A powerful performance text that illuminates incidents of anti-immigrant violence in contemporary Germany. Between 1998 and 2007 a series of killings in Germany, disdainfully styled "doner murders" by the media, were attributed by German police to internecine rivalries among immigrants. The victims included eight citizens of Turkish origin, a Greek citizen, and a German policewoman. Not until 2011 did the German public learn not only that the police had ignored signs pointing to the real perpetrators, a neo-Nazi group called the National Socialist Underground, but also that important files, possibly containing evidence implicating state agencies, had disappeared from the archives of Federal Police and intelligence organizations. Esther Dischereit, one of the preeminent German-Jewish voices of the post-Holocaust generation, takes that failure of the state to protect its citizens from racist violence as the core of her performance text Flowers for Otello: On the Crimes That Came Out of Jena. Seeking an appropriate language with which to meet the bereaved, she also finds a way to raise the blanket of silence that is used by those who would prefer that we forget. Combining witness testimony, myth, and incidents from a history of violence against minorities, Flowers for Otello, in Iain Galbraith's translation, refuses chaos, instead revealing the chilling, patterned order of tragedy while bringing a great writer's humanism to the fore.

Whether in poetry, fiction, radio drama or sound installations, Esther Dischereit's work represents a unique departure in recent European writing: a distinctive, off-beat syntax of German-Jewish intimacy with the fractured consciousness and deeply rutted cultural landscape of today's Germany. Sometimes a Single Leaf, mirroring the development of Esther Dischereit's poetry across three decades, includes selections from three of her books as well as a sampling of more recent, uncollected poems. It is her first book of poetry in English translation. "From these splinters, flowers bloom: where the dead lie, trees grow and we must walk among them. In these poems, Esther Dischereit, whose mother was one of the few who survived the Holocaust in hiding within Nazi Germany, lays the present over the past with piercing effect." Preti Taneja, author of Wir, die wir jung sind

Actions and texts from the Institute for Language Arts at the University of Applied Arts Vienna, developed for the International Holocaust Remembrance Day, open a literary discourse of remembrance by the fourth generation: strange, unusual, disparate, lost and at the same time characterized by the desire to express themselves with compassion. The writers create unexpected approaches while examining both remembrance and forgetting. An inventory. At the University of Applied Arts Vienna, students developed texts and actions for the International Holocaust Remembrance Day. Who has room in their writing-space? Sometimes the language itself got in the way of finding access to this subject. The works are an expression of discord, in which memory might be shared, but remains open, with whom. Post-memory or post-oblivion? The gap between the two became the project's main focus: Words were pulled back and forth, meanings elicited and garnered. It is an attempt for the fourth generation to capture memories.