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Participating Authors: Mehnaz Afridi, Argentarius, Assen Assenov, ATIA, Claus Baldus, Carmen-Francesca Banciu, Harald Baruschke, Hermann Bausinger, Patrick Beck, Igor Bitman, Detlef Bluhm, Rainer Böhme, Bazon Brock, Ingolf Brökel, Eva Bruszis, Sasa Burchuladse, Erich Bürck, Thomas Burghartz, Manfred Carpentier, Genia Chef, Hugo Claus, Karl Corino, Alexander de Cadenet, Klaus-Peter Dencker, Bedros Dikiciyan, Johann Michael Doehler, Ute Döring, Ulrike Draesner, Kurt Drawert, Dieter Dreier, Juliane Duda, Sheila Dunn, Bettina Flitner, Christoph Geiser, Rita Geißler, Manfred Giesler, Johannes Grützke, Jens Gyarmaty, Volker Hansen, Otto Hansmann, Lioba Happel, Lothar Hartmann, Volker Hassemer, Wilhelm Hauff, Peter Hauser, Thorsten Heinze, Brigitte Henker-Hansmann, Kerstin Hensel, Hejo Heussen, Stefan Höller, Rinaldo Hopf, Anar Imanov, Larry Isimah, Hajo Jahn, Jens Joneleit, Franz Kafka, Volker Kaminski, Christoph Klimke, Udo Klückmann, Reinhard Knodt, Matthias Koeppel, Ursula Krechel, Helmut Kreller, Michael Kromarek, Matthias Kröner, Wolfgang Kubin, Günter Kunert, Michael Lederer, Klaus-Dieter Lehmann, Götz Lemberg, Anne Lorquet-Leithäuser, Jochen Malmsheimer, Ingrid Maut, Elya May, Rithika Merchant, Olaf Metzel, Julie Myers, Catharine J. Nicely, Wolfgang Nieblich, Aras Ören, Ayo Osinibi, Manfred Osten, Johann Philipp Palm, Dietger Pforte, Jutta Profijt, Emily Pütter, Bernd Reinecke, Maria Reinecke, Dusty-Anne Rhodes, Wiebrecht Ries, Joachim Ringelnatz, Klaus J.Rothbarth, Joachim Sartorius, Jürgen Schabel, Boris Schapiro, Michail Schischkin, Inge H. Schmidt, Michail Schnittmann, Kuno Schumacher, Erhard Schütz, Ulrich Schwarz,Topper Sherwood, Volker Sielaff, Salome Sikharulidze, Jeannot Simmon, Diana Sirianni, SOOKI, Harald Stein, Heide Marie Stein, Garrett Stewart, Claudia Tannhäuser, Maria Theresia von Oestereich, Philip von Zesen, David Wagner, Regina Weiß, Michael J. Wewerka, Ernest Wichner, Mario Wirz


Broadsheets (Einblattdrucke) are pages-printed on one side, with which the content, text and picture, is an entirity. The dimensions are 26 x 17 cm; edition of 50 signed by both the artist and author. Since the 15th century they have served as a quick form of spreading information about current events or news. They are the predecessor to the newspaper. Broadsheets were relevant up to the 18th century in all areas of life, whether it be politics, war, law, and also for the extraordinary and sensational news. The first print of the American Declaration of Independence in German was a broadsheet (German History Museum). These culturally important historical broadsheets are treasures and in their rarity have a high collector value.




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Reinhard Knodt has a gift for combining philosophy and poetry into an inextricable amalgamation. His book, whose first edition quickly sold out, shows that „Schmerz“ (pain) is not something negative, to be avoided, but rather a yearning, homesickness, lovesickness, or rumination about loss; it is among the most important concerns of life. Addressed are basic situations: I am sick, I have gotten married, I have a boss, I have a child, but also the mental state of our time. These very densely woven texts are sometimes even suited for meditation; on the other hand, they also present a downright urgent atmosphere of pleading to become „essential“. The end marks a “solution” that does not consist in the avoidance of pain.


Steve wants to be a surfer - one of those demi-gods who walk on water. But for a kid from the San Fernando Valley who's scared of the ocean this is no easy task. Through his encounters with uptight surf stars, rabid locals, haole-hating Hawaiians, shady surfboard designers, sex-hungry surf groupies and stoned big-wave riders, Steve learns the humorous as well as the darker side of surfing. With finely honed irony and a lightness of touch, Kevin McAleer tells a story of friendship, coming of age in the 1970s, and the fascination of surfing …



Art is an actor that engages in the process of urban forgetting and remembering. Trafna’s work provides now an opportunity to pause for a moment and a space to re-think this intermediate state between past and future, both in its melancholy but also its potential.


In the seclusion of a Greek mountain village, the narrator turns her back on Berlin and the hectic throb of the big city. She recharges and reconnects with herself.

A terrace on the hillside, looking out over the great expanse of the ocean. She lives surrounded by insects and other animals that eventually become her friends. She takes time to experience changes in light and transformations of the sea, to take notice of the hidden and inconspicuous things in her environment, the glimmer of what lies concealed.


"I harbor a stillborn scribe of the German tongue in me". In this collection of stories, some quasi-autobiographical, some nightmarish, most of them originally written in German and thereafter translated, or rather, adapted by the author himself into English, Wortsman creates a compelling, albeit disturbing, portrait, not only of himself, but also of our shattered age.


SELL YOUR BONES, Reid Mitchell's first collection, consists largely of poems reacting to China and with Chinese literature in translation. Sinologist and poet Wolfgang Kubin describes it in this way. " We do find a lot of great poems in this volume which more or less have also to do with places out of China, but most of the verses we read here got their inspirations from encounters with places like Qingdao, Beijing or Hong Kong. In this respect Reid is a Weltbürger, a cosmopolite. His friends are Chinese poets of the past."


In detailing Errol Flynn's life, McAleer draws inspiration from Lord Byron's playful and jocose Don Juan, whose stanza form he employs. Flynn was not only the embodiment of Byronic romanticism but one of the twentieth century's great libertines, having also assumed the title role in the 1948 Hollywood film Adventures of Don Juan, so it is only fitting that the roguish ottava rima stanza be used in recounting his life.