Ausschreibung: Jahrbuch der Lyrik

das folgende Jahrbuch der Lyrik ist das 29ste und wird (nun im Zwei-Jahres-Rhythmus) zur Leipziger Messe 2013 erscheinen. Mitherausgeber ist diesmal Jan Wagner, Lyriker, Herausgeber, Übersetzer und den Lesern des Lyrikjahrbuchs als Beiträger bestens bekannt.
Jan Wagner und Christoph Buchwald laden Dich/Sie herzlich ein, zum neuen Jahrbuch mit unveröffentlichten oder in Zeitschriften oder Zeitungen veröffentlichten Gedichten beizutragen.
Einsendeschluss ist der 2. April 2012.
Maximal zehn Gedichte sind an folgende email-Adresse zu mailen: lyrikjahrbuch@dva.de.
Bei der Einsendung sind unbedingt folgende Modalitäten zu beachten:
1)    Einsendungen bitte in einem word-doc oder pdf
2)    Über jedem neuen Gedicht unbedingt den Name vermerken: erst den Autornamen, dann den Gedichttitel.
3)    Für die Biobibliographie erbitten wir, in einem gesonderten Dokument, folgende Angaben: Name, Geburtsjahr, Wohnort, sowie gegebenenfalls die beiden letzten lieferbaren Gedichtbände [Titel, Erscheinungsort, Verlag, Erscheinungsjahr].
4)    Jede Einsendung hat also idealiter zwei Attachments: a) ein doc. mit den Gedichten, und b) ein doc. mit den biobibliographischen Angaben.

Die Herausgeber bitten um Verständnis dafür, dass Einsendungen auf Papier nicht mehr berücksichtigt werden können (der Bearbeitungs- und Kopieraufwand ist zu groß).
Anstelle eines – symbolischen – Honorars werden zwei Belegexemplare bei Abdruck eines oder mehrerer Gedichte angeboten.

Zudem heißt es in der Ausschreibung:
“Wir möchten Dich/Sie auch diesmal wieder einladen, mit poetologischen Bemerkungen oder essayistischen Betrachtungen zum Stand der lyrischen Dinge zu den Nachbemerkungen des Jahrbuchs beizutragen.
Und mit Verve möchten wir Dich/Sie ermuntern, auch andere mögliche Beiträger auf das Jahrbuch aufmerksam zu machen. Im letzten Jahrbuch hat das gut funktioniert, es sind wieder auffallend viele junge Autoren und neue Namen vertreten.“

lyrikline.org wünscht allen Beteiligten Viel Erfolg!

new translations on lyrikline.org/ neue Übersetzungen auf lyrikline.org

The main aims of lyrikline.org are to make poetry known across borders and between languages, to enable poets and poetry lovers to exchange ideas and to create access to contemporary poetry.
The chief basis for achieving this is translation. Without translations, poetry cannot be read outside its own language area.
So we are especially pleased that the German Literature Fund has provided funding for the translation of more than four hundred poems for lyrikline.org, with two-thirds of these being translations into German and one third translations of German poets into other languages.
The first half of the new translations have already been placed on the website; the second half will be following during December.
This means that a great many poets can now be discovered in German translation probably for the first time, including Linn Hansén, Malte Persson and Fredrik Nyberg from Sweden, Tania Langlais, Dominique Robert and Paul Chamberland from Quebec and Canada, as well as Dragan Jovanović Danilov from Serbia, Maria do Rosário Pedreira from Portugal and Tone Škrjanec from Slowenia, to mention just a few.

New translations which have been added in the last months:

Into Arabic: Michael Roes (Germany)

Into Czech: Steffen Popp (Germany), Hans Raimund (Austria)

Into Dutch: Konstantin Ames (Germany), Nico Bleutge (Germany), Gregor Laschen (Germany), José F. A. Oliver (Germany)

Into English: Ali Al Jallawi (Bahrain), Andreas Altmann (Germany), Jürgen Becker (Germany), Nora Bossong (Germany), Ann Cotten (Germany), Branko Cvetkoski (Macedonia), Gerhard Falkner (Germany), Barbara Köhler (Germany), Dagmar Leupold (Germany), SAID (Germany), Anja Utler (Germany)

Into Farsi: Ida Börjel (Sweden), Tomas Tranströmer (Sweden)

Into French: Rose Ausländer (Germany), Hans Raimund (Austria)

Into German: Ali Al Jallawi (Bahrain), Cristina Ali Farah (Italy), Ana Luisa Amaral (Portugal), Paul Chamberland (Quebec, CA), Karol Chmel (Slovakia), Eva Cox (Belgium), Branko Cvetkoski (Macedonia), Carole David (Quebec, CA), Jozef Deleu (Belgium), Denise Desautels (Quebec, CA), Jean-Marc Desgent (Quebec, CA), Stéphane Despatie (Quebec, CA), Louise Dupré (Quebec, CA), Michel Garneau (Quebec, CA), Mark Insingel (Belgium), Suzanne Jacob (Quebec, CA), Benoit Jutras (Quebec, CA), Tania Langlais (Quebec, CA), Paul-Marie Lapointe (Quebec, CA), Rachel Leclerc (Quebec, CA), Hélène Monette (Quebec, CA), Pierre Nepveu (Quebec, CA), Maria do Rosário Pedreira (Portugal), Fernando Pinto do Amaral (Portugal), Mihail Rendzov (Macedonia), Dominique Robert (Quebec, CA), Pedro Sena-Lino (Portugal), Hind Shoufani (Palestine), Martin Solotruk (Slovakia), Patrizia Valduga (Italy), Erik Spinoy (Belgium), Peter Šulej (Slovakia), Tomas Tranströmer (Sweden), Élise Turcotte (Quebec, CA)

Into Greek: Tanja Kragujević (Serbia)

Into Macedonian: Elke Erb (Germany), Andrea Heuser (Germany), Andreas Koziol (Germany), Günter Kunert (Germany), Brigitte Struzyk (Germany)

Into Russian: Bertold Brecht (Germany), Jan Wagner (Germany)

Into Slovene: Tomas Tranströmer (Sweden)

Into Spanish: Ann Cotten (Germany), Tom Schulz (Germany)

Into Swedish: Paul Celan, Rosmarie Waldrop (USA)

Into Turkish: Erik Lindner (Netherlands)

- – -

Poesie international bekannt zu machen, den poetischen Austausch zu ermöglichen und einen Zugang zu zeitgenössischer Dichtkunst zu schaffen sind Hauptziele von lyrikline.org.
Grundlage dafür sind Übersetzungen, ohne die Poesie in anderen Sprachräumen nicht wahrgenommen werden könnte.
Wir freuen uns daher besonders, dass der Deutsche Literaturfonds e.V. die Übersetzung von mehr als 400 Gedichten für lyrikline.org fördert, davon zwei Drittel für Übersetzungen ins Deutsche und ein Drittel für Übersetzungen von deutschen Dichtern in andere Sprachen.
Die erste Hälfte der neu entstandenen Übersetzungen wurde bereits eingestellt; die zweite Hälfte folgt im Laufe des Dezembers.
Viele Dichter sind dadurch in deutscher Übersetzung zu entdecken, z.B. Linn Hansén, Malte Persson und Fredrik Nyberg aus Schweden, Tania Langlais, Dominique Robert und Paul Chamberland aus Quebec/Kanada, oder auch Dragan Jovanović Danilov aus Serbien, Maria do Rosário Pedreira aus Portugal oder Tone Škrjanec aus Slowenien, um nur einige zu nennen.

Neuen Übersetzungen, die in den letzten Monaten auf lyrikline.org eingestellt worden sind:

Ins Arabische: Michael Roes (Deutschland)

Ins Deutsche: Ali Al Jallawi (Bahrain), Cristina Ali Farah (Italien), Ana Luisa Amaral (Portugal), Paul Chamberland (Quebec, CA), Karol Chmel (Slowakei), Eva Cox (Belgien), Branko Cvetkoski (Mazedonien), Carole David (Quebec, CA), Jozef Deleu (Belgien), Denise Desautels (Quebec, CA), Jean-Marc Desgent (Quebec, CA), Stéphane Despatie (Quebec, CA), Louise Dupré (Quebec, CA), Michel Garneau (Quebec, CA), Mark Insingel (Belgien), Suzanne Jacob (Quebec, CA), Benoit Jutras (Quebec, CA), Tania Langlais (Quebec, CA), Paul-Marie Lapointe (Quebec, CA), Rachel Leclerc (Quebec, CA), Hélène Monette (Quebec, CA), Pierre Nepveu (Quebec, CA), Maria do Rosário Pedreira (Portugal), Fernando Pinto do Amaral (Portugal), Mihail Rendzov (Mazedonien), Dominique Robert (Quebec, CA), Pedro Sena-Lino (Portugal), Hind Shoufani (Palästina), Martin Solotruk (Slowakei), Patrizia Valduga (Italien), Erik Spinoy (Belgien), Peter Šulej (Slowakei), Tomas Tranströmer (Schweden), Élise Turcotte (Quebec, CA),
Ins Englische: Ali Al Jallawi (Bahrain), Andreas Altmann (Deutschland), Jürgen Becker (Deutschland), Nora Bossong (Deutschland), Ann Cotten (Deutschland), Branko Cvetkoski (Mazedonien), Gerhard Falkner (Deutschland), Barbara Köhler (Deutschland), Dagmar Leupold (Deutschland), SAID (Deutschland), Anja Utler (Deutschland)

Ins Farsi: Ida Börjel (Schweden), Tomas Tranströmer (Schweden)

Ins Französische: Rose Ausländer (Deutschland), Hans Raimund (Österreich)

Ins Griechische: Tanja Kragujević (Serbien)

Ins Mazedonische: Elke Erb (Deutschland), Andrea Heuser (Deutschland), Andreas Koziol (Deutschland), Günter Kunert (Deutschland), Brigitte Struzyk (Deutschland)

Ins Niederländische: Konstantin Ames (Deutschland), Nico Bleutge (Deutschland), Gregor Laschen (Deutschland), José F. A. Oliver (Deutschland)

Ins Russische: Bertold Brecht (Deutschland), Jan Wagner (Deutschland)

Ins Schwedische: Paul Celan, Rosmarie Waldrop (USA)

Ins Slowenische: Tomas Tranströmer (Schweden)

Ins Spanische: Ann Cotten (Deutschland), Tom Schulz (Deutschland)

Ins Tschechische: Steffen Popp (Deutschland), Hans Raimund (Österreich)

Ins Türkische: Erik Lindner (Niederlande)

“It’s a bit like when your team wins the league” – Filmmaker Martin Earle on Nobel laureate Tomas Tranströmer

On December 10, 2011, Tomas Tranströmer will receive the Nobel Prize in Literature in his hometown Stockholm. On this occasion we are not only able to present Tomas Tranströmer’s poetry on lyrikline.org, made possible with the help of our Swedish lyrikline.org partner Ramus. but also got an interview with the young British filmmaker Martin Earle about his short film A Galaxy Over There (2009), based on on Tranströmer’s poem Schubertiana.

Watch A Galaxy Over There on vimeo:

Martin Earle was born in London in 1984. He is a graduate from the Royal College of Art were he studied a Masters degree in Animation. Through his animations he wants to evoke the wonder of everyday things – to find the galaxies hidden in the pots and the pans; to travel a long way while sitting very still; to show that ordinary life is sacred and great. His short film A Galaxy Over There was selected for the Competition at the ZEBRA Poetry Film Festival in 2010.

And here is what Martin said about bringing Tranströmer into motion.

lyrikline.org blog (LB): Martin, how did you come to make a poetry film?

Martin Earle (ME): I was studying animation at the Royal College of Art in London and A Galaxy Over There was my graduation film, which I directed over the course of about ten months.

"Making Of" of "A Galaxy Over There" based on Tranströmer's poem "Schubertiana"

LB: How did you get in touch with Tranströmer’s poetry? What attracted you to it?

ME: A Swedish friend showed me one of his poems. What struck me was the amazing visual sense of his poetry – his talent at creating luminously clear images. And then there is his deeply religious or mystical response to things, to nature, to people, to art and to every kind of mundane experience. In Tranströmer’s poetry there is this sense that being alive is actually something a bit peculiar, that reality is an enigma and a great mystery! ‘The endless ground beneath us’ as he puts it.

LB: What made you pick his poetry for your film?

ME: It was his quite surreal use of simile that made me get thinking about basing a film on one of his poems. It seemed to resonate with images I’d tried to create in earlier animations. Simile is an amazing thing. We use all the time to describe things we don’t have a name for, and poets use it to inspire us to see familiar thing as if for the first time; from a different angle. I love his description, for example, of a newspaper lying on a kitchen table ‘like a big dirty butterfly’, or the way he compares a cherry tree to a ‘bell of colours… chiming with sunlight’. And his poetry has a gentle humour which prevents things from become too heavy – as experimental video often is! Someone wrote that ‘angels can fly because they take themselves lightly’…

Sketch for "A Galaxy Over There" by Martin Earle

LB: And why Schubertiana in particular?

ME: For one thing it came ready with a soundtrack! And it is a very rich poem, packed to the brim with images and ideas. In particular I enjoy the games it plays with scale, switching between panorama and close-up. The opening of the poem, a long shot of New York as a ‘spiral galaxy seen from the side’, is already incredibly filmic.

LB: Do you think poetic images are of another quality than images in film?

ME: There is this very obvious difference that we normally read poems in books and always watch videos or films on some kind of screen. And in our culture the screen has become the all pervasive and restless mediator of information and entertainment – most of which we consume inattentively and forget after a few minutes. I don’t know if we’ve found a way to use the screen or the internet to take things in slowly and chew over them… as we can when we read a poem in a book.

LB: How did Tomas Tranströmer’s poetic images become Martin Earle’s filmic images?

ME: I started by creating drawings and loose storyboards based on lines from the poem. From these sketches I made small models and sculptures and began to look for different objects that I might be able to use in the film. A lot of the excitement in stop-frame animation comes from various practical restraints; working out ways to realise specific scenes or effects without using the computer too much. In this quite free process the images developed, sometimes moving away from the text and becoming mixed with more and more with my own experiences. The setting, for example, moved from New York to North London. And in the final edit some of the most compelling lines of the poem are left out of the voice-over, to prevent things become too rich and to try to create a conversation between voice and image.

Sketch for "A Galaxy Over There" by Martin Earle

LB: Does Tranströmer know your film? Did he let you know if he likes it?

ME: I was in contact with Monica Tranströmer who was very generous with her time and in arranging contracts and things. They both seemed to like the animation although Tomas Tranströmer wasn’t keen on the translation of the last word ‘djupen’, which we’d translated as ‘abyss’. He thought that ‘the depths’ would have been much more appropriate… and this seems to me very revealing of the attitude to the world that permeates his work. There is very little sense of alienation or existential tragedy that the world ‘abyss’ might suggest and which is not hard to detect in much modern poetry (and in much ancient poetry too). No, for Tranströmer behind and in everything there is a tremendously positive ‘something’, a great ‘yes’ – ‘the depths’. It’s really a shame that it was too late to rerecord the audio track.

LB: What did you think when you heard that Tranströmer won the Nobel Prize in Literature?

ME: It’s a bit like when your team wins the league… also quite surprising as his entire collected works can be fitted into a modestly sized book! And interesting because this very, for want of a better word, ‘mystical’ poetry has emerged from one of the most secularised countries in the world. Awarding the prize to Tranströmer could be seen as a recognition of something like the spiritual vocation of art and poetry. As he puts it himself in Schubertiana – ‘the many who buy and sell people and believe that everyone can be bought, don’t recognize themselves here.’

I also began to think about my graduation film, and regretting the way I’d made most of it…

LB: Do you think there ought to be a Nobel Prize in Film? And who would you give it to?

ME: Yes, why not. Give it to Werner Herzog!

Set for "A Galaxy Over There"

To see more of Martin Earle’s work, visit his channel on vimeo.

The Nobel Prize Award Ceremony with Tomas Tranströmer can be watched as a live Webcast on Nobelprize.org, 10 December from 4.30 p.m. CET.

All images courtesy of Martin Earle

Ausschreibung für Schüler: Poesie verbindet – Mein Lieblingsgedicht

Die Literaturwerkstatt Berlin und die EVENS-Stiftung interessieren sich für  Deine Geschichte und Dein Lieblingsgedicht.

Man bewirbt sich mit seinem Lieblingsgedicht undschreibt auf, warum einem gerade dieses gefällt. Eine Jury wählt die drei Beiträge aus, die am überzeugendsten, mitreissendsten oder berührendsten sind. Mit den Preisträgerinnen und Preisträgern wird ein Kurzfilm gedreht, in dem sie erzählen können, welche Rolle ihr Lieblingsgedicht in ihrem Leben, ihrem Alltag und ihren Träumen spielt.
Mitmachen können Kinder und Jugendliche im Alter von 8-19 Jahren. Der Jury gehören u.a. der Dichter und Verleger Michael Krüger und die Dichterin Nora Gomringer an.

Die Gewinner werden mit Begleitung zu einer großen Gala am 9.6.2012 nach Berlin eingeladen. Die Kurzfilme werden zudem im polnischen öffentlich-rechtlichen Fernsehen in der Reihe „Poesie verbindet- Mein Lieblingsgedicht“ von Ewa Zadrzynska und im Internet ausgestrahlt und reisen zu Festivals um die Welt. Ein ähnlicher Wettbewerb findet zeitgleich in Polen statt, die Gewinner aus beiden Ländern treffen sich in Berlin.

Teilnahmebedingungen: http://literaturwerkstatt.org/index.php?id=1104

Tomas Tranströmer wins Nobel Literature Prize

He is a poet, and we know it. The 2011 Nobel Prize in literature was awarded today to the great Swedish poet Tomas Tranströmer (* Stockholm, 1931).

lyrikline.org wishes to congratulate.

www.nobelprize.org

September 24th 2011 – A day of worldwide poetry

100,000 Poets for Change, a project aimed to promote serious social, environmental, and political change by a demonstration and celebration of poetry, initiated worldwide poetry action on September 24th. In 95 countries 700 events take place in 550 cities.

Both lyrikline.org and 100,000 Poets for Change are part of the newly founded World Poetry Movement. This is why we join September 24th as a day of poetry around the globe. Heiko Strunk, project manager of lyrikline.org, together with our Swedish lyrikline.org partner Rámus, will present lyrikline.org and a selection of great poetry short films on the Gothenburg Book Fair in Sweden. Poets Marie Silkeberg and Eiríkur Örn Norðdahl who both worked in poetry film, will be reading at the event.

Moreover, for September 24th 2011, we published 10 outstanding new poets from 9 countries around the world on lyrikline.org:

Amanda Aizpuriete from Latvia
Mary Jo Bang from the USA
Lucía Estrada from Colombia
Yael Globerman from Israel
Nâzim Hikmet from Turkey
Ben Lerner from the USA
Sainkho Namtchylak from Tuva
Silvio Rodríguez from Cuba
Tone Škrjanec from Slovenia
Abdouldaim Ukwas from Libya

Enjoy reading and listening and watch out for events in your city today!

Berlin Special

Zum 20-jährigen Jubiläum der Literaturwerkstatt Berlin
Die Literaturwerkstatt Berlin wird 20 und feiert am Sa., 17.9.2011 ab 14.00 Uhr mit einem großen Lyrikfest auf dem Hof der Kulturbrauerei ‚Dichter Dran. Das große Berliner Lyrikfest’. Es gibt Konzerte, Kinderprogramm, Mitmachaktionen rund um Poesie, Lesungen, die Aufführung des Berlin-Gedichtes, einen Beschwerdechor und vieles mehr. Der Tag klingt mit einen Konzert im Kesselhaus aus. (Eintritt frei).
lyrikline.org ist an diesem Tag mit einer Hörstation, genauer gesagt mit einem Poetry Call Center präsent und stellt eine Auswahl internationaler Poesie vor. Kommt vorbei und erlebt ‘Dichter dran am Hörer’.
Aus diesem Anlass präsentieren wir im folgenden eine kleine Zusammenstellung von Berlin Gedichten.
Das vollständige Programm unter www.literaturwerkstatt.org
lyrikline.org geht zurück auf eine Initiative der Literaturwerkstatt Berlin, ein für die Berliner Literaturlandschaft wichtiger Veranstaltungsort und eben die Institution, die alljährlich das poesiefestival berlin sowie den Nachwuchsliteraturpreis open mike ausrichtet.

The 20th Anniversary of the Literaturwerkstatt Berlin
The Literaturwerkstatt Berlin is celebrating its 20th birthday on Sat. 17 September 2011, starting at 2 pm, with a big feast of poetry in the courtyard of the Culture Brewery, Dichter Dran. The Big Berlin Poetry Festival. There will be concerts, a children’s programme and interactive things to do around poetry, readings, the performance of The Berlin Poem, a Complaints Choir, and much, much more. The day will culminate in a free concert in the Kesselhaus.
lyrikline.org will be there on the day with its listening station ‘Poetry Call center’, presenting a selection of poetry from around the world. Here we present a small collection of Berlin related poems especially for the event.
The full programme: www.literaturwerkstatt.org
lyrikline.org started as an initiative by the Literaturwerkstatt Berlin, an important events venue in the Berlin literary landscape, and the institution that brings us every year the poesiefestival berlin and the open mike competition for new and emerging literary talent.

Wolfgang Hilbig – Berlin. Sublunar

Narcís Comadira – BÀLSAM

Oswald Egger – Areale Areale

Klaus Rifbjerg – Mit hjerte i Berlin

Kathrin Schmidt – go-in der belladonnen

Xiao Kaiyu – Pankow

Jürgen Becker – Beispielsweise am Wannsee

Ulrike Draesner – bahn übern bogen

Lutz Seiler – die fussinauten

Jürg Halter – Mein Berlin-Gedicht

Statement of the World Poetry Movement

The World Poetry Movement was founded in the context of the World Gathering of Directors from 37 International Poetry Festivals, held in Medellin, Colombia, between April and July 8th, 2011. There they discussed the connection between poetry and peace, the reconstruction of the human spirit, the reconciliation and recovery of nature, the unity and cultural diversity of peoples, material poverty and poetic justice, and possible actions to take in favor of the globalization of poetry.

A month later, the World Poetry Movement has been joined by 81 international poetry festivals and 411 poets from 89 countries from all continents.
One of the goals is to include most of the strongest international poetry festivals, poets, schools of poetry and printed and virtual publications, to increase our mutual cooperation and thus energize the individual and collective voice of poetry in our time.

Recently the World Poetry Movement has been joined by the 100,000 Poets for Change project, a bold initiative by poets Michael Rothenberg and Terri Carrión, in California, who have proposed the implementation of a worldwide poetic action, next September 24th, 2011 in 350 cities worldwide.
Due to the nature of poetry, the World Poetry Movement supports and will always support the thoughts, actions and measures that can contribute to world peace, the defense of all life on earth, the sustainable development of a new world, the restoration of beauty, dignity and truth, in the process of a persistent strengthening of poetry’s presence in contemporary society worldwide.

Poetry is knowledge, reflection and enlightenment, liberation, contemplation and action, lightning, creative imagination and brotherhood, spiritual unity of individuals and peoples, past, present and future of humanity.
World Poetic Movement calls on all its members, poets and international poetry festivals, to plan, develop and spread poetic actions and Simultaneous poetry readings, across the planet, next September 24th, 2011, to consolidate our organizational process, making a formidable display of poetic power possible in the world, in hundreds of cities and villages on Earth.
We ask you to please inform us shortly on the decisions taken regarding this proposal to the following email: worldpoetrymovement@gmail.com

WORLD POETRY MOVEMENT COORDINATING COMMITTEE
Peter Rorvik (South Africa), Bas Kwakman (Netherlands), Jack Hirschman (United States of America), Rati Saxena (India),  Alex Pausides (Cuba), Amir Or (Israel), Iryna Vikyrchak (Ukraine), Fernando Rendón (Colombia).

August 16th, 2011.

World Poetry Movement

Auf dem 21. Poesiefestival von Medellín gründeten Vertreter von 36 Poesiefestivals aus 4 Kontinenten das World Poetry Movement (WPM). Ziel ist es, die Kooperation zwischen den Festivals zu verstärken. Die Literaturwerkstatt Berlin ist Gründungsmitglied.

The founders of World Poetry Movement

Video of the declaration: http://www.festivaldepoesiademedellin.org

Official Statement of the World Poetry Movement

At the 21º Medellin Poetry Festival, directors of 37 Poetry Festivals worldwide have conducted a 5-day meeting on the status of poetry and poetry festivals across the world, analyzing and discussing human concerns and issues regarding difficulties and achievements as part of local organizations promoting poetry in each of our cities and countries.

The first sessions discussed the relationship between poetry and peace and reconstruction of the human spirit, nature reconciliation and recovery, unity and cultural diversity of the peoples, material misery and poetic justice, and actions to take towards the globalization of poetry.

Participants decided to establish the World Poetry Movement, whose main purpose would be to increase cooperation between poetry festivals, thus strengthening our collective voice.

The World Poetry Movement recognizes that:

•     Poetryprovides meaningful insights into the human condition.
•     Contrary to the idea that languages divide the world, it is precisely the diversity of languages that enriches poetry festivals.
•     The World Poetry Movement will strengthen each festival in their local and global approach to their challenges and concerns.
•     The exceptional connection with the public evidenced in the Medellin Poetry Festivalhighlights the value ofpoetry reachingpeople.

Main objectives of the World Poetry Movement are:

•     That all poets, poetry initiatives and organizations are invited to join the World Poetry Movement.
•     To promote the growth of poetry festivals across the world in all their diversity.
•     To enhance communication between poetry festivals and poetry organizations.
•     To promote the development of poetry schools and poetry initiatives.
•     To explore audience development initiatives to broaden publics and access to poetry.
•     To address issues such as publishing, translation and the general concerns of poets worldwide.

This movement begins a significant process that goes beyond individual concerns and creates exciting possibilities for poets and poetry events worldwide – we stand with humility and care for the birth of this new project.

Founding festivals are:

Tomás Arias, representative of Barcelona Poesía (Spain)
Kwame Dawes, representative of Calabash International Literary Festival
Sixto Cabrera, representative of Encuentro Latinoamericano de Poesía en Veracruz (Mexico)
José María Memet, director del Encuentro Internacional de Poetas ChilePoesía
Otoniel Guevara, poet and director del Encuentro Internacional de Poetas El Turno del Ofendido (El Salvador)
Fernando Rendón, Gabriel Jaime Franco, Jairo Guzmán and y Gloria Chvatal, representatives of Festival Internacional de Poesía de Medellín (Colombia)
Alex Pausides, poet and director of Festival Internacional de Poesía de La Habana (Cuba)
Fernando Valverde, poet and director of Festival Internacional de Poesía de Granada (Spain)
Gaston Bellemare, director of Festival International de la Poèsie de Trois-Rivières (Canada)
Amir Or, poet and director of the International Poetry Festival Sha’ar (Israel)
Iryna Vikyrchak, poet and executive director of The International Poetry Festival
Meridian Czernowitz (Ukraine)
Lello Voce, poet and representative of International Poetry Festival RomaPoesía and Absolute Poetry (Italy)
Rira Abbasi, director of  International Festival of Peace Poetry (Irán)
Graciela Araoz, poet and director of Festival Internacional de Poesía de Buenos Aires (Argentina)
José Mármol, poet and director of Festival Internacional de Poesía de República Dominicana
Giovanni Gómez, poet and director of Festival Internacional de Poesía Luna de Locos (Pereira, Colombia)
Aaron Rueda, representative of the Festival Iberoamericano de Poesía “Salvador Díaz Mirón” (Mexico)
Rodolfo Dada, poet and representative of Festival Internacional de Poesía de Costa Rica
Rigoberto Paredes, poet and director of Festival Internacional de Poesía de Honduras
Lucy Cristina Chau, poet and director of Festival Internacional de Poesía Ars Amandi (Panama)
Marvin García, poet and director del Festival Internacional de Poesía de Quetzaltenango (Guatemala)
Vilma Reyes and Vicente Rodríguez Nietzche, poet, and representative del Festival Internacional de Poesía de Puerto Rico
Rafael del Castillo and Fernando Linero, poets and representatives of Festival Internacional de Poesía de Bogotá (Colombia)
Gabriel Impaglioni, poet and director of Festival Internacional de Poesía Palabra en el Mundo (Argentina/Italy)
Ataol Behramoglu, poet and organizer of International Poetry Festival of Smirna (Turkey)
Rati Saxena, poet and director of Krytia International Poetry Festival (India)
Thomas Wohlfahrt, director of Literaturwerkstatt Berlin (Germany)
Endre Ruset, poet and director of Norsk Litteraturfestival (Norway)
Regina Dyck, director of Poetry on the Road (Bremen, Germany)
Peter Rorvik, director of Poetry Africa (South Africa)
Bas Kwakman, director of Poetry International Rotterdam (The Netherlands)
Céline Hémon, director of International Communications of Les Printemps des Poètes (France)
Zabier Hernández, director of the Recital Internacional de Poesía desde el Sur, (Pasto, Colombia)
Jack Hirschmann, poet and director of San Francisco International Poetry Festival (United States)
Nikola Madzirov, poet and representative of Struga Poetry Evenings (Macedonia)
Ban’ya Natsuishi, director of Tokyo Poetry Festival (Japan)
Ide Hintze, director of the Vienna Poetry School

Dichtraum, Denkraum – Ursula Krechel

Auf dem Weg zum Dichtraum, Denkraum im U-Bahnhof Brandenburger Tor. Foto: gezett

Am 24.6. wurde mit dem poesiefestival berlin auch der Dichtraum, Denkraum im U-Bahnhof Brandenburger Tor beschlossen. Die letzte Schicht hatte die Ideengeberin Ursula Krechel, die dort auch bereits am 20.6. mit ihrer dichterischen Arbeit vertreten war. Aus ihrer Zeit im Dichtraum, Denkraum ist eine ganze Reihe neuer Gedichte hervorgegangen.

In das erste Gedicht floss auch der historisch bedeutende Ort des Brandenburger Tor ein, an dem sich die Dichter des Dichtraum, Denkraum die Woche über befanden.

Unverwüstet

Hier ist die Grenze, über die zu gehen

nicht war, hier ist die Grenze, über die

Schweigen gebreitet, Gras gewachsen

hier ist, was gewesen, Grenze nicht mehr.

Hier ist die Grenze imaginiert, verstört

über die gegangen werden, bewegt, beliebt

über die zu gehen jetzt nicht mehr

der richtige Augenblick, gab es den jemals

oder nie— nicht der je gebotene Augenblick

gegangen zu sein, doch für jedes Sensorium

Gras gewachsen, Beton gegossen, gebieterisch

Gebietsverlust, Gesichtsverlust, Blutverlust

Hier ist die Grenze, die grenzenlos nicht war

hier ist die Grenze, die Lärmgrenze, der Raum

der tot gewesen, tot nicht geblieben ist

der schallt, hallt (Schwimmbad) und tobt.

Die Ideengeberin Ursula Krechel im Dichtraum, Denkraum. Foto: gezett

Weiteres Resultat ist ein Gedichtzyklus, der in Teilen in gemeinsamer Arbeit mit dem Publikum entstand. 

Fahrbereitschaft

I

Auch Personen, die ungefragt „ich“ sagen, sind zu befördern

Fluglinien wie Sesselbahnen bauen Unregelmäßigkeiten vor

kurzzeiterhitzte Gerichte, kategorische Freundlichkeit, schon

die Übertretung einer Zeile wie das Nichtanlegen des Gurtes

Schaukeln im Sitz der Sesselbahn und chron. Alkoholmißbrauch

sowie Seufzerbrückenhangover sind dringlich zu unterlassen.

Wie riecht es hier? Das muß Xylamon sein, gegen Kakerlaken

sie gefährden Komfort und Sicherheit der anderen Passagiere

behindern frei flukturierendes Wohlbefinden, Schulklassen sind

gesondert zu befördern auf verpflichtend begleiteten Leerfahrten.

Wenn Schmerz aus unerfindlichen Gründen eintritt bei Nebel

Stromausfall stört er den Betrieb der Sesselbahn, Generator stumm

riecht es nach Kaffee oder Pommes oder ist es doch nur Mief