blueyorkie's review against another edition
4.0
Thomas Bernhard's literary art is based on a high aesthetic sense, revealed in his works' organisation and is already evident in the collection's structure on earth and hell. This work diverges into five parts, unfolding in a circle and returning to the starting point at the end. The first part, 'Hinter den Baumen ist Eine Andere Welt', is from the field and the spoken village. From the earth to which the poet calls "his beloved land", that is a rot's land - and the world behind the trees is a world of falsehood, destruction, and torment.
The poet, especially Vienna and Paris, walked by the cities, 'Die Ausgebrannten Stadte', which does not allow himself, that repel. In the third part, "Die Nacht, Die Durch Mein Herz Stosst", the poet enters his intimate seeks to understand his sadness his pain (which is significant in the poem« Biographie des Schmerzes»). He takes the night as a symbol of his torment, manifests his sense of guilt, wants to flee and purify himself. Still, he can not ("Aschermittwoch") and ends with a set of nine psalms, in which the demand of God, with all The intensity of dominant concern, if you intend to become sincere, but even reaches a pathetic tone. It should note that these psalms are at the centre of the work and thus acquire an extraordinary relief.
The fourth part, "Tod und Thymian", is mainly dedicated to the dead, to the land where their origins and their route in this world feels (of particularly noticing the poems "Mude" and "Mit sechsundzwanzig Jahren', which have a marked character of sincerity).
With the significant title of 'Ruckkehr in Eine Liebe', the fifth and last part closes the circle or cycle with "the return to their rural crib". Still, after all, It no longer seems to accept it. The dominant figures are the father (the father he did not know), his mother, and the brothers in his imagination. And death, graves, the dead constitute a constant presence.
Introduction by José A. Palma Caetano
The poet, especially Vienna and Paris, walked by the cities, 'Die Ausgebrannten Stadte', which does not allow himself, that repel. In the third part, "Die Nacht, Die Durch Mein Herz Stosst", the poet enters his intimate seeks to understand his sadness his pain (which is significant in the poem« Biographie des Schmerzes»). He takes the night as a symbol of his torment, manifests his sense of guilt, wants to flee and purify himself. Still, he can not ("Aschermittwoch") and ends with a set of nine psalms, in which the demand of God, with all The intensity of dominant concern, if you intend to become sincere, but even reaches a pathetic tone. It should note that these psalms are at the centre of the work and thus acquire an extraordinary relief.
The fourth part, "Tod und Thymian", is mainly dedicated to the dead, to the land where their origins and their route in this world feels (of particularly noticing the poems "Mude" and "Mit sechsundzwanzig Jahren', which have a marked character of sincerity).
With the significant title of 'Ruckkehr in Eine Liebe', the fifth and last part closes the circle or cycle with "the return to their rural crib". Still, after all, It no longer seems to accept it. The dominant figures are the father (the father he did not know), his mother, and the brothers in his imagination. And death, graves, the dead constitute a constant presence.
Introduction by José A. Palma Caetano
piccoline's review
3.0
This is really mostly of interest if you're already into Bernhard. This is very early work, and it's fine. It's a very particular moment, a very particular step that lots of German-language writers would work through at this point. But it's really his later development, his bitter hilarity, his hilarious bitterness, and the musical darkness of his looping prose that are what you need to experience. [book:Correction|92573] [book:Old Masters: A Comedy|112801] [book:Woodcutters|92576]. Do yourself a favor.
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