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Frost by Thomas Bernhard — book cover

Frost

by Thomas Bernhard, Michael Hofmann
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Overview

Thomas Bernhard combined a searing wit and an unwavering gaze into the human condition. His debut novel, Frost, marked the beginning of one of the century’s most provocative literary careers.

Visceral, raw, singular, and unforgettable, Frost is the story of a friendship between a young man beginning his medical career and a painter in his final days. The youth has accepted an unusual assignment, to travel to a miserable mining town in the middle of nowhere in order to clinically—and secretly—observe and report on his mentor’s reclusive brother, the painter Strauch. Carefully disguising himself as a law student with a love of Henry James, he befriends the aging artist and attempts to carry out his mission, only to find himself caught up in his subject’s apparent madness.

Synopsis

Thomas Bernhard combined a searing wit and an unwavering gaze into the human condition. His debut novel, Frost, marked the beginning of one of the century’s most provocative literary careers.

Visceral, raw, singular, and unforgettable, Frost is the story of a friendship between a young man beginning his medical career and a painter in his final days. The youth has accepted an unusual assignment, to travel to a miserable mining town in the middle of nowhere in order to clinically—and secretly—observe and report on his mentor’s reclusive brother, the painter Strauch. Carefully disguising himself as a law student with a love of Henry James, he befriends the aging artist and attempts to carry out his mission, only to find himself caught up in his subject’s apparent madness.

Publishers Weekly

A student's increasingly erratic dispatches over 27 days comprise this obsessive first novel by Bernhard (1931-1989), published to European acclaim in 1963. An unnamed medical student is sent from Vienna by his supervisor, an eminent surgeon named Strauch, to undertake "precise observation" of the surgeon's brother, a famous painter who has suddenly left the city for the "dismal" village of Weng. After "systematically inveigling" himself into the company of the painter under the pretense of being a vacationing law student, the student slowly feels his own mood and mental attitudes being subsumed by the painter's paranoid outbursts and disjointed monologues. Weng itself, located in a grim valley still bearing the grisly traces of WWII, is a hotbed of murky scandal: the landlady sleeps with the village knacker (handyman), while her husband, against whom she testified in a murder trial, sits in jail; a traveling show appears in the village displaying "deformed women and deformed animals"; a barn is torched. All are dutifully reported by the disintegrating student. Bernhard's glorious talent for bleak existential monologues is second only to Beckett's, and seems to have sprung up fully mature in his mesmerizing debut. (Oct. 19) Copyright 2006 Reed Business Information.

About the Author, Thomas Bernhard

Thomas Bernhard was born in Holland in 1931 and grew up in Austria. His interest in music and theater led him to study at the Akademie Mozarteum in Salzburg. He published nine novels, an autobiography, one volume of poetry, four collections of short stories, and six volumes of plays. He died in Austria in 1989.

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Editorials

Publishers Weekly

A student's increasingly erratic dispatches over 27 days comprise this obsessive first novel by Bernhard (1931-1989), published to European acclaim in 1963. An unnamed medical student is sent from Vienna by his supervisor, an eminent surgeon named Strauch, to undertake "precise observation" of the surgeon's brother, a famous painter who has suddenly left the city for the "dismal" village of Weng. After "systematically inveigling" himself into the company of the painter under the pretense of being a vacationing law student, the student slowly feels his own mood and mental attitudes being subsumed by the painter's paranoid outbursts and disjointed monologues. Weng itself, located in a grim valley still bearing the grisly traces of WWII, is a hotbed of murky scandal: the landlady sleeps with the village knacker (handyman), while her husband, against whom she testified in a murder trial, sits in jail; a traveling show appears in the village displaying "deformed women and deformed animals"; a barn is torched. All are dutifully reported by the disintegrating student. Bernhard's glorious talent for bleak existential monologues is second only to Beckett's, and seems to have sprung up fully mature in his mesmerizing debut. (Oct. 19) Copyright 2006 Reed Business Information.

Library Journal

What with blogs, cable news, and talk radio, the rant as a mode of rhetoric might seem to be in full flower, but it was the late Bernhard (Concrete: The Loser) who raised the rant to an art form. As a publishing event, the long-overdue English translation of Bernhard's 1963 debut novel is both illuminating and disappointing. Concerning a young medical student sent to rural Austria to observe a troubled painter, the narrative is anemic, which is typical of Bernhard, whose main concern was the expression of the anguished states of despair, disease, and disgust. Frost presents his distinctive voice, with many brilliant passages, but with its unrefined style, it comes off as spiritually one-sided, even shrill, and far too long and repetitive. Arriving now, this work's greatest value is in what it reveals about the evolution of a major artist. This is the literary enterprise in extremis, inviting appreciation and exasperation from readers in equal measure. A worthy purchase for libraries with large literary fiction collections. [See Prepub Alert, LJ 6/1/06.] Stephen Sposato, Chicago P.L. Copyright 2006 Reed Business Information.

Kirkus Reviews

The late, brilliant Austrian writer's first (1963) novel, previously untranslated, is a characteristic excoriation of all things great and small and the tragicomedy of existence. Bernhard (1931-89) is an anti-Whitman who celebrates and sings the omnipresence of non-meaning, an anti-Blake who sees the universe in every grain of sand that irritates the eye and obscures the vision. The perfect setting for his maiden voyage into nihilism is Weng, a remote mining village-to which his unnamed narrator, a young medical student, is sent by his surgical professor and mentor: his mission-to observe, study and report on the latter's brother (Strauch), a reclusive painter who is lodging in a rundown inn (where the narrator also boards) operated by a venal Falstaffian landlady whose violent husband languishes in prison. The narrator forms conversational relationships with assorted villagers (a surly policeman who was once a medical student, an engineer who laments the despoiling of nature by man-made constructions, the "knacker," or tradesman, who fulfills the landlady's lust and supplies materials for her appalling cuisine). But he's really a sounding board for fulmination incessantly voiced by the misanthropic, despair-ridden Strauch, who holds forth at inordinate (and often hilarious) length on such topics as his miserable childhood, inadequate education, unhappy personal relationships, artistic failures and intuitive conviction that the world is doomed, in every imaginable way (e.g., "The most beautiful flowers are cut first"). Images of darkness and cold predominate in a region where miners are perpetually endangered, relentless frost impedes construction of a vitally necessary bridge and deathand dissolution seize every opportunity to work their will ("Tomorrow is the funeral of the woodcutter who was run over by his own sleigh"). The book is indeed redundant, but the unity and coherence of its mordant vision are, as in all Bernhard's later, superior works, perversely exhilarating. Great stuff, but it won't make you feel good.

Book Details

Published
January 1, 2008
Publisher
Knopf Doubleday Publishing Group
Pages
352
Format
Paperback
ISBN
9781400033515

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