Ripe for a Diskursabenteuer: Jazz in Thomas Meinecke's Novels.
- Verlag Königshausen & Neumannn
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- Jazz in German-language Literature, 2013, 1, pp. 281 - 302
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The musician, broadcaster, and Suhrkamp novelist Thomas Meinecke, born 1955 in Hamburg, has emerged as an important voice in contemporary German literature since the mid-'1990s. I.ike some of his fellow authors at Suhrkamp, such as Rainakl Goetz, Andreas Neumeister, and, more recently, Kerstin Grether, he has participated in an increased (inter-)medialization of fiction (sec Kendel 2005; Wehdeking 2(07) and associated thematization of popular music, two by-words for a heterogeneous development in German literature often subsumed under the rather unsatisfactory moniker "pop literature" ["Popliteratur'l At a time, however, when it has mainly been other, perhaps more contemporary forms of popular music (rock, pop, punk, electronica) that have caught the imagination of most "pop" writers, jazz has had a significant impact on Meinecke's writing, although never to the exclusion of other types of music. The following examines the representation of jazz in Meinecke's novels Het/bill" (2001), M'lSik (2004), and JlIlIgfhltl (2008), I argue that whereas some other contemporary writers might view jazz as music of an older (1968) generation in decline, lvleinecke has been more inclined to view jazz as a highly productive topic of discourses related to ethnicity, the nation-state, and gender. l I will also ponder the compatibility between jazz's aesthetics and Meinecke's innovative approach to writing.
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