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Hier entstehen Texte, die Fragen aufwerfen, sie beim Sturz beobachten und sie ab und zu auffangen, um sie mit einer Antwort wieder aufzulösen. Manchmal blickst Du von unten auf die Frage, andere Male verschmilzt Du mit der Frage, bei einigen Texten zerklirrt die Frage und Du wirst zum Scherben aufsammeln aufgefordert.

> What is identity
> Dew
> Life in a smashed vase
> Tread lightly
> The fifth pill
> Rearview
> The tune

Sonnenuntergang an einer Promenade mit leuchtend rotem Reklameschild

  • I’m not from here, you know. I was born somewhere. I grew up somewhere. I moved. I lived. I moved again and I lived some more. I have an address book full of names, numbers and, well: addresses. It’s an eclectic mix. But we revere oak trees because they are solid, strong, and above all: grounded. Or under all? “Immigrant”: a bad word. “Alien”: a bad word. “Unrooted”: a bad word. Why? The clue might be found in epigenetics, the new scientific understanding that how we spend our lives can alter the way our genes express themselves in our lifetime and beyond. When we pass on our genes to the next generation, we don’t only pass on a certain set of data but also the way in which that data will express itself, depending on the point of time in our lives in which we pass on our genes. The conclusion I draw from this is important because it explains so much: trauma, in a certain way, can be inherited. And there is plenty of trauma related to people leaving and never coming back again to go around. There is plenty of trauma related to people from far-off lands coming to pillage your village, subjugate your community and lead you to despair. The people you love are leaving and people who have no intention of loving you are invading. That’s the innate anxiety that has been passed on to us for generations. It’s no wonder then that we are having a hard time accepting migration.

    I was born in Luxembourg, a country that has changed hands so often that the best national motto its people could come up with is: “Mir wëlle bleiwe wat mir sinn” – We want to stay what we are. It’s an expression of the deep wish of a constantly subjugated people having to deal with ever changing conquerors to just be left alone already. It also raises a very important question: What are we? It’s a question that has come to consume my every waking hour, even if I have since moved on from trying to find any singular identifying traits of Luxembourgishness and moved on to ask the question just for me personally and for anyone confused by myriad influences in their lives which, such is the word on the street, are incompatible. Luxembourg is a good example of that because it finds itself wedged between Germany and France, two European powerhouses which, for much of Europe’s history, have been the sworn enemies of each other. Recent efforts of Franco-German cooperation do little to mitigate that inner conflict every Luxembourger feels of being partly one thing, partly another, feeling sad about not really belonging to either and yet somehow still proud that they’re their own thing. If anything, Germany and France teaming up just exacerbates Luxembourgers’ claustrophobia and the fear of not being big enough to have their voices heard on the international stage – a fear that seems daftly unfounded when considering how many high offices in international organizations are held by Luxembourgers exactly because they have been given the gift at birth of perfectly understanding both the French and the Germans and they can thus play mediator between the two. This is not just a Luxembourgian issue. I merely choose Luxembourg as an example because it’s the country whose psyche I know best.

    All of this to say that as a white, male, rich European, you’d think I would be the last person to have identity issues. And yet… The resurgence of the nation-state as an ideal seems baffling when one considers the global and even universal scale of the challenges we face. Yet on an emotional level, it makes sense, because the idea that there’s a limited group of people with which you share a common history, a common language, perhaps a common religion, and looking forward: a common fate, is comforting. It is, of course, mostly a delusion. The identities that nations carve out for themselves are based on the highly subjective predilection for one era over another, one stream of thought over another, etc.

    History, then, is but the attempt of trying to find the red threat that binds everything together and makes it seem like a logical consequence of events after the fact. We need these stories to make sense of the present, to feel grounded and tell ourselves that we are part of something bigger. But whatever kernel of truth there might be in any one of these stories, there’s just as much fantasy, embellishment, and bending of facts to suit the chosen narrative. Identifying with the people who live close by and thus empathizing with them is what allows governments to sell its people the idea of paying tax money that might be used for projects that an individual taxpayer might not be the direct beneficiary of. It’s also what makes the concept of health care contributions more palatable. It is, however, also what leads to headlines such as: “Plane crashes over the pacific. No survivors. 13 Brits among the dead.” The assumption is, of course, that nobody will really care about any of the people who have died holding a different passport and that the only reason we should feel the gravity and sadness of this tragic event is that there were “some of our own people” on that plane. You can swap out “Brits” for “Germans”, “Americans”, “Frenchmen” etc. It’s the same pattern everywhere. Perhaps it’s a way of shielding us from constantly feeling bad, because let’s face it: horrible things happen somewhere every day and if we want to keep our sanity and get on with our lives, having such cues to tell us what we should really be upset about because it affects “our community” makes it easier to ignore all the other bad news.

    Trying to foster a renewed spirit of community in a village, a borough, or even a street in a particular city, is of course not a bad idea. Caring for those with whom we are in immediate contact every day is usually the best way to start changing the world at large. But does it have to happen at the detriment of those we know a little less about? The cost of fostering more close-knit relationships at home should not be the demonization of outsiders.

    The world feels like it has considerably shrunk over the last hundred years or so. Travel times have been cut short, the most remote places have become easier to reach, communication with the other end of the world is now instantaneous, goods and services are often just as easily imported as they are purchased at home.

    Each one of these changes on their own would have provided enough for people to adjust to. The accumulation of them has left millions of people behind, not understanding why all they were taught as children suddenly does not apply anymore, why the security (and yes, limitation) they thought was theirs, is gone, and why in order to survive in this world, they have to actively discard all of their parents’ advice. Their parents who have an even harder time at grasping how the world works these days than they themselves. But: is the antidote to not coping with the speed of globalization really retracting into a closed-off localism of the sort not seen since before World War I? I think not.

    What matters about me, in the end, is not where I was born, where I spent most of my life, who my parents were, what their job was and how rich they were. My essence might be influenced by these factors to varying degrees, but it also transcends all these aspects and exists irrespective of the situation you put me in. Never quite fixed and open to transformation, but constant in its change still. What matters is how you see this world, how you engage with it and what contributions you make to it. Your name, the colour of your passport, your creed, your clothes… all of those things contribute to making you you, but they alone do not define you.

    So, who am I and what community do I belong to? I don’t exactly know because as I live, I change, but I’ve come to realize that it doesn’t really matter, for wherever I am and whoever my neighbours might be, I’ll try to make the biggest contribution possible and that, I believe, says more about me than anything else. Say hello to your neighbours, keep open doors, help with small chores, clean the local forest but don’t forget that there’s more than your hamlet and engage with the rest of the world. Just like, according to epigenetics, we have genes that can express themselves differently depending on what we do, the true strengths of our character will only show when we confront ourselves with new situations, different people, belief systems, ideas. Our identity does not get watered down or muddied by contact with external influences, it becomes clearer and stronger, and we become more confident about it.

schwarz-weiß-Foto eines Sees

  • Dew. Drizzle. Leaves make the ground slippery. Light reflects in a puddle. Muddle through it. Largely unscathed and yet strangely affected by the ease of it all. Unburdened by life’s scale-breaking weight, punctured by its darts, arrows and daggers, yes, yet: all the lighter for it, floating through the streets. The sun shining through the wounds as they do through bullet holes in a sinking corpse in the swimming pool when filmed from underneath. Though you levitate rather than getting pulled down. Coming up for air rather than going under. Coming up for air and it’s not for taking one last breath. It’s the first among a series of firsts. The punctuation of your story. A comeback. A full stop erased to be replaced by a semicolon. It’s the drawing on a cigarette that adds gravity to a speech by forcing a pause into the middle of the sentence while your listeners’ eyes are fixed on your lips, their fingers tingling with impatience for that next syllable to come out of your mouth, post-puff. It’s too long. It’s too much. Albeit only briefly. For taste is constantly redefined and expectations altered by circumstance and often, too, just happenstance. Langoustines, red. The water boiled over. You used it for tea. It sounded unsanitary at the time, but then again: you know all too well what degree of nastiness life entails. Long past are the times when you would refuse to drink from your mug when a leaf fell into it. Belief came into it. Then disbelief. The Inuit: would they care about all this? Well, if trees were in the vicinity. Victories for the holy trinity. Four leafed clover and: who takes the extra spot? Cloud 9, 10, 11… where does the elevator stop? The view doesn’t really get more impressive the higher you get, at some point it’s all just a tiny spot. And quite frankly: You can see that from here. On your trousers: a blue blot. You had an inkling ink would be king. Of your world, of mine, of our collective peace of mind. Quite stirring though, too. Line per line, word for word, page 1 to, well: all the way through. Harp strings. Hamstrings. The music of movement. Listening, the toughest sport. But we muddle through it. Light reflects in a puddle. Leaves make the ground slippery. Drizzle. Dew.

Sonnenuntergang am Meer mit dramatisch wirkenden Wolken

  • Waves of weary reach the shore of joy
    Eroding the coastline, they keep crashing
    And in the house, a fragile vase smashing
    He stood there, while she sat down, coy

    Every day he loves her less and less
    Words spoken, hearts broken, scars all around
    Porcelain shatters, lives fall to the ground
    In trying to keep it together, such haplessness

    A walk on the beach becomes a fight for life in quicksand
    Witwatersrand, the strand, what’s left of the Merlot?
    Grapes were crushed, she started playing Tarot
    My inebriation, her disbelief, our bitter end

    Clay pots, a thousand years old, crack a smile
    Wider than she’s ever done; such lack
    Of softness, all that’s left is a plaque:
    Here lies comfort, may she rest a while

Schwarz-Weiß-Fotos

  • Don’t tread on that snake, or it might bite you.
    Watch your step, let your eyes guide you
    Through this maze, clear the haze.

    Don’t you tread on that twig, or it might snap.
    These are items you can’t find on a map,
    Yet you need to watch out for them too.

    Don’t you tread on that snail, or it might die,
    Leaving its trail, sadly behind, as dye.
    Take good care where you put your foot next.

    Don’t you slip on those leaves, they make the ground wet.
    Slip and the dinner table for the wolves is set.
    Therefore, beware of autumn and all its hidden dangers.

    Don’t you get stuck in that mud, above water you must stay.
    Rather, decorate your home with earthy tones, clay.
    Breathe it in, let nature be your own.

    Above all, tread lightly, for everything you find was there first.
    See whether you’re stealing someone’s water before you quench your thirst.
    Stride forwards but beware of the ground underneath, you are of it too.

Pinkes Leuchtschild mit den Worten "LA FUCKING FIESTA"

  • It’s usually around the fifth pill that I pop on any given day
    That I start to feel something almost akin to gay

    It’s usually around the fifth pill that I start to think
    That life is always just lived on the brink

    It’s usually around the fifth pill that I start to fall asleep
    And it’s then that I know I’m definitely in too deep

    It’s usually around the fifth pill that I put out my cigarette

    One step closer to death, one step away from existential dread

    It’s usually around the fifth pill that I wash down with whisky
    As if I didn’t have enough to worry about, it’s then that I get frisky

    It’s usually around the fifth pill that I start to shake
    It’s usually the fifth pill that’s the last one I take

Schwarz-Weiß-Foto einer Straße in einer Großstadt. Zu sehen sind viele Autos, unter anderem ein Trabi

  • Objects are closer than they appear. A rearview mirror is a funny thing. Blinding when the sunlight hits the glass just so. A shadow of what you have left behind and a warning of what is yet to come, also. The angle depends on your setting. Your setting depends on your general situation. As does the route you’re taking. As does who’s sitting on the passenger seat, if anyone at all. The luggage you take, the friends you make, it’s all in where you come from and yet it is unknown. Like when you’re driving on a gravel road. The dust you spin up will make it hard for the car behind you to see what’s coming. Yet, what’s coming is more of the aftermath of what has already come that way: you. You know what happens when you put corn seeds in a hot frying pan. But once it’s popped, what then? Salt, or sugar, caramel, cinnamon? The movie won’t change. Your experience of it will. The crunching sound will prevent someone sitting behind you from hearing a particular line. Maybe it makes that person miss the whole point of the movie. It’s all in a kernel. It’s all in the crunch. Does the rearview mirror tell you anything about what’s up ahead? Not really, but it gives you a hunch.

Bild eines Karussells auf einer Kirmes bei Dunkelheit

  • You feel the beat. You hear the tune. You tap your feet, and then just: Boom.
    Splat!, you hear. Your neurons blow. Splat!, you hear. It’s time for the show. Splat!, you hear. You want to die. Splat!, you hear. You start to cry.

    Melancholic melodrama. The carpet is made of llama. Tingling feeling in your toes. Round and round your head it goes.

    Trivial trifles, slippers slopes, riveting rivals. It just goes to show…

    It’s in your head. It’s in your HEAD! You’re going mad. You’re going MAD!

    Then soothing silence, a calming colour. Legs and heads and arms and fat. Flesh. Naked. Horror. Sacred.

    The alcoves, yes, the alcoves. A maze, amazing, a trail still for blazing, a heart full of hope and, yes, despair. This pear: so green, so brown, so free of care. A smile and then a frown. Madmen give me the crown.

    Splat!, you hear. Your neurons blow. Splat!, you hear. It’s time for the show. Splat!, you hear. You want to die. Splat!, you hear. You start to cry.

    There was a boom. You tapped your feet. You heard a tune. You felt a beat.