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Thomas Bernhard (1931–1989), a literary figure of international acclaim and arguably Austria’s greatest post–World War II writer, became the first of his generation to expose unrelentingly his country’s pathological denial of complicity in the Holocaust. Bernhard’s writings and indeed his own biography reflect Austria’s fraught efforts to define itself as a nation following the collapse of the Habsburg monarchy and the trauma of World War II. Repeatedly he scandalized the nation with novels, plays, and public statements that exposed the convoluted ways Austrians were attempting to come to terms with their Nazi past—or defiantly avoiding doing so. This book, the first comprehensive biography of Thomas Bernhard in English, examines his life and work and their intricate relationship to Austria’s geographical, political, and cultural transformations in the twentieth century. While Bernhard was the scourge of his native culture, Honegger explains, he was also a product of that same culture. Appreciation of his controversial impact on his society is possible only through an understanding of the contradictions, the shame, and the achievements that mark Austrians’ self-perception in the postwar years. Honegger shows that for Bernhard the theater was not only a profession but also a paradigm for his life, and that performance was the primary force animating his writing and self-construction. Even after his death, Bernhard’s carefully constructed biography continues to fascinate, shock, and expose the Austrian culture at large.

Edgardo Vega, tras dieciocho anos de exilio voluntario en Canada, se ve obligado a regresar a El Salvador para acudir al entierro de su madre. Ya el viaje, «una espeluznante travesia», se le hace insoportable, sus compatriotas le resultan repulsivos y provocan en el un estado de ansiedad que no le abandonara hasta que se marche. Todo esto se lo cuenta de manera torrencial a Moya, antiguo companero de colegio, con quien queda durante su estancia para tomar unas copas, y el cual reproducira posteriormente el salvaje monologo de Vega. El Salvador le resulta a Vega despreciable, arremete contra todo: Iglesia, educacion, politica y politicos, su propia familia..., y vomita sus criticas de forma categorica, hasta el punto de identificarse con Thomas Bernhard. / Edgardo Vega, after eighteen years of voluntary exile in Canada, returns to El Salvador to attend the funeral of his mother. The trip, ""a spooky journey"" is unbearable, his compatriots are repulsive and lead him into it a state of anxiety that will not leave until he leaves. He tells Moya, a former schoolmate, all of his feelings about the visiting. Vega finds El Salvador despicable, he attacks everything: church, education, politics and politicians, his own family... and throw up his criticisms to the point of identifying himself with Thomas Bernhard.

The epigraph to Correction, Austrian writer Thomas Bernhard's masterpiece, reads: 'A body needs at least three points of support, not in a straight line, to fix its position.' Three-Part Inventions finds in this simple geometrical axiom a surprisingly complex key to an understanding of Bernhard's major novels. It argues that each of them, although firmly anchored in Austrian history, emerges from an archetypal story involving a trio of figures: a protagonist who, having been deprived of a desired object by a more powerful adversary, displaces his frustration upon a scapegoat who suffers in his place. It further shows that Bernhard transforms this destructive protagonist-adversary-scapegoat pattern into a creative trio formed by the author himself, the artistic precursors who serve as his models, and the readers who receive the finished work. This study is intended to enrich for English-language readers the unforgettable experience of reading the author whom Italo Calvino once called 'the greatest writer in the world.'

Thomas Bernhard (1931–1989), a literary figure of international acclaim and arguably Austria's greatest post–World War II writer, became the first of his generation to expose unrelentingly his country's pathological denial of complicity in the Holocaust. Bernhard's writings and indeed his own biography reflect Austria's fraught efforts to define itself as a nation following the collapse of the Habsburg monarchy and the trauma of World War II. Repeatedly he scandalized the nation with novels, plays, and public statements that exposed the convoluted ways Austrians were attempting to come to terms with their Nazi past--or defiantly avoiding doing so. This book, the first comprehensive biography of Thomas Bernhard in English, examines his life and work and their intricate relationship to Austria's geographical, political, and cultural transformations in the twentieth century. While Bernhard was the scourge of his native culture, Gitta Honegger explains, he was also a product of that same culture. Appreciation of his controversial impact on his society is possible only through an understanding of the contradictions, the shame, and the achievements that mark Austrians' self-perception in the postwar years. Honegger shows that for Bernhard the theater was not only a profession but also a paradigm for his life, and that performance was the primary force animating his writing and self-construction. Even after his death, Bernhard's carefully constructed biography continues to fascinate, shock, and expose the Austrian culture at large.

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Thomas Bernhard (1931–1989), a literary figure of international acclaim and arguably Austria’s greatest post–World War II writer, became the first of his generation to expose unrelentingly his country’s pathological denial of complicity in the Holocaust. Bernhard’s writings and indeed his own biography reflect Austria’s fraught efforts to define itself as a nation following the collapse of the Habsburg monarchy and the trauma of World War II. Repeatedly he scandalized the nation with novels, plays, and public statements that exposed the convoluted ways Austrians were attempting to come to terms with their Nazi past—or defiantly avoiding doing so. This book, the first comprehensive biography of Thomas Bernhard in English, examines his life and work and their intricate relationship to Austria’s geographical, political, and cultural transformations in the twentieth century. While Bernhard was the scourge of his native culture, Honegger explains, he was also a product of that same culture. Appreciation of his controversial impact on his society is possible only through an understanding of the contradictions, the shame, and the achievements that mark Austrians’ self-perception in the postwar years. Honegger shows that for Bernhard the theater was not only a profession but also a paradigm for his life, and that performance was the primary force animating his writing and self-construction. Even after his death, Bernhard’s carefully constructed biography continues to fascinate, shock, and expose the Austrian culture at large.

French language. 8.00x4.90x0.60 inches. In Stock.

64 Seiten; HBX013405 Sprache: Deutsch Gewicht in Gramm: 500

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In Narratives Unsettled, Samuel Frederick proposes a new conception of narrativity that can accommodate unwieldy forms of digression. By way of close readings of three German-language writers from different historical periods, Frederick demonstrates that digression, far from being a non- or anti-narrative interruption, contributes to what makes these writers' works fundamentally narrative. In the process, the author counters several foundational assumptions of classical narratology, including the conviction--rooted in Aristotle--that narrative without plot is logically impossible, and that anything deviating from narrative's teleological imperative is either destructive or insignificant. Frederick's readings of the narrative experiments, utopian moments, and obsessions with the trivial in works by Walser, Bernhard, and Stifter point to new ways of approaching the ostensibly antinarrative as a productive element of narrativity. As a work that explores the often neglected crossroads of German studies and postclassical narratology, Narratives Unsettled will be of great interest to scholars in both of these fields, as well as to those working on literature and theory in general.

Thomas Bernhard (1931–1989), a literary figure of international acclaim and arguably Austria's greatest post–World War II writer, became the first of his generation to expose unrelentingly his country's pathological denial of complicity in the Holocaust. Bernhard's writings and indeed his own biography reflect Austria's fraught efforts to define itself as a nation following the collapse of the Habsburg monarchy and the trauma of World War II. Repeatedly he scandalized the nation with novels, plays, and public statements that exposed the convoluted ways Austrians were attempting to come to terms with their Nazi past--or defiantly avoiding doing so. This book, the first comprehensive biography of Thomas Bernhard in English, examines his life and work and their intricate relationship to Austria's geographical, political, and cultural transformations in the twentieth century. While Bernhard was the scourge of his native culture, Gitta Honegger explains, he was also a product of that same culture. Appreciation of his controversial impact on his society is possible only through an understanding of the contradictions, the shame, and the achievements that mark Austrians' self-perception in the postwar years. Honegger shows that for Bernhard the theater was not only a profession but also a paradigm for his life, and that performance was the primary force animating his writing and self-construction. Even after his death, Bernhard's carefully constructed biography continues to fascinate, shock, and expose the Austrian culture at large.

Included in this anthology are: --Farmyard by Franz Xaver Kroetz--Offending the Audience by Peter Handke--Eve of Retirement by Thomas Bernhard--Big and Little by Botho Strauss

Thomas Bernhard is "one of the masters of contemporary European fiction" (George Steiner); "one of the century's most gifted writers" (New York Newsday); "a virtuoso of rancor and rage" (Bookforum). And although he is favorably compared with Franz Kafka, Samuel Beckett, and Robert Musil, Thomas Bernhard still remains relatively unknown in America.Uninitiated readers should consider Three Novellas a passport to the absurd, dark, and uncommonly comic world of Bernhard. Two of the three novellas here have never before been published in English, and all of them show an early preoccupation with the themes-illness and madness, isolation, tragic friendships-that would obsess Bernhard throughout his career. Amras, one of his earliest works, tells the story of two brothers, one epileptic, who have survived a family suicide pact and are now living in a ruined tower, struggling with madness, trying either to come fully back to life or finally to die. In Playing Watten, the narrator, a doctor who lost his practice due to morphine abuse, describes a visit paid him by a truck driver who wanted the doctor to return to his habit of playing a game of cards (watten) every Wednesday—a habit that the doctor had interrupted when one of the players killed himself. The last novella, Walking, records the conversations of the narrator and his friend Oehler while they walk, discussing anything that comes to mind but always circling back to their mutual friend Karrer, who has gone irrevocably mad. Perhaps the most overtly philosophical work in Bernhard's highly philosophical oeuvre, Walking provides a penetrating meditation on the impossibility of truly thinking.Three Novellas offers a superb introduction to the fiction of perhaps the greatest unsung hero of twentieth-century literature. Rarely have the words suffocating, intense, and obsessive been meant so positively.

Die Autobiographie Thomas Bernhard Die Ursache Der Keller Der Atem Die Kalte Ein Kind - Residenz Verlag 2014

Internationally acclaimed Austrian novelist, playwright, and memoirist Thomas Bernhard (1931-1989) has been compared to Kafka and Beckett, and critics have ranked his novels among the masterpieces of the twentieth century. But in fact he began his career in the 1950s as a poet, publishing three books of well-received verse before turning to fiction. In Hora Mortis / Under the Iron of the Moon is the first book of his expressionist-like poetry to be published in English. Bringing together Bernhard's second and third books of poetry, the collection's short, untitled lyrics reveal his early explorations of themes that would continue to preoccupy him in his novels, plays, and other writings--especially his intense ambivalence toward the land and people of Austria and their then-recent Nazi past. As the translator James Reidel writes in his preface, "Bernhard found Austrian soil . . . to be like a hair shirt and a blanket. It is a killing ground but with a postcard setting." In poems that both subvert and pay homage to such influences as Georg Trakl, Bernhard begins to develop his characteristic dark humor while exploring themes of nature, death, meaninglessness, and faith.

Thomas Bernhard is one of the greatest twentieth-century writers in the German language. Extinction, his last novel, takes the form of the autobiographical testimony of Franz-Josef Murau. The intellectual black sheep of a powerful Austrian land-owning family, Murau lives in Rome in self-exile. Obsessed and angry with his identity as an Austrian, he resolves never to return to the family estate of Wolfsegg. But when news comes of his parents' deaths, he finds himself master of Wolfsegg and must decide its fate.Written in Bernhard's seamless style, Extinction is the ultimate proof of his extraordinary literary genius."Strangely gripping. The glue that holds his remarkable novel together is the unique virtuosity of his imaginative prose, a highly original kind of writing that resembles musical patterns of theme, variations and recapitulation."—Steve Dowden, Washington Times"With a breathtaking sustained intensity . . . Bernhard assaults through the voice of Murau the modern world as exemplified by his birthplace, Austria."—Thomas McGonigle, Chicago Tribune Books"Perfectly balanced and continually interesting. . . . The particular fineness of Extinction lies in its depiction of a consciousness in action."—Michael Dirda, Washington Post Book World"Bernhard's distinctive style . . . is caught with quite remarkable fidelity in David McLintock's excellent translation . . . . The work of a master."—W.E. Yates, New York Times Book Review"When Thomas Bernhard died, Austria lost one of its bravest authors . . . . David McLintock's translation . . . is exquisite. It presents an English far richer than most English language books . . . . Fresh, disturbed and punchy."—Benjamin Weissman, Los Angeles Times

It is 1967, in a Viennese hospital. In separate wards: the narrator named Thomas Bernhard, is stricken with a lung ailment; his friend Paul, nephew of Ludwig Wittgenstein, is suffering fom one of his periodic bouts of madness. Bernhard traces the growth of an intense friendship between two eccentric, obsessive men who share a passion for music, a strange sense of humor, brutal honesty, and a disgust for bourgeois Vienna."[Wittgenstein's Nephew is] a meditative fugue for mad, brilliant voices on the themes of death, death-in-life and the artist's and thinker's role in society . . . oddly moving and funny at the same time."—Joseph Coates, Chicago Tribune"Mr. Bernhard's memoir about Paul Wittgenstein is a 'confession and a guilty homage to their friendship; it takes the place of the graveside speech he never delivered. In its obsessive, elegant rhythms and narrative eloquence, it resembles a tragic aria by Richard Strauss. . . . This is a memento mori that approaches genius.'"—Richard Locke, Wall Street Journal

Visceral, raw, singular, and distinctive, Frost is the story of a friendship between a young man at the beginning of his medical career and a painter who is entering his final days. A writer of world stature, Thomas Bernhard combined a searing wit and an unwavering gaze into the human condition. Frost follows an unnamed young Austrian who accepts an unusual assignment. Rather than continue with his medical studies, he travels to a bleak mining town in the back of beyond, in order to clinically observe the aged painter, Strauch, who happens to be the brother of this young man’s surgical mentor. The catch is this: Strauch must not know the young man’s true occupation or the reason for his arrival. Posing as a promising law student with a love of Henry James, the young man befriends the mad artist and is caught up among an equally extraordinary cast of local characters, from his resentful landlady to the town’s mining engineers.This debut novel by Thomas Bernhard, which came out in German in 1963 and is now being published in English for the first time, marks the beginning of what was one of the twentieth century’s most powerful, provocative literary careers.