Formal und ästhetisch ambitioniert: Verschiedene Textformen, Spiele mit Zeitebenen, Perspektivwechsel, Infodumps, etc. pp. - hier wird das große experFormal und ästhetisch ambitioniert: Verschiedene Textformen, Spiele mit Zeitebenen, Perspektivwechsel, Infodumps, etc. pp. - hier wird das große experimentelle Instrumentarium in Anschlag gebracht. Was fehlt ist der Punch, die Emotion, die die Ideen organisch in einem Erzählfluss verbindet. So scheint immer das Gerüst durch, und als Leser*in bewundert man die Ideen, kann das wenig immersive Buch aber nicht lieben....more
I actually fell asleep listening to this, no joke. Enzensberger's text is structured in four parts, named after the four stages of sleep (wake, light I actually fell asleep listening to this, no joke. Enzensberger's text is structured in four parts, named after the four stages of sleep (wake, light sleep, deep sleep, and REM) and also mimicking their length in relation to a whole night - which, great idea. After an introduction (wake), we get two essays (light and deep sleep) as well as a story (REM).
While set up like a mix of memoir, non-fiction, and fiction, the whole thing does not come together: It lacks drive, feels disparate, and comes across as overall... lacking verve / punch / esprit. While I'm an alumna of Karl Marx University Trier (also no joke), these one-dimensional "it's capitalism's fault" explanations are really killing me - it's just so intellectually lazy, because of course, capitalist economy sees people as resources and their sleep as a sort of biological maintenance to uphold their capability to function, and sure that's problematic, but there are so many more fascinating angles when it comes to pondering sleep, and they are vastly under-explored here.
Another example for a text about the topic is Sleep, Death's Brother, which shows a more daring, unusual approach....more
Steffen Kopetzky specializes in crafting novels that merge fact and fiction, frequently focusing on under-explored side aspects of well-known events. Steffen Kopetzky specializes in crafting novels that merge fact and fiction, frequently focusing on under-explored side aspects of well-known events. With "Atom", he gives us an espionage thriller about the invention of the atomic bomb, but Oppenheimer is just a side show: Kopetzky tells the story of German researchers who worked for the Nazis and were later hired by other countries interested in their expertise on rockets and bombs - a fact of history that doesn't get the attention it should get, as it is intimately connected with the question which Nazis were punished and which were given a second chance because they were deemed still useful.
Kopetzky's fictional protagonist is young British physicist Simon Batley, who studies in Berlin in the 1920's and gets involved with the British secret service (yes, the author himself said that he was strongly influenced by John LeCarre and Ian Fleming, the latter even featuring as a character in the text): Simon spies on a Soviet spy (who really existed) and falls in love with a (fictional) German mathematician who will later be part of a team that develops weapons for WW II. The dynamics between this trio serves as a platform to launch (haha, sorry) the description of historical developments before and mainly during the war, featuring personnel like and above all - I've never heard of Kammler before, although he was responsible for Nazi civil engineering projects like the construction of concentration camps and the top secret V-weapons program.
The plot unfolds between 1926 and 1957, and Kopetzky plays out his strengths: Meticulous historical research, very readable language, smartly placed questions that challenge readers to ponder how the world of today was build, and why. Still, I found this novel to be overly long, the 400+ pages aren't fully necessary IMHO - then again, I'm generally not a fan of British espionage thrillers, so I'm certainly not the ideal audience here. Nevertheless, this is Kopetzky, and he remains the king of what he does - and I'm already curious what his next topic will be.
You can listen to the podcast crew discussing the novel here: ...more
Philosopher Balzer ponders the moral brankruptcy of the ideological wings of the woke and the postcolonial movement as illustrated by the reactions toPhilosopher Balzer ponders the moral brankruptcy of the ideological wings of the woke and the postcolonial movement as illustrated by the reactions to the attack of islamofascist terror organization Hamas on Israel on 10/7/23. By replacing the actual, progressive root of the concept of wokeness, namely a constant critical awareness of the state of the world and one's own attitudes (as the term was used by Erykah Badu in "Master Teacher"), wokeness has been turned into a truth regime (Michel Foucault), so a rhetorical power tool that is employded as a means to govern: The majority vs. the subaltern - where do you stand? This essentialist, quasi-religious dualism is anachronistic, as it ignores the postmodern insight that all cultures are hybrid and ever-changing, that people cannot and should not be put into boxes because of their skin, their sexuality, their religion.
During the Hamas attack, the terrorists killed, abducted, and raped innocent people, Jewish people they do not consider human at all - and while Hamas is of course not the same as the Palestinian people, it is outrageous to claim that this terror attack was some effort to fight white settler colonialism and stand up for justice: Postcolonial forces arguing that terrorists are freedom fighters when they torture and slaughter innocent civilians who belong to a historically persecuted minority have lost their moral compass, Balzer rightfully argues. The claim that Jewish people are white and thus part of the colonial oppressors (really? and all Muslims are brown? and how did the Holocaust happen?) is abused to let antisemitism run free. Balzer also points to queerfeminists who justify Hamas tactics, so people who claim to defend the rights of people Hamas persecutes: Good luck explaining to an islamofascist that trans rights are human rights.
Balzer wants to protect the original idea of wokeness: A state of viewing the world and oneself critically in order to promote a more egalitarian society, not a means to categorize people and execute discursive power. The author points to Jürgen Habermas' concept of discourse ethics to fight essentialism and Manichaeism. Sure, one could argue that Balzer does not talk about failures of Israeli politics, but the short volume only aims to show how antisemitism has found its way into allegedly progressive movements, and the dubious moral justifications - and it does make this argument convincingly....more
Author Bela B., drummer of legendary German punk band , claims that this is NOT a book about the recent sexual abuse scandal, and lAuthor Bela B., drummer of legendary German punk band , claims that this is NOT a book about the recent sexual abuse scandal, and let's say: This is as true as that Noch wach? is NOT about the Springer sexual abuse scandal. But false advertising that tries to evade legal consequences is not the problem here, no, the problem is that the writing is clumsy, and that the plot is a simplistic take on stereotypical heteronormative middle-aged white guys abusing their power over cliched women characters. And the plot twist is exactly what you see coming right from the start.
So we have a band, n/bl n/bl, with a charismatic asshole of a frontman who also juggles several solo ventures and who is NOT , and with a guitarist/composer who is the brain of the whole venture and who is NOT - sure, Bela. Several band members are accused of sexual assault while, in another plot line, a young woman whose mother has a backstory with the singer gets ready to meet the stars backstage, and this very young woman's father is preying on his trainee.
Two points here: One, the terrible thing about sexual assault is that often, it is not as clear cut as it is portrayed here, especially when it comes to power imbalances based on fame. Second, and related to that, it's the complex inner worlds of vivid characters - of both victims and and perpetrators - that could illuminate the roots and effects of sexual abuse and rape. But these characters are way too shallow, way too one-dimensional, they are mere tools to bring home the point Bela is trying to make: That these men are bad. That insight is not enough to make for an absorbing novel though, unless there are more layers added. And then, the whole thing is looooooooooooong, a lot longer than it needs to be.
So while I still love Bela and really enjoyed his wacky, sprawling debut, this second novel sadly misses the mark....more
Now Longlisted for the Women's Prize for Fiction 2025 At first, Aber's apparently autofictional debut seems to be a tale as old as time: Hedonistic BerNow Longlisted for the Women's Prize for Fiction 2025 At first, Aber's apparently autofictional debut seems to be a tale as old as time: Hedonistic Berlin party girl takes too much speed at legendary techno club , sleeps with toxic bois and seeks meaning, the end. If German literature is your home turf, this storyline is so overdone, it only works as parody - but Aber gives it a twist that keeps up the intrigue: Her narrator, 19-year-old Nila, was born to Afghan parents, and she drifts through to the once divided city shortly after 9/11, in deep grief after losing her mother. In an environment still unsettled by post-unification right-wing violence (in Germany called the baseball bar years) and the terror brought about by what we now know as the , she feels pressured by her father's expectations to be the title-giving good Afghan girl, carrying the weight of her parents' destiny as refugees - former doctors, they now hardly get by in the infamous brutalist skyscrapers of (btw also where Christiane V. Felscherinow grew up).
Nila flees into Berlin nightlife (okay, that's really a cliche) and starts a relationship with a toxic boi (sure), but how Aber renders this dynamic is great. From the start, older American writer Marlowe aims to dominate Nila, and the naive young woman falls for his manipulative antics, but there also seems to be a wish inside the grieving daughter to be physically hurt, to be punished and demeaned for what is perceived as her flaws - perceived by the world, perceived by herself. And that's where the text is psychologically interesting: Nila battles all these issues, and she seeks relief in forms of self-destruction she believes she deserves. Her dream is to become an artist though, and Aber encourages readers to root for this volatile narrator who, as we know, deserves much better.
Sure, there are too many repetitive party scenes, and Aber's perspective is also slightly off, as we are supposed to believe that the story is told by an older Nila looking back - if that's the case, there are layers of reflection lacking, the disconnect between youthful naivete and later wisdom is not played out accordingly. Still, Nila's complexity is so fascinating, the contradictory impulses are shown so convincingly, that this debut is just a pleasure to read....more
Theresia is playing a VERY dangerous game: He invokes the (IMHO) best German-language author of all time, Franz Kafka, particularly my favorite Kafka Theresia is playing a VERY dangerous game: He invokes the (IMHO) best German-language author of all time, Franz Kafka, particularly my favorite Kafka text In the Penal Colony as well as, sure, The Metamorphosis, and then tops it off with with invoking the snow storm scene from The Magic Mountain, thus referencing Nobel winner Thomas Mann, who is basically a saint in German literature. I want my debut authors to be daring and ruthless, but if you point to the giants, you have to really bring it on with the visionary extravaganza. But "Toyboy" is an aesthetically conservative text that offers messages that could be spread at every church convention: Sex work is demeaning, and being a gaming-addicted incel sucks.
Our narrator, Levin, just came back from L.A. where he spent his time failing to make it as a model. He now lives in his childhood home again, where is brother Gregor is caved up behind computer screens, while Levin's friend Momo is hooking him up with his sex work agency: We see the protagonist as an escort (once), camming (once), being a sex avatar model for gamified AR porn (once), and doing actual porn (once), while he also seeks revenge against OxyOxana (yes, sure, opioids), an Only Fans model who scammed his brother, by plotting to steal her cloned dog. Everything that happens regarding the sex work episodes, which are implausibly switching between different kinds so the author can add them all to the text, is highly predictable, but there is one angle that could render the whole thing interesting if explored more deeply: All three young men see paid labor as a slow death that needs to be avoided at all cost, so they (mostly consciously) flee into dreamscapes. Yes, Levin and Momo know that modeling and porn are simulations (the word is actually used, shout out to Jean Baudrillard), and this angle of willingly entering a simulation could have been intriguing, also aesthetically.
But as it is, this is too tame, too unambiguous, too cliched. The text hops from scene to scene, for example when it comes to Levin's situationship with horse-riding bisexual depressive manic pixie dream girl Cook, who is some kind of artist - it remains underexplored. And there is so much confetti: Are the foxes predicting the environmental apocalypse? Is Momo again struggling with his eating disorder? An image processing program specializing on beautifying labia - is this supposed to be satire, or dystopia, or just clumsy criticism of societal norms? And then the Kafka and the Mann - no.
Slightly undercooked and, especially for a novel supposedly about sex work, surprisingly tame on all levels. ...more
A collection of sex columns from Missy, a German feminist magazine � I’m a feminist, but not a Missy reader, so I didn’t know what to expect, but I saA collection of sex columns from Missy, a German feminist magazine � I’m a feminist, but not a Missy reader, so I didn’t know what to expect, but I saw that among the contributing authors are Leona Stahlmann, Mithu M. Sanyal, and Jacinta Nandi, so I picked it up. And the many short texts really are the antithesis to the sex columns in mainstream women’s magazines, as they focus on female pleasure, not the optimal adherence to ultimately random societal standards or the internalized cis het male gaze.
Designed as concise impulses, the texts talk about different body types, desires and practices, they talk about pleasure, fear, joy, confusion, trying to represent sex as a whole spectrum of human beviors. I applaud Missy for that, although of course, the writing quality is not consistent. Plus, and this is purely rooted in my own literary tastes, I prefer longer, more complex and nuanced essays � which is not what these columns aim to do....more
Markus Kavka is probaly the most well-known pop music journalist in Germany, and he came to fame as the host of MTV News and as a particularly well-inMarkus Kavka is probaly the most well-known pop music journalist in Germany, and he came to fame as the host of MTV News and as a particularly well-informed interviewer of the greatest bands in rock and alternative. I was one of the kids who came home from school and turned on German music television to get the latest info on my favorite bands from Kavka (who, yes, is somehow related to Franz Kafka). And now, after the international collapse of music television, this journalist has created an oral history of the two great competitors on the German market: MTV and Viva - he has worked for both, just like his co-author Elmar Giglinger who climbed the ranks behind the scenes up to Senior Vice President of both stations after they merged.
For those who watched MTV and Viva and saw the rise of people who started there and are now big shots as TV hosts (Joko, Klaas, Raab, Pocher, Opdenhövel), actors (Collien, Heike, Jessica, Nora, Christian) or even writers (Sarah Kuttner, Charlotte Roche), this 500+ pages tome is a nostalgic trip, recapping shows, events, and people - basically a whole epoch in music history. It's very, very fun, and that's why it gets four stars from me - but honestly, a very good book it is not. The montage contains interview bits from VJs and producers, from stars and bands (Wir sind Helden, Fettes Brot, Die Toten Hosen etc.) and band managers, but a lot is rather repetitive, dubiously structured, and there are some gaping holes.
Concerning the people, it's strange that THE core female MTV VJ (apart from Nora Tschirner), TRL and Select host Anastasia Zampounidis, is strangely missing in the narrative. She was huge, even German Jay Leno Harald Schmidt could not stop inviting her. What happened here? Then, the book has a very strong emphasis on the music, although MTV/Viva were the first to platform the biggest TV hosts and producers of the last 20 years: Stefan Raab, Klaas Heufer-Umlauf and Joko Winterscheidt. I would have loved to learn more about how they developed their shows, and we do get a little Vivasion (Raab) and MTV Home (Joko & Klaas), but more than that, we get ... Niels Ruf with Kamikaze?! Jesus, I've never met anyone who liked this sexist trash that deemed itself funny. Plus the role of cartoons, dating shows, and reality TV shows in the downfall of MTV and Viva remains too opaque for my taste. Oh, in case you expect this text to be some sort of self-reflection: Nope, it indulges in the good old times, glorifying and mythologizing the heyday of music television.
Nevertheless, reading those amazing anecdotes and bathing in the atmosphere the vignettes evoke was great. And I still like watching Markus Kavka on Deluxe Music.
Here's a very good documentary about the history of Viva: ...more
Female anger gets a bad rep, because expressing anger is the privilege of the powerful. More power to us women, says Hoeder: Let's threaten the statusFemale anger gets a bad rep, because expressing anger is the privilege of the powerful. More power to us women, says Hoeder: Let's threaten the status quo by claiming the right to be angry. And I feel way too seen by this book: It's just true that if you're a woman and make a reasonable argument in a fully acceptable tone, stating that because of these reasons, you're angry about an issue, you're still "difficult", because how dare you stand up for yourself, for your own interest, instead of selflessly shutting the fuck up when the bois once again want to have their cake and eat it, too (a lot of my work is in politics, so you can imagine...). Hoeder illustrates that most women never learn to adequately express anger, and that men don't learn how to deal with female anger, tending to try and not engage with it at all or weaponizing this expression of emotion, no matter the cause. A man is an alpha when he demands respect and defends his status, a woman is a bitch. An angry woman, especially if she is queer and/or non-white (like the author), is an embarrasment. Thanks, patriarchy. But what to do about it?
Apart from the fact that some men should maybe reflect on their behavior, just a little, please please please... ah come on, forget them (to be clear: I love men, most of them are awesome, but we're having a systemic problem here, my dudes. And we can't wait for the problematic dum-dums to change their minds). Okay, so we as women need to stop fearing the consequences of not being a good girl and thus change the idea of normal female behavior, says Hoeder. This is very, very hard, because the repercussions are real. But submitting to the status quo also has repercussions, and they're not fun either. Hoeder shows how female anger has prompted social movements and brought about change: Arguments and energy merged, and situations have improved, from voting rights to abortion.
An angry woman is a strong woman, Hoeder argues, and a strong woman is a dangerous woman for the status quo. Fuck the status quo. And for all those sad little incels no wailing that the author certainly is a frustrated, ugly broad, look at her explaining her book here, then question your life choices: ...more
Austrian sociologist Wiesböck gives us a very smart book how the social media trend on mental health is in large parts a grift and a maneuver to rhetoAustrian sociologist Wiesböck gives us a very smart book how the social media trend on mental health is in large parts a grift and a maneuver to rhetorically replace structural problems with personal issues that need to be resolved on an individual level. For example, when a person feels overwhelmed with neoliberal demands, this person might self-diagnose with a mental illness, does pathologizing a normal reaction to ill outside circumstances, and then try to counter their feelings with mindfulness, sport, better eating etc. - and while all these improved personal behaviors do add to an increased well-being, they do not help to resolve structural problems. The whole mechanism adds to the atomization of society, the mental load of individuals, and a decreasing willingness to support others when things get rocky ("boundaries" to get away from "toxic situations"). And social media is driving the development, often gaslighting users into thinking mental health content is helping them to improve their lives.
Of course, Wiesböck dives into the dynamics on a much more complex level, showcasing how amateur creators, driven by economic interests, give (maybe well-intentioned) psychological advice and how the human tendency to avoid ambiguity, supported by algorithms programmed to keep users online, leads to vicious campaigns ultimately meant to cancel out difficult, complex discussions and replace them with moral certainty (in this context, she even mentions Nathalie Wynn's excellent video essay ). Mental health gets weaponized against people who can't perform to the neoliberal standard: Why aren't they taking better care of themselves? And it gets weaponized when it comes to excusing the behavior of the powerful: The white domestic terrorist, the man who abuses women? They certainly had mental problems. Mental health, Wiesböck maintains, thus becomes an expectation to be fulfilled by individual decisions, a product for consumption, a rhetoric device to defend the status quo.
This short book contains some very smart ideas, and especially the last chapter that makes a case for human connection really slaps. In parts, the language is clunky, strongly influenced by classic German academic writing that still gets away with an overload of nouns and the dubious use of prepositions, but hey, the content is worth it.
You can listen to our podcast discussion here: ...more
Eurotrash now nominated for the International Booker Prize 2025!!
NOW AVAILABLE: My study on Christian Kracht's Eurotrash! 10 out of 10, would write agaEurotrash now nominated for the International Booker Prize 2025!!
You can listen to the podcast crew discussing it here: And to me being interviewed about it on the radio here (starts at 18 min.): And read a newspaper article about it feat. the wonderful Johannes Birgfeld here: ...more
Listen, I am German and a Thomas Mann skeptic, which, I kid you not, can make polite German company clutch their literary pearls: Woe is me, a brute! Listen, I am German and a Thomas Mann skeptic, which, I kid you not, can make polite German company clutch their literary pearls: Woe is me, a brute! Yes, dear readers: Mainly those who have no clue about literature or enjoy abusing novels to demonstrate their (non-existent) cultural superiority point to the patron saint of the obvious literary canon, Thomas of Lübeck, to praise the flawless output of the German bourgeoisie *cough cough*. To be fair though: My frenemy Thommi is a national treasure for a reason, his tone, political development to become a fighter for democracy and his bisexual subversion were, as the kids say, a slay. The fact that he has become factually uncriticizable renders his literature way more harmless than it could be though, and thus does him a major disservice - food for thought, you people wearing corduroy blazers!
So yes, I love Death in Venice, and I hate Confessions of Felix Krull, Confidence Man: The Early Years with a passion, and I generally don't feel like Thommi's output should be a priority for me, but as 2024, the year of the 100th anniversary of "The Magic Mountain", has brought about gems like The Empusium: A Health Resort Horror Story, Zauberberg 2, and Heilung, I realized that I maybe should finally check out these slender 1,000 pages. And what can I say: It is giving the typical flowy language, and also intriguing political commentary (we live in a society etc.).
Taking place from 1907 to the start of WWI, the novel is set in a sanatorium in the Swiss Alps. Young, healthy shipbuilding engineer Hans Castorp travels there to visit his cousin, and he gets swept up in the miniature of German society encapsulated in the remote institution, a place geographically above normal everyday life where people afflicted with lung disease come to breath better air and try to shed their ailments (metaphor! metaphor!). Spoiler alert though (it's a damn classic, get over yourself!): Hans stays for seven years and then enters the machinery of WW I, so he goes from the respiratory hospital straight into the psych ward of human history - instead of building ships to traverse the seas, he enters the boat to cross the Styx (I see you, Death in Venice). But before that happens, he meets people representing how society was veering straight into this pit of hell, people like intellectual Settembrini and extremist Naphta, who manages to be both a fascist and a communist. And then there's Russian hottie Clawdia Chauchat (haha, we see what you did there, Thommi) who reminds Hans of a male crush he once had, because Hans, much like Thommi, is a bisexual king.
The book is a novel of ideas, and also a parody of the classic Bildungsroman: Hans does learn about life, but in a damn sanatorium, and he finally does not become an upstanding citizen (see Wilhelm Meister's Apprenticeship, the prototype of the genre), but meat material for the war machine. Dark stuff, and I love it. Still of course, this dialogue-driven tome is insanely loooooooooooooong, and Thommi is once more very much in love with his own words, so they just keep. on. coming. Yes, I'll say it: This should be shorter. Sue me.
So my complicated relationship with Thommi continues, but I like it like that, because boundless admiration is not what an ouevre like his requires....more
The trial against the 51 rapists of Gisèle Pelicot has not only proven once more that violence against women is omnipresent, but it has made apparent The trial against the 51 rapists of Gisèle Pelicot has not only proven once more that violence against women is omnipresent, but it has made apparent what is expected from victims - and Pelicot became a hero because she refused to feel ashamed for the violence acted out against her: She wanted the perpetrators to be ashamed for their deeds. Bravo, Gisèle. Reading Mithu Sanyal's short book about the history of rape and the cultural ideas attached to it, many events during the trial appear unsurprising.
The book also dives into the difficult territory of how to deal with perpetrators: Should they forever be defined by their crime? And what about victims / survivors? Samantha Geimer, who was raped as a child by Roman Polanski, called her memoir The Girl: A Life in the Shadow of Roman Polanski, because the public and the media wouldn't want to allow her to be anything else than the child raped by Polanski. Kidnapping victim Natascha Kampusch was attacked and shamed because in her interviews and her memoir 3,096 Days, she refused to offer the public intimate details of her abuse - abuse she endured for eight years as a child locked into a cellar, abuse parts of the public now think they have a right to consume as entertainment in order to grant her plausible victim status. WTF is wrong with people.
All in all, this short book just offers glimpses into the abyss of this vast problem, but it's a start to talk about rape more openly - and also talk about it not only as a feminist issue, but as a human rights issue, as part of the problem is that men are perceived as default perpetrators and women as default victims. There are parts that are debatable, but that's how you start a debate!...more
Journalist M'Barek ponders how the ideological deadlock that blocks our political systems can be overcome. Her suggestion: Radical compromise. In her Journalist M'Barek ponders how the ideological deadlock that blocks our political systems can be overcome. Her suggestion: Radical compromise. In her model, society is split up in three groups: "Idealists point out the basic problems of the system, realists look for solutions, the stagnants have to be convinced." To bring about societal change, she maintains, the ideas of the idealists have to become mainstream, realists have to take pragmatic measures that don't lose the major bloc of the stagnants, and the ultimate goals can then be achieved by adding up these small steps. This might sound obvious, but looking at the current state of our discourse which is heavily influenced by sticking to ideological convictions, virtue signalling, trolling, and the blame-game, to bring back Realpolitik is an important move.
It's Realpolitik, the art of the feasible, that furthers progress: It's not enough to be right, actual measures need to be taken, and large amounts of the population have to be convinced of these measures (plus being right is often a very relative conviction). M'Barek takes her model and applies it to current hot button issues like gender-sensitive language, the "black zero" (a concept that is very popular in German financial politics, meaning that the state does not accumulate more debt), the boomer vs. millennial divide, cancel culture, COVID, and climate change.
"Radical Compromise" was first published in March 2022, and it feels like what has happened since proves the author right: Due to the situation in which she wrote, she still talks about the coalition between Social Democrats, Green Party, and Liberals that governed Germany, and how the Green Party simply maintained that money will be available to put the transition into renewable energies into action, which, M'Barek states, is a political hazard: "Trust the process" does not pay the bills or heat your house. Last month, the government collapsed, and the lack of Realpolitik as well as the ideological deadlock (not only in the Green party, but between all parties involved) were the major reasons - so the exact points M'Barek ponders in her book.
I really enjoy listening to M'Barek on the political podcast "Apokalypse & Filterkaffee", and I'm curious what she will write next....more
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