributions/436.

British soldiers captured by the Germans,1918 (http://www.vlib.us/)

The second „guest“ Is Carlo Pokrajac, soldier of the Austro-Hungarian army. He was born in Istria, a region that was under Austrian control at the time, and today belongs to Croatia. In the beginning of the 20th century both Slavic and Italian families inhabited the region, that is why his diary is written in Italian. Pokrajac was taken prisoner in July 1915 while fighting the Russians on the eastern front. He had been drafted only 90 days before, and spent the rest of the war in captivity. In the selected passage of his diary he writes about his capture and his first impressions of the Russians. The enemies, he says, were not so terrible as they were depicted by the propaganda, and they took care of all the wounded regardless of their nationality. Longer extracts of his diary are available at: http://www.grandeguerra.ccm.it/scheda_archivio.php?goto_id=1219.

The third „guest“ is Charles Guilbert, a French cavalryman. On the 15th of October 1915 he was wounded and captured in a German ambush. The Germans took care of his wounds and gave him something to eat and drink, then they brought him in a stable. Suddenly French artillery shells and mashinegun bullets started falling all around, and the Germans left. The next day, Guilbert found out that he was left alone, and eventually a British patrol rescued him. His memories are available at: http://ppognant.online.fr/G141802.html.

-Credits-

Editing: Laura Leitner, Matteo Coletta.
Commentary: David Leberbauer.

Voices in this episode: David Leberbauer as Carl Schmidt,  Matteo Coletta as Carlo Pokrajac und Charles Guilbert.

Jingle:

Music: Gregoire Lourme, “Fire arrows and shields”
Concept: Matteo Coletta
Voices: Hannes Hochwasser, Matteo Coletta, Roman Reischl, L.J. Ounsworth, Norbert K. Hund.

„So A Theater“ meldet sich aus der Sommerpause zurück, denn im Toihaus herrscht schon wieder reger Betrieb. Kaum ist der Sommer vorbei wird schon wieder am neuen Programm getüftelt und das hat diesmal wieder so einiges zu bieten: In der kommenden Saison stehen neben Abendstücken, Theater für Kinder, Gastspielen und Workshops noch eine Menge anderer Dinge auf dem Programm: Im Dezember feiert das Toihaus sein 30jähriges Jubiläum, das Projekt „Tanzwut“ wird weitergeführt und auch das BIMBAM-Festival, das internationale Theaterfestival für Kinder findet wieder statt.

Ihr hört in der heutigen Ausgabe von So A Theater eine kleine Vorschau auf die kommenden Stücke im Herbst, Anfang Oktober geht es gleich mit den ersten Produktionen los. Ihr erfahrt heute etwas über ‚Licht und Schatten‘, eine Tanz und Musikperformance – hier setzt sich Katharina Schrott genau mit diesem Thema auseinander: Wie stehen Licht und Dunkelheit sich gegenüber und was spiegeln diese beiden Gegensätze wieder? Dann begibt sich das Toihaus wieder mal auf Besuch in die Residenzgalerie und spielt: „Toiart im Museum“. Und dann hört ihr noch etwas über „T.B.A“, einer Performance, die nur mit Musik und Sprache arbeitet, entwickelt von Hüseyin Evirgen. Alles dazu in der erstem September-Ausgabe von „So A Theater“.

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Stimmen aus den Schützengräben #8 is dedicated to artillery. Attrition and trench warfare required a massive use of artillery fire to prepare an attac, neutralise enemy batteries or even keeping the enemy morale low. An impressive amount of shells were fired during WWI, of witch 25-30% didn’t explode.  It is said that the number of shells fired reached 1.45 billion. Even nowadays, farmers keep finding unexploded war material under their fields (it’s the so-called iron harvest). Great economical and technological efforts were made to improve power and accuracy of the guns; the production process was made more effective as well. New tactics (like the creeping barrage) were developed to support infantry movements, and gas shells (see episode #5) were introduced in 1915. Despite the improvements, artillery needed huge logistic efforts and an excellent communication between batteries, command posts and front lines: when orders were misunderstood or the telephonic lines were interrupted, consequences were terrible. Unfortunately, such accidents were frequent on all fronts.

The German „Dicke Bertha“. The shells could weigh up to 1 ton.

The first „guest“ of the week is Carl Schmidt, a German soldier (or officer, according to some hints in his letters). He was affected first in France then in Serbia, and managed to survive the war. He committed suicide in 1931 during (and because of) the Great Depression. In a letter dated 24 April 1915 he greatly admires French artillery, stating that it is far better than the German. He then mentions an episode of friendly fire from the German artillery, who shoot on a company deployed on the right side of his sector.
A transcription of his letters is available at: http://www.europeana1914-1918.eu/de/contributions/436.

The second „guest“ is French soldier Vincent Constant (1892-1979). In December 1917 he wrote a journal relating the most relevant episodes in which he and his regiment were involved. In February 1916 his unit was deployed near the Bois des Caures, at Verdun.

Vincent Constant in 1914

The battle of Verdun (21 February –  18 December 1916) was one of the longest and most costly battles of WWI, and an impressive clash of artilleries.
The aim of the German plan („Operation Gericht„) was not to conquer territory but to lure the French army into defending the position and anihilate it with heavy artillery . As a result, France would understand that the war was lost, and its capitulation would lead to a quick withdrowal of English troops on the Somme. At Verdun, artillery played a major role. The German secretly massed 1220 medium and heavy guns on only 14 Km of front – an astonishing average of one artillery piece every 12 meters.
The fortified city of Verdun became quickly a symbol: the honour of France was at stake, and the position had to be kept at all costs. A slogan quickly spread: „on ne passe pas!“ (they shall not pass). „Operation Gericht“ was a failure, and the price was extreamely heavy. The casualties on both sides (dead, wounded, missing) are estimated between 700.000 and 900.000.

On the 22th of February 1916, one day after the beginning of „Operation Gericht“, Vincent Constant is only a few hundred meters away from the Bois des Caures, a wood destroyed on the 21st by a massive artillery barrage. Constant is an eye witness of the chaos reigning in the french lines: units are retreating, the roads are full of corpses and abandoned gear, the French batteries are neutralised (either destroyed or out of ammunition). Without artillery support a counter-attack on the Bois des Caures is impossible and postponed to the next day. Selected parts of the war journal have been transcripted and are available (together with an english translation) at: http://vincent.juillet.free.fr/cahier-constant-vincent-1914-1.htm.

British Schrapnel shell (Wikipedia)

The third „guest“ of the week is sergeant Leonard J. Ounsworth (see episodes #1, #3 und #7). In a passage extracted from a longer interview he explains what a Schrapnel shell is and how it works. A Shrapnel is an anti-personal shell filled with metal bullets and provided with a time fuse on its top. To be effective the Schrapnel has to burst before hitting the ground, when it is right in front or above the target.
The complete interview can be downloaded at: http://www.oucs.ox.ac.uk/ww1lit/gwa/document/9404?REC=1

The fourth and last „guest“ is Italian Officer Emilio Lussu. In a passage from his war memories „Un anno sull’altipiano“ he relates a terrible case of friendly fire. Italian batteries shoot for hours on the first lines, the shelters are built against Austrian artillery and are uneffective against the shells coming from behind. All attempts to communicate with the batteries fail, and panic seizes the infantry. Lussu is an eye witness of terrible episodes. He can hardly prevent a mashinegun section from assaulting the batteries, he meets an artillery colonel, completely crushed by the events, walking and screaming: „Kill us, kill us!„. When he meets the commanding officer of the artillery, Lussu exclaims: „What an awful lot of nonsense we’re doing today!“. „That’s our job„, replies the officer, sadly. His attempts at stopping the barrage have been failing for hours.

-Credits-

Editing: Eva Schmidhuber, Matteo Coletta

Voices in this episode: David Leberbauer as Car Schmidt, L.J. Ounsworth as himself, Matteo Coletta as Vincent Constant and Emilio Lussu.

Jingle:

Music: Gregoire Lourme, “Fire arrows and shields”
Concept: Matteo Coletta
Voices: Hannes Hochwasser, Matteo Coletta, Roman Reischl, L.J. Ounsworth, Norbert K. Hund.

Ewigkeitsfjord von Kim Leine.
Ich war heuer „das erste Mal“ in Island und völlig begeistert vom Norden, von Vulkanen, Gletschern und Wasserfällen und dem wundervollen Licht. Wir haben Island umrundet und ganz im Norden war die Luft so klar dass wir am Horizont Grönland sehen konnten. Seit dem zieht es mich noch weiter nach Norden. Das habe ich dem Buchhändler meines Vertrauens erzählt und er hat mir sofort ein Buch in die Hand gedrückt: Kim Leine, Ewigkeitsfjord.
Und hier meine allererste Buchbesprechung (in gekürzter Form):
In einem Satz kann man sagen das Kim Leine im Ewigkeitsfjord davon erzählt, wie Menschen verschiedener kultureller Herkunft einander lieben, missverstehen und manchmal sogar töten.
Die Kritik hat das Buch sehr freundlich aufgenommen und Kim Leine mit Peter Hoeg oder Haldor Laxsness verglichen und ich habe „alle“ Kritiken und Rezensionen gelesen….und habe darüber beinahe das Buch vergessen.
Das was mir jetzt noch geblieben ist von meinen eigenen Worten und Gedanken: Ich fand es spannend, ideal für verregnete Herbstwochenenden, zum auf der Couch bleiben und lesen und die Welt vergessen. Allerdings ist es keines von den Büchern die ich unbedingt besitzen muß um sie nochmals zu lesen. So das ist jetzt meine ganz kleine Kritik, nächstesmal lese ich nichts anderes als das Buch das ich euch vorstelle….VERSPROCHEN!