Nomination form International Memory of the World Register The Estate of Ingeborg Bachmann ID Code [Internal use only] 1.0 Summary (max 200 words)

Ingeborg Bachmann (1926–1973) is considered one of the most distinguished writers working in the German language in the second half of the twentieth century who became the ‘voice of a generation’ that had grown up amidst the horrors of the NS era. Later political crisis as the Korean War or the Vietnam War also had great influence on her writing and biography. She had devoted herself to both the countless variations of violence against women as the main theme of her work and the lasting traumata of the Holocaust. Bachmann’s impact far beyond the German-speaking area is attested to by translations into about 30 languages. This internationality is also echoed in her personal biography: apart from shorter stays in Paris and Zurich, the author lived in Berlin and Rome for many years. As a translator of Giuseppe Ungaretti and Thomas Wolfe, she contributed to cultural transfer and additionally delivered decisive impulses for the rediscovery of the philosopher Ludwig Wittgenstein. Ingeborg Bachmann became an icon for feminist literature studies whose significance can be compared to that of Virginia Woolf in the Anglophone area. Beyond her death, the author’s name is associated with modern and contemporary literature through one of the major and most prestigious literary competition in the German-speaking world, the ‘Tage der deutschsprachigen Literatur’ [Festival of German-Language Literature] in Klagenfurt, which awards the Bachmann Prize. The estate of Ingeborg Bachmann, which has been preserved almost in its entirety, comprises her complete literary oeuvre and an extremely extensive correspondence with numerous writers, philosophers, composers, intellectuals, etc., as well as documents related to her life and a number of collectibles. This estate provides important insights into artistic and intellectual networks, from the period immediately after World War II until the early 1970s. Moreover, it represents an important source for the self-assertion of a female intellectual and artist in an art scene and society dominated by men. She thus became a seminal figure for a generation of women writers, including Elfriede Jelinek, the Austrian Nobel laureate for literature.

2.0 Nominator 2.1 Name of nominator (person or organization) Österreichische Nationalbibliothek [Austrian National Library] Josefsplatz 1 A-1015 Vienna Director General: Dr. Johanna Rachinger 2.2 Relationship to the nominated documentary heritage Owner 2.3 Contact person(s) (to provide information on nomination) Priv.-Doz. Dr. Bernhard Fetz, Director of the Literary Archives of the Austrian National Library

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2.4 Contact details Name Literaturarchiv der Österreichischen Nationalbilbiothek

Address Josefsplatz 1 A-1015 Vienna Austria

Telephone + 43 1 534 10 344

Facsimile + 43 1 534 10 340

3.0

E-mail [email protected]

Identity and description of the documentary heritage

3.1 Name and identification details of the items being nominated If inscribed, the exact title and institution(s) to appear on the certificate should be given

LIT 423/14 Estate of Ingeborg Bachmann Classification System 1 Works 1.1. Poetry (1942 until 1967) 1.1.1 Die gestundete Zeit [Borrow ed Time] 1.1.2 Anrufung des Großen Bären [Invocation of the Great Bear] 1.1.3 Last unpublished poetry 1.1.4 Ich w eiß keine bessere Welt [I Know of No Better World]. Poems from the literary estate 1.2 Stories (1944 until 1972) 1.2.1 Das dreißigste Jahr [The Thirtieth Year] 1.2.2 Simultan [Simultan/Three Paths to the Lake] 1.3 Novels (1947 until 1973) 1.3.1 Malina [Malina] 1.3.2 Der Fall Franza [The Book of Franza] 1.3.3 Requiem für Fanny Goldmann [Requiem for Fanny Goldmann] 1.3.4 The “Goldmann/Rottw itz” novel 1.3.5 Fragments from the cycle “Todesarten” [“Ways of Dying”] 1.4 Works for radio broadcasting (1952 until 1958) 1.4.1 Radio plays 1.4.1.1 Ein Geschäft mit Träumen [A Business w ith Dreams] 1.4.1.2 Die Zikaden [The Cicadas] 1.4.1.3 Der gute Gott von Manhattan [The Good God of Manhattan] 1.4.2 Radio essays 1.4.2.1 Der Mann ohne Eigenschaften [The Man Without Qualities] 1.4.2.2 Sagbares und Unsagbares – Die Philosophie Ludw ig Wittgensteins 1.4.2.3 Das Unglück und die Gottesliebe – Der Weg Simone Weils 1.4.2.4 Die Welt Marcel Prousts – Einblicke in ein Pandämonium 1.5 Librettos (1958 until 1967) 1.5.1 Der Prinz von Homburg [The Prince of Homburg] 1.5.2 Der junge Lord [The Young Lord] 1.5.3 Intermediary texts for the concert performance of “Der Freischütz” 1.6 Translations (1952 until 1961) 1.6.1 Thomas Wolfe: Das Herrschaftshaus [Mannerhouse] 1.6.2 Giuseppe Ungaretti: Gedichte [poetry] 1.7 Essays (1953 until 1964) 1.7.1 Ludw ig Wittgenstein – Zu einem Kapitel der jüngsten Philosophiegeschichte 1.7.2 Ins tausendjährige Reich 1.7.3 Was ich in Rom sah und hörte [What I Saw and Heard in Rome] 1.7.4 Die blinden Passagiere [The Stow aways]

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1.7.5 Die w underliche Musik [Wondrous Music] 1.7.6 Musik und Dichtung [Music and Literature] 1.7.7 Tagebuch [Diary] 1.8 Frankfurter Vorlesungen: Probleme zeitgenössischer Dichtung [Frankfurt Lectures: Problems of Contemporary Writing] (1959/1960) 1.9 Speeches (1959 until 1972) 1.9.1 Die Wahrheit ist dem Menschen zumutbar [People Can Be Expected to Know the Truth] 1.9.2 Ein Ort für Zufälle 1.9.3 Speech on the occasion of the aw ard of the Anton Wildgans Prize 1.10 Works for new spapers (1954 until 1955) 1.10.1 Römische Reportagen 1.11 Student projects (1945 until 1949) 1.11.1 Seminar papers 1.11.2 Dissertation: Die kritische Aufnahme der Existentialphilosophie Martin Heideggers 1.12 Diaries (early 1940s) 1.13 Miscellaneous w riting (1952 until 1969) 1.14 Notes (1947 until 1973) 2 Correspondences (1945 until 1973) 2.1 Correspondence to Ingeborg Bachmann 2.2 Correspondence from Ingeborg Bachmann 2.3 Correspondence from third persons to others 3 Life documents (1949 until 1972) 4 Collections (1948 until 1973)

3.4 History/provenance

After the author’s death, large parts of the estate were in her last apartment in Rome. Further – smaller – parts, relating primarily to her early work, were preserved in the house of her parents in Klagenfurt. The heirs brought together the individual parts of the estate and presented them to the Austrian National Library in 1975 as a gift. Today the estate is preserved in the Literary Archives of the Austrian National Library.

3.5 Bibliography

Publications from the estate (by year of appearance): Ingeborg Bachmann: Werke [in four volumes]. Ed. by Christine Koschel, Inge von Weidenbaum and Clemens Münster. Munich, Zurich: Piper 1978. Ingeborg Bachmann: Wir müssen wahre Sätze finden. Gespräche und Interviews. Ed. by Christine Koschel and Inge von Wiedenbaum. Munich, Zurich: Piper 1983. Ingeborg Bachmann: Die kritische Aufnahme der Existentialphilosophie Martin Heideggers. Ed. by Robert Pichl. Munich, Zurich: Piper 1985. Ingeborg Bachmann: Briefe an Felician. With eight copper-aquatint etchings by Peter Bischof. Munich, Zurich: Piper 1991. Ingeborg Bachmann: “Todesarten”-Projekt. Critical edition [in five volumes]. Under the supervision of Robert Pichl and ed. by Monika Albrecht and Dirk Göttsche. Munich, Zurich: Piper 1995. Ingeborg Bachmann: Letzte, unveröffentlichte Gedichte. Entwürfe und Fassungen. Ed. and commented upon by Hans Höller. Frankfurt am Main: Suhrkamp 1998. Ingeborg Bachmann: Römische Reportagen. Eine Wiederentdeckung. Munich, Zurich: Piper 1998. Ingeborg Bachmann: Ich weiß keine bessere Welt. Nachgelassene Gedichte. Ed. by Isolde Moser, Heinz Bachmann and Christian Moser. Munich: Piper 2000. 3

Briefe einer Freundschaft. Ingeborg Bachmann – Hans Werner Henze. Ed. by Hans Höller. Munich [et al.]: Piper 2004. Ingeborg Bachmann: Kritische Schriften. Ed. by Monika Albrecht and Dirk Göttsche. Munich, Zurich: Piper 2005. Herzzeit. Ingeborg Bachmann – Paul Celan. Der Briefwechsel. With the correspondences between Paul Celan and Max Frisch and between Ingeborg Bachmann and Gisèle CelanLestrange. Ed. and commented upon by Bertrand Badiou. Franfurt am Main: Suhrkamp 2008. Ingeborg Bachmann: Kriegstagebuch. With letters by Jack Hamesh to Ingeborg Bachmann. Ed. and with an epilogue by Hans Höller. Berlin: Suhrkamp 2010. Selected secondary literature (by year of appearance): Argentina: Relatos de la Alemania actual. Ingeborg Bachmann, Siegfried Lenz, and others. Buenos Aires: Sudamericana 1977. ar a unte: Ingeborg Bachmann. aneras de vida. Buenos Aires: Almagesto, c. 1993. Belgium: hiara Nannicini: a revanche de la discontinuit . Bouleversemens du r cit chez Bachmann, Calvino et Perec. Brussels, Oxford: P.I.E.P. Lang 2009 Brazil: Modesto arone Netto: Introdu o obra de Ingeborg Bachmann. S o aulo, niversidade de S o aulo, adeira de ngua e iteratura Alem , 1 . Ruth er ueira de liveira R hl: A dimens o mitopo tica na prosa de Ingeborg Bachmann. S o aulo, Brazil: niversidade de S o aulo, Faculdade de Filosofia, etras e i ncias Humanas, 1984. Silvana Baroni and Ruth er ueira de liveira R hl: A consci ncia narrativa em larice Lispector e Ingeborg Bachmann. S o aulo, 1 . Denmark: Ida Vemmelund: Ein Ende mit der Schrift: ein andrer Anfang: om sprog- og strukturproblematikken i Ingeborg Bachmanns “Der Fall Franza” og Christa Wolfs “Kassandra”. Odense: Odense Universitet, Germansk institut, 1989. Annegret Friedrichsen: ELEGI OG EKSIL – ERINDRINGENS PART I INGEBORG BA H ANNS F RFATTERSKAB FRA “DIE GEST NDETE ZEIT” TI “ A INA”. Copenhagen, 1991. Last Living Words. The Ingeborg Bachmann Reader. Transl. by Lilian Friedberg. With a critical introduction by Dagmar C. G. Lorenz. Copenhagen [et al.]: Green Integer Ed. 2005. Germany, Austria: Deutsche Weltliteratur. Von Goethe bis Ingeborg Bachmann. Festgabe für J. Alan Pfeffer. Ed. by Klaus Werner Jonas. Tübingen: Niemeyer 1972. Inta Ezergailis: Woman Writers. The Divided Self. Analysis of Novels by Christa Wolf, Ingeborg Bachmann, Doris Lessing and others. Bonn: Bouvier 1982. Susanne Bothner: Ingeborg Bachmann, der janusköpfige Tod. Versuch der literaturpsychologischen Deutung eines Grenzgebietes der Lyrik unter Einbeziehung des Nachlasses. Frankfurt am Main, New York: P. Lang 1986. Peter Beicken: Ingeborg Bachmann. Munich: Beck 1988. Peter Hamm: Der Wille zur Ohnmacht. Über Robert Walser, Fernando Pessoa, Julien Green, 4

Nelly Sachs, Ingeborg Bachmann, Martin Walser und andere. Munich: Hanser 1992. Über Ingeborg Bachmann: Rezensionen – Porträts – Würdigungen (1952–1992). Rezeptionsdokumente aus vier Jahrzehnten. In collaboration with Heike Kretschmer and ed. by Michael Matthias Schardt. Paderborn: Igel-Verl. 1994. Anna Babka: Ingeborg Bachmann in Frankreich. Zur Rezeption von Werk und Person. Vienna: Hora 1996. Hans Höller: Ingeborg Bachmann. Reinbek near Hamburg: Rowohlt-Taschenbuch Verlag 1999. Sigrid Weigel: Ingeborg Bachmann. Hinterlassenschaften unter Wahrung des Briefgeheimnisses. Vienna: Zsolnay 1999. Annette Burkart: “Kein Sterbenswort, ihr Worte!” Ingeborg Bachmann und Sylvia lath: Acting the Poem. Tübingen [et al.]: Francke 2000. Imke Meyer: Jenseits der Spiegel kein Land. Ich-Fiktionen in Texten von Franz Kafka und Ingeborg Bachmann. Würzburg: Königshausen & Neumann 2001. Inge Steutzger: Zu einem Sprachspiel gehört eine ganze Kultur. Wittgenstein in der Prosa von Ingeborg Bachmann und Thomas Bernhard. Freiburg im Breisgau: Rombach 2001. Undine geht nach Japan. Zu interkulturellen Problemen der Ingeborg-Bachmann-Rezeption in Japan. Ed. by Hannelore Scholz. Berlin: trafo 2001. Andrea Kresimon: Ingeborg Bachmann und der Film. Intermedialität und intermediale Prozesse in Werk und Rezeption. Frankfurt am Main: P. Lang 2004. “Ihr Worte”. Ein Symposium zum Werk von Ingeborg Bachmann. Ed. by Zsuzsa Bognár. Vienna: Praesens 2008. Mythos Bachmann. Zwischen Inszenierung und Selbstinszenierung. Ed. by Wilhelm Hemecker and Manfred Mittermayer. Vienna: Zsolnay 2011. Ingeborg Gleichauf: Ingeborg Bachmann und Max Frisch. Eine Liebe zwischen Intimität und Öffentlichkeit. Munich [et al.]: Piper 2013. Andrea Stoll: Ingeborg Bachmann. Der dunkle Glanz der Freiheit. Munich: Bertelsmann 2013 England: Stephanie Bird: Women Writers and National Identity. Bachmann, Duden, zdamar. Cambridge, UK, New York: Cambridge University Press 2003. ine c urtry: risis and Form in the Later Writing of Ingeborg Bachmann. An Aesthetic Examination of the Poetic Drafts of the 1960s. London: Modern Humanities Research Association 2012. Peter Wortsman: Tales of the German imagination. From the Brothers Grimm to Ingeborg Bachmann. London, New York: Penguin 2012. France, Switzerland: Françoise R tif: Simone de Beauvoir et Ingeborg Bachmann. Tristan ou l’Androgyne? La femme et son amour. Bern, Frankfurt am Main [et al.]: P. Lang 1989. Maria Rosalia Valentini: Ingeborg Bachmann, Natalia Ginzburg. Un confronto. Diss. Bern 1994. Michel Kappes: Roman et mythes: Rilke, Bachmann, Plath. Paris, Budapest, Turin: L’Harmattan 2005. Isabelle Mangou: Le Cas du psychanalyste. Lacan, elan, Bachmann. aris: ’ neb vue 2008. Italy: Fabrizio Cambi: La recezione della filosofia del linguaggio di L. Wittgenstein nell'opera di Ingeborg Bachmann. Pisa: Giardini [1979]. 5

Camilla Miglio: La terra del morso. L'Italia ctonia di Ingeborg Bachmann. Macerata: Quodlibet 2012. Japan: 中込啓子著 中込, 啓子: ジェンダーと文学: イェリネク、ヴォルフ、バッハマンのまなざし / iend to bungaku. 日本独文学会 / Tokyo: Nihon Dokubun Gakkai, 2004. 関口裕昭編 関口, 裕昭: 詩人としてのインゲボルク・バッハマン再読: 没後 30 年を節目に / Shijin to shiteno ingeboruku bahhaman saidoku. Botsugo 30nen o fushime ni. 日本独文学会, Tokyo: Nihon Dokubun Gakkai, 2004. Croatia: Truda Stama : Razgovor o stablima. Deset suvremenih n ema kih p esnika. Zagreb: GHZ 1985. Mexico: Ana ar a artolano, hristine Koschel and Inge von Weidenbaum: Ingeborg Bachmann. Debemos encontrar frases verdaderas. Conversaciones y entrevistas. Me ico: niversidad Nacional Aut noma de ico 2000. Netherlands: Lisette Pals: Andere tijden, andere vrouwen. Een vergelijking tussen Ingeborg Bachmann en Elfriede Jelinek. [n.p.]: [n.p.] 1990. Joke J. Hermsen: Nomadisch narcisme. Sekse, liefde en kunst in het werk van ou AndreasSalom , Belle van Zuylen en Ingeborg Bachmann. Kampen: Kok Agora 1993. Norway: Grete Stuevold Danielsen: v re dobbel. middelbart liv og litter r distanse i Ingeborg Bachmanns Malina. University of Oslo 2007. Russia: Lev Ginzburg: Teodor Kramer, Gugo Guppert, Erich Fried, Paul elan, Ingeborg Bachman [iz sovremenno avstri sko po zii]. Moscow: Izdatel'stvo Progress 1975. Spain: Margarita Blanco: Ingeborg Bachmann (1926–1973). Madrid: Ediciones del Orto 2006. South Korea: 李 丙愛. 李 丙愛 著: 잉게보르크 바하만 研究 : 言語 懷疑와 言語的 유토피아 / Inggebor k Bahaman y n gu: n hoe i wa no k yut op ia. 三英社, S ul T kpy lsi: Samy ngsa 1 2. USA: Ingeborg a er ’Sickey: Fascistic Discourse in the Narratives of Ingeborg Bachmann and Marguerite Yourcenar. Thesis (Ph. D.). University of Texas at Austin, 1988. Kirsten A. Krick-Aigner: Ingeborg Bachmann’s Telling Stories. Fairy Tale Beginnings and Holocaust Endings. Riverside, Ca: Ariadne Press 2002. Gisela Brinker-Gabler und arkus Zisselsberger: “If we had the word”. Ingeborg Bachmann, views and reviews. Riverside, Calif.: Ariadne Press 2004. Michaela M. Grobbel: Enacting Past and Present. The Memory Theaters of Djuna Barnes, Ingeborg Bachmann, and Marguerite Duras. Lanham, Md. [et al.]: Lexington 2004. 6

Sara Lennox: Cemetary of the Murdered Daughters. Feminism, History, and Ingeborg Bachmann. Amherst: University of Massachusetts Press 2006.

4.0

Legal information

4.1 Owner of the documentary heritage (name and contact details)

Name Österreichische Nationalbibliothek Telephone +43 1 534 10 201

Address Josefsplatz 1 1015 Vienna Austria Facsimile +43 1 534 10 280

E-mail [email protected]

4.2 Custodian of the documentary heritage (name and contact details if different from the owner)

Name Priv.-Doz. Dr. Bernhard Fetz, Director

Address Literaturarchiv der Österreichischen Nationalbibliothek Josefsplatz 1 1015 Vienna Austria

Telephone + 43 1 534 10 344

Facsimile + 43 1 534 10 340

E-mail [email protected]

4.3 Legal status

The Austrian National Library is the owner of the estate of Ingeborg Bachmann and is responsible for its conservation and accessibility.

4.4 Accessibility

Ingeborg Bachmann’s literary estate, including the letters published to date, is accessible for literary purposes. The remaining correspondence is currently still subject to privacy regulations. This restricted part of the estate may be consulted for scholarly purposes with the consent of the heirs.

4.5 Copyright status

The copyright in the works by Ingeborg Bachmann will be held by the heirs until the end of 2043.

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5.0 Assessment against the selection criteria 5.1 Authenticity

The authenticity of the material is guaranteed by the heirs, who brought together the estate immediately after Ingeborg Bachmann’s death and conserved it until it was transferred to the Austrian National Library. 5.2 World significance

As is pointed out below, there are several reasons why the relevance of Ingeborg Bachmann’s estate reaches beyond its place of origin and original language: the translation of Ingeborg Bachmann’s works into numerous world languages – besides most European languages, into Arabic, Chinese, Hebrew, Japanese, Korean, and Persian; the global exploration of her oeuvre, personality, and impact that also reached countries like Argentina, Brazil, Japan, Mexico and South Korea (see 3.5); the author’s treatment of such universal themes as day-to-day violence, traumatization through war events, the relationship between the sexes, and the interdependence between private existence and public life; the display of the consequences of overcome totalitarian systems for the following generations and of the continuation of fascist thinking in a democratic, prospering society; the interrelationship of philosophy, art, and literature as a characteristic feature of modern writing; the representation of (female) individuals and their effort to stand up against repressive social contexts; the intermediality of her work, which is documented through the collaboration with composers and producers of radio plays.

5.3 Comparative criteria: 1–3 Time, Place, People

Ingeborg Bachmann’s work originated in a period of profound moral and intellectual uncertainty. Her writing began during the Second World War and was continued throughout a long-enduring ‘after-war’ (Ingeborg Bachmann). The National Socialist past and its traces left behind in the mental and psychological attitudes of the war generation are addressed in such stories as “ nter rdern und Irren” [“Among urderers and admen“] and “Jugend in einer sterreichischen Stadt” [“Youth in an Austrian Town”]. Together with aul elan, she became the ‘voice of a generation’ that had grown up amidst the horrors of the NS era. This problem runs through her entire oeuvre, albeit that her work is much more comple and differentiated in terms of themes, with her ‘Todesarten’ pro ect standing out as a unique accomplishment. It only became clear through the critical edition published in 1995 how radically she had ‘submitted’ herself to this pro ect and how literally exhaustingly she had devoted herself to both the countless variations of violence against women as the main theme of this cycle and the lasting traumata of the Holocaust. The 1950s and 1960s, with such profound political upheavals as the Berlin Crisis, the Korean War, and the Vietnam War, coincide in her te ts of those years with the author’s serious personal crisis; from this fusion of political and private issues rose the unique, if unfinished ‘Todesarten’ pro ect. Intended as a ‘study of all the possible manners of death’, the pro ect 8

aimed at the sum of political and day-to-day social violence primarily against women. Her relationship with the poet Paul Celan and the friendship maintained in their letters over several decades have left distinct marks not only in numerous of elan’s early poems, but also, after his death, in Bachmann’s novel “Malina”. Her long-term relationship with the Swiss author Max Frisch is similarly reflected in her oeuvre. Starting in the 1950s, when Bachmann mainly lived in Italy, primarily in Rome, her contacts to seminal figures of literature, music, and philosophy intensified, which is testified by her extensive correspondence with writers, composers, philosophers, artists, publishers, radio stations, literary societies, newspapers, and (literary) magazines. Among the personalities with whom she corresponded were: H. G. Adler, Theodor W. Adorno, Ilse Aichinger, Jean Améry, Thomas Bernhard, Heinrich Böll, Elias and Veza Canetti, Paul Celan, Paul Dessau, Friedrich Dürrenmatt, Günter Eich, Gudrun Ensslin, Hans Magnus Enzensberger, Giangiacomo Feltrinelli, Lawrence Ferlinghetti, Erich Fried, Max Frisch, Jean Giraudoux, Günter Grass, Hans Werner Henze, Ted Hughes, Walter Jens, Henry Kissinger, Wolfgang Koeppen, Luigi Nono, Marcel Reich-Ranicki, Peter Szondi, Giuseppe Ungaretti, Siegfried Unseld, Martin Walser, Peter Weiss, and Oskar Werner. Her acquaintance with outstanding artists of her period is reflected in the intermediality of her work (opera librettos, radio plays, radio essays, etc.). The evolution from her early to her late poems reveals the author’s gradually increasing radicalness in the criticism of language, so that she eventually distrusted lyrical expression and switched to prose. Nevertheless, some of the most important poems of German literature after 1 45 date from her final period (“Böhmen liegt am eer” [“Bohemia ies by the Sea”], “Keine Delikatessen” [“No Delicacies”]). Bachmann, who had concluded her studies of philosophy in Vienna in 1950 with a dissertation on Martin Heidegger (“Die kritische Aufnahme der Existentialphilosophie Martin Heideggers”/”The ritical Reception of the E istential hilosophy of artin Heidegger”), prompted Siegfried Unseld, head of the renowned Suhrkamp publishing house, to publish the work of Ludwig Wittgenstein, which had fallen into oblivion by then. Today Wittgenstein holds a firm place in the canon of philosophy. The author Christa Wolf, who in her Frankfurt Lectures on Poetics in the early 1980s pointed out the significance of this comprehensive cycle, may be described as an early ‘discoverer’ of the ‘Todesarten’ pro ect. Elfriede Jelinek, Nobel laureate for literature, who feels closely affiliated to Bachmann’s oeuvre and greatly appreciates the author’s writing and approach to subjects she considers essential for her own work, wrote the screenplay for Werner Schroeter’s film adaptation of “ alina”, which came out in 1 1 and, similar to the novel when it first appeared, provoked a controversial response. 4 Subject and theme See 5.3, 1–3 5 Form and style In the 1950s, Ingeborg Bachmann was considered the unmistakable voice of a new generation. Her poetry, with its lyrical and mysterious undertone, was diametrically opposed to the demands prevalent during the first post-war decade for sober and objective narrative. The reverence shown for the young Bachmann as the poet of her time went so far that she was said to be ‘lost for poetry’ when her first collection of stories, “Das dreißigste Jahr” [“The Thirtieth Year”] appeared – a book that aroused great controversy. Her late prose, on the other hand, betrays an entirely different author who combined autobiographic, multiperspectival, and socially critical writing, thereby setting new standards (cf. esp. her novel “ alina”). 9

6.0 Contextual information

6.1 Rarity In its completeness and multifaceted spectrum, the estate of Ingeborg Bachmann is unique and irreplaceable. 6.2 Integrity The estate of Ingeborg Bachmann can be described as consolidated. Except for some early academic papers, a group of late drafts for poems, diary sheets, and family correspondence, which have remained with the heirs, it contains the author’s complete literary work, including drafts, different versions of texts, and clean copies, as well as an extensive correspondence, life documents, and personal collections. Moreover, other departments of the Austrian National Library, but also other (literary) archives hold small or smallest collections of materials related to Bachmann – primarily letters – as they frequently result from the exchange between authors and colleagues and/or friends, as well as (cultural) institutions, publishing houses, newspaper editors, etc.

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