Ilse Helbich
Ilse Helbich »finds words for the unspeakable«. (Der Standard)
Ilse Helbich »finds words for the unspeakable«. (Der Standard)
Hoffer, one of the first recipients of the Döblin award in 1980, creates, in his narratives, labyrinthine worlds in which stifling claustrophobia and cold realism counterbalance each other.
»Jonigk deals with all topics by means of drastic wit.« (Der Spiegel, German weekly magazine)
Anna Kim explores the concepts of ›foreign‹, she searches for the right words and sentences to describe the ›different‹.
»With its consequence and language Carter is remarkable. Literature as an adventure – Ally Klein shows how it goes.« (Wolfgang Huber-Lang, APA)
Gertraud Klemm’s eye is merciless, vicious and comical at the same time.
»Alfred Kolleritsch is a friendly person with quite a vicious look.« (Peter Handke)
Friedrich Kröhnke »created in the past 25 years his very own idiom … a sense for linguistic intensity and narrative dramaturgy, which is very rare these days.« (Tobias Lehmkuhl, Deutschlandradio)
Kronenberg skilfully evokes the secrets, menaces, but also the magic of a foreign and lonely world.
Andreas Kurz’ literature breathes great affection for people and things and for everything that occurs to us daily.
Roman Markus’s Thingy, or Tomorrow we turn to dust is a »pretty good summer novel full of wit, drive and frenzied action.« (Jenaer Stadtmagazin)
»Karoline Therese Marth plays with collective childhood memories and associations and spins a text structure with linguistic accuracy that leaves plenty of room for subtle humour and nuances.« (Judith Hoffmann, Ö1)
Olga Martynova, lyric poet and essayist, presents difficult situations with enchanting ease.
»Highly recommended for readers who like to delve into poetic, profound texts away from the classic narrative forms.« (ins_lebenlesen)
»Ilma Rakusa is a solitaire.« (Thomas Rothschild, Freitag)
»It is fun to see how the author deconstructs conventions with wit and relish and how she traces unspoken truths.« (Jürgen Wicht, textrakt.de)
In his first novel, Stefan Schmitzer takes the reader to troublesome spots in our cities, our social lives.