The technique of collage enables Herta Müller (*1953 in Nitzkydorf / Romania, lives and works in Berlin) to have the most intense contact with language because, as she says, “you have to touch each word individually.” Through the combination of words and images, she explores notions of home, belonging, and demarcation, among other things. The series Jeder Moment balanciert eine Weile (2022) deals with the perception of time and place, but also precarious situations repeatedly negotiated in Müller’s work, such as border controls and the “homesickness poison” she describes: “Everything bad about the [notion of] homeland (German: Heimat) has to do with the ideological, the exclusionary; that which is not open but closed and prevents others from crossing boundaries.” After Weltrand Lippensand (2021), another nine collage poems will be published as art prints in a linen box as part of the n.b.k. edition program. Herta Müller’s oeuvre comprises numerous publications, including Niederungen (1982/1984), Der Fuchs war damals schon der Jäger (1992), Herztier (1994), Heute wär ich lieber nicht begegnet (1997), Atemschaukel (2009), and Im Heimweh ist ein blauer Saal (2019). Müller has been awarded numerous literary prizes, including the Order Pour lé Mérite for Science and the Arts (2022), the Hoffmann von Fallersleben Prize for Literature Critical of the Times (2010), the Nobel Prize for Literature (2009), the Honorary Award of the Heinrich Heine Society (2009), and the Franz Werfel Human Rights Prize (2009).