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A journey across the United States reveals stark contrasts and unsettling observations for one German author, highlighting differences in artistic control, societal norms, and the very fabric of public spaces.
The trip, undertaken by author Iven Yorick Fenker and Sonali Beher as part of the “ON THE WAY” project beginning in Fall 2025, offers a series of fragmented impressions – a modern travelogue filtered through a distinctly European lens. The initial search for the Charlotte bus station, recounted with a sense of disorientation, sets the tone for a journey marked by unexpected encounters and a growing awareness of the American experience.
The Decline of the American Bus Station
The initial leg of the journey begins with a search for the Charlotte bus station, described as almost deserted. “The ticket counter…the window is covered with old Amazon boxes,” Fenker writes, painting a picture of neglect. Two individuals are already sleeping on the benches, their belongings exceeding the author’s own. This scene, coupled with the observation of a man fixated on a cheeseburger rotating in a vending machine microwave, speaks to a sense of societal marginalization and a peculiar American loneliness. The transition from Greyhound to Flixbus – “Flixbus bought Greyhound, I answer” – symbolizes a broader shift in American transportation, and perhaps, a decline in public infrastructure.
Encounters on the Road
The bus ride itself is a microcosm of American life, both mundane and unsettling. A brief stop for snacks reveals a curious detail: only sugary drinks are refrigerated. More disturbingly, an escalating argument on the bus devolves into a physical altercation, culminating in a bottle of vodka rolling down the aisle. This incident underscores a sense of underlying tension and a potential for volatility. The arrival in Atlanta is equally jarring. The bus station is fenced off, and a black police officer is seen handcuffing a black woman, with “screams echo[ing] from somewhere behind.” This scene, though brief, is a stark reminder of racial disparities and the presence of law enforcement in public spaces.
The journey takes an unexpected turn upon arriving in Atlanta, where Fenker and Beher attend a theatrical performance. The realization that their contact is also the director of the play is a surprise, but it’s the dynamics within the theater itself that prove most revealing. With the technician hospitalized, the author is left to manage the lighting, resulting in frequent mishaps – dimmed lights and extinguished spotlights. “It’s funny, I say to myself, in the United States, the author has even more influence on what happens on stage,” Fenker observes. This observation points to a fundamental difference in theatrical traditions, where the author’s role in the US appears to be more dominant than in Europe.
Cultural Comparisons and Shifting Power Dynamics
Later, a conversation with an actor/director/theater manager from Berlin further illuminates these cultural differences. The shared experiences and mutual acquaintances highlight the interconnectedness of the global theater community. However, the conversation also reveals a critical assessment of American theater. According to one participant, what is considered avant-garde in Berlin is dismissed as “Eurotrash” in the United States. This suggests a resistance to experimentation and a preference for more conventional theatrical forms.
The author’s observations extend beyond the realm of theater, touching upon broader societal issues. “In the United States, there is no directing theater,” Fenker notes, implying a lack of centralized artistic vision. He concludes with a pointed observation: “And everywhere, it’s patriarchy.” This succinct statement encapsulates a pervasive theme throughout the journey – a critical examination of power structures and gender dynamics.
Iven Yorick Fenker, born in 1994, brings a unique perspective to these observations, shaped by his upbringing in the Harz region of Germany and his background in literature, filmmaking, and journalism. His previous work, including the nominated text “Dornen Donner Stoßgebet” and the award-winning film “die kastanie,” demonstrates a keen eye for detail and a willingness to explore complex themes. This ongoing project promises to deliver further insights into the American landscape, offering a valuable and thought-provoking perspective from a European observer.
