Walter Grond, born 1957, Austrian novelist. He is artistic director of ELit Literaturehouse Europe. Walter Grond, geboren 1957, österreichischer Romancier und Essayist. Er ist Künstlerischer Leiter von ELiT Literaturhaus Europa.
Walter Grond, born 1957, Austrian novelist. He is artistic director of ELit Literaturehouse Europe.
Walter Grond, geboren 1957, österreichischer Romancier und Essayist. Er ist Künstlerischer Leiter von ELiT Literaturhaus Europa.
From the opening of the European Literature Days 2018 with Robert Menasse and Richard David Precht to the final matinee with Ilija Trojanow...
For the second time, the Literaturhaus Europe presents a nuanced and entertaining summary of the annual activities of the Observatory for European Contemporary Literature...
Europe Ulrike Guérot: The failure of the political centre ground...
Europe...
Fear & Censorship...
Fear & Censorship...
The European and American publishing managers and media agents attending the Publisher’s Forum Berlin 2016 ...
In 1993 when the conflict was at its height in Yugoslavia, American political scientist Samuel Huntington published an essay that provoked not just heated controversy and opposition, but was also to have a big influence on the political establishment in the US and Europe for years to come.
In addition to reviews, trends and discussions about European literature, the ELit Observatory for European contemporary literature 2015 focuses on two areas of special interest – “Innovations in the digital field” and “Literature and migration”.
After Amazon’s takeover of the US website “Goodreads”, the owners of the Holzbrinck-financed online books website “Lovelybooks” reacted extremely calmly. This is a typical reaction in this sector. With growing ebook sales in German-speaking countries, the European group also sees good prospects for German language social reading offers. Whether that’s true or not. The message is that capitalism not only promotes reading, but also brings readers closer together. Plus, as the name already implies, a profit-oriented company like Holzbrinck superbly spreads the nimbus of social benefits. The various groups stick together and non-corporate affiliated and independent platforms with a definite literary appeal like “Readme” or “Literature across frontiers” lack the funds that they would need to create content on a more regular basis and a public forum. In the fast-moving world of capitalism, the capitalists produce continuity.
At the first European Literature Days in 2009, Jürgen Ritte, a literary scholar at the Sorbonne Paris, responded in answer to the question “Is there a European literature?” – “No and yes. Yes. Of course there is – there are shared lines of heritage. No, it has always been an export–import undertaking, like Europe and its culture in general. It’s a fruitful melange. A formidable machinery that assimilates everything from Chinese noodles, Japanese prints and South American plants, and has made everything, which it encounters, its own.”
Am 8. Oktober 2014 veranstaltete die Frankfurter Buchmesse einen EU stakeholder workshop zum Thema “What do publishers need in order to innovative?” Anwesend waren Beamte der Europäischen Kommission, die für EU Pogramme im Bereich Kultur, Kreativität, Medien und neue Technologie zuständig sind, europäische Verleger, die bereits mit innovativen Projekten aufhorchen lassen, und Wissenschafter, welche die EU Kommission in bezug auf sinnvolle Förderungsschwerpunkte beraten.
Chris Meade, Director of if:book – The Future of the Book in London. Für das „Zukunftsatelier Buch_Text” der Solothurner Literaturtage 2014 schrieb er folgenden Beitrag, der hier in Kooperation und mit freundlicher Genehmigung der Solothurner Literaturtage erscheint. Siehe dazu auch den Beitrag von Veronika Trubel: Chris Meade über das Weiterlesen.
Pius Knüsel, Director of Volkshochschule Zürich [Community College of the Canton of Zurich. For series of events „Workshopping the Future: Book_Text“ at the Solothurner Literaturtage he wrote the following article which is published here with kind permission and in cooperation with the „Solothurner Literaturtage“.
The “Studio on the Future of Book and Text” at the Solothurner Literaturtage 2014 featured a series of lectures and discussions on the future of the book, which will be collected in the “Observatory of Contemporary European Literature”.
On the last weekend in May, the 36th Solothurner Literaturtage and Pro Helvetia (the Swiss Arts Council) invited several organisers of literature festivals to take part in an exchange of ideas. Especially interesting for me were the discussions that threw light on the workings of the literary scene in Europe. The first point to note is that literature festivals don’t restrict themselves any longer just to inviting authors from their home countries: there’s now a firm bias towards an international approach.
My memories of the arts festival, Styrian Autumn, in the 1980s have made me think of something significant that we’ve lost since then. I don’t think that the renowned literature symposia held there were any more successful than today’s European Literature Days in the Wachau. On the contrary, our current European horizons have both a liberating and a stimulating impact on our meetings in Spitz an der Donau. I also resist the temptation to idealise a time, when installing a giant rusty nail in the Stadtpark in Graz, or putting on a play could trigger outrage and set off rowdy debates about artistic and literary freedom. Indeed, I’m convinced that the majority of present-day literary events and think-tanks are more wide-ranging, more thoughtful and more open than what we had on the literary scene back then, which was fundamentally more authoritarian.
A few days ago I took part in the Creative Europe event at the Urania Institute in Vienna. Will everything stay as it was? Or will everything change? The Austrian Federal Chancellery invited us to a preliminary meeting about the EU Support Programme Creative Europe.
The European Literature Days 2011 presented me with some revealing insights. Under the banner of Europe: Fortress, Trauma and Dream, we discussed what possibilities there were for crossing political and cultural boundaries in Europe. The verdict on the open Europe we all long for was devastating and, from the outset, unanimous: Europe is about exclusion. On this, the critical minds of Europe are at one.
When the ELit Literaturhaus Europa (Literature House Europe) was first launched, we undertook a small experiment with our authors, an idea called readme: ‘You tell me what you read and I’ll tell you who you are!’ (http://readme.cc). We felt distinctions like ‘Either books or Digital Media’ were superfluous, even more so ‘Ink good, Computer bad’. We’re passionate readers and we work with digital media and celebrate the opportunities they’ve brought to literature. Seeking and surfing: communicating culture via old and new technologies.
In the five years that we’ve been coming together in Spitz for the European Literature Days, something unashamedly European has developed...
There’s a special atmosphere at the European Literature Days and it stems from the original concept.
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