Christine Lavant (1915-1973), one of Austria's most famous yet obscure 20th century poets, wrote these memoirs during a voluntary six-week stay in an asylum. Although written in 1946 the memoirs were not published until 2001 because the poet felt that the work was too personal. She records her failed suicide attempt, her sleeplessness, her exhaustion, her eccentric and mad inmates, her daily struggle to survive by writing. The author spent most of her life in a small southern Austrian village, where she was born as the ninth child in a family of miners. Pathologically introverted, she was plagued by poverty and illness and supported herself with knitting. Her poetry is unconventional, filled with neologisms, mysterious and magical. We hear echoes of Rilke, whom she admired. Thomas Bernhard referred to her work as testimony to a "zerstorte Welt/destroyed world". She was honoured with numerous literary awards, among them the Austrian State Prize for Literature in 1970, three years before her death.

"On our 20th wedding anniversary my husband had invited me to an elegant dinner. We sat in the casino-restaurant by candlelight and had already ordered our meal. I had asked for filets of milk-fed lamb, he a wiener schnitzel. He raised his glass and instead of saying: "To our future happiness" he looked at me intently and said: "I'm taking this opportunity today to tell you that I'm planning to leave you. And so I'd like to drink with you to the years still lying ahead of us, and which we'll be spending apart." I felt that this could only be one of his bad jokes, and gave a somewhat forced laugh..." A ghastly snippet in the life of 52-year-old Elfriede Schweiger-and an opportunity. The abandoned wife and mother of a full-grown son studies law and opens her own practice. The housewife is transformed into a career woman. But new men enter her life, and with them come new problems. On the Phone is the journal of a woman in upheaval and transition. Evelyn Grill dissects the physical and spiritual sensitivities of this woman in the prime of life, recounting moments of hope, disappointment, love, self-doubt, and megalomania. Aloof, laconic, and full of irony, Elfriede Schweiger's narrative causes a period of upheaval in her life to pass like a parade before the reader's view.