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Axolotl Roadkill de Helene Hegemann
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Axolotl Roadkill (original: 2010; edição: 2012)

de Helene Hegemann (Autor)

MembrosResenhasPopularidadeAvaliação médiaConversas
1303167,703 (2.57)Nenhum(a)
Horrible lives are a godsend,' writes 16-year-old Mifti in her diary. Since the death of her mother, she has been living in Berlin in an increasingly dire state of disarray. Diagnosed as a 'pseudo stress-debilitated' problem child, she becomes enmeshed in the Berlin party scene, surviving her so called life through a haze of sex, drugs and club culture. What sets Mifti apart is her hypersensitivity and her open, questioning curiosity about an older generation that doesn't seem to be able to care for its children. Torn between genius and madness, she delves into the language of adults, their… (mais)
Membro:hekki
Título:Axolotl Roadkill
Autores:Helene Hegemann (Autor)
Informação:Corsair (2012), 208 pages
Coleções:Sua biblioteca
Avaliação:*****
Etiquetas:favorite, female author, poetic

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Axolotl Roadkill de Helene Hegemann (2010)

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http://www.mytwostotinki.com/?p=187

The Making of a Bestseller

16-year old Mifti, the hero of the novel “Axolotl Roadkill” by Helene Hegemann, is a kind of female Holden Caulfield transferred in time and space to the early 21st century techno clubs of Berlin.

The book was a minor sensation when it came out in Germany in 2010, and the 17-old wunderkind author became the darling of a certain part of the literary feuilleton and media.

I read the book soon after it was published in Germany and was taken aback. What was hyped by some reviewers as the work of a new literary genius turned out to be 200-odd pages of revolting and not very well written fuck-and-vomit prose, mixed with half-digested (and quarter-understood) theory jargon, and the usual name-, label- and location-dropping that is supposed to excite a certain category of Berlin hipsters, but that is simply a sign for an inflated ego of the “author” (Regarding the “authorship” of this book see below). Rarely in my life was I bored more as when I was forcing myself through this book.

It turned out that a very big part of this so-called novel was plagiarized (without mentioning sources) from a variety of books and other texts. Only in later editions, the publisher mentioned all(?) sources. But “theft remains theft”, as the author Helmut Krausser remarked in this context, and to argue that everybody is doing it nowadays shows only a lack of reflection and hints at lustful self-deception.

A well-connected father (Herr Hegemann is a famous dramaturg in Berlin) who can pull a few strings in the publishing and media scene, a publishing house (Ullstein) that was a bit too eager to produce a new literary wunderkind, reviewers that in all seriousness praised the "authenticity" of the plagiarized novel and that are obviously blind when the author fulfills their two main quality criteria (“young and female”), and a girl that knew how to put together a novel mainly with the copy-and-paste function of her laptop – these are the ingredients of this case, the initial big success and the scandal that was following.

What Hegemann and her supporters seem not to understand until today is that there is a difference between intertextuality and plagiarism. That she (and even a reviewer in the “Guardian”) claims until today that she “took” just a few lines from other authors is appalling. I remember that in an article of the Frankfurter Allgemeine it was proved in detail that a very big part of the book is a mechanical copy of texts written by people other than Fräulein H.

Sorry when I sound a bit misogynic this time. But I found it extremely annoying that this rag of a book took so much attention from other much more worthy works of contemporary literature (also by female authors).

“Axolotl Roadkill” is interesting as a media phenomenon but not as a novel. Zero out of five stars. 'Nuff said.

( )
  Mytwostotinki | Dec 14, 2015 |
Jau, das war wahrlich keine leichte Kost und schon gar nicht in irgendeiner Form zur Erbauung oder guten Unterhaltung im Sinne von sich erfreuen geeignet. Trotzdem - dieses Buch hängt nach.
Wer die Jugend als ausschließlich schöne Zeit in Erinnerung hat, ist beneidenswert und natürlich sei es ihr/ihm gegönnt. Doch wie oft war dieser Abschnitt geprägt von Frust und Wut. Auf diese Erwachsenenwelt, diese scheinheilige, heuchlerische, die einem aber vorschreiben wollte wie man zu sein und zu leben hatte. Und die Schule, wo das Beste daran war dass man seine Kumpels traf, aber ansonsten nur Scheiß lernte. Der eigene Körper der machte was er wollte: der Busen zu groß zu klein, zuviel zuwenig Bartstoppeln, zu kurze zu lange Beine, der Schwanz zu dünn zu winzig usw. Man hatte das ganze Leben noch vor sich - ja aber was für eines? In dieser scheiß verlogenen Gesellschaft... Eigene Wünsche oder Träume wurden ins Lächerliche gezogen (werd' du erst mal erwachsen..), Drogen aller Art wurden ausprobiert um dem standzuhalten.
Genau so und noch extremer klingt es durch alle Seiten dieses Buches hindurch, durch alle Zeilen. Mifti, die Hauptfigur ist zudem nicht nur ein 'normaler' Teenager mit oben genannten Problemen, nein, sie schleppt auch noch eine grauenvolle Vergangenheit mit sich rum, die es ihr verwehrt, den häufig einzigen richtigen Rückhalt zu finden, den junge Menschen in dieser Zeit haben: eine gleichaltrige Clique. Sie ist eine Einzelgängerin, da sie die durch ihre gräßlichen Erfahrungen entstandenen Empfindungen und Gedanken ihren Altersgenossinnen nicht deutlich machen kann. Verstanden fühlt sie sich lediglich von Menschen, die ähnlich existentielle Erlebnisse hinter sich haben und diese mit Hilfe von Drogen versuchen zu überwinden, zu vergessen, zu verdrängen - was auch immer. Und Mifti schließt sich an. All dies schildert sie mit einer solchen Sprachgewalt, Obszönität, Brutalität und Grausamkeit, dass ich immer wieder geneigt war das Buch wegzulegen. Doch zugleich war ich voller Mitgefühl für diese unsagbar einsame unglückliche junge Frau und las weiter in der Hoffnung, dass noch jemand kommt, der ihr die Kraft gibt die sie braucht um all das zu überstehen.
Helene Hegemann schildert ein Lebensgefühl in Extremform, das sich aber grundsätzlich seit Jahrzehnten nicht verändert hat. Sie gibt ihm jedoch die Stimme der heutigen Zeit, so unschön sie auch klingen mag. Eigentliche Zielgruppe für dieses Buch sollten junge Erwachsene sein und zwar genau die, die sich allem und jedem verweigern. Doch ob ausgerechnet jene sich eine Lektüre zu Gemüte führen, die vom Establishment hoch gelobt wurde, ist fraglich.
Was den Plagiatsvorwurf angeht: Wer Augen hat zu sehen, der lese :-) Auf Seite 15 erklärt Edmond, der Bruder von Mifti, dass seine Werke zusammengeklaut sind. Und zwar: 'Von so 'nem Blogger.'
Und wieso Axolotl? Weil er das freundlichste Lächeln hat, das Mifti je gesehen hat. ( )
  Xirxe | Dec 2, 2014 |
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Nome do autorFunçãoTipo de autorObra?Status
Helene Hegemannautor principaltodas as ediçõescalculado
Derbyshire, KatyTradutorautor secundárioalgumas ediçõesconfirmado
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Horrible lives are a godsend,' writes 16-year-old Mifti in her diary. Since the death of her mother, she has been living in Berlin in an increasingly dire state of disarray. Diagnosed as a 'pseudo stress-debilitated' problem child, she becomes enmeshed in the Berlin party scene, surviving her so called life through a haze of sex, drugs and club culture. What sets Mifti apart is her hypersensitivity and her open, questioning curiosity about an older generation that doesn't seem to be able to care for its children. Torn between genius and madness, she delves into the language of adults, their

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