Ingeborg Bachmann – författare

I lägenheten på Ungargasse i Wien lever en berömd och efterfrågad kvinnlig författare tillsammans med den mystiske Malina. Snett över gatan bor hennes svårtillgänglige älskare Ivan. Ingeborg Bachmann skildrar med sin återhållna, precisa berättarstil besatthet, förtryck och den ångestridnes oförmögna tillstånd. "Malina" behandlar teman som makt, självdestruktivitet, minne och skuld.

'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.

Paul Celan (192070) is one of the best-known German poets of the Holocaust; many of his poems, admired for their spare, precise diction, deal directly with its stark themes. Austrian writer Ingeborg Bachmann (192673) is recognized as one of postWorld War II German literature's most important novelists, poets and playwrights. It seems only appropriate that these two contemporaries and masters of language were at one time lovers, and they shared a lengthy, artful and passionate correspondence.Collected here for the first time in English are their letters written between 1948 and 1961. Their correspondence forms a moving testimony of the discourse of love in the age after Auschwitz, with all the symptomatic disturbances and crises caused by their conflicting backgrounds and their hard-to-reconcile designs for living-as a woman, as a man, as writers. In addition to the almost 200 letters, the volume includes an important exchange between Bachmann and Gisele Celan-Lestrange, who married Celan in 1951, as well as the letters between Paul Celan and Swiss writer Max Frisch, who was Bachmann's lover for four years. 'Wieland Hoban has worked with accuracy and determination to capture the nuances of style and register, which include oblique awkwardness (Celan) and self-assuredness (Bachmann), alongside infinite courage and astounding strength (Celan-Lestrange). The translation reads well, with just a slight edge of the original diction remaining to remind readers that we are witnessing a different time and place, and way of perceiving the world. . . . This is an important addition tot he work in translation of two major post-war writers.'- Times Literary Supplement'This book is highly recommended. You cannot possibly be disappointed by it, especially if you are familiar with these writers' literary output, each of which left the world a completely original, masterful, and highly influential body of work. The letters move from youthful heartbreak and poetical exuberance to the destructive later exchanges between two people who cannot trust one another although they are, until the end, drawn to each other. It's not a book you read and shelve. It's a book to read and reread, a book to treasure.'- Shigekuni. Read the lengthy, detailed and enligtening review of the book here.'Correspondence, rendered perfectly in English by Wieland Hoban, traces [Celan and Bachmann's] letters, telegrams, and book inscriptions to one another, color-coded and augmented by hundreds of footnotes. Like other volumes from Seagull Books, it's physically gorgeous, with a pleasingly compact trim size. Reading Correspondence feels like an indulgence. It also feels disorienting. The world of the letters and the world of their authors' real lives are askew in a sometimes jarring way, so that the emotional content of the letters reads almost as fiction.'- Aaron Belz, Books & Culture

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.

In Malina, originally published in German in 1971, Ingeborg Bachmann invites the reader into a world stretched to the very limits of language. An unnamed narrator, a writer in Vienna, is torn between two men: viewed, through the tilting prism of obsession, she travels further into her own madness, anxiety, and genius. Malina explores love, "deathstyles," the roots of fascism, and passion.

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

Complete Stories spans three decades of work from one of the most important German-language writers of the last century. Each of these short stories, beautifully translated by Philip Boehm and Tess Lewis, depict people at a crossroads, facing decisions about life, truth, love, and death. In addition to the collections "Three Paths to the Lake" and "The Thirtieth Year," this volume includes many stories that have never appeared in English before.In this collection, we find Ingeborg Bachmann exploring the limits of language and experience, grappling with the maladies of modern civilization, with love and sex, with patriarchy and its brutalities: “Where does fascism begin? It doesn’t begin with the first bombs that were dropped. It begins in relationships between people. Fascism lies at the root of the relationship between a man and a woman….”

Ingeborg Bachmann (1926-1973) is recognized as one of post-war German literature’s most important novelists, poets, and playwrights. Influenced by Hans Weigel and the legendary literary circle Gruppe 47, Bachmann gained international renown for her poems, short stories, and novels, and won numerous awards for her work. Sadly, her life ended abruptly in October of 1973 when a lit cigarette burned down her apartment causing Bachmann to suffer severe burns that would eventually prove fatal. The author was only forty-seven, and her tragic death left what could have been a long and lustrous writing career regretfully stunted.Nearly twenty years after her death, during an estate sale in Vienna, fifteen episodes of the popular Viennese radio drama The Radio Family were discovered. Remarkably, they happened to be written by Ingeborg Bachmann herself, who had been a writer on the show just after she graduated university.  The Radio Family was a popular radio soap opera broadcast in the American sector of occupied Vienna in the 1950s. The program focused on a middle-class Viennese family and their everyday life. Topics ranged from birthday parties and holiday plans to profiteering and currency fraud in the commercial sector, and Austrians’ involvement in the Nazi past. All fifteen scripts have now been compiled and masterfully translated, revealing an early and significant piece of Bachmann’s body of work, while simultaneously offering a rare glimpse into Vienna’s quotidian history.

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.

The fraught and generative relationship between two postwar literary giants—revealed through a series of letters published for the first time in English.  Ingeborg Bachmann (1926–1973) stands among the most vital voices of postwar German literature—an acclaimed poet and prose writer who also reshaped radio drama and opera. In 1958, a letter of admiration from the Swiss novelist Max Frisch (1911–1991), written after hearing Bachmann’s radio play The Good God of Manhattan, led to a meeting in Paris and the beginning of an intense, volatile love affair that would forever leave a mark on both their lives and work. Presented here for the first time in English, 299 letters written between 1958 and 1973 trace the arc of that relationship: long separations, the strain of two writers attempting to share a life, creative rivalry, sexual jealousy, and gendered tensions sharpened by a fifteen-year age gap. The correspondence ranges from everyday logistics to raw psychological insight, from passion and longing to bitterness, silence, and regret. The later letters, written as Bachmann’s health declined, expand to include friends, relatives, and key literary figures. First published in German in 2022, this correspondence overturned long-held myths about the two writers, revealing mutual influence, negotiated freedom, and a struggle to reconcile incompatible needs. Intimate and revelatory, these letters illuminate the fragile intersection of love, power, and creativity.

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.