vor 20 Jahren begann der NATO-Krieg gegen Jugoslawien.

http://www.melodieundrhythmus.com/mr-2-2019/der-mars-greift-an/

https://www.jungewelt.de/artikel/352052.bomben-nachdrucken.html

DER SCHWARZE KANAL

Bomben nachdrucken

Von Arnold Schölzel

jW

Das Belgrader RTS-Gebäude wurde am 23. April 1999 von der NATO bombardiert, wobei 16 Mitarbeiter den Tod fanden. Für das Kriegsverbrechen (Amnesty International) wurde aber kein NATO-Kommandeur, sondern allein der damalige RTS-Chef Dragoljub Milanovic 2002 verurteilt. Er saß zehn Jahre im Gefängnis. Peter Handke hat 2011 die ungeheuerliche Geschichte in einem Buch erzählt. Aber für »Berichterstattung« vom Balkan reicht auch 2019 Gewisper. Martens beweist, dass man Bomben sogar nachdrucken kann.

Zum 20. Jahrestag des NATO-Angriffskrieges gegen Jugoslawien hielten sich die deutschen Medien von Taz bis FAZ, die den Bombardements 1999 noch Beifall zollten, an den von John Cleese 1975 einem britischen Hotelier in den Mund gelegten Grundsatz gegenüber deutschen Gästen: »Bitte den Krieg nicht erwähnen.« Die ausführliche jW-Berichterstattung zum Kosovo-Krieg überging das Schweigekartell so wie vor 20 Jahren. Erstaunlich war, dass in einigen Betrachtungen linker Medien dazu die Ausnahme jW unter den deutschsprachigen Tageszeitungen kaum zur Kenntnis genommen wurde. Auch ein Zeichen für journalistischen Sittenverfall.

Dann aber scherte der Auslandssender Deutsche Welle (DW) aus den Reihen der Unisonomedien aus. Er veröffentlichte am 22. März auf seiner serbischsprachige Website eine Presseschau unter dem Titel »Wie die Bomben gedruckt wurden«. Zitiert wurden Texte deutscher Journalisten aus dem Jahr 1999, deren Namen zudem auch noch genannt wurden – von Matthias Rüb (FAZ) bis Josef Joffe (damals Süddeutsche Zeitung). Die FAZ, die nach eigenem Eingeständnis beträchtlichen Einfluss auf die gewaltsame Auflösung Jugoslawiens in den 1990er Jahren und die Politik der Kohl-Regierung hatte, prangerte das schlechte Benehmen am folgenden Tag an. Südosteuropa- und Türkei-Korrespondent Michael Martens kritisierte die DW-Presseschau in der gedruckten FAZ unter dem Titel »Serbiens Präsident mag das. Deutsche Welle greift deutsche Korrespondenten«. In der Internetausgabe faz.netlautete die Schlagzeile: »Wie man einen Krieg umschreibt«. Untertitel: »Das serbische Programm der Deutschen Welle erinnert an den Beginn des Kosovo-Krieges vor zwanzig Jahren. Wie? Indem es Korrespondenten deutscher Zeitungen Kriegslüsternheit unterstellt.« Martens zitiert folgende Passage aus dem DW-Text: »Vor 20 Jahren zogen die Deutschen in den ersten Krieg seit Hitler – in die Bombardierung Jugoslawiens. Begleitet wurden sie dort(hin) von kriegslüsternen Zeitungskommentatoren.«

Martens und der FAZ scheint das ohnehin zweitrangig. Wichtiger ist: Der Deutschland-Korrespondent des »serbischen Staatssenders RTS« habe die »großartige journalistische Arbeit« der DW »jedenfalls prompt gelobt«. Martens: »Das ist freilich kein Wunder, wenn man weiß, dass RTS ganz auf der Linie des serbischen Präsidenten Aleksandar Vucic liegt, der 1999 Milosevics ›Informationsminister‹ war.« Geraune statt Fakten. Kein Wunder freilich, dass der FAZ-Mann gleich völlig weglässt, was in dem Kontext nicht ganz unwesentlich ist: Das Belgrader RTS-Gebäude wurde am 23. April 1999 von der NATO bombardiert, wobei 16 Mitarbeiter den Tod fanden. Für das Kriegsverbrechen (Amnesty International) wurde aber kein NATO-Kommandeur, sondern allein der damalige RTS-Chef Dragoljub Milanovic 2002 verurteilt. Er saß zehn Jahre im Gefängnis. Peter Handke hat 2011 die ungeheuerliche Geschichte in einem Buch erzählt. Aber für »Berichterstattung« vom Balkan reicht auch 2019 Gewisper. Martens beweist, dass man Bomben sogar nachdrucken kann.Am Montag reagierte die DW, als hätte die »Hauptverwaltung ewige Wahrheiten« eingegriffen. Unter der Überschrift »Entschuldigung: Unjournalistische Presseschau« veröffentlichte sie den von Martens kritisierten Text auf deutsch und behauptete, der Presseschau-Autor habe »nicht die journalistischen Kriterien der DW beachtet«. Der Sender versah den Text mit zahlreichen nicht näher begründeten Bewertungen wie »unangemessen« oder »unzulässig« und änderte ihn, ohne das im einzelnen zu vermerken. Fälschung wird dem Autor nicht vorgeworfen. Noch bemerkenswerter: Die von Martens zitierte Aufregervokabel »ratoborne«, die er mit »kriegslüstern« übersetzte, wird von DW nun mit »streitbar« übertragen.

or 20 Jahren begann der NATO-Krieg gegen Jugoslawien. Vorbereitet wurde er mit Propaganda einer besonders perfiden Art

Gerd Schumann
Propaganda ist vorgetäuschte, inexistente Wirklichkeit. Sie wird meist nur kurzzeitig zur Wahrheit erklärt, kann sich als solche aber auch längerfristig etablieren, pseudohistorisch sozusagen – wie im Fall des Jugoslawien-Kriegs, der vor 20 Jahren vom Zaun gebrochen wurde. Die Namen der Anstifter sind bekannt, doch wurde niemals je, zumindest nicht von offizieller Seite, auch nur in Erwägung gezogen, sie vor ein Tribunal zu stellen. Das haben die Täter schließlich selbst eingerichtet.
Also verbreiten William Clinton, Anthony Blair, Gerhard Schröder, Joseph Fischer, Rudolf Scharping bei Gelegenheit immer noch ihre Version von Geschichte als Propagandisten der letzten großen militärisch ausgetragenen Schlacht im Ost-West-Konflikt, jener zur Zerschlagung des Vielvölkerstaates der Südslawen. Sie dient seitdem als Blaupause für alle neuen völkerrechtswidrigen Kriege, die unter dem Vorzeichen der imperialistischen Globalisierung mittlerweile zur Gewohnheit geworden sind. Als Fortsetzung der Ökonomie mit militärischen Mitteln sollen sie allüberall koloniale Abhängigkeit reetablieren.
Die NATO-Angriffe auf Belgrad hätten »die Voraussetzungen für rasche Privatisierungen« geschaffen, so die Autorin Naomi Klein – »ein Ziel, das schon vor dem Krieg feststand«. Der Sieger bekommt alles, und Jugoslawien störte den großen Plan, lebte noch in der Vergangenheit der drei Welten. Die Gegenwart befördert das Land hinab in Welt zwei, gemaßregelt und zerstückelt. …

Der komplette Beitrag erscheint in der Melodie & Rhythmus 2/2019, erhältlich ab dem 22. März 2019 am Kiosk, im Bahnhofsbuchhandel oder im Abonnement. Die Ausgabe können Sie auch im M&R-Shop bestellen.

SCOTT ABBBOT ON THE TRANSLATING "JOURNEY TO THE RIVERS...

https://thegoaliesanxiety.wordpress.com/2018/05/20/translation-2/


The German writer Peter Schneider, however, understood nothing as he reviewed the book for The New Republic. His animosity may have been fueled by an earlier interview with Handke in which Handke revealed that Schneider had told him that when he sat down to write he always did so wearing tight pants that stimulated him.

I replied to Schneider’s review in a letter published in the subsequent edition of The New Republic:

The Reader Takes a Hike

Are we reading correctly? Peter Schneider asks in his review of Peter Handke’s A Journey to the Rivers, Justice for Serbia. The answer is no. Schneider may be a writer, but as in his polemical attack on Handke in Der Spiegel, he here again proves he cannot (or will not) read.

At issue are Schneider’s repeated assertions that Handke has denied the atrocities of the wars in Croatia and Bosnia. Handke’s text says the opposite. Note the following   contradictions:

Journey to the Rivers: What, are you trying to help minimize the Serbian crimes in Bosnia, in the Krajina, in Slavonia, by means of a media critique that sidesteps the basic facts? . . . You aren’t going to question the massacre at Srebrenica too, are you?

Schneider: Handke doubted or disputed . . . whether [the Serbs] really established concentration camps, whether a genocide really took place. . . .

Journey to the Rivers: Isn’t it, finally, irresponsible . . . to offer the small sufferings in Serbia . . . while over the border a great suffering prevails, that of Sarajevo, of Tuzla, of Srebrenica, of Bihac, compared to which the Serbian boo-boos are nothing?

Schneider: There was no genocide? Then prove it.

Journey to the Rivers: When the first photographs, soon photo sequences or serial photos, were shown from the Bosnian war, there was a part of myself repeatedly standing for my whole), which felt that the armed Bosnian Serbs, whether the army or individual killers, especially those on the hills and mountains around Sarajevo, were enemies of humanity, to slightly vary Hans Magnus Enzensberger’s phrase in reference to the Iraqi dictator Saddam Hussein.

Schneider: Handke is insensitive to the thousands of citizens of Sarajevo [who] were murdered by snipers and grenades.

Schneider: Handke writes about the notorious bandit and war killer Arkan as if his quotation marks suffice to disprove what is commonly known, which is that Arkan was one of the worst butchers of the war in the Balkans.

If Schneider could read, he would notice that when Handke here quotes a rhetorically overblown close chain of denunciations in an article in Le Monde, he puts them in quotation marks, but that when, in the same sentence, he himself refers to Arkan, he calls him a war criminal, with no relativizing marks.

For a man who can write in two languages, Schneider demonstrates a surprising inability to read in either. He quotes my translation, “Doubtlessly really suffering,” and suggests that “it is worth noting that in the German original, Handke’s words were ‘wohl wirklich leidend’ — supposedly really suffering.” He is intimating that Handke here calls the facticity of suffering into question but that my translation covers for him. Schneider might well consult his dictionary. He would find the meaning that exactly fits the context in which the word is used: wohl — to be sure, no doubt (nachdruecklich, was von anderer Seite in Zweifel gezogen wird; durchaus).

Finally, Schneider begins his review by pointing out that Peter Handke’s American   publisher presents him as Germany’s foremost living writer. Is he referring to Viking, the publisher of A Journey to the Rivers? If so, this is what it actually says on the dust jacket: “one of the most popular postwar German language writers.” And if he is referring to Farrar, Straus & Giroux, Handke’s usual American publisher, the assertion must be especially galling, for that is Schneider’s publisher as well.

Peter Handke’s carefully written essay deserves careful readers. And then the discussion can begin.

Scott Abbott, Provo, Utah, 27 February 1997

The long poem To Duration was a pleasure to translate, especially given the chance to work with the editor and designer Philip Baber.

Handke himself is a prolific translator, works from French, Slovenian, English, and Greek. In his translation of Shakespeare’s A Winter’s Tale, Handke has Autolycus describe one of the songs he is selling: Eine ganz lustige, zu der Melodie “Mitten in Mobile wieder in der Mangel des Memphis Blues.” I asked him about that and he said: Ja, daß habe ich mir erlaubt. What he allowed himself was the imposition of foreign otherness, a move that makes me smile whenever I think of it.

For PAJ: A Journal of Performance and Art, I translated Handke’s Voyage by Dugout, a play provoked by the civil wars in the former Yugoslavia and one scene of which was drawn from an experience in Visegrad on the Drina River which I witnessed myself.

play

More recently, I translated Gregor Mendel’s “Experiments on Plant Hybrids” with geneticist Danial Fairbanks. It was a “Darwinian” translation, incorporating marginalia from Mendel’s copy of the first German translation of Darwin’s Origin of Species. Our translation was joint work in the best sense — a scientist making sure we got the science right and I making sure our English reflected the German. My only regrets with this are the sentences in which we emphasized Darwinian English phrases to the detriment of an English that approximated Mendel’s beautiful German.

A 2017 INTERVIEW IN BELRGRAD

google translation of the interview at the end

INThttp://www.politika.rs/sr/clanak/382661/U-Srbiji-me-svi-poznaju-a-niko-me-nije-citaoERVJU: PETER HANDKE, PISAC

U Srbiji me svi poznaju, a niko me nije čitao

U vašoj zemlji nisam mnogo prevođen, ne znaju šta sam zapravo radio u životu, pa se pitam zašto su ovde tako ljubazni prema meni

Autor: Ana Otaševićnedelja, 11.06.2017. u 22:00

http://www.politika.rs/sr/clanak/382661/U-Srbiji-me-svi-poznaju-a-niko-me-nije-citao(Фото Анђелко Васиљевић)

Peter Handke je jedan od najznačajnijih savremenih pisaca na nemačkom jeziku. Njegovo delo je, međutim, kod nas malo poznato ili je ostalo u senci vanknjiževnih čitanja. Iz njegovog bogatog proznog, dramskog i esejističkog opusa preveden je tek mali deo – roman „Don Huan”, drama „Podzemni bluz”, odabrane pesme „Unutrašnji svet spoljašnjeg sveta unutrašnjeg sveta”, „Juče, na putu”, „Moravska noć”…

Zato ovaj put razgovaramo o literaturi, na marginama skupa pisaca „Kontrapunkt”. Handke u rukama drži malu beležnicu u kojoj zapisuje misli u dugim šetnjama u kojima nalazi inspiraciju.

– Život pisca nije usamljenički, to je kliše. Pisac je u vezi sa čitavim svetom dok piše. On je tada u najboljem društvu, u mašti neki ljudi zaista postaju ono što jesu – kaže pisac čije unutrašnje traganje određuje ritam spoljnog sveta.

Ponovo ste u Beogradu. Da li je od vaše poslednje posete grad nešto dobio ili je možda nešto izgubio?

Ovo je pravi grad, život koji se ovde odvija ne možemo da živimo u Parizu. Beograd je čudesno neujednačen. Bio sam ovde desetak puta i tek počinjem da ga otkrivam, počinjem da osećam njegovu geografiju, topografiju, geologiju. Ovde možemo da lutamo a da se ne izgubimo. Spustio sam se niz Dorćol do Dunava. Usred jutra se čula tehno-muzika, video sam ljude koji igraju u praznom prostoru. Ne znam da li je to lepo, ali je posebno.

Učestvujete u susretu pisaca…

To je usput. Nisam imao veliku želju da diskutujem, ali sam s interesovanjem slušao druge pisce, Rusa Prilepina, Kineza Ju Huu i vašeg pisca Milovana Danojlića. Prija, iako ne vodi ničemu, nećemo promeniti svet, ali zašto da ne.

Veliki ste putnik, napisali ste da je najzdraviji apetit onaj za mestima. Osećaj da ste prisutni u svetu provlači kroz čitavo vaše delo. Šta vas vezuje za neka mesta?

Mnoga mesta na svetu su na putu da iščeznu. Sve je toliko izjednačeno da se brišu konture. Mesta me održavaju u životu i nadahnjuju. Potrebna su mi da bih zamislio ljude. Ja sam pisac koji kreće od mesta, a potom ljudi počinju da ih naseljavaju u mojoj mašti. Mesta transformišu ljude, tako je u mojoj literaturi.

Pisanje je kao bolest, ali veoma plodna, veličanstvena bolest, najlepša bolest na svetu

Ovaj susret s mestima vas navodi na introspekciju?

Na ritam, na epski ritam, kao neko ko voli pripovedanje. Pripovedanje je univerzalnije od romana. Roman je vezan za istoriju, za 19. vek. Ne volim reč roman, moj ideal romana je Servantesov „Don Kihot”, srednjovekovni romani poput Parsifala, francuske epopeje iz 12. i 13. veka. Kada osetim ritam nekog mesta to mi daje ritam pripovedanja, a ne nešto realistično. Za mene postoji razlika između realističnog i realnog. Realno je objava, gotovo religiozna, realizam je metoda. Ja nemam metodu. Protiv sam toga da možemo da naučimo da pišemo. Škola pisanja je za mene ludost, to je kraj pisanja.

Živeli ste u Austriji, gde ste rođeni, u SAD, Japanu, pre nego što ste se pre tridesetak godina nastanili u predgrađu Pariza. Da li vam izbor da živite van grada, omogućava više slobode?

Imam utisak da su periferije plodnije od centra. Ne mogu da zamislim da pišem o nečemu što se odvija u velikom gradu. Možda u Beogradu, ali ne u Njujorku, San Francisku. Ne sviđaju mi se filmovi koji su snimljeni u Parizu. Neka mesta ne podstiču maštu.

Napisali ste da veliki gradovi nemaju više ni trbuh ni krilo.

Da, ali čak i periferija iscrpljuje. Ali kao što je rekao francuski pisac Žorž Perek – sve je milost, sve nam je dato.

Vaše delo ovde nije mnogo poznato.

U pravu ste, u bivšoj Jugoslaviji, u Srbiji nisam mnogo prevođen, ne znaju šta sam zapravo radio u životu, pa se pitam zašto su ovde tako ljubazni prema meni. Svuda me pozivaju, pružaju ruku, ali gotovo nigde nisam naišao na osobu koja je čitala ono što sam napisao, a to je najvažnije. Ovde me ne poznaju, gotovo ništa od mojih pozorišnih komada nije izvođeno u Beogradu. Zbog toga sam malo revoltiran.

Kada ste se probili sredinom šezdesetih zahvaljujući pozorišnim predstavama, rušili ste kodove. To je epoha u kojoj su umetnici želeli da promene svet…

Ja nisam želeo da promenim svet, želeo sam da promenim sebe. Želeo sam da zadržim sebe menjajući se. Ali uvek sam želeo da se dam drugima. Inače nema svrhe pisati.

Bežali ste od dogmi, od institucionalnog okruženja…

Suviše sam glup za dogme. Ne volim inteligenciju koja se tako predstavlja. Mrzim to. Svi su inteligentni sem onih koji se tako predstavljaju. Idioti su mnogo inteligentniji od onih koji to pretenduju.

To vas približava literaturi Dostojevskog, Tolstoja…

Ruski 19. vek u epskoj naraciji je bio najznačajniji vek u književnosti. Vezan sam za Tolstoja, za njegov odnos prema prirodi, prema deci…

U knjizi „Juče, na putu” napisali ste: „Nikada ne bih poželeo da pripadam oholom društvu znalaca, a uvek detinjastom društvu onih koji slute”.

Danas postoji neka vrsta religije znalaca, ali uvek dođu kasno. Uzimaju reč kada je već došlo do katastrofe.

U pisanju polazite od duha malih stvari, od efemernog.

Nema malih stvari. Hitler, Staljin, to su za mene male stvari. S Hitlerom ne možete da dosegnete epsko. Mala cipela izgubljena u pesku u očima deteta poprima mnogo veće epske razmere.

Krećete se u različitim žanrovima, ali je intimni dnevnik forma kojoj se često vraćate.

Da, ali ono što mi najviše odgovara je epopeja u tradiciji Homera. To je moja glavna reka. To me iscrpljuje, sisa mi krv, zato sam zadovoljan kada pređem na dijalog i situacije u dramskom tekstu ili scenariju. Ali suština je epsko i da, intimni dnevnik, koji je za mene jednako važan. Ovde je prevedena Moravska noć, Juče na putu… Nije lako naći dobrog prevodioca kao što je bio Zlatko Krasni, veliki prijatelj, pesnik i prevodilac.

Da li ovaj epski pristup znači da iza vašeg dela stoji osmišljena struktura?

Mislim da ona postoji, ali nije osmišljena. Na novinarima, na znalcima je da uoče postoji li ta struktura. Zato sam za to da se književnost studira na fakultetu, kako bi se napravila razlika između dobre i loše književnosti, između onoga što je smelo u formi, u načinu pisanja, ili što se postiže kroz korišćenje već postojećih formi.

Pisanje dramskog teksta, scenarija za film je poput predaha?

Vremenom je postalo istovetno. Pristup je drugačiji, manje mi isisava krv. Mogu da se igram. Kada pišem za pozorište mogu da budem veći idiot nego što jesam.

Ima više slobode u pozorišnom tekstu?

Da, mogu da se igram sa sobom jer je moja priroda pomalo šizoidna, mogu da se sukobim sa sobom na zamišljenom sudu. Danas gotovo da nema dramaturga koji pišu za pozorište. Pozorišni reditelji adaptiraju romane, što je glupo. Kažu: „Sve ide”. Zbog toga više ništa ne ide, nalazimo se u velikoj krizi.

Vaši komadi se često izvode u Evropi…

Ne često, u zadovoljavajućoj meri, ne žalim se. Garažista u priči američkog pisca Vilijama Sarojana kaže: „Ja sam svetski poznat kod svoje žene”. To nije moj slučaj, moja žena me manje poznaje od velikog broja čitalaca (smeje se). Mnoge sam spasao svojom literaturom, iako mi to nije bila namera. Nekad smo spaseni od ljudi koji ne žele da vas spasu.

Poetski i melanholični film Vima Vendersa „Nebo nad Berlinom” (1987), u kome ste radili na scenariju, ne prestaje da nadahnjuje. Kako je izgledala ta saradnja?

Nije to bio scenario, bio sam daleko od rada na Vendersovom filmu. U to vreme sam živeo u Salcburgu. Pitao me je da napišem dijaloge, monologe, pesme. Tokom sedamnaest dana sam pisao i slao mu poštom. Venders je onda to upotrebio u filmu, glumci su izgovarali tekstove. Sve je izveo u montaži. Jednom je u Salcburgu režirao predstavu po mom tekstu „Kroz sela” ali nikada zapravo nismo radili zajedno.

Da li vas veliki potresi u svetu kojih smo svedoci, poput atentata, velikih migracija, interesuju kao pisca?

Da, sigurno, atentati u Parizu, hiljade migranata koji se dave u Mediteranu. To je nepodnošljivo. Ali šta raditi? Za mene to nije tema, ali mi daje neku novu melodiju, ritam.

Gde je danas mesto pisca?

Na tronu. U vreme Viktora Igoa, u vreme Tolstoja i Getea bili smo kraljevi. Sada smo kraljevi u egzilu. Treba tražiti pisce, još uvek dišu. Ne znamo da li će literatura trajati, ali ne treba se žaliti, treba nastaviti. Previše je pesimizma, što je pozicija jednako glupa kao i optimizam. Treba raditi ne obazirući se na to. Uostalom, kada smo unutra, u tom traganju, više se ne pitamo. Pisanje i čitanje je kao bolest, ali veoma plodna, veličanstvena bolest, najlepša bolest na svetu.

Da li vas je u životu vodila želja da se nađete među velikima…

Da, naravno. Ne mislim da sam veliki, ali o tome sanjam već sedamdeset godina.

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Traneпре 3 сата

Predlazem da se gospodinu Handkeu dozvoli ulazak u Srbiju bez pregledanja pasosa.

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Pitanje za gospodju Otašević: Kako nečije delo može da ostane "u senci vanknjiževnih čitanja"? Da pomognemo gospodji Otašević: Handkeovo delo je ostalo u senci i nije čitano. Vanknjiževna čitanja postoje valjda samo na nebesima. Ljudi na Zemlji ili čitaju ili ne čitaju. Reći da Handkeovo delo ljudi poznaju na temelju rekla-kazala i iz "druge ruke" - to je već nešto drugo. Da ispravim i g. Handkea. Ja verujem da je on i kod nas čitan pisac. Žarko Radaković je preveo većinu Handkeovih dela na srpski jezik i oficijelna, književnokritička recepcija toga dela nije izostala. Srećom.

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Nikola Vidicпре 19 сати

Arogantan i potpuno pogresan komentar. Handkea je mozda procitalo 0,1 % srpske populacije. U koliko primeraka su knjige stampane? Vanknjizevna citanja su citanja ili o njegovom politickom angazovanju ili citanja komentara i kritika njegovih knjiga, citanja iz druge ruke. Naravno, Vi ste to znali, ali ste izabrali da "zvucite nadobudno i pametno." Prvo Vam je uspelo, drugo nije. Ko cita knjige u Srbiji? Ko cita knjige koje nisu dnevno-politicka ili dnevno politicko-istorijska literatura? Koga je bre covece briga u Srbiji za Handkeove knjige? Da li stvarno mislite da veci broj ljudi u Srbiji cita Markesa, Borhesa, Svetlane Aleksievic, Munra, Modiana, Pamuka, Kertesa, kao i Handkea? Politika je novina koju cita narod Srbije, a narod nema vremena za Handkeove knjiga. Za politiku i javne nastupe da, za njegovu knjizevnost, molim Vas! Zna to Handke, i ne zamera Srbima. Nismo mi drugaciji toliko od drugih naroda. Vi, nasuprot tome, sa svojim elitistickim stavovima, jeste. Pozdrav!

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Јован Обичнипре један дан

Петер Хандке је човјек са карактером. И да није ништа написао, а јесте, већ то би му донијело поштовање.

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PRIKAŽI JOŠ

Peter Handke is one of the most important contemporary writers in the German language. His work, however, in our little known or is left in the shadow of outer-literary reading. From his rich prose, drama and essayistic oeuvre has been translated only a small part - novel "Don Juan", drama "Earth Blues", the selected songs' inner world of the external world of the inner world "," Yesterday, on the way "," Moravian Night "...

Therefore, this time we talk about literature, on the sidelines of writers "Counterpoint". Handke holding a small notebook in which records the thoughts long walks where is inspiration.

- Life writer is not lonely, it's a cliché. The writer is related to the whole world while writing. He was then in the best society, in the imagination of some people actually become what they are - says writer whose inner quest sets the pace of the outside world.

Again you are in Belgrade. Is it from your last visit to the city something gained or perhaps lost something?

This is a real city, a life that is taking place here we can not live in Paris. Belgrade is wonderfully uneven. I've been here a dozen times and just starting to discover it, I begin to feel its geography, topography, geology. Here we can wander and not to lose. I dropped down to Dorćol Danube. In the middle of the morning to hear techno music, I saw people who play in the empty space. I do not know if it's nice, but it is special.

Participate in a meeting of writers ...

This is the way. I had no great desire to discuss, but I listened with interest other writers, Russians Prilepin, Chinese Ju Huu and your writer Milovan Danojlic. Previous although not lead to anything, we will not change the world, but why not.

Great you are a traveler, you wrote that the healthiest appetite for those places. The feeling that you are present in the world throughout the whole of your work. What you are connected to some of the city?

Many cities in the world are on track to disappear. Everything is so equated to delete contours. Cities keep me in life and inspire. It takes me I imagined people. I'm a writer who moves from the city, then people begin to inhabit them in my imagination. Cities transform people, so in my literature.

Writing is like a disease, but very fertile, majestic disease, thank disease in the world
This encounter with the places you said to introspection?

At the rhythm, to epic rhythm, as someone who loves storytelling. Storytelling is more universal than the novel. Roman is related to the history, of the 19th century. I do not like the word novel, my ideal novel is Cervantes' "Don Quixote", the medieval novels such as Parsifal, the French epic of 12th and 13th century. When you feel the rhythm of a place that gives me the rhythm of narration rather than something realistic. For me there is a difference between realistic and real. Realistically, the publication, almost religious, the realism of the method. I have no method. I am against the fact that we can learn to write. School writing for me is madness, this is the place of writing.

You lived in Austria, where you were born, in the United States, Japan, before you were thirty years ago settled in the suburbs of Paris. Are you the choice to live outside the city, allows more freedom?

I have the impression that the periphery of the city more fruitful. I can not imagine that I am writing about something that takes place in a big city. Maybe in Belgrade, but not in New York, San Francisco. I do not like movies that are filmed in Paris. Some sites do not encourage imagination.

You wrote that big cities have more not stomach either wing.

Yes, but even the periphery exhausted. But as said the French writer Georges Perec - all the grace, all is given to us.

Your work here is not much known.

You are right, in the former Yugoslavia, in Serbia have not translated a lot, do not know what I actually worked in my life, so I wonder why they are here so kind to me. Everywhere inviting me, extending their hands, but almost nowhere I have not found the person who was reading what I wrote, and this is most important. Here I do not know, almost none of my plays is not performed in Belgrade. That's why I'm a little resentful.

When you get through the middle of the sixties thanks to theater performances, the Russians are codes. This is the epoch in which the artist wanted to change the world ...

I did not want to change the world, I wanted to change myself. I wanted to keep myself changing it. But I always wanted to give others. Otherwise there's no point writing.

You fled from the dogma of the institutional environment ...

I'm too stupid to dogma. I do not like the intelligence that so represents. I hate that. All are intelligent than those who present themselves as such. Idiots are much more intelligent than those who do aspire.

To get you closer to the literature of Dostoevsky, Tolstoy ...

Russian 19th century in the epic narrative was the most important century in literature. I'm bound for Tolstoy, for his attitude towards nature, towards children ...

In the book "Yesterday, on the way" you wrote: "I would never have wanted to belong haughty society experts, but always childish society of those who suspect".

Today there is a kind of religion experts, but always come late. Taking the word when it is already a catastrophe.

In writing a departure from the spirit of small things, of the ephemeral.


There are no small things

The Destruction of Yugoslavia: A Template for America’s Future Policy

http://www.strategic-culture.org/news/2016/08/17/destruction-yugoslavia-template-for-america-future-policy.html

"The prospects of a Hillary Clinton presidency bring back to the memories of the peoples of the Balkans the era of the 1990s, when Bill Clinton, NATO, and the forces of globalism brought about the collapse of Yugoslavia and a surge in nationalism in the Balkans not seen since World War II. The planned US destruction of Yugoslavia is spelled out in an October 31, 1988, US National Intelligence Council memorandum titled «‘Sense of Community’ Report on Yugoslavia». Written by Marten van Heuven, the National Intelligence Officer for Europe, the formerly classified Secret memo conveyed the opinion of the US Intelligence Community that it was doubtful that Yugoslavia would survive from its form in 1988.
Van Heuven was one of a number of Atlanticists, some carrying significant anti-Russian and anti-Serb ethnic and religious baggage – for example, Polish-born Zbigniew Brzezinski, Czech-born Madeleine Albright, Hungarian-born George Soros, and Berlin-born Helmut Sonnenfeldt – who wanted to «punish» countries like Serbia and Russia for bigoted reasons. In 1995, van Heuven wrote a paper for RAND titled «Rehabilitating Serbia». Van Heuven and his cheerleading comrades for NATO and the European Union saw Serbia as the Balkans’ only aggressor nation and violator of human rights. Nowhere in the vocabulary of right-wing Atlanticists like van Heuvel, Albright, and Brzezinski would be found terms like «Croatian neo-Nazi revanchism», «pan-Germanic Slovenia», or «Bosnian/Kosovar Islamo-fascism», all of which were holdovers from the Nazi pasts of Croatia, Slovenia, Bosnia, and Kosovar Albania during World War II."

http://www.strategic-culture.org/news/2016/08/17/destruction-yugoslavia-template-for-america-future-policy.html

Handke: My place is with you

Handke: My place is with yo

http://www.blic.rs/kultura/vesti/handke-moje-mesto-je-uz-vas/1qbdzz0u

Tatjana Nježić | 21st 05. 2015-19: 48h | Photo: Archive

Belgrade is a city of bright, bright inside and outside, said the famous writer today in City Hall after he was on the town celebrates solemnly granted Charter.

Belgrade is a city of bright, bright inside and outside, said the famous writer today in City Hall after he was on the town celebrates solemnly granted Charter.

Peter Handke in the City Hall signed a memorandum

- Belgrade is tragic city. The city was bombed three times in a century.But he and the city lights. Bright was inside and out. I once said that I belong with the tragic people. Now I tell my place in the tragic and bright city. Twenty years ago many major world media wrote that Belgrade is a dark place in the Balkans. Belgrade was not. A dark places were some other - said directly and charismatic, the Serbian language, Peter Handke addressing the audience in full ceremonial hall of the City Assembly.

Sincerely and touching at the same time, Handke mentioned that welcomes all people in Belgrade knew and met, such as Milorad Pavic, as well as those he met and got to know, but they are very affectionate and prices, such as Ivo Andric and Novak Djokovic . He commented afterwards how big and important may be the feeling of loyalty.

Serbian champion in the Champions League

In an interview with Tanjug on the question of good news from Serbia would have rejoiced, Handke said:

- Yes Serbian champion - Partizan and Crvena Zvezda - finally re-enters the Champions League final.

- I'll stay loyal to Belgrade. This recognition does not deserve it, but I accept it on behalf of my children - said Handke.

Previously, participants were greeted by about city celebrates spoke to the Mayor Sinisa Mali, who said among other things that the Ascension Day "symbol of progress," that "the glory of all citizens of Belgrade regardless of their religion," recalled that it is the glory of Belgrade in 1403, and Despot Stefan Lazarevic, and that was restored in 1992.

Solemn Charter honorary citizen of Belgrade famous writer Peter Handke presented the mayor of Mali and President of the City of Belgrade Nikola Nikodijević.

Sinisa Mali, Nikola Nikodijević and Peter Handke

The famous writer Peter Handke (1942, Austria) in the seventies, recall, his work ranked among the leading European writers. Nineties was the territory of the former Yugoslavia and wrote an essay, "Justice for Serbia" in which, among other things, talked about the fact that the Western world, when it comes to conflicts in the region concerned, should not only attacking the Serbs. He was considered a man of the Milosevic regime ... For his part, Wim Wenders filmed the famous movie "Wings of Desire", was awarded the Büchner Prize, the award "Franz Kafka".

"A mixture of myth and history: A disease that kills," he wrote in a drama "Ride shuttle type or a story for a film about war," which was to be set up a few years ago at the National Theatre.

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Handke: Moje mesto je uz vas

Tatjana Nježić | 21. 05. 2015 - 19:48h | Foto: Arhiva

Beograd je svetao grad, svetao spolja i iznutra, rekao je slavni pisac juče u Skupštini grada nakon što mu je na gradskoj slavi svečano uručena Povelja.

Petar Handke u Skupštini grada Beograda potpisuje povelju

- Beograd je tragičan grad. Grad tri puta bombardovan u jednom veku. Ali je i grad svetla. Svetao je i spolja i iznutra. Jednom sam rekao da mi je mesto uz tragičan narod. Sada kažem moje je mesto u tragičnom i svetlom gradu. Pre dvadesetak godina mnogi veliki svetski mediji pisali su da je Beograd mračno mesto na Balkanu. Beograd to nije bio. Mračna mesta su bila neka druga - kazao je neposredno i harizmatično, na srpskom jeziku, Peter Handke obraćajući se prisutnima u punoj svečanoj sali Skupštine grada.

Srdačno i dirljivo u isti mah, Handke je pomenuo da pozdravlja sve ljude koje je u Beogradu znao i sreo, poput Milorada Pavića, kao i one koje nije sreo i upoznao, ali im je privržen i veoma ih ceni, poput Ive Andrića i Novaka Đokovića. Osvrnuo se potom na to koliko veliko i važno može biti osećanje vernosti.

Srpski šampion u Ligi šampiona

U razgovoru za Tanjug na pitanje koja dobra vest iz Srbije bi ga obradovala, Handke je rekao:

- Da srpski šampion - Partizan ili Crvena Zvezda - konačno ponovo uđe u finale Lige šampiona.

- Ostaću veran Beogradu. Ovo priznanje ne zaslužujem, ali ga prihvatam u ime moje dece - naglasio je Handke.

Prethodno, prisutne je pozdravio i o gradskoj slavi govorio gradonačelnik Siniša Mali koji je između ostalog rekao da je Spasovdan „simbol napretka”, da je „slava svih Beograđana bez obzira koje su veroispovesti”, podsetio je da je to slava Beograda od 1403. godine i vremena despota Stefana Lazarevića, te da je obnovljena 1992. godine.

Svečanu Povelju počasnog Beograđanina slavnom piscu Peteru Handkeu uručili su gradonačelnik Mali i predsednik Skupštine grada Beograda Nikola Nikodijević.

Siniša Mali, Nikola Nikodijević i Peter Handke

Čuveni pisac Peter Handke (1942, Austrija) još sedamdesetih godina, podsetimo, svojim delom svrstao se među vodeće evropske pisce. Devedesetih godina bio je na prostorima nekadašnje Jugoslavije i napisao je esej „Pravda za Srbiju” u kome je, između ostalog, govorio i o tome da zapadni svet, kada je o sukobima na ovim prostorima reč, ne treba da napada samo Srbe. Smatran je čovekom Miloševićevog režima... Po njegovom delu je Vim Venders snimio čuveni film „Nebo nad Berlinom”, dobitnik je Bihnerove nagrade, nagrade „Franc Kafka”.

„Mešavina mita i istorije: Bolest koja ubija”, napisao je u dramskom komadu „Vožnja čunom ili priča za film o ratu” koji je trebalo da bude postavljen pre nekoliko godina u Narodnom pozorištu.

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