So Bernhard

Thomas Bernhard: Correction

CorrectionObsessive and repetitive as could be. In this work of art, the structure is very reminiscent of The Loser. With Bernhard, it always seems to be related to the suicide of a friend who is a genius. This time, it is not a musician but a man of science who has dedicated his life and last bit of sanity to the writing of a book on his very much hated hometown, Antelsam, and the construction of a cone in the forest… for his beloved sister. The narrator who is a close friend of this man called Roithamer is left to look into the works and papers of a genius after his suicide, and after doing so, is left in awe. Taking on this morbid task means delving into the psyche of Roithamer and understanding the artistic legacy he left behind. Again, in the form of a long monologue, Bernhard injects ideas relentlessly, the structure of his book being the key to its meaning. Ideas and words that keep going in circles, endlessly, til they reach the climax, the vertex of the cone. And this is how Roithamer carried his mad work of building this edifice in the middle of the nature, an idea that never occurred to any “architect” in the past: compulsively, in a transcendent way, paying no attention to criticism. Also in Roithamer’s account of the hometown where he grew up suffering from a society that tied him down and a mother that smothered him, he keeps correcting the text again and again til it makes sense. This correction, which can only be a metaphor of the way Roithamer visualizes his own life, is a gradual and non-stop process that means destroying the subject til it reaches its meaning: complete nothingness. Correction or death by perfection.


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