Böcker av Thomas Bernhard

Thomas Bernhard (1931-1989) has been hailed by Gabriel Josipovici as 'Austria's finest postwar writer' and by George Steiner as 'one of the masters of contemporary European fiction.' Faber Finds is proud to reissue a selection of four of Bernhard's finest novels.Extinction, Bernhard's last published novel, is the story of Franz-Josef Murau-intellectual black sheep of a powerful Austrian land-owning family-who lives in Rome in self-imposed exile, surrounded by a coterie of artistic and intellectual friends. On returning from his sister's wedding on the family estate of Wolfsegg, having resolved never to go home again, Murau receives a telegram informing him of the death of his parents and brother in a car crash. Not only must he now go back, he must do so as the master of Wolfsegg; and he must decide its fate.

Old Masters (1985) is Thomas Bernhard's devilishly funny story about the friendship between two old men. For over thirty years Reger, a music critic, has sat on the same bench in front of a Tintoretto painting in a Viennese museum, thinking and railing against contemporary society, his fellow men, artists, the weather, even the state of public lavatories. His friend Atzbacher has been summoned to meet him, and through his eyes we learn more about Reger - the tragic death of his wife, his thoughts of suicide and, eventually, the true purpose of their appointment. At once pessimistic and exuberant, rancorous and hilarious, Old Masters is a richly satirical portrait of culture, genius, nationhood, class, the value of art and the pretensions of humanity.

A collection of previously untranslated stories from a master of twentieth-century Austrian literature, Thomas Bernhard. "The cold increases with the clarity," said Thomas Bernhard while accepting a major literary prize in 1965. That clarity was the postwar realization that the West's last remaining cultural reference points were being swept away by the ever-greater commodification of humankind. Collecting five stylistically transitional tales by Bernhard, all of which take place in sites of extreme cold, this volume extends that bleak vision of the master Austrian storyteller. In "Ungenach," the reluctant heir of an enormous estate chooses to give away his legacy to an assortment of oddballs as he discovers the past of his older brother, who was murdered during a career in futile colonialist philanthropy. In "The Weatherproof Cape," a lawyer tries to maintain a sense of familial solidarity with a now-dead client with the help of an unremarkable piece of clothing. "Midland in Stilfs" casts a jaundiced eye on the laughable efforts of a cosmopolitan foreigner to attain local authenticity on a moribund Alpine farmstead. In "At the Ortler," two middle-aged brothers--one a scientist, the other an acrobat--meditate on their unusual career paths while they climb a mountain to reclaim a long-abandoned family property. And in "At the Timberline," the unexpected arrival of a young couple in a mountain village leads to the discovery of a scandalous crime that casts a shadow on the personal life of the policeman investigating it.

A collection of six Bernhard plays, all in English for the first time. Save Yourself if You Can is a collection of six plays that span the entirety of Thomas Bernhard's career as a dramatist. The plays collected in this long-awaited addition to Bernhard's oeuvre in English-The Ignoramus and the Madman, The Celebrities, Immanuel Kant, The Goal Attained, Simply Complicated, and Elizabeth II-traverse somber lyricism and misanthropy to biting satire and glorious slapstick. They explore themes that will be familiar to longtime readers of Bernhardt, but here they are presented in a subtly different register, attuned to the needs of the stage.

Thomas Bernhard, one of the most distinct, celebrated, and perverse of 20th century writers, took his own life in 1989. Perhaps the greatest Austrian writer of the 20th century, Bernhard's vision in novels like Cutting Timber was relentlessly bleak and comically nihilistic. His prose is torrential and his stlye unmistakable. Bernhard is the missing link between Kafka, Beckett, Michel Houellebecq and Lars von Trier; without Bernhard the literature of alienation and self-contempt would be bereft of its great practitioner. Cutting Timber: An Irritation is widely recognised as his masterpiece. Over the course of a few hours, following a performance of Ibsen's The Wild Duck, we are in the company of the Auersbergers, and our narrator, who never once leaves the relative comfort of his 'wing-backed chair' where he sips at a glass of champagne. As they anticpate the arrival of the star actor, and the commencement of dinner, the narrator of Cutting Timber dismantles the hollow pretentiousness at the heart of the Austrian bourgeoisie. The effect is devastating; the horror only redeemed by the humour.

Thomas Bernhard (1931-1989) has been hailed by Gabriel Josipovici as 'Austria's finest postwar writer' and by George Steiner as 'one of the masters of contemporary European fiction.' Faber Finds is proud to reissue a selection of four of Bernhard's finest novels.Wittgenstein's Nephew (1982) opens in 1967 as two men lie bedridden in separate wings of a Viennese hospital. The narrator, Thomas Bernhard, is stricken with a lung ailment; his friend Paul, nephew of Ludwig Wittgenstein, is suffering from one of his periodic bouts of madness. As their once-casual friendship quickens, these eccentric men begin to see in each other a possible antidote to their feelings of hopelessness and mortality, on the unexpected strength of what they hold in common.'Furious, obsessive, scathing, absolutely hilarious and oddly beautiful.' Claire Messud, Salon'A memento mori that approaches genius.' Richard Locke, Wall Street Journal

Thomas Bernhard (1931-1989) has been hailed by Gabriel Josipovici as 'Austria's finest postwar writer' and by George Steiner as 'one of the masters of contemporary European fiction.' Faber Finds is proud to reissue a selection of four of Bernhard's finest novels.The Loser centres on a fictional relationship between piano virtuoso Glenn Gould and two of his fellow students who feel compelled to renounce their musical ambitions in the face of Gould's incomparable genius. One commits suicide, while the other - the obsessive, witty, and self-mocking narrator - has retreated into obscurity. Written as a monologue in one remarkable unbroken paragraph, The Loser is a brilliant meditation on success, failure, genius, and fame.

"Originally published as ... Goethe schtirbt"--Title page verso.

One night in the middle of winter, as deep snow covers the mountains and forests of Austria, a doctor is crossing a ridge from Traich to Foding to see a patient. He stumbles over a body in the darkness and fears it is a corpse. But it's not a corpse at all - in fact, it's wooden-legged Victor Halfwit, collapsed, but still very much alive.

The Austrian playwright, novelist, and poet Thomas Bernhard (1931-89) is acknowledged as one of the major writers of our time. This collection includes seven stories that capture Bernhard's distinct darkly comic voice and vision - often compared to Kafka and Musil - commenting on a corrupted world.

Thomas Bernhard's Old Masters has been called his "most enjoyable novel" by the New York Review of Books. It's a wild satire that takes place almost entirely in front of Tintoretto's White-Bearded Man, on display in the Kunsthistorisches Museum, as two typically Viennese pedants (serving as alter egos for Bernhard himself) irreverently, even contemptuously take down high culture, society, state-supported artists, Heidegger, and much more. It's a book built on thought and conversation rather than action or visuals. Yet somehow celebrated Austrian cartoonist Nicholas Mahler has brought it to life in graphic form--and it's brilliant. This volume presents Mahler's typically minimalist cartoons alongside new translations of selected passages from the novel. The result is a version of Old Masters that is strikingly new, yet still true to Bernhard's bleak vision, and to the novel's outrageous proposition that the perfect work of art is truly unbearable to even think about--let alone behold.

"In this early and seminal novella, Thomas Bernhard raises many of the themes he will elaborate on in later work: madness, death, suicide, the fragility of identity, and his hatred for his native Austria. The story takes the form of a conversation between the narrator and his friend Oehler, walking together and talking about their mutual friend Karrer, who has gone mad. Oehler does most of the talking. He often quotes Karrer, and he repeats phrases in rhythmic patterns, providing the text with fugue-like complexity. Brian Evenson calls this "In some respects the most overtly philosophical text in Bernhard's highly philosophical oeuvre."

The playwright and novelist Thomas Bernhard was one of the most widely translated and admired writers of his generation, winner of the three most coveted literary prizes in Germany. Gargoyles, one of his earliest novels, is a singular, surreal study of the nature of humanity. One morning a doctor and his son set out on daily rounds through the grim mountainous Austrian countryside. They observe the colorful characters they encounter—from an innkeeper whose wife has been murdered to a crippled musical prodigy kept in a cage—coping with physical misery, madness, and the brutality of the austere landscape. The parade of human grotesques culminates in a hundred-page monologue by an eccentric, paranoid prince, a relentlessly flowing cascade of words that is classic Bernhard.

Thomas Bernhard's rarely performed masterpiece, a moving portrait of a once celebrated actor now isolated and forgotten.

Two out of the three novellas here have never before been published in English and they contain all the touchstones of Bernhard's work - illness and madness, isolation, tragic friendships, and dark humour.

The first English translation of the earliest poetry of brilliant and disruptive Austrian writer Thomas Bernhard, widely considered one of the most innovative and original authors of the twentieth century and often associated with fellow mavericks Beckett, Kafka and Dostoevsky. A master of language, whose body of work was described in a New York Times book review as the most significant literary achievement since World War II, Bernhards ON EARTH AND IN HELL offers a distilled perspective on the essence of his artistry and his theme of death as the only reality. A remarkable achievement by highly-respected translator Peter Waugh.

British playwright Meredith Oakes and Austrian translator Andrea Tierney translate here Austrian playwright Thomas Bernhard's controversial play Heldenplatz. In Heldenplatz, Bernhard's final play, he explores the shared isolation of people who have lost their bearings, along with most of their illusions.

In this exuberantly satirical novel, the tutor Atzbacher has been summoned by his friend Reger to meet in a Viennese museum. While Reger gazes at a Tintoretto portrait, Atzbacher--who fears Reger's plans to kill himself--gives us a portrait of the musicologist: his wisdom, his devotion to his wife, and his love-hate relationship with art. With characteristically acerbic wit, Bernhard exposes the pretensions and aspirations of humanity in a novel at once pessimistic and strangely exhilarating.

Bringing together Thomas Bernhard's second and third books of poetry, this collection contains short, untitled lyrics presenting 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.

From the age of 21, everything he wrote was shaped by the urgency of a dying man's testament - his witness, the quintessence of his life and knowledge - and where this account of his life ends, his art begins.

Roithamer, a character based on Wittgenstein, has committed suicide having been driven to madness by his own frightening powers of pure thought. We witness the gradual breakdown of a genius ceaselessly compelled to correct and refine his perceptions until the only logical conclusion is the negation of his own soul.