Reissued with stunning artwork by Leanne Shapton and a new afterword by Anne Enright, Woodcutters is a blistering European classic.

An unnamed writer arrives at an 'artistic dinner' hosted by a composer and his society wife: a couple he once admired, but has now come to detest. They have been brought together by their friend Joana's suicide, but the guest of honour, a famous actor from the Burgtheatre, is late. As the guests await his arrival, little do they know that they are being subjected to the narrator's merciless scrutiny from his wing-backed throne, the targets of a tirade of epic, frenzied proportions. When the star actor finally arrives, he ushers in an explosive end to the evening that is impossible to see coming.

Originally banned in Thomas Bernhard's homeland, Woodcutters brutally exposes the hollow pretentiousness of the Austrian bourgeoisie in an unforgettable firework display of humour and horror.

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.  

This controversial portrayal of Viennese artistic circles begins as the writer-narrator arrives at an 'artistic dinner' given by a composer and his society wife--a couple that the writer once admired and has come to loathe. The guest of honor, an actor from the Burgtheater, is late. As the other guests wait impatiently, they are seen through the critical eye of the narrator, who begins a silent but frenzied, sometimes maniacal, and often ambivalent tirade against these former friends, most of whom were brought together by the woman whom they had buried that day. Reflections on Joana's life and suicide are mixed with these denunciations until the famous actor arrives, bringing a culmination to the evening for which the narrator had not even thought to hope.
"Mr. Bernhard's portrait of a society in dissolution has a Scandinavian darkness reminiscent of Ibsen and Strindberg, but it is filtered through a minimalist prose. . . . "Woodcutters" offers an unusually intense, engrossing literary experience."--Mark Anderson, "New York Times Book Review"
"Musical, dramatic and set in Vienna, "Woodcutters," . . .resembles a Strauss operetta with a libretto by Beckett."--Joseph Costes, "Chicago Tribune"
"Thomas Bernhard, the great pessimist-rhapsodist of German literature . . . never compromises, never makes peace with life. . . . Only in the pure, fierce isolation of his art can he get justice."--Michael Feingold, "Village Voice"
"In typical Bernhardian fashion the narrator is moved by hatred "and" affection for a society that he believes destroys the very artistic genius it purports to glorify. A superb translation."--"Library Journal"

Reissued with stunning artwork and a new afterword by Leanne Shapton, The Loser is Thomas Bernhard's iconic portrait of creative obsession.

Mid-century Austria. Three aspiring concert pianists - Wertheimer, Glenn Gould, and the narrator - have dedicated their lives to achieving the status of a virtuoso. But one day, two of them overhear Gould playing Bach's Goldberg Variations, and his incomparable genius instantly destroys them both.

They are forced to abandon their musical ambitions: Wertheimer, over a tortured process of disintegration that sees him becoming obsessed with both writing and his own sister, with whom he has a quasi-incestuous relationship culminating in death; and the narrator, instantly, retreating into obscurity to write a book that he periodically destroys and restarts.

Written as a monologue in one remarkable unbroken paragraph, Thomas Bernhard's dazzling meditation on failure, genius, and fame is a radical new reading experience: musical, paralysing, raging, and inimitable.

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.

Reissued with stunning artwork by Leanne Shapton and a new afterword by Ben Lerner, Wittgenstein's Nephew is a memento mori of restless genius.

It is 1967. 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 friendship quickens, these two eccentric men discover in each other an antidote to their feelings of despair on the unexpected strength of what they share - a spiritual symmetry forged by their love of music, black humour, disgust for bourgeois Vienna, and fear of mortality.

A restless blend of fiction and memoir, Wittgenstein's Nephew is not only a haunting meditation on the artist's struggle to maintain a foothold on reality, but an impassioned eulogy to a real-life friendship.

'Probably nothing exists that would prepare one for Bernhard's machined vehemence, though once you've read one, you perhaps start to crave the bitter taste and the savage not-quite-humour ... Genius.' - Michael Hofmann

Instead of the book he is meant to write, Rudolph, a Viennese musicologist, produces this dark and grotesquely funny account of small woes writ large, of profound horrors detailed and rehearsed to the point of distraction. We learn of Rudolph's sister, whose help he invites then reviles; his 'really marvellous' house which he hates; the suspicious illness he carefully nurses; his ten-year-long attempt to write the perfect opening sentence; and his escape to the island of Majorca, which turns out to be the site of someone else's very real horror story, and ultimately brings him no release from himself.

Concrete is Thomas Bernhard at his very finest: a bleakly hilarious insight into procrastination and failure that scratches the murky depths of our souls.

'Bernhard is one of the masters of contemporary European fiction'George Steiner 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.

Bernhard's Collected Poem is a key to understanding Bernhard's irascible black comedy found in virtually all of his writings-even down to his last will and testament. Beloved Austrian writer Thomas Bernhard (1931-89) began his career in the early 1950s as a poet. Over the next decade, Bernhard wrote thousands of poems and published four volumes of intensely wrought and increasingly personal verse, with such titles as On Earth and in Hell, In Hora Mortis, and Under the Iron of the Moon. Bernhard's early poetry, bearing the influence of Georg Trakl, begins with a deep connection to his Austrian homeland. As his poems saw publication and recognition, Bernhard seemed always on the verge of joining the ranks of Ingeborg Bachmann, Paul Celan, and other young post-war poets writing in German. During this time, however, his poems became increasingly more obsessive, filled with undulant self-pity, counterpointed by a defamatory, bardic voice utterly estranged from his country, all of which resulted in a magisterial work of anti-poetry-one that represents Bernhard's own harrowing experience with his leitmotif of success and failure, which makes his fiction such a pleasure. There is much to be found in these pages for Bernhard fans of every stripe.

This collection of four stories by the writer George Steiner called “one of the masters of European fiction� is, as longtime fans of Thomas Bernhard would expect, bleakly comic and inspiringly rancorous. The subject of his stories vary: in one, Goethe summons Wittgenstein to discuss the Tractatus Logico-Philosophicus; “Montaigne: A Story (in 22 Installments)� tells of a young man sealing himself in a tower to read; “Reunion,� meanwhile, satirizes that very impulse to escape; and the final story rounds out the collection by making Bernhard himself a victim, persecuted by his greatest enemy—his very homeland of Austria. Underpinning all these variously comic, tragic, and bitingly satirical excursions is Bernhard’s abiding interest in, and deep knowledge of, the philosophy of doubt. Bernhard’s work can seem off-putting on first acquaintance, as he suffers no fools and offers no hand to assist the unwary reader. But those who make the effort to engage with Bernhard on his own uncompromising terms will discover a writer with powerful comic gifts, penetrating insight into the failings and delusions of modern life, and an unstinting desire to tell the whole, unvarnished, unwelcome truth. Start here, readers; the rewards are great.

Thomas Bernhard is "one of the masters of contemporary European fiction" (George Steiner); "one of the century's most gifted writers" (Newsday); "a virtuoso of rancor and rage" (Bookforum). And although he is favorably compared with Franz Kafka, Samuel Beckett, and Robert Musil, it is only in recent years that he has gained a devoted cult following in America. A powerful, compact novella, Walking provides a perfect introduction to the absurd, dark, and uncommonly comic world of Bernhard, showing a preoccupation with themes-illness and madness, isolation, tragic friendships-that would obsess Bernhard throughout his career. Walking records the conversations of the unnamed narrator and his friend Oehler while they walk, discussing anything that comes to mind but always circling back to their mutual friend Karrer, who has gone irrevocably mad. Perhaps the most overtly philosophical work in Bernhard's highly philosophical oeuvre, Walking provides a penetrating meditation on the impossibility of truly thinking.

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," Bernhard's 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.

One night in the middle of winter, as deep snow covers the mountains and forests, a doctor is crossing the ridge in Austria from Traich to Foeding 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. So begins this simultaneously absurd and tragic tale by celebrated Austrian playwright, novelist, and poet Thomas Bernhard. Combining the darkly comic voice and vision of Bernhard with the lush and beautiful collages of Indian designer Sunandini Banerjee, Victor Halfwit is a unique and collectible artist's book. Illustrated in color throughout, this edition imaginatively presents Bernhard's fable in a distinctive and unconventional style. It is the perfect gift book that will be cherished by fans of Bernhard's other works and will inspire new interest among visual artists.

"His manner of speaking, like that of all the subordinated, excluded, was awkward, like a body full of wounds, into which at any time anyone can strew salt, yet so insistent, that it is painful to listen to him," from The Carpenter The Austrian playwright, novelist, and poet Thomas Bernhard (1931-89) is acknowledged as among the major writers of our time. The seven stories in this collection capture Bernhard's distinct darkly comic voice and vision--often compared to Kafka and Musil--commenting on a corrupted world. First published in German in 1967, these stories were written at the same time as Bernhard's early novels Frost, Gargoyles, and The Lime Works, and they display the same obsessions, restlessness, and disarming mastery of language. Martin Chalmer's outstanding translation, which renders the work in English for the first time, captures the essential personality of the work. The narrators of these stories lack the strength to do anything but listen and then write, the reader in turn becoming a captive listener, deciphering the traps laid by memory--and the mere words, the neverending words with which we try to pin it down. Words that are always close to driving the narrator crazy, but yet, as Bernhard writes "not completely crazy." "Bernhard's glorious talent for bleak existential monologues is second only to Beckett's, and seems to have sprung up fully mature in his mesmerizing debut."--From Publishers Weekly, on Frost "The feeling grows that Thomas Bernhard is the most original, concentrated novelist writing in German. His connections . . . with the great constellation of Kafka, Musil, and Broch become ever clearer." --George Steiner, Times Literary Supplement, on Gargoyles

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.

'Extinction features, without doubt, the funniest passage in the whole of literature. The dreadful becomes hilarious, joyful - and it makes one thirst for more of the similar.' - Geoff Dyer

Franz-Josef Murau is the intellectual black sheep of a powerful Austrian land-owning family. He now 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.

The summit of Thomas Bernhard's artistic genius - mesmerising, addictive, explosively tragicomic - Extinction is a landmark of post-war literature.

"Bernhard's prose is lapidary and translucent in its vocabulary, but sinuous and formidably dense in its phrasing. This prose enacts the essential motif of the novel: the notion that every 'correction' is also a negation . . . . The remarkable point is the extent to which the ascetic compactness of Bernhard's style turns these abstractions into a sensory presence . . . . [Bernhard's] connections, at once developmental and contrastive, with the great 'Austrian' constellation of Hofmannsthal, Kafka, Musil and Broch become ever clearer."--George Steiner, "Times Literary Supplement
""Correction is something exceedingly rare among novels of recent years: a paradigm of consciousness and not simply a product . . . . Bernhard has said that 'the art we need is the art of bearing the unbearable, ' and his novel joins that small group of literary works which nobly help us to do that."--Richard Gilman, "The Nation
"It is high time that we keep Bernhard firmly in our mind, as European readers have been doing for many years now."--Peter Demetz, "Christian Science Monitor

"Already recognized as a champion of neglected genius, Reidel continues his admirable project by providing American readers with the early verse works of the modern prose master, Thomas Bernhard. This is a beautiful and necessary book. The translations themselves immediately strike me as both accurate and inspired, and are accompanied by a highly readable and erudite introduction which vividly brings to life the young Bernhard and his efforts (alongside older contemporaries such as Krolow, Eich, Bachmann, and Celan) to recreate for literary and moral purposes the great language the Nazis destroyed."--Franz Wright, winner of the Pulitzer Prize for poetry

"Thomas Bernhard was first and possibly foremost a poet, belonging in the company of Georg Trakl and Paul Celan, yet his poetry has remained unremarked and curiously unattended until now, with the publication of James Reidel's masterful translations, wherein Bernhard's German shimmers into an English commensurate with his strangely comedic and mystical cris de coeur. If Bernhard is, as he has been called, 'an instrumentalist of language, ' then Reidel has written for that language a symphony of lyric art, and in so doing, rescued for the world a major twentieth-century poet."--Carolyn Forche, author of "Blue Hour: Poems"

"While Thomas Bernhard's early works of poetry are relatively unknown, they show the ingenious beginnings of the author's ironic and morbid vision, influenced by the poetry of Rilke, Celan, and the expressionist Trakl. James Reidel is an accomplished translator in addition to being a well-known poet himself and he does an excellent job of transposing the poems into a proper English context while preserving theoriginal German sense."--Matthias Konzett, Tufts University, author of "Rhetoric of The National Dissent in Thomas Bernhard, Peter Handke and Elfriede Jelinek"

"I am very taken with James Reidel's translations of these two remarkable volumes of the great Austrian novelist and playwright Thomas Bernhard, who began his career, in the 1950s, as a poet. Here we have these unknown but powerful poems carefully translated and well introduced."--Richard Howard, series editor of the "Lockert Library of Poetry in Translation," and author of "Inner Voices: Selected Poems, 1963-2003"

Thomas Bernhard is "one of the masters of contemporary European fiction" (George Steiner); "one of the century's most gifted writers" ("New York Newsday"); "a virtuoso of rancor and rage" ("Bookforum"). And although he is favorably compared with Franz Kafka, Samuel Beckett, and Robert Musil, Thomas Bernhard still remains relatively unknown in America.
Uninitiated readers should consider "Three Novellas" a passport to the absurd, dark, and uncommonly comic world of Bernhard. Two of the three novellas here have never before been published in English, and all of them show an early preoccupation with the themes-illness and madness, isolation, tragic friendships-that would obsess Bernhard throughout his career. "Amras," one of his earliest works, tells the story of two brothers, one epileptic, who have survived a family suicide pact and are now living in a ruined tower, struggling with madness, trying either to come fully back to life or finally to die. In "Playing Watten," the narrator, a doctor who lost his practice due to morphine abuse, describes a visit paid him by a truck driver who wanted the doctor to return to his habit of playing a game of cards (watten) every Wednesday--a habit that the doctor had interrupted when one of the players killed himself. The last novella, "Walking," records the conversations of the narrator and his friend Oehler while they walk, discussing anything that comes to mind but always circling back to their mutual friend Karrer, who has gone irrevocably mad. Perhaps the most overtly philosophical work in Bernhard's highly philosophical oeuvre, "Walking" provides a penetrating meditation on the impossibility of truly thinking.
"Three Novellas" offers asuperb introduction to the fiction of perhaps the greatest unsung hero of twentieth-century literature. Rarely have the words "suffocating," "intense," and "obsessive" been meant so positively.