Malina (German Edition)

Malina (German Edition)

by Ingeborg Bachmann

Paperback(German-language Edition)



Now a New Directions book, the legendary novel that is “equal to the best of Virginia Woolf and Samuel Beckett” (New York Times Book Review)

InMalina,originally published in German in 1971, Ingeborg Bachmann invites the reader into a world stretched to the very limits of language. An unnamed narrator, a writer in Vienna, is torn between two men: viewed, through the tilting prism of obsession, she travels further into her own madness, anxiety, and genius.Malinaexplores love, "deathstyles," the roots of fascism, and passion.

Product Details

ISBN-13: 9783518371411
Publisher: Suhrkamp Verlag
Publication date: 02/29/2000
Edition description: German-language Edition
Pages: 353
Product dimensions: 6.00(w) x 1.25(h) x 9.00(d)

About the Author

(1926–1973) is widely regarded as one of the greatest
German-language writers of the twentieth century. Her poems, plays, stories, and only finished novel, Malina, have been championed by Paul Celan, Hannah Arendt, Günter
Grass, Peter Handke, Thomas Bernhard, Christa Wolf, and Elfriede Jelinek.

Philip Boehm is an American playwright, theater director, and the translator of numerous books, including Ingeborg Bachmann's Malina (forthcoming from New Directions).

Rachel Kushner is the bestselling author of The Flamethrowers, Telex from
Cuba, and The Mars Room.

Customer Reviews

Malina 4 out of 5 based on 0 ratings. 1 reviews.
thorold on LibraryThing More than 1 year ago
"You've written Mahler's 11th," Hans Werner Henze is said to have told Bachmann after reading Malina. Musical analogies to literature are a bit of a cop-out, but I can see his point. Three big, chunky movements, disparate in style and cultural reference, give the novel a rather Mahlerian structure, and the feeling I got at the end of the book is much like the end of a Mahler concert: you've been on an arduous, emotionally-demanding journey, but you're not at all sure afterwards where that journey has taken you. Bachmann makes explicit use of musical metaphor too, especially in the last section where she throws in strings of arbitrary tempo markings to confuse the reader (Più mosso, furioso, etc.). Mahler or not, the reason for reading Malina is that it's the iconic feminist document from the end of the "Gruppe 47" period. The message, linking patriarchal power to the problems of Austro-German history, is pretty clear, especially in the second movement (called "Der dritte Mann", so we should presumably imagine a zither on the soundtrack...) where Bachmann presents a series of dream-sequences in which her narrator's abusive father prevents her from speaking and symbolically enacts the evils of the Nazi era (breaking glass, destroying books, sending the narrator away with a suitcase, dropping bombs, going to Russia, etc.).Not a fun read, by any means. Bachmann's circling, allusive type of non-narrative text is obviously a reaction to the thundering, argumentative style of some of her male contemporaries, but it sometimes feels more 1920s than 1970s. She doesn't seem to be very interested in the sounds and rhythms of words: it's all about meaning and the difficulty of saying anything at all. When it works it works brilliantly, but there are passages where it just felt annoyingly obscure — Virginia Woolf without the cool elegance, or Stevie Smith without the sense of humour, perhaps.