"Grand, imposing, awe-inspiring."
--"Los Angeles Times"
"Strangely gripping. . . . A highly original kind of writing that resembles musical patterns of theme, variations and recapitulation. . . . A fine and compelling prose accomplishment."
--"The Washington Times"
"With a breathtaking sustained intensity . . . Bernhard assaults through the voice of Murau the modern world, as exemplified by his birthplace, Austria."
--"Chicago Tribune"
"The particular fineness of "Extinction" lies in its depiction of a consciousness in action: Murau, it turns out, can be weak, admirable, reprehensible or mean-spirited, but his mind, as depicted on the page, seems absolutely true to life."
--"Washington Post Book World"
"Not every raving maniac is a genius. Many are called but few are chosen. It's a pretty exclusive club, but Bernhard made it. . . . Like Swift, Bernhard writes like a sacred monster. . . . He is a remarkable literary performer: a man who goes to extremes in ways that vivify our sense of human possibilities, however destructive."
--"The Wall Street Journal"
Grand, imposing, awe-inspiring.
Los Angeles Times Strangely gripping. . . . A highly original kind of writing that resembles musical patterns of theme, variations and recapitulation. . . . A fine and compelling prose accomplishment.
The Washington Times With a breathtaking sustained intensity . . . Bernhard assaults through the voice of Murau the modern world, as exemplified by his birthplace, Austria.
Chicago Tribune The particular fineness of
Extinction lies in its depiction of a consciousness in action: Murau, it turns out, can be weak, admirable, reprehensible or mean-spirited, but his mind, as depicted on the page, seems absolutely true to life.
Washington Post Book World Not every raving maniac is a genius. Many are called but few are chosen. It s a pretty exclusive club, but Bernhard made it. . . . Like Swift, Bernhard writes like a sacred monster. . . .He is a remarkable literary performer: a man who goes to extremes in ways that vivify our sense of human possibilities, however destructive.
The Wall Street Journal"
"Grand, imposing, awe-inspiring."
--
Los Angeles Times "Strangely gripping. . . . A highly original kind of writing that resembles musical patterns of theme, variations and recapitulation. . . . A fine and compelling prose accomplishment."
--
The Washington Times "With a breathtaking sustained intensity . . . Bernhard assaults through the voice of Murau the modern world, as exemplified by his birthplace, Austria."
--
Chicago Tribune "The particular fineness of
Extinction lies in its depiction of a consciousness in action: Murau, it turns out, can be weak, admirable, reprehensible or mean-spirited, but his mind, as depicted on the page, seems absolutely true to life."
--
Washington Post Book World "Not every raving maniac is a genius. Many are called but few are chosen. It's a pretty exclusive club, but Bernhard made it. . . . Like Swift, Bernhard writes like a sacred monster. . . . He is a remarkable literary performer: a man who goes to extremes in ways that vivify our sense of human possibilities, however destructive."
--
The Wall Street Journal
Thomas Bernhard was born in 1931 and grew up in Salzburg and in Vienna, where he studied music. In 1957 he began a second career as a playwright, poet, and novelist. A winner of the three most distinguished and coveted literary prizes awarded in Germany, he is one of the most widely translated and admired writers of his generation. His works already published in English include the novels Gargoyles, Tire Lime Works, Correction, Concrete, Woodcutters, Wittgenstein's Nephew, and The Loser, and a memoir, Gathering Evidence. A number of his plays have been produced off-Broadway and at the Tyrone Guthrie Theatre in Minneapolis, and at theaters in London and throughout Europe. Thomas Bernhard died in 1989.
For his translations of works by Thomas Bernhard, David McLintock was awarded an Austrian state prize in 1986, and i