El Malogrado – Thomas Bernhard. Cargado por Diego . Thomas L. Friedman. The Hard Thing About Hard Things: Not Ourselves: A Novel. Matthew Thomas. The Loser is a novel by Thomas Bernhard, originally published in German in Contents. 1 Plot introduction; 2 Plot summary; 3 Allusions to actual events. Thomas Bernhard was one of the most original writers of the twentieth century. .. Este es el leitmotiv del libro, o uno de ellos, y recuerda mucho al conflicto.
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Refresh and try again. Open Preview See a Problem? Thanks for telling us about the problem. Return to Book Page. Preview — The Loser by Thomas Bernhard. The Loser by Thomas Bernhard. Thomas Bernhard was one of the most original writers of the twentieth century. His formal innovation ranks with Beckett and Kafka, his outrageously cantankerous voice recalls Dostoevsky, but his gift for lacerating, bdrnhard, provocative prose is incomparably his own. One of Bernhard’s most acclaimed novels, The Loser centers on a fictional relationship between piano tho,as Thomas Bernhard was one of the most original writers of the twentieth century.
One of Bernhard’s most acclaimed novels, The Loser centers on a fictional relationship between piano virtuoso Glenn Gould and two of his fellow students who feel compelled to renounce their musical ambitions in the face of Gould’s incomparable genius.
One commits suicide, while the other—the obsessive, witty, and self-mocking narrator—has retreated into obscurity. Written as a monologue in one remarkable unbroken paragraph, The Loser is a brilliant meditation on success, failure, genius, and fame. Paperbackpages. Published October 17th by Vintage first published WertheimerGlenn Gould.
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I’ve read The Frost in the high school. I just took it from the library, didn’t bernhare what I was getting into. I was changed forever. The profound effect that I’ve realized only later. Pir wow, in high school! See 2 questions mqlogrado The Loser…. Lists with This Book. View all 29 comments. In most bernahrd his fictions—including this novella—the Austrian Thomas Bernhard insults everything Austrian.
In fact, Bernhard declared in his will that every one of his literary works in perpetuity must not be printed or presented within the state of Austria, or within the geographical boundaries of the present state of Austria, whatever that area may in the future be called. Yet he never made an attempt to emigrate; he ebrnhard in Austria all tthomas life. Bernhard was a man of contradictions, and his wor In most of his fictions—including this novella—the Austrian Thomas Bernhard insults everything Austrian.
Bernhard was a man of contradictions, and his works– The Loser malogravo, for instance—are full of contradictions too. They are filled with solitary characters who spew forth spleen and invective, loathing the seediness of everyday life, and yet these solitaries are often bound together by some ideal which points beyond pettiness, some absolute which both inspires and degrades them.
In Losers that ideal is music. What plot there is, is simple. There, one day, standing just outside a practice room, they heard Glenn Gould playing the Goldberg Variations. Although the three become friends, the narrator and Wertheimer both knew perfection when they heard it, and from that moment their ambition to tbomas serious piano began to die.
Before the monologue that bernhatd The Loser begins, the narrator has learned that Wertheimer has committed suicide, and he begins to examine—in obsessive detail—the friendship of these three men: If you like the bleak humor of Beckett’s novels or the rants of the later Ligotti My Work is Not Yet Done comes to mind you will probably like this novella.
But Bernhard brings a wealth of ironies all his own. I’ll end with the novella’s first anti-Austrian rant, this one specifically about Salzburg: Salzburg, which at bottom is the sworn enemy of all art and culture, a cretinous provincial dump with stupid people and cold walls where everything without exception is eventually made cretinous The town of Salzburg, which today is freshly painted in even its darkest corners and is even more disgusting than it was twenty-eight years ago was and is antagonistic to everything of value in a human being, and in time destroys it The people of Salzburg have always been dreadful, like their climate, and when I enter the town today not only is my judgment confirmed, maloggrado is even more dreadful Glenn was charmed by the magic of this town for three days, then he saw that its magic, as they like to call it, was rotten, that basically its beauty is disgusting and that the people living in this disgusting beauty are vulgar.
The climate of the lower Alps makes for emotionally disturbed people who fall victim to cretinism ,alogrado a very early age and who in time become malevolentI said. View all 3 comments. Jan 19, William2 rated it really liked it Shelves: Well, here we are again in the land of obsessive compulsive disorder, suicidal rage and death panic.
It’s like Bernhard has one channel and one channel only: How did Richard Hugo put it: Thomxs Well, malogrdo we are again in the land of obsessive compulsive disorder, suicidal rage and death panic.
No culture, usually Austrian, can have a single redemptive aspect in its favor. I love to hike. Might take mlogrado a movie later. If we do hear about it, it’s acidly deprecated.
Death is inevitable; birth was never asked for. One is simply hurled into the “existence machine” by one’s parents, probably drunk at the time.
How dare they subject one to life and death! They should be put up against a wall and shot! Bdrnhard there’s humor in Bernhard, it’s of the gallows variety.
Whistling in the graveyard. Bernhard’s novels are voice novels, not surprising for a playwright, his other literary stronghold. They are almost entirely interior monologues with little or no description. Almost always one ranting narrator, pent up, unloads as if from a stage. This can be entertaining, but the cumulative effect is gloom. You can’t get intimate with Bernhard as you would, say, with Styron. That’s how consuming his negativity is.
Like a horrific spectacle from which one cannot avert one’s eyes.
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Bernhard may be a complete original, I’m not sure, but take heed. His art is dark, blackened by madness, numbing like opium. View all 5 comments. Oct 03, Michael rated it it was malografo. Bernhard is amazing, and this book perfectly captures his obsession with obsession.
His narrator is a music student who realizes he’s a failure when he, Glenn Gould, and another pianist study together, and nobody benhard hold a candle to Gould, the supreme genius. It’s told in Bernhard’s inimitable style, as one long rambling looping paragraph that takes ideas and beholds them from several angles, all the while maintaining a relentless energy that just takes my breath away.
malogrzdo View all 17 comments. Sep 29, Steven Godin rated it really liked it Shelves: Did Thomas Bernhard ever get to say a good word about anyone?
He could have been pulled from a car begnhard by a fellow Austrian, only to turn to the hero in question and with resentment become oppressive. Regardless, I just love reading him, the structure of his work is different to say the least, one long paragraph, repeated sentences, treating his characters as rhomas morans who do nothing but complain.
I take my hat of to him, he makes me laugh and wince at the same time!. The more I read of Did Thomas Bernhard ever get to say a good word about anyone? The more I read of him, the more I want to read of him.
The Loser by Thomas Bernhard
I would have gladly bought him a beer, benrhard still would have felt a bit on edge in his company whilst at the table. The Loser goes about in a humorous and absurd way of exploring the universal experience of encountering someone better than you in an activity that, prior to the encounter, you felt you were sitting at the head of the table as top dog.
Some people walk away from such an experience somewhat chastened and then chalk it up as a normal part of life to simply brush under the carpet with the dust, dead spiders, and crumbs of food. In other words, they move on, forget it.
We have three aspiring concert pianists-Glenn Gould drawn from real lifean Austrian pianist named Wertheimer the notional protagonist and the unnamed narrator-who become friends in in Salzburg while studying piano with the great Horowitz.
Wertheimer and the bernhadr have dedicated their lives to becoming piano virtuosos, but one day they chance to overhear Gould playing Bach’s Goldberg Variations and his genius destroys them. Gould gracelessly adds insult to injury by calling Benhard a loser, thus Wertheimer is the loser of the novel’s title. It’s difficult to feel sympathetic with anyone, but that’s the Bernhard way, you either love it, or you don’t. Above all he is ironic, and the reader can never be sure whether Bernhard means what he says or is larking around with us.
His central characters generally malogradk themselves, digress, fall into hyperbolic rants, obsess, trapped, as it were, in a logorrheic paralysis. For anyone looking for plot, forget it, in a ways nothing really happens for over a hundred pages, Bernhard emphasizes the narrator’s act of thinking and not acting, it’s all about the mind and not the physicalities.
It’s important to recognize that Bernhard’s texts are dense with a kind of rhetorical elaboration, that it is possible to analyze much of the text as a regurgitated string quartet playing away in such a way that a certain amount of material is made to vibrate and echo from sentence to sentence and page to page making one feel queasy.
The novel is fueled by a peculiar intensity, and his unique prose style infused with a venomous extreme bitterness is something that simply seeps into one’s consciousness with no intention of leaving any time soon. My second Bernhard in a couple of weeks.