Bremer describes in passing a milieu of change that is often glorified today: residents of the anti-nuclear village in the “Republic of Free Wendland”, 1980
Image: Picture Alliance
Lost in the outskirts of the zone: Jan Peter Bremer has written a touching, tragicomic novel about a difficult youth in rural artist exile, which contains a lot of his own and a lot of social history.
NComing home can mean returning to the familiar. But it can also mean the opposite direction, the attempt of a child who feels alien, inadequate and lonely to arrive at his own childhood, his own family, his circle of friends. This forward-looking longing pervades the new book by Jan Peter Bremer, whose sensitive first-person narrator shares so many life circumstances with the author that one can cautiously speak of an autofictional, albeit heavily over-formed, narrative approach.
It's about a dislocated childhood in the shadow of an overpowering, successful father in the 1970s who, as a progressive artist, was also frighteningly unconventional. This self-assured father figure reflects the painter Uwe Bremer, who moved to Gümse in Wendland with his family and some artist colleagues – the Rixdorfer Drucke workshop – in 1971 and who could already be seen lovingly caricatured in Jan Peter Bremer's wonderfully profound artist grotesque “The Young Doctoral Student”. .
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