Kirjahaku

The first English translation of the essays, lectures, and other critical writings of the celebrated Austrian poet, novelist, and public intellectual, one of the most influential postwar writers in German. The Austrian Ingeborg Bachmann (1926-1973) is one of the most important postwar writers in German. Her work is enmeshed with the intellectual and cultural developments of the period: she was influenced by European modernism in the early 1950s, experienced the sweeping changes of the 60s, and worked until her death in 1973 on her celebrated and sprawling "Todesarten" (Ways of Death) project, on the decades following National Socialism. Her poetry and prose confront what she called "the sickness of our time": the subtle connection between patriarchal society, catastrophic history in the form of National Socialism, and the subjugation of the Other. Even during her lifetime, Bachmann achieved a prominent position in postwar German-language literature. Interest in her literary output increased sharply in the early 1980s with the publication of the first edition of her works, and has been growing steadily ever since. Bachmann's impact on German literature is comparable to that of Virginia Woolf on English literature. Just as an appreciation of Woolf's poetic oeuvre, and that of other women writers, is impossible without reference to "A Room of One's Own," the critical writings of Bachmann enhance our awareness of not only her own works, but also those of many other writers, philosophers, and artists. As the only translation of Bachmann's essays, lectures, speeches, and theoretical texts into English, The Critical Writings will be a valuable tool for students of Comparative Literature and German literature and cultural studies.

The first English translation of the essays, lectures, and other critical writings of the celebrated Austrian poet, novelist, and public intellectual, one of the most influential postwar writers in German. The Austrian Ingeborg Bachmann (1926-1973) is one of the most important postwar writers in German. Her work is enmeshed with the intellectual and cultural developments of the period: she was influenced by European modernism in the early 1950s, experienced the sweeping changes of the 60s, and worked until her death in 1973 on her celebrated and sprawling "Todesarten" (Ways of Death) project, on the decades following National Socialism. Her poetry and prose confront what she called "the sickness of our time": the subtle connection between patriarchal society, catastrophic history in the form of National Socialism, and the subjugation of the Other. Even during her lifetime, Bachmann achieved a prominent position in postwar German-language literature. Interest in her literary output increased sharply in the early 1980s with the publication of the first edition of her works, and has been growing steadily ever since. Bachmann's impact on German literature is comparable to that of Virginia Woolf on English literature. Just as an appreciation of Woolf's poetic oeuvre, and that of other women writers, is impossible without reference to "A Room of One's Own," the critical writings of Bachmann enhance our awareness of not only her own works, but also those of many other writers, philosophers, and artists. As the only translation of Bachmann's essays, lectures, speeches, and theoretical texts into English, The Critical Writings will be a valuable tool for students of Comparative Literature and German literature and cultural studies.

Darkness Spoken is the most complete volume of Ingeborg Bachmann’s poetry in English and German. Considered one of the premiere poets of her generation, Bachmann’s various awards include the Georg Büchner Prize, the Berlin Critics Prize, the Bremen Award, and the Austrian State Prize for literature. Darkness Spoken collects her two celebrated books of poetry, as well as the early and late poems not collected in book form. First published by Zephyr Press in 2006, the volume also contains 129 poems released from Bachmann’s archives that had never been translated before. Twenty-five of them also appeared in German for the first time. Continued research by Peter Fikins on Bachmann’s writing since 2006 as well as his current work on Bachmann’s biography (forthcoming in 2026 from Yale University Press), has drawn him even closer to Bachmann’s poems and deepened his understanding of their context and meaning. For this second revised edition, roughly a quarter of the poems have benefitted from revisions in word choice for the purposes of greater clarity, better syntax or rhythm, or in a few instances, corrections in punctuation and of interpretive errors. Eight poems from Bachmann's youth have also been added that did not appear in the first edition. A few lacunae in the German have also been corrected, allowing this volume to remain the most complete edition of Bachmann’s poetry.

'An intense, courageous novel, equal to the best of Virginia Woolf and Samuel Beckett' The New York TimesPart detective novel, part love story, part psychoanalytic case study, Malina is a staggering portrait of a writer trying to tell her own story in a world dominated by men.'I was subordinate to him from the beginning, and I must have known early on that he was destined to be my doom'A woman in postwar Vienna walks a tightrope between the two men in her life. There is her lover Ivan, beautiful and unavailable, who obsesses her. And there is Malina, the civil servant with whom she shares an apartment: reserved, fastidious, exacting, chillingly calm. As the balance of power between them starts to shift, she feels her fragile identity unravelling, gradually revealing the dark, bruised heart of her past.

These unfinished novels were intended to follow her widely acclaimed Malina in a Proustian cycle to be entitled Todesarten, or Ways of Dying. Through the tales of two women in postwar Austria, Bachmann explores the ways of dying inflicted on women by men, and upon the living by history, politics, religion, family, and the self.

Malina invites the reader on a linguistic journey, into a world that stretches the very limits of language with Wittgensteinian zeal and Joycean inventiveness, where Ingeborg Bachmann ventriloquizes--and in the process demolishes--Proust, Musil, and Balzac, and yet filters everything through her own utterly singular idiom. Malina is, quite simply, unlike anything else; it's a masterpiece. In Malina, Bachmann uses the intertwined lives of three characters to explore the roots of society's breakdown that lead to fascism, and in Bachmann's own words, "it doesn't start with the first bombs that are dropped; it doesn't start with the terror that can be written about in every newspaper. It starts with relationships between people. Fascism is the first thing in the relationship between a man and a woman, and I attempted to say that here in this society there is always war. There isn't war and peace, there's only war."

Written when Ingeborg Bachmann was only eighteen, The Honditsch Cross, her second-longest completed work of prose, is a historical novella set during the final days of the Napoleonic occupation of Austria in 1813.A young theology student, returning from Vienna to his family home in Carinthia, finds the invading troops stationed there, led by a despotic officer, who has been exploiting and terrorizing his family and friends. He is immediately thrown into the center of the conflict, torn between defending his homeland, the pull of physical desire, and the pursuit of his theological studies...In this gripping work, Bachmann begins to explore themes that will pre-occupy her for the rest of her writing career: complex notions of nationality and patriotism, the roles and rights of women in patriarchal societies, the meaningless destruction of war and its aftermath, and the bitter moments of disillusionment that lead to intellectual maturity

Austrian writer Ingeborg Bachmann (1926-73) is recognized as one of the most important novelists, poets, and playwrights of postwar German literature. As befitting such a versatile writer, her "War Diary" is not a day-by-day journal but a series of sketches, depicting the last months of World War II and the first year of the subsequent British occupation of Austria. These articulate and powerful entries - all the more remarkable given Bachmann's young age at the time - reveal the eighteen-year-old's hatred of both war and Nazism. The British occupation leads to her incredible meeting with a British officer, Jack Hamesh, a Jew who had originally fled Vienna for England in 1938. He is astonished to find in Austria a young girl who has read banned authors such as Mann, Schnitzler, and Hofmannsthal. Their relationship is captured here in the emotional and moving letters Hamesh writes to Bachmann when he travels to Israel in 1946. In his correspondence, he describes how in his new home of Israel, he still suffers from the rootlessness affecting so many of those who lost parents, family, friends, and homes in the war. "War Diary" provides unusual insight into the formation of Bachmann as a writer and will be cherished by the many fans of her work. But it is also a poignant glimpse into life in Austria in the immediate aftermath of the war.

Männer sind wunderbar und stark. Sollten sie doch einige Schwächen haben, macht sie das zumindest liebenswert. Die rundum vergnüglichen Männer-Filme dieser Edition zeigen den Mann in all seinen Spielarten. Vom Helden zum Hypochonder, vom eitlen Macho, feurigen Liebhaber bis zum zerstreuten Professor. Rational und irrational, verliebt und versponnen. Kein Wunder also, dass die Frauen Liebe aber auch ihre liebe Not mit ihnen haben. Bestehend aus ISBN 3-8312-9198-5, 3-8312-9199-3, 3-8312-9200-0

Ingeborg Bachmanns Erzählungen sind unverzichtbarer Bestandteil der Gegenwartsliteratur. Sie zeigen Menschen an den Schnittpunkten ihrer Existenz, vor Entscheidungen, in denen es um das Leben geht, die Wahrheit, um die Liebe und den Tod. Neben den Erzählungen aus >>Simultan>Das dreißigste Jahr

Ingeborg Bachmann hat mit >>Das Buch Franza>Requiem für Fanny Goldmann>Geschichten mit letalem Ausgang>Requiem für Fanny Goldmann>Malina>Buch Franza>Todesarten

Mit ihren berühmten Erzählungen bewies Ingeborg Bachmann, dass ihre Prosa die gleiche einmalige Kraft hat wie ihre Lyrik. In ihnen vermag sie mithilfe der Sprache der Bilder und Mythen alles über Liebe, Menschen und Verzweiflung zu sagen. Ihren Gestalten ist eines gemeinsam: das Leiden an der ungeheuerlichen Kränkung, die das Leben ist. >>Wenn einer in sein dreißigstes Jahr geht, wird man nicht aufhören, ihn jung zu nennen. Er selber aber, obgleich er keine Veränderungen an sich entdecken kann, wird unsicher; ihm ist, als stünde es ihm nicht mehr zu, sich für jung auszugeben.