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Korrigering (1975)

av Thomas Bernhard

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
692923,677 (4.25)42
"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… (mer)
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Visa 1-5 av 9 (nästa | visa alla)
While reading it, this impressed me less than Bernhard's other larger novels, but it seems to have stuck with me. ( )
  stillatim | Oct 23, 2020 |
Addictive, relentless, obsessional writing
Correction is a strange book, at times bewildering, but overall enthralling, in particular the dense style, which I found addictive.
An unnamed narrator arrives at a friend's house - an unusual house situated on the banks of a fast-flowing river - where another friend, Rothaimer, stayed before he committed suicide in the nearby forest. The story is basically about the unnamed narrator's attempt to fully understand what drove Rothaimer to lose his mind and take his own life. He does this by going through Rothaimer's deranged writings.
On the backcover someone describes Bernhard's writing as a "strange new beauty", and I have to agree. The prose is relentless: there are only two paragraphs! It is somewhat deranged: for the most part it's a rambling monologue concerned with the construction of a Cone in the middle of a forest. It's obsessional, with repetition being a marked feature.
Overall I found Correction a challenging work that is both compelling and dizzying. The main themes of the novel are the nature of genius, the worth of creativity, and the slow-death of life. Unique. ( )
  BlackGlove | Jan 20, 2018 |
A hypnotic overlapping of an unhinged genius and a suspiciously similarly unhinged narrator until their boundaries blur together and perfection through annihilation is sought. ( )
1 rösta xicohtli | Jul 20, 2016 |
Read the mad Austrian … if you dare is oft said by readers for it takes only the sane and those of perseverance to read a book of 271 pages of typeface with only two paragraphs and run on sentences lasting half a page. As Nietzsche said, “ when you gaze long into an abyss the abyss also gazes into you” for when you read Roithamer too closely, you begin to experience Roithamer, then you begin to feel like Roithamer, then you lose yourself in Roithamer, and then Roithamer takes over. Roithamer, a friend of the narrator, commits suicide in Austria, and the narrator plans to stay a few weeks in Hoeller’s garret where Roithamer lived. The narrator becomes immersed in Roithamer’s writings, a litany of diatribes on family, community, education, buildings, anything and everything viewed through an obsessive compulsive disorder. Near the end it becomes obvious the narrator is so consumed by Roithamer he’ll never leave the garret. ( )
  ShelleyAlberta | Jun 4, 2016 |
The suicide of Roithamer, the protagonist of Thomas Bernhard’s Correction, prompts his unnamed friend, literary executor, and our unnamed narrator, to undertake a review of and possible future publication of Roithamer’s important final work, “About Altensam and everything connected with Altensam, with special attention to the Cone.” It is a work that Roithamer was correcting until the day he died, most frequently in the garret of his friend, Hoeller, a room that he used often during the planning and construction of a conal habitation for his, Roithamer’s, beloved sister. The narrator is tasked with exhuming Roithamer’s various writings and influence and sets about his work in the very garret that Roithamer himself used so assiduously. The novel, then, divides into two sections, the first being the narrator’s attempts to come to grips with Roithamer’s literary legacy, and the second being a concerted presentation (corrected?) of Roithamer’s final and definitive work. Of course Roithamer has already undertaken the ultimate existential correction by erasing himself. But his action is not singular. Rather, according to Roithamer, it is the ever present choice before all those especially in his home country of Austria. Indeed he has already lost three uncles and a cousin to suicide and it is suggested that a statistically high number of others in the vicinity have followed suit. With his increasing agitation at the enormity of his task, it seems all too likely that our narrator may join Roithamer in his choice. However, that action is set beyond the limits of the novel. We are left, primarily, with Roithamer’s deteriorating mental state and his screeching opposition to his family, especially his mother, and ultimately himself.

Reading Correction is exhausting. Other than the division into two halves, the work contains no paragraph breaks, and the convoluted iterations within a sentence can easily stretch a single sentence beyond the length of a page. The mere level of concentration involved in reading such a work is daunting. I often wondered, instead, what it might be like to hear it read aloud in one continuous stream.

Clearly Bernhard’s methodology is particular, but is there more available here than method? That, I don’t know. Even if I can imagine why someone might embark on writing in such a manner, I find it hard to imagine what readers the author could have thought he might attract. And yet this is undoubtedly a modernist masterpiece of its kind, and it certainly has spurred imitators though few could hope to reach Bernhard’s level of self-loathing. Certainly worth reading in order to see why Bernhard is revered in some circles, but very hard to love. ( )
2 rösta RandyMetcalfe | Sep 17, 2015 |
Visa 1-5 av 9 (nästa | visa alla)
The impossibility of crossing the barrier between self and other is one of Bernhard's obsessions. The narrator who resuscitates the dead Roithamer through the study of his writings does so at the cost of his own subjectivity: he becomes Roithamer's double.

Correction is Bernhard's most profound book, but its repetitive misogyny seriously undermines its power: "The female sex is incapable of going beyond the first impulse in the direction of the life of the mind," is a characteristic Roithamer remark, and it is said of Roithamer's nephew's suicide that "six months after they noticed he was gone, his young wife hadn't missed him until then."
tillagd av SnootyBaronet | ändraThe New York Review of Books, Robert Craft
 
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"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

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