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 Post subject: In stillen Nächten-Till Lindemann
PostPosted: Wed Sep 04, 2013 12:50 pm 
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Here we can post all about the new book. I can't wait :bounce: :bounce: :bounce:

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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Wed Sep 04, 2013 1:28 pm 
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I'm also looking forward to it
I am keen to try get it for my birthday (been dropping hints like crazy for hubby) but it will be a late present as my birthday is the end of this month already. I don't have Messer, but from what I understand it is hard to come by
Just a thought - I wonder if the release of this book will increase the demand for Messer?

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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Wed Sep 04, 2013 1:35 pm 
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OH you must look on amazon.de :D You can order a package deal
http://www.amazon.de/b%C3%BCcher-buch-l ... ode=186606
3 in 1 deal . Messer , the new book and Bis das Herz brennt ( unofficial R+ authobiography) :hug:

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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Wed Sep 04, 2013 1:37 pm 
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:omg: :omg: :omg: :eee: :eee: :eee:
WANT WANT WANT

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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Wed Sep 04, 2013 1:37 pm 
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I didn't know he was coming out with a new book. Messer was pretty rad, I'm excited for this one.


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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Wed Sep 04, 2013 4:29 pm 
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The book is not on US Amazon, does any of you know if Amazon.de ships to the US?

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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Wed Sep 04, 2013 4:54 pm 
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Yes, they do and very cheap as well ^_^

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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Thu Sep 05, 2013 1:24 pm 
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I have that book, Bis das Herz brennt. Haven't read it yet though, but I've looked through it. One thing I reacted to was that it lists Paul as being pretty tall. :lol: I have the hardcover version of Messer as well.

I've translated the first 3 pages of the introduction. I'll try and do a bit more. I don't really like this intro as much the one that Gert Hof wrote for Messer. I think it's a bit too long and that this guy uses overly complicated ways to describe poetry that is usually very honest and straight forward.

Edit: I am almost done translating the whole intro.

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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Fri Sep 06, 2013 2:37 pm 
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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Fri Sep 06, 2013 3:19 pm 
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^ Thank you, vB!

I had a try at translating the introduction/preface in Till's book and I have to say I did not like it one bit. I had to struggle to figure out what the guy meant sometimes and I think he is a bit too much in love with his own writing style. It put me off the book a bit and personally I don't think it fits Till's poetry. Gert Hof did it much better. But maybe I'm just not smart enough for such literary masterpieces. Some parts were very straight forward and I think the whole thing could have been said in an easier way. Just my opinion. Please, if any other German out there thinks I am completely off with this, I will not be offended.

In Stillen Nächten - Till Lindemann

Introduction
By Alexander Gorkow

A very early Till Lindemann, from the year 1972, is called “The Nutcracker”. Till was nine years old at the time. The poem goes like this:

He cracks very easily
Every nut
And those who do not want to
Have to

Till’s father, the deceased author of children’s books, Werner Lindemann, revealed the poem by little Till in his autobiographical novel a number of years ago. Already as a kid, the complete Till Lindemann was designed to his lyrical foundations: passion, mercilessness, persistence, crushing, fatalism.

It’s a few years ago now that I asked Till, if he still writes poems separately from his text writing for Rammstein. As impressive as the nutcracker suite was when presented to me, it was above all his poetry book “Messer” that came to mind; in which I had searched for and found treasures that appeared to me as an overall but not complete separation from the idolised front man and pyrotechnic.
I have never seen Rammstein as just a rock band, but as a complete poetic artwork: Till’s language - and on top of that this interesting pressure refuelling with fire, joy, rage and music. Even the music often follows poetic, twisted patterns here. When you’ve experienced Rammstein in Paris or Houston, experienced how thousands of people point a finger at Till and roar “Du hasst mich”, then you even ask if there is a strange universal language. Which German language artist of our time, invents a poetry that is understood as well by people in Munich or Berlin as in Russia, Mexico, France or the US?

Before we then met in Berlin, a filing folder with Till’s poems was lying on my hotel bed. He had left it there for me. I read. And read. And read. Then at first we did not speak one word about these texts, but rather about the nature that he grew up in and its calm into which he so often happily escapes. In these conversations he finds a language for the calm in the woods and by the sea, that you instantly want to make a note of, whose beauty makes you want to cut something off…

And so it began. Then more poems came. Just like the tides. High and low tide. Loud and silent. Gentle and hard.
The poems gathered here sound like they have been scraped out of the ice on a cold night. There are real monsters among them, comic slaughter, really terrible things, a few massacres - and then again and again tender miniatures. Tender? Are you still allowed to use that word after “Tender Cousins part 3”?

However, in the strong as well as in the silent or tumultuous moments, Till’s poetry is only seemingly awkward, but then equal to lines from poetry that uses a language much simpler, or one that is trying meticulously to be complicated:

In silent nights a man is crying
Because he can remember

I read these and other lines by Till to actor Matthias Brandt one long evening. The next day, Matthias wrote me an email: “the interesting thing about these poems is that noone who encounters them would think they are done by Till Lindemann. At the same time there is so much silence, depth and humour from these poems, as found in the Rammstein texts. These poems are fabulous. For an actor they are paradise so to say. They sound as if someone had picked Rammstein songs and placed them in a flower press. A pure collection of Lindemann flowers!”

We see the people in Till’s poems naked, with their desire, in loneliness, in ridicule and hatred
In the end, I thought over and over again while reading and sorting, all this is above all: a single
hard beating self-assertion. And so behind this mantra of noes, just take everything altogether; there is a great persisting yes.

We can guess Till’s heroes as well, that is, those poets with whose texts he grew up with at home. Berthold Brecht, Conrad Ferdinand Meyer, the dissector Gottfried Benn. And in these stories (because these poems are sometimes nothing less than almost epic stories), we sense one of his current heroes - the narrator of contemporary life disasters, the Swiss journalist Erwin Koch, whose “True stories” under the title “What life does to love” are among Till’s favourite books.

One or two readers might possibly wish afterwards that we had sat down together and edited these texts perfect (too late, too late), because after all, some of these poems appear to be formal offence. He who is looking for it will find it all here: broken rhyming schemes, broken rhythm, one or two quasi-spoonerisms. And content wise: sexual exploitation, age discrimination and and and… All in all, he who wants fair poetry will be disappointed, hang his head and cry in silence. However, he who carefully pays attention instead, will be greatly rewarded. He will realise that the poetic persona in these often furious texts, above all serves the readers his own gentle heart on a plate.

I once described Till as the King Kong of contemporary German culture. Even here in these poems, a more insensitive but still oversensitive berserker rages through the cities with his beloved blonde in his hands, or as far as I’m concerned, as the last action hero of the pirates across the oceans. Who has ever answered King Kong’s cries for love with even love?
The creature must die, for Till, and in this case with Rammstein, there can only be one answer for this creature: I am disappointed.

For monsters of that kind, that Till also talk about in this book of life, there is a sentence by the monster of a man, Georges Simenon. I once placed this sentence before a collection of interviews, because what all these people that I met for conversations had in common, was their sad, humorous, but really always destructive struggle against the misfortune of their existence:
“Man is so badly equipped for life that you would almost turn him into a superhuman if you saw in him a culprit instead of a victim.”

No, there was nothing there to edit at all. But of course we have been working on this together, in every case it was only tiny things, omissions, new titles. In the summer of 2012 I was on the road with Rammstein for a few weeks, straight across the US, to do a report for the SZ Magazine. The one thing I remember most of all, besides the torrid hot concerts, is Till’s real pathological shyness when fans approach him. As well as I remember his downright panic when journalists approach him. And I remember afternoons in hotel facilities in the Pacific coast, in Denver, Dallas, Phoenix or San Antonio that were no less hot. Strangely tiny desert birds stared into our eyes from the tables at the pool bar. There was ice cold Budweiser that you already sweated out before you had even drunk it. Silently, Till read a few poems, staring at his laptop, then he clicked away on the keyboard, then contently bared his teeth and read it again, louder this time.
I said: “The second version is somehow better, more lapidary. Now I ask myself why?”
Till: “Because the rhyme is broken now. The rhythm at the end of the poem has given up now, and that is beautiful.”

The last act in the manufacture then took place in a kitchen in München-Schwabing, in the early summer of 2013. There sat Till, his friend for decades, the illustrator Matthias Matthies and I. Several litres of coffee was drunk up, in between lay page upon page with Till’s poems, once again changed only very slightly in every case. Also: in addition Matti’s raven-black drawings now lay there as well. Never do these drawings comment on Till’s poems, they more provide these poems with a somehow secret, drawn on, second melody.

To me it seems like this finale in Munich is a rerun of our first evening in Berlin years ago. If you like, the plain box that once stood on my hotel bed in Berlin, in Munich it became what the tides had washed up on land: the poetry of a great shipwrecked sailor of our time.

Munich, summer of 2013.


And my own translation of the poem "Entstehung der Gezeiten" that Colette posted in the media section.

The origin of the tides

There was once a fisherman
who threw his heart into the sea
The water did not give it back
the chest of the fisherman sore
then full of wrath he destarred the night (removed all stars from the...)
and soon removed all waters
the wave now blindly drove away from land
the streams helplessly all over the place
the floods cried themselves to madness
and so the water became salty
a little star passed away from the fisherman
and lives on as riverside fires there
among the hearts astray

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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Fri Sep 06, 2013 3:55 pm 
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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Fri Sep 06, 2013 5:18 pm 
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Thank you for the translations!!!

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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Sat Sep 07, 2013 12:29 am 
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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Sat Sep 07, 2013 1:11 am 
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Thanks to all the people of this forum for your help in translations and explainations.
Sometimes the contrast between what "is reported" about the philosophy/inner feelings of some R+ members (Till expecially) get me puzzled (even confused, sometimes "angry" -so to speak, of course-) cause they seems so much in contrast, "superficial", and at the opposite of how deep and warm-hearted, sensitive and meaningful they appear reading other of their stuff.

But apart few lucky, noone of the "normal crowd" will ever know the whole truth behind some declarations. Maybe is better like this.

Thank you all for sharing and helping, anyway.

(Btw, I did pre order the book, I hope the expedition will be fast. With Amazon usually is the case. I'll let you know.)


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 Post subject: Re: In stillen Nächten-Till Lindemann
PostPosted: Sat Sep 07, 2013 8:05 am 
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Thank you for the translations! :hug: My german is terrible and I never would've understood what it siad! :lol: Thanks again!


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