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View all 71 comments. Jan 15, İntellecta rated it it was amazing Shelves: german-literature. In my opinion once you get used to the writing style of Thomas Bernhard and his literary challenges and peculiarities, you have to immerse yourself into his person to enjoy his literature.
His cold humor and style are certainly not for everybody. This novel — his last greatest prose work — is his attempt to manage the traumatically liberated misfortune of his childhood and early years as he represents his family in the environment of the Austrian nobility and put it in all its facets and accuses In my opinion once you get used to the writing style of Thomas Bernhard and his literary challenges and peculiarities, you have to immerse yourself into his person to enjoy his literature.
This novel — his last greatest prose work — is his attempt to manage the traumatically liberated misfortune of his childhood and early years as he represents his family in the environment of the Austrian nobility and put it in all its facets and accuses.
View all 12 comments. View all 6 comments. Jun 25, Lisa rated it it was amazing Shelves: books-to-read-before-you-die , favorites , so-good-it-hurts , thomas-bernhard , unforgettable.
It is in the nature of things that we always fail, because we suddenly find it impossible to order our thoughts, because the process of thinking requires us to consider every thought there is, every possible thought.
Fundamentally we have always failed, like all the others, whoever they were, even the greatest minds.
At some point, they suddenly failed and their system collapsed, as is proved by their writings, which we admire because they venture farthest into failure.
To think is to fail, I thought. View all 40 comments. Cut off from his Austrian landowning family and their estate of Wolfsegg, he now lives the intellectual life as a tutor in Rome.
He could have moved to the furthest corner of Australia, and still been too close to the country he so clearly finds the most repugnance, vowing never to return home to the place, in disgust, he so constantly slams in bitter resentmen Could there ever be a more scathing narrator than Extinction's Franz-Josef Murau Who I like to think of as a fictional Bernhard.
He could have moved to the furthest corner of Australia, and still been too close to the country he so clearly finds the most repugnance, vowing never to return home to the place, in disgust, he so constantly slams in bitter resentment.
The bad news for Franz though, is that bad news is on the way. After receiving news of the death of his father, mother, and brother in a car accident, a trip back to Wolfsegg is now on the cards, unfortunately, and an unwelcome reunion with his two sisters, who he doesn't exactly hold in the highest regard.
The first half of the novel the narrator is simply standing looking out the window, and reminiscing obsessively about the stifling of the life he once had with his philistine family, of Wolfsegg, and of Austria, the place he describes as a brutal and stupid nation, a mindless, culture-less sewer spreading penetrating stench all over Europe.
Rearranging a few unflattering old family photographs on his desk like Tarot cards, he unflaggingly and outrageously attacks his heritage.
From his relatives crass tastes, to his miserable childhood, to his father's Nazi ties, and his mother's affair. Just as Murau's denunciation of Austria for its Nazism and Catholicism peaks in shrillness, however, his corrosive characterizations contract to the grotesque, even lampooning the likes of Robert Musil amongst others.
Once he arrives back in Wolfsegg for the funeral, which sees the novel livelier in nature, his deceitful and hysterical character comes into its horrid own.
If there is one thing I loved about Bernhard from previous novels, it's his use of outrageous and uncontrollable exaggeration, when mulling over certain people, or his homeland.
And here he turns the dial up to a level even I didn't expect. He also brilliantly dissects reality and perception and plays with how our own selves differ from our existence in the minds of others.
They are instead simply whims of a moment. The way the characters interlinked was masterful, and despite the narrators traits, such a realistic feeling was building up inside that had me understanding exactly where Franz-Josef was coming from.
This is by far the best Bernhard I have read so far, the others were really good, but structurally this felt more like a proper novel. One that had me hooked right from the word go.
View all 8 comments. Jun 03, M. There is nobody I have ever read who speaks to me more clearly and like-minded than Thomas Bernhard does.
From the very first sentence Bernhard had me hooked on the book. I could have just said the first paragraph but there is only one in the entire book so that would have been a little bit too much tongue-in-cheek.
A flowing single paragraph is a Bernhard trademark. At least he has proper sentences. It is so life-affirming to have the good fortune of reading a writer like this.
He is an amazing talent and continues on as strongly as ever for anyone interested in examining his complete works.
It is unfortunate Bernhard did not get to comment on our new technology, that he was not subjected to the cell phone culture taking over the world.
It would have been so fantastic to hear and read what he would have had to say about these things, the tablets and electronic readers, Facebook, Google , and all the other muck drowning out our lives.
I loved what he said at the beginning of the book regarding leisure, or intelligent people and their idleness. It is so important to be able to be leisurely, to enjoy leisure, to just sit and think.
Or not even think at all. There are many instances when Bernhard has a character say something that totally resonates with me.
It is these times when I am most pleased with the writings of Bernhard. Gilles Deleuze, the great French philosopher, once said something to the effect that it is better to be in the company of like-minded people as the ones who are not will bring you down mentally, emotionally, and even physically sometimes.
So when I read the following quotation I was again pleased as it has been my pattern in life to be often attracted to those persons of bad character.
People of good character, so called, are the ones who end up boring us to death. Spadolini had extolled the dead in a quite impermissible manner, I thought, essentially falsifying them and selling us a fake as the genuine article.
Franz-Josef Murau felt the five books useful and necessary to his student in the coming weeks. Kafka being the only one who exaggerates enough.
Read any book by Lish and you get the details returned and returned to you always in revision and always as he pontificates for the supersaturation needed to get to the cut of the thing, the insides, the meat and flesh of the object given.
Same goes went? Though aware and a mutual fan of Bernhard it is doubtful Lish learned his trade from him, for as far back as the early sixties Lish was already teaching this method and instructing his students how to read.
Extinction , as a whole, has much to do with photography and the undoing of humanity in such a brainless activity of staring at motion pictures.
Let us hope Murau got this part wrong. I happen to like photography and it has given me much to study and to write from. And for this commission the great Bernhard must be forgiven.
View all 28 comments. Holy hell, this book was everything. This was my introduction to Bernhard, and what a powerful introduction it was.
I became obsessed with his obsessive, discursive writing style, the way his sentences loop back on themselves to describe something several different ways.
You have to give yourself to it and stop expecting the usual plot or character mechanics of most conventional fiction, but once you do, it's an exhilarating ride.
View all 4 comments. His final novel, Extinction, is, put simply, Bernhard's masterpiece An astonishing output.
After starting with Concrete - which astonished me I read Bernhard's novels chronologically, and would recommend anyone who wants to delve into his works, to read, in the following order: The Lime Works Correction Concrete The Loser -- about Glenn Gould -- and Extinction I found Woodcutters, Old Masters, and even Wittgenstein's Nephew to be somewhat inferior.
View all 10 comments. E in definitiva, su se stesso. Uno sfacelo, per l'appunto, come recita il sottotitolo.
Lo stile di Bernhard, in questa sorta "Pur di provare sollievo non esitiamo a camminare sui cadaveri" Per quasi pagine seguiamo i pensieri di un uomo che, appena appresa la notizia della morte improvvisa dei genitori e del fratello, non fa altro che sputare veleno sulla propria famiglia - persone realmente abiette in effetti, con cui ha sempre avuto rapporti altamente conflittuali - e sulle proprie origini.
Qui sta la bravura dell'autore, in questo connubio senz'altro impressionante tra lucida consapevolezza e delirio, tra comico e tragico, maestria davanti a cui mi inchino per poi fuggire un po' spaventata.
Tutto inizia con un telegramma da cui il protagonista e narratore, Murau, apprende della morte dei genitori e del fratello. Ho sfruttato l'infanzia fino all'ultimo.
Cerchiamo dappertutto l'infanzia e dappertutto non troviamo altro che il famoso vuoto assoluto, pensai, quando entriamo in una casa in cui nell'infanzia abbiamo trascorso ore o addirittura giorni tanto felici, crediamo di guardare dentro quell'infanzia, e invece guardiamo solo dentro quel famigerato vuoto assoluto, pensai.
La morte, che apre il libro, ne scrive la conclusione. Like Correction , this one is twice as long as the average Bernhard book and therefore it does twice the damage as the average page Bernhard book, damage mitigated by the introduction of self-conscious acknowledgment about the narrator's abominable pronouncements, also direct attack on Austria's Nazi past, also two sympathetic idealized characters to counterbalance all the imbeciles and insincere simulators.
As always, there's nothing as good, no approach as viral, nothing as unbearable to re Like Correction , this one is twice as long as the average Bernhard book and therefore it does twice the damage as the average page Bernhard book, damage mitigated by the introduction of self-conscious acknowledgment about the narrator's abominable pronouncements, also direct attack on Austria's Nazi past, also two sympathetic idealized characters to counterbalance all the imbeciles and insincere simulators.
As always, there's nothing as good, no approach as viral, nothing as unbearable to read for more than page stretches -- nothing seems as ordered and chaotic at once, organic and orchestrated at once.
Interesting that I was thinking about the importance of extremism and exaggeration of approach and then toward the end there's a revealing stretch where the narrator talks about himself as a great artist of exaggeration.
Not as "funny" as some of the others Woodcutters or The Loser. Really great reading but as always glad to step out from under Bernhard's extinguishing shadow.
It is totally impossible for me to explain why I loved reading this, but it had an intoxicating, addictive quality and I really could not put it down.
However, I wouldn't in good conscience recommend it to my worst enemy. Looking forward to reading something else by Bernhard suggestions, Dieter?
View all 9 comments. The funny thing about Bernhard's style is that because you have no stopping points, no denouements, you consequently just sort of pop in and out of Bernhard-land.
And what a land it is! Hey, do you know what sucks? Do you know what sucks more? Especially your Mom! This kind of whinging is a more grown-up, more cultivated Holden Caulfield mentality, but fuck it, I worshipped at the altar of The funny thing about Bernhard's style is that because you have no stopping points, no denouements, you consequently just sort of pop in and out of Bernhard-land.
This kind of whinging is a more grown-up, more cultivated Holden Caulfield mentality, but fuck it, I worshipped at the altar of Catcher in the Rye when I was 14, and now I discovered this, and I think it's rad too.
View all 5 comments. But one day, I said, I'll set about recording all these things about Wolfsegg that obsess me and give me no peace The fact is, Gambetti, that I've often started work on it, only to be defeated by the first sentence The only thing I have fixed in my head is the title, Extinction , for the sole purpose of my account will be to extinguish what it describes, to extinguish everything that Wolfsegg means to me, everything that Wolfsegg is As is the way with Bernhard's novels, Extinction is a mo But one day, I said, I'll set about recording all these things about Wolfsegg that obsess me and give me no peace As is the way with Bernhard's novels, Extinction is a monologue, this one being divided into two parts and just two paragraphs across its plus pages.
That judgement is about as sound as naming a six-volume autofictional project after Mein Kampf , Karl-Ove. Our narrator-hero is Franz-Josef Murau, the second son of a landowning Austrian family, living in Rome and acting as German teacher to a younger man, Gambetti, to whom most of his recollected thoughts are addressed in the first part of the book 'The Telegram'.
The text is supposedly Murau's memoir. He is both abominable and humane. It gives nothing away to say that in the second part 'The Will' he returns home to Austria, following the death in an accident of his parents and brother announced in the telegram - remember those?
He is to assume the burden of Wolfsegg. But he has no wish to live the life of a farmer, preferring that of the mind. The resolution when it comes is a surprise.
After a fashion, Extinction is a great house novel. The house in question shares its name with the local village of Wolfsegg. And what a splendid name that is in English translation: a wolf's egg - now what would that be like?
Murau describes the property in loving detail. But this is Bernhard and so what we get mostly is coruscating social critique. In his final work, Bernhard gives a metafictional nod to his technique.
Murau tells us: I wore Gambetti down with my tirade, which I delivered in an intolerably loud voice as we walked the full length of the flaminia Indeed, Thomas.
Not only is this a great house novel, in a way it's a Gothic one to boot - ghastly deaths, grotesque characters, an austere and permanently cold manor house.
Then there are the two sisters, all but indistinguishable one from the other. I'm put in mind of Cora and Clarice in the Gormenghast trilogy.
And Murau? He's Titus and Steerpike, combined in one person. Things turn sinister with the revelation that Murau's parents gave shelter after the war to two Nazis in the children's villa on the estate.
Much of the diatribe concerns Murau's condemnation of his parents and his upbringing. Is this autobiographical?
Certainly not in the literal sense. Murau comes from a wealthy and traditional nuclear family with three siblings.
Bernhard was raised by a single mother. His disreputable father had nothing to do with him. I say 'raised' - in fact, his mother sent him to live with his grandparents and then - via a spell in Nazi Germany and forced participation in the Hitler Youth - to a series of cruel boarding schools.
Bernhard's childhood was also an unhappy one, then, and he too felt 'abandoned' by his parents. Can we read this as autobiographical allegory?
It's not just Wolfsegg that Murau wishes to destroy. When I take Wolfsegg and my family apart, when I dissect, annihilate and extinguish them, I am actually taking myself apart, dissecting, annihilating and extinguishing myself.
How much of this cantankerousness is a provocative pose? A fair amount, one assumes. Gmunden - revolting" Murau says of towns not that far distant from Wolfsegg am Hausruck.
And yet Bernhard lived in Gmunden for many years when he might easily have afforded to relocate to Rome or Lisbon as his narrator did.
Here are those revolting locations, thanks to Wikipedia, in all their hideousness: Returning to the title, there are further resonances. All three surviving siblings are childless and in their forties.
Upon their deaths, there's a very real prospect that the family line will become extinct, ending its centuries-long association with Wolfsegg.
Murau too dwells upon the imminence of his personal extinction. As it turns out, the title is most intimately tied to the resolution.
Is Extinction Bernhard's masterpiece?
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Photos Add Image Add an image Do you have any images for this title? Ernst Lemden Martina Gedeck Judith Furmann Birgit Minichmayr Read any book by Lish and you get the details returned and returned to you always in revision and always as he pontificates for the supersaturation needed to get to the cut of the thing, the insides, the meat and flesh of the object given.
Same goes went? Though aware and a mutual fan of Bernhard it is doubtful Lish learned his trade from him, for as far back as the early sixties Lish was already teaching this method and instructing his students how to read.
Extinction , as a whole, has much to do with photography and the undoing of humanity in such a brainless activity of staring at motion pictures.
Let us hope Murau got this part wrong. I happen to like photography and it has given me much to study and to write from.
And for this commission the great Bernhard must be forgiven. View all 28 comments. Holy hell, this book was everything. This was my introduction to Bernhard, and what a powerful introduction it was.
I became obsessed with his obsessive, discursive writing style, the way his sentences loop back on themselves to describe something several different ways.
You have to give yourself to it and stop expecting the usual plot or character mechanics of most conventional fiction, but once you do, it's an exhilarating ride.
View all 4 comments. His final novel, Extinction, is, put simply, Bernhard's masterpiece An astonishing output. After starting with Concrete - which astonished me I read Bernhard's novels chronologically, and would recommend anyone who wants to delve into his works, to read, in the following order: The Lime Works Correction Concrete The Loser -- about Glenn Gould -- and Extinction I found Woodcutters, Old Masters, and even Wittgenstein's Nephew to be somewhat inferior.
View all 10 comments. E in definitiva, su se stesso. Uno sfacelo, per l'appunto, come recita il sottotitolo. Lo stile di Bernhard, in questa sorta "Pur di provare sollievo non esitiamo a camminare sui cadaveri" Per quasi pagine seguiamo i pensieri di un uomo che, appena appresa la notizia della morte improvvisa dei genitori e del fratello, non fa altro che sputare veleno sulla propria famiglia - persone realmente abiette in effetti, con cui ha sempre avuto rapporti altamente conflittuali - e sulle proprie origini.
Qui sta la bravura dell'autore, in questo connubio senz'altro impressionante tra lucida consapevolezza e delirio, tra comico e tragico, maestria davanti a cui mi inchino per poi fuggire un po' spaventata.
Tutto inizia con un telegramma da cui il protagonista e narratore, Murau, apprende della morte dei genitori e del fratello. Ho sfruttato l'infanzia fino all'ultimo.
Cerchiamo dappertutto l'infanzia e dappertutto non troviamo altro che il famoso vuoto assoluto, pensai, quando entriamo in una casa in cui nell'infanzia abbiamo trascorso ore o addirittura giorni tanto felici, crediamo di guardare dentro quell'infanzia, e invece guardiamo solo dentro quel famigerato vuoto assoluto, pensai.
La morte, che apre il libro, ne scrive la conclusione. Like Correction , this one is twice as long as the average Bernhard book and therefore it does twice the damage as the average page Bernhard book, damage mitigated by the introduction of self-conscious acknowledgment about the narrator's abominable pronouncements, also direct attack on Austria's Nazi past, also two sympathetic idealized characters to counterbalance all the imbeciles and insincere simulators.
As always, there's nothing as good, no approach as viral, nothing as unbearable to re Like Correction , this one is twice as long as the average Bernhard book and therefore it does twice the damage as the average page Bernhard book, damage mitigated by the introduction of self-conscious acknowledgment about the narrator's abominable pronouncements, also direct attack on Austria's Nazi past, also two sympathetic idealized characters to counterbalance all the imbeciles and insincere simulators.
As always, there's nothing as good, no approach as viral, nothing as unbearable to read for more than page stretches -- nothing seems as ordered and chaotic at once, organic and orchestrated at once.
Interesting that I was thinking about the importance of extremism and exaggeration of approach and then toward the end there's a revealing stretch where the narrator talks about himself as a great artist of exaggeration.
Not as "funny" as some of the others Woodcutters or The Loser. Really great reading but as always glad to step out from under Bernhard's extinguishing shadow.
It is totally impossible for me to explain why I loved reading this, but it had an intoxicating, addictive quality and I really could not put it down.
However, I wouldn't in good conscience recommend it to my worst enemy. Looking forward to reading something else by Bernhard suggestions, Dieter?
View all 9 comments. The funny thing about Bernhard's style is that because you have no stopping points, no denouements, you consequently just sort of pop in and out of Bernhard-land.
And what a land it is! Hey, do you know what sucks? Do you know what sucks more? Especially your Mom! This kind of whinging is a more grown-up, more cultivated Holden Caulfield mentality, but fuck it, I worshipped at the altar of The funny thing about Bernhard's style is that because you have no stopping points, no denouements, you consequently just sort of pop in and out of Bernhard-land.
This kind of whinging is a more grown-up, more cultivated Holden Caulfield mentality, but fuck it, I worshipped at the altar of Catcher in the Rye when I was 14, and now I discovered this, and I think it's rad too.
View all 5 comments. But one day, I said, I'll set about recording all these things about Wolfsegg that obsess me and give me no peace The fact is, Gambetti, that I've often started work on it, only to be defeated by the first sentence The only thing I have fixed in my head is the title, Extinction , for the sole purpose of my account will be to extinguish what it describes, to extinguish everything that Wolfsegg means to me, everything that Wolfsegg is As is the way with Bernhard's novels, Extinction is a mo But one day, I said, I'll set about recording all these things about Wolfsegg that obsess me and give me no peace As is the way with Bernhard's novels, Extinction is a monologue, this one being divided into two parts and just two paragraphs across its plus pages.
That judgement is about as sound as naming a six-volume autofictional project after Mein Kampf , Karl-Ove. Our narrator-hero is Franz-Josef Murau, the second son of a landowning Austrian family, living in Rome and acting as German teacher to a younger man, Gambetti, to whom most of his recollected thoughts are addressed in the first part of the book 'The Telegram'.
The text is supposedly Murau's memoir. He is both abominable and humane. It gives nothing away to say that in the second part 'The Will' he returns home to Austria, following the death in an accident of his parents and brother announced in the telegram - remember those?
He is to assume the burden of Wolfsegg. But he has no wish to live the life of a farmer, preferring that of the mind. The resolution when it comes is a surprise.
After a fashion, Extinction is a great house novel. The house in question shares its name with the local village of Wolfsegg.
And what a splendid name that is in English translation: a wolf's egg - now what would that be like? Murau describes the property in loving detail.
But this is Bernhard and so what we get mostly is coruscating social critique. In his final work, Bernhard gives a metafictional nod to his technique.
Murau tells us: I wore Gambetti down with my tirade, which I delivered in an intolerably loud voice as we walked the full length of the flaminia Indeed, Thomas.
Not only is this a great house novel, in a way it's a Gothic one to boot - ghastly deaths, grotesque characters, an austere and permanently cold manor house.
Then there are the two sisters, all but indistinguishable one from the other. I'm put in mind of Cora and Clarice in the Gormenghast trilogy.
And Murau? He's Titus and Steerpike, combined in one person. Things turn sinister with the revelation that Murau's parents gave shelter after the war to two Nazis in the children's villa on the estate.
Much of the diatribe concerns Murau's condemnation of his parents and his upbringing. Is this autobiographical?
Certainly not in the literal sense. Murau comes from a wealthy and traditional nuclear family with three siblings.
Bernhard was raised by a single mother. His disreputable father had nothing to do with him. I say 'raised' - in fact, his mother sent him to live with his grandparents and then - via a spell in Nazi Germany and forced participation in the Hitler Youth - to a series of cruel boarding schools.
Bernhard's childhood was also an unhappy one, then, and he too felt 'abandoned' by his parents. Can we read this as autobiographical allegory?
It's not just Wolfsegg that Murau wishes to destroy. When I take Wolfsegg and my family apart, when I dissect, annihilate and extinguish them, I am actually taking myself apart, dissecting, annihilating and extinguishing myself.
How much of this cantankerousness is a provocative pose? A fair amount, one assumes. Gmunden - revolting" Murau says of towns not that far distant from Wolfsegg am Hausruck.
And yet Bernhard lived in Gmunden for many years when he might easily have afforded to relocate to Rome or Lisbon as his narrator did.
Here are those revolting locations, thanks to Wikipedia, in all their hideousness: Returning to the title, there are further resonances.
All three surviving siblings are childless and in their forties. Upon their deaths, there's a very real prospect that the family line will become extinct, ending its centuries-long association with Wolfsegg.
Murau too dwells upon the imminence of his personal extinction. As it turns out, the title is most intimately tied to the resolution. Is Extinction Bernhard's masterpiece?
I suspect it might be. View 1 comment. Millions are tyrannized by three-ring binders and never escape their tyranny, I thought. For the last century the whole of Europe has let itself be tyrannized by three-ring binders, and the tyranny is increasingly oppressive Goodreads certainly does not need another review of a Thomas Bernhard novel.
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