It begins with "wounds over which fur has long been growing" and ends with the assurance of having "so many other words". For what? For the same thing, for injuries - but the shy animal of the first poem, which cannot stop licking its wounds, which befriends sighing wood fibers and longs for someone to brush "the heavy ones off its fur", has become one 36 poems later, which promises to be good, to say something seemingly bad "never again" - but only because it knows it does not have to repeat itself: There are "still/ so many other words" in the quiver.
Along the way, we find poems for wintering, poems that help us survive the frost of everyday life. Words are examined for their degree of warmth, their ability to comfort, and Tabea Farnbacher literally puts her finger on the words: we find, again and again, small animals, squirrels and cats, even "kittens", as it says three times in the diminutive. We find the theme of motherhood, the longing for it and, accordingly, memories of our earliest childhood, but we should not be deceived: Although there is certainly rejoicing: 'heaven is us and the mothers', the very next verse states: "we carry heavy and we never lay down." The rhyme that these poems lack is replaced by their breath, their airiness - and breath is indeed one of the most important motifs. It is introduced with scientific thoroughness, not assigned to the poetic "breath", but to its organ, the lung, "a paired organ/ that consists of two wings" - and the enthusiasm of the experimenting, trained psychologist for this part of the body is immediately apparent: "the lung is the only organ/ that floats on top/ if you remove it and put it on water/ the breath is a small ship..." The breath literally gives wings more than the tears or skin described above. Other important terms are used in this key poem: the deep waters, the gentle flow.
In the series 10 years Literaturhaus Dortmund (Neuer Graben)
This content has been machine translated.Price information:
5€ I 0€ Reduced