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Feridun Zaimoglus The history of woman : a Great song of the Matriarchy

a biblical primal scene, 1490 before Christ, tried and tested here at the beginning of the storytelling. It speaks, "in the tent camp of the Israelites, Zippor

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Feridun Zaimoglus The history of woman : a Great song of the Matriarchy

a biblical primal scene, 1490 before Christ, tried and tested here at the beginning of the storytelling. It speaks, "in the tent camp of the Israelites, Zipporah, a black skinned wife of Moses, mother of two sons." Just Moses, the fugitive murderer of an Egyptian overseer has interpreted the burning Bush seen as an attack by God on the prophets of the Israelites. In a panic he rushes to Zipporah into the tent. "God raced through you in his fire," says the wife, "in His the voice of violence." She was a witness to the angry Epiphany, and circumcised the son, to touch the father with his blood, a protection ritual. The boy she calls: "I'll take you to bleed, save your father!" You are the blood "on Moses' feet and called out, ' You are a bridegroom of blood!' As night and the sky were calm.“

voice powerful Zipporahs sounding voice, like from an Old Testament woman, this was posted before, but now under the pen of Feridun Zaimoglu brought to light. Whether Zipporah in fact, black was and whether or not the in Exodus 4, 24-26 described the act referred to Moses, seems to have a religion, scientists are controversial. However, Feridun Zaimoglu written a novel.

For the women's Zaimoglu as a Whole

"The story of a woman", nominated for the prize of the Leipzig book fair, gives a man unheard women a voice – his voice. He takes in a high tone, the man is from his works, some of them already used to it. He fits about to the protagonist of his previous work, to Martin Luther. The rhetorical and reformer of fury, the voice of joy and the voice joke had inspired Zaimoglu 2017 to "the gospel". Luther's coarseness and strength had Packed the 1964 born in Kiel, a writer of Turkish origin, because he is, as he is known in Germany radio, "was powerful because he was not squeamish, because he geizte with Exaggerations". He saw in Luther his "master". However, as George Younger, who had given her the Idol of the same rank, reserved Zaimoglu, a bit of aloofness and distance to the man with his weaknesses and errors.

For the women Zaimoglu's on the Whole, almost as if it was to outdo Luther. Again Zipporah: "It is the pen's tent, God's dwelling. There, the untouchables. In silver colors, saith the Lord. He speaks in red clay, in the songs of restless souls.“ Or: "The men, they are expectant warriors, soon ready for battle. The women, you must in the dense Dark, when the anxiety zuschnürt your chest, encourage their sons.“ So it's free more and more, as inspired by the Mission and anger, and from the speech-to-noise in the order of a higher instance, driven, ironic, extravagantly.

a Leitmotif Zaimoglu puts the catch: "After their Victories, the men learned to invent glorious deeds. / You wrote, erlügend, your Say. / This is the Great song that destroys your lies./ It is the woman speaks. / It begins.“ Therefore, the author claims the authority, beginning a new era. For the orchestra of gender justice, he mobilized then so many drums and trumpets, writes so many drum rolls and raunende hall effects in the score that the eponymous, threatens to disappear in the collective singular, therefore, the coming of the "woman" behind the powerful backdrop of sound.

On Zipporah follows at a gallop through the history of Antigone, the a touch of Christa wolf's "Kassandra" is displayed: "no. The ancestral lodges. I don't believe in the spiral, the painting wonder of the powerful priests of the walls. Not to the healing water that sprinkled the steps of the Shrine. No.“ Or: "the honor of The men weighs as heavy as the copper, with which you have to pay for the lap of the harlot." And: "My Name is', I say loudly, I'm out of reach for the slanderer.' "Judith in Jerusalem is the Next one, an ardent follower of Jesus: "I testify that You are the leader of the Many, for the spirit of God. I testify that You are the New, your yeast are the laws of the Elders.“ Judith is designed as the wife of the apostate Judas, for it is also in this Text, no mercy.

the Nibelungen lady Brunhild comes to word

as A witch at the stake in Wittenberg burnt midwife, Prista Frübottin, also speaks in high tone: "Young mother Wisgard', I call a son, you have born, he is not twisted and wrong.' I've detached from the body of the fruit, suddenly she forgets all the pain.“ The sublime Nibelungen lady Brunhild belongs to the women's choir of the novel actually consists of a series of long vignettes: "the wives delusional Giselher, the neck sleeve to the head-dress jeers," observes the Valkyrie: "I have stripped the love for the man like a Hucke from the back." Brunhilds speech, remains also in everyday life: "I strut to my Gelass. I reach for the pitcher, the maid wants to give me a Hand, I scare you out of the chamber.“

With Lore Lay, in Bacharach on the Rhine speaks in 1799 a servant girl, set against aufdringl Inge to the military: "My question makes him angry snort. I green not, I do not germs like an onion by mere high chat.“ Modern, maybe with a few sparks Fontane, tells Zaimoglus authorities critical Lisette Biel stone, factory owner's daughter in Elberfeld, 1849: "In marriage I will not leave forcing me," it insists, "as a male, I zähm' in the blink of an eye", and sympathizes temporarily with Friedrich Engels, and the harsh opponents of the monarchy.

the following is a piece of catch-up debris literature, with the voice of Hildrun Tillmanns, 1945 in Kiel. She muses on the sad "victory race". "Frosted is our boldness, we are quartered, geachtelte heroes," she complains, "beats of the Britons, beats the Yanks. The driverless race overcooked in the holes.“ And there, in front of the "Save the looters with tear pack me, the office is almost empty, we hair follicles to the radicals". Finally, in 1965, speaks to Leyla, West-Berlin guest worker, exposed to a Stranger: "How terrible that we are ungeborgen. How terrible that we came ungeborgen.“

vocabulary and imagination of the book are immensely

Allen has played the Patriarchy evil, you have been disenfranchised, demonized, reviled, violated, marginalized and discriminated against. Retro active, at least in The history of the woman should "give" a symbolic matriarchy validity. Zaimoglus women defend themselves, they despise the posturing of the men, their drunkenness, lust, vanity, brutality, and delusion. No question, the vocabulary and imagination of the balancing code are immense. However, the "Big song" of the attack speaking women on a Reservoir of archaic words, and that the author refrained from illuminating the ambivalences of Power in the Interior of the gender tension that leads to the involuntary Sabotage of the emancipatory goal.

Feridun Zaimoglu is expanding its protagonists, an Altar to the other. He says it is good. For the historical fact that the dictatorship of Patriarchy is nowhere possible without the latent to open complicity of the mothers and wives of his prayer has little meaning. Analytical authors such as Elisabeth Badinter, or Natalie Zemon Davis met him probably. So little room for the true complexity of this balance of power remains between the Baroque Pathos and pious awe.

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Feridun Zaimoglus Luther novel "the gospel" The cold fire into the Dream of the monk

Gerrit Bartels

Feridun Zaimoglu: the story of The woman. Roman. Kiepenheuer and Witsch, Cologne, 2019. 400 pages, 19, 99 €.

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