Watten (narration)

from Wikipedia, the free encyclopedia

Wadding. One of the bequests is a story by the Austrian author Thomas Bernhard , published in 1969, about the existence of a former doctor in a barracks. It was published by Suhrkamp Verlag .

content

The narrative is a letter from the narrator to the lawyer and mathematician F. Undt, who asks him to report " over several hours of perceptions " from the previous day (based on the day the letter was received). From the framework narration, which contains the narrator's initial correspondence with the lawyer, the reader learns that the narrator Undt donated one and a half million (schillings), which he received through the sale of a property, for charitable purposes. Undt, whose writings "all deal with the in any case always hopeless situation of just released prisoners" and who "made himself available to the outlawed among the people [...] directly through his commitment", considers the description of the narrator's perceptions as "ideal" for his scientific endeavors.

The narrator is a former doctor who also spends his time writing scientific papers. From his previous history, which is fragmentarily interspersed in the letter, the reader learns that the narrator first withdrew from his father's castle from the top floor to the bottom floor and then completely withdrew to a barrack that became the barracks of a paper mill heard to live. He also describes this as temporary “ still ” accepted accommodation. His clientele consisted mainly of the paper workers of the factory among whom he had lived for "nearly three decades". The doctor treated them free of charge because he was repeatedly excluded from health insurance contracts due to his origins in the castle . The narrator's well-attended practice was a nuisance to colleagues. After he was seen in a coffee house with a morphine ampoule and trembling hands, a colleague brought a complaint that the practice was blocked. Following the professional ban, the narrator found refuge in the Watten (an Austrian card game), to which a fixed "Wattenrunde" only takes place three times, but later only once a week, on Wednesday, in the nearby inn in the forest, the "Racher" , met. In addition to the first-person narrator, the teacher, the carter and the paperworker Siller were also involved in the card game . When Siller, who has “lost his bearings” in the forest, instead of going to the mud flats , unexpectedly commits suicide by hanging himself from a tree, the narrator gives up the card game that had been going on for twenty years. Just like the daily walk he took during the same period with “terrifying regularity”, which led him out of the barrack, past the rotten spruce to the gravel pit and back the same way. In connection with the suicide that occurred on the “mysterious Wednesday weather”, there is talk of a “foehn excess” which made it impossible for the four men to wad in the evening. All watt players have made their way through the forest and have lost their orientation to varying degrees. “Now I don't go into the gravel pit any more. No longer too rotten spruce. Not out of the barracks at all. ”This condition forms the actual starting point for the narrator's descriptions.

In the barrack, in which the protagonist lives in isolation and isolation, there is “unimaginable chaos” and the smell also indicates the “total neglect” practiced. The only visitor is the carter. He visits the first-person narrator again and again in order to persuade him to take up the card game again with a few dubious arguments. He repeatedly asks the same question: "[...] why not watten anymore, Herr Doktor?" The narrator meets this with the most varied of attempts at justification. In the presence of the driver, the doctor tries unsuccessfully to put a pile of paper in order. There are piles of paper scattered everywhere in the castle and in the ordination there are dozens of rubbish bins with tons of papers, which are his “observations” accumulated over decades. The traveller's story reaches the doctor through the carter . After searching unsuccessfully for weeks in the river Traun, he discovered the body of the suicide Siller by chance in the forest "on a tree by the gravel pit". Two months later, the traveler comes back to the inn and tells the landlord and the paperworkers present again what happened at the time. The carter could follow this story from the next table. The reader learns that the traveler, too, lost his orientation several times in the forest and finally came across the barefoot, already decaying corpse of the paperworker hanging on the tree.

interpretation

The narrative can be characterized as a description of a “total retreat”, the outcome of which is referred to by the subtitle. The autobiography of the narrator "reflects the story of a social decline [" to the [...] marginal existences of modern industrial society "], an increasing neglect, a paranoid existential collapse." The crisis in which the protagonist finds himself , whose last triggering moment is finally in The paperworker's suicide is first expressed in the abandonment of all habits that seem to give life a structure and meaning. The focus here is on the weekly card game, which after the professional ban and the associated need to give life a new content, could serve the narrator as a refuge and ultimate guarantee for "interpersonal contact". Regular walking, which is based on fixed points, can also be interpreted as a structure-giving element in the life of the protagonist. Recognizing that neither wadding nor life leads to anything, the narrator remains in the “state of paralysis” and exposes himself to “monotony” and “boredom”.

Individual motifs / themes

The forest / nature In the story, the forest is the place where a loss of orientation threatens the subject. "In fact, everyone who goes into the forest instantly loses their bearings, sir, I have never met anyone who has not lost their bearings in the forest." From him, "[...] it is no longer allowed to come out [ …], As long as the cause of the despair is not known to you. ”Like philosophy, it harbors the“ most monstrous possibilities of injury ”.

In the forest, the "man comes" close to his despair [...] ". It "offers [...] the opportunity to track down the causes of one's own failed existence." Its danger is "subjective" and depends on the ability to cope with one's own existence. So it is the carter who is the only one to get away with "without the slightest damage" on the said Wednesday and who does not completely lose direction because of his "healthy constitution" and the resulting ability to orientate himself. In contrast to the rest of the participants in the Wattenrunde, as the head of a respected wagon company, he is not to be counted among those who have failed professionally or socially. His life is subject to certain principles and is anchored in traditions.

As is typical for Bernhard's works, nature (the forest) in Watten is perceived as a threat. It "is experienced as violence that questions the essence of human identity, the living unity of the individual." "[...] Siller's fatal loss of orientation [shows the doctor in this sense] the superiority of this nature."

Motif of disintegration / I disintegration The entire text is pervaded by the motif of disintegration. The endangerment of the unity of the ego and the dissociation of consciousness are basic motifs in Bernhard's work. This is indicated, for example, by the narrator's fear of becoming part of the crowd "I don't belong in the crowd, [...], I belong in myself , [...]." Or references to his split consciousness such as "As if one were behind my brain Second, dear Sir, who dared to think against the first. ”This fits the narrator's recurring dream, in which he sees all suicides in the Traun merged into a single mass. "[...] I look into the Traun and see hundreds and thousands of corpses in the Traun, close to one another, they form a whitish-yellow body mass under the clear water surface [...]." The Siller hanging on the tree was already in a natural state State of dissolution, namely “putrefaction”, just like the jackdaws, the smell of which in a dream of the narrator permeates the ordination for several weeks. The orientation points that the narrator sets in the spatial environment can also be interpreted in the context of the motif: the “gravel pit”, the “lazy spruce” and the “pond” are just as decaying as the trees that are dying everywhere. Decay is also a theme in the story about the sister's glasses "[...], and she wants to show me the glasses and takes the glasses off, and I tell her to put the glasses back on, and she puts the glasses back on, and..." the glasses fall apart. The glasses disintegrate into seven or eight pieces. […], Like with these glasses, it is with everything. The industry does everything just for the eye and for the bad taste of the masses, you understand! "

Walking and thinking "In Bernhard's work, thought movements are regularly depicted as movement with the feet." Walking and thinking can also be seen as synonyms in the story "Watten". The increasing restriction of the ability to move, the reduction in the range of motion also refers to the increasing narrowing of the movement of thoughts, which is manifested in the manic, circular repetition of individual words, which culminates at the point when the narrator and the driver leave the barracks to start the unsuccessful attempt to circle it. The repetitions also begin and end at their starting point: buckles. "Go! I said, go! and the driver observed that I could not go. Just about the barrack! I said."

Österreichschelte The doctor's letter can be understood as an “omission” “in its double sense of the word”. The narrator's own decline finds its counterpart in the cultural decline that surrounds him. "When I see how a new architecture is constantly emerging around me, a tremendously vulgar architecture, a tremendously vulgar music, an enormously vulgar painting, an enormously vulgar story, I think what will not impress you, it is my own architecture, Music, art, painting, history etcetera. If we have been living for a long time in a country like ours, in which, as you know, everything has surrendered to stupidity with great solemnity, in a short time we will have no choice. The brain is absolutely jobless in this country, unemployed. ”In the narrator's descriptions, which revolve around the large buckles of his shoes, the progress of mass society is associated with disintegration“ [...], everything tears up and breaks up and crumbles, that is progress. ”And also the Wattenrunde illustrates as a“ microcosm of society ”“ the social and cultural decline polemically. ”The participants are almost exclusively concerned with failed existences for which the game is nothing more than a“ ruthless crumbling of existence ”.

Formal aspects

The doctor's letter is a paragraphless text continuum. The flow of reading is briefly interrupted at the beginning and end of the text only for the reproduction of the story of the traveler (“The Traveler”), which is located exactly in the middle of the text. Otherwise, the narrator's stream of thoughts is not subject to any special “thematic and structural organization.” All the topics raised, whether they are banal or whether they are basic questions of human existence, are combined with the same “narrative intensity” "All-leveling stream of opinion" dealt with.

In the narration , the address to the addressee of the letter ("dear Sir") and the description of the narrator regarding his situation (past, present, future) are included, the visit of the driver, i. H. his reproduced utterances ("told the driver") and the "recapitulated sentences to the driver (" I say to the driver ")", as well as the "reproduction of comments by others by the driver (" said the landlord to the traveler, said der Fuhrmann “)“ nested in a complex way. In addition there are the interwoven thoughts of the narrator ("I think") and reproduced thoughts ("thinks the carter, I think").

In the text there are different merging time or “memory levels” and space levels. On a first level, the narrator remembers one of the last conversations with the carter. For example, he tells him the story of the sister's broken glasses, which dates back even further. Different rooms are bound to the different levels of memory. While the letter is being written, the narrator sits at the window sill. The conversation with the carter takes place in (or temporarily outside) the barracks. In the story of glasses, the narrator sits at his desk in his room at home. The use of the present tense and the “citation style” make it difficult to distinguish between the different levels.

In addition, there is a “play with the relationships of dependency”, as is shown above all when the wagoner renders the story of the traveler: “It is possible that he [the Siller] has already drifted so far that he will never be found again, everyone has thought, said the landlord to the traveler, said the carter. ”The“ relationships of dependency ”are continuously“ covered over by the direct way of speaking ”but then come to expression. These “medial breaks”, like the “temporal” and “local breaks” already mentioned, “mean that the content of the text eludes fixed access.” The “immediate access to the reality of experience is blocked.”

Stylistic features

The aim of conveying binding content takes a back seat behind the high momentum that the language achieves in “Watten”. The repetitions of individual words or word sequences that are typical for Bernhard are striking. The narrative makes very intensive use of the circling resumption of individual words in places. The sentences move "in ever new variations around a single, seemingly unimportant word" and are then regularly grouped around new "key words". For example, on just seven pages, the word “buckle” is repeated forty-three times, the word “glasses” twenty-five times, the word “rubber shoes” thirteen times and the word “shoe / e” twenty times. Another feature of the text is the highly nested sentence structure in places.

interpretation

The repetitions demonstrate the circularity of the narrator's thought movements. The “on-the-spot-stepping of the text” is also related to passages like: “Dear Sir, when I wake up I usually think: why am I living ?, then: why do I live in the barracks? And I answer: because I live in the barrack, sir. ”clearly. The “restricted language” of the narrator can be interpreted as “proof of a damaged, no longer communicable subjectivity”. The sometimes very nested sentence structure and also the paratactic sentence series illustrate "the failure of orderly, overview-creating reflection".

output

  • Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820).

literature

  • Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, pp. 85-106.
  • Manfred Mittermayer: Thomas Bernhard . Metzler, Stuttgart 1995, pp. 59-61.
  • Josef König: “Nothing but a death mask ball”. Studies to understand the aesthetic intentions in the work of Thomas Bernhard . Peter Lang, Frankfurt am Main 1982 (= European university publications series 1, German language and literature = Langue et littérature allemandes = German language and literature 682), pp. 68–76.
  • Bernhard Sorg: Thomas Bernhard . Beck, Munich 1977, pp. 129-136.
  • Kaspar H. Spinner: prose analyzes. From Thomas Bernhard , “Watten”. In: Literature and Criticism (1974) 90, pp. 608-621.
  • Gottfried Just: Reflections. On the German literature of the sixties. Ed .: Klaus Günther Just, Neske, Pfullingen 1972, pp. 229–231.

Web links

Individual evidence

  1. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 8.
  2. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 7,8.
  3. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 13.
  4. ↑ z. B. the "work on chronic subchronic nephritis ( Brightii disease )" or the "description of toxoplasmosis ": Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 9/61.
  5. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 67, cf. p. 61.
  6. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 27.
  7. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 72, 73.
  8. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 74., p. 73.
  9. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 74, p. 72, p. 13.
  10. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 13, p. 14, p. 77.
  11. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 37.
  12. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 9.
  13. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 40.
  14. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 37.
  15. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 37, p. 38.
  16. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 9.
  17. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), SS 8/10.
  18. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 62.
  19. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 62/63.
  20. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 10.
  21. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 65.
  22. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 50, cf. Pp. 43/44.
  23. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 36.
  24. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 37, 43.
  25. ^ Manfred Mittermayer: Thomas Bernhard . Metzler, Stuttgart 1995, p. 59.
  26. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 86.
  27. ↑ Gottfried Just: Reflections. On the German literature of the sixties. Neske, Pfullingen 1972, p. 229.
  28. ↑ It is also interpreted as the identity crisis of his, "a generation that has survived itself". Josef König: “Nothing but a death mask ball”. Studies to understand the aesthetic intentions in the work of Thomas Bernhard . Peter Lang, Frankfurt am Main 1982 (= European university publications series 1, German language and literature = Langue et littérature allemandes = German language and literature 682), p. 68.
  29. ^ Manfred Mittermayer: Thomas Bernhard . Metzler, Stuttgart 1995, p. 59. Quoted from Sorg.
  30. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 41/42.
  31. ↑ Josef König: “Nothing but a death mask ball”. Studies to understand the aesthetic intentions in the work of Thomas Bernhard . Peter Lang, Frankfurt am Main 1982 (= European university publications series 1, German language and literature = Langue et littérature allemandes = German language and literature 682), p. 68.
  32. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 53/54.
  33. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 87.
  34. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 78.
  35. ^ Eva Marquardt: Opposite direction: Development tendencies in the narrative prose Thomas Bernhard . Niemeyer, Tübingen 1990, p. 110.
  36. ^ Eva Marquardt: Opposite direction: Development tendencies in the narrative prose Thomas Bernhard . Niemeyer, Tübingen 1990, p. 110.
  37. ^ Eva Marquardt: Opposite direction: Development tendencies in the narrative prose Thomas Bernhard . Niemeyer, Tübingen 1990, p. 110.
  38. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 38.
  39. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 38.
  40. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 13.
  41. ↑ Manfred Jurgensen (Ed.): Bernhard: Approaches. Francke, Bern 1981, (= Queensland studies in German language and literature 8), p. 62.
  42. ^ Manfred Mittermayer: Thomas Bernhard . Metzler, Stuttgart 1995, p. 59.
  43. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 23.
  44. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 76; see. Manfred Mittermayer: Thomas Bernhard . Metzler, Stuttgart 1995, p. 60.
  45. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 51.
  46. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 51, p. 80/81.
  47. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 28.
  48. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 32/33.
  49. ^ Herbert Gamper: Thomas Bernhard . German Taschenbuch-Verlag, Munich 1977 (= dtv; 6870: Dramatiker des Welttheater), p. 71.
  50. ↑ See also: Hermann Helms-Derfert: Die Last der Geschichte. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, pp. 90/91.
  51. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 28.
  52. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 75/76.
  53. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 87.
  54. ↑ See Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 87.
  55. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 72.
  56. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 31.
  57. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 87.
  58. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 46/47.
  59. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, pp. 85/86.
  60. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 86.
  61. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 88.
  62. ↑ See Bernhard Sorg: Thomas Bernhard . Beck, Munich 1977, p. 130.
  63. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 94.
  64. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 94.
  65. ↑ Kaspar H. Spinner: Prosaanalyen. From Thomas Bernhard , “Watten”. In: Literature and Criticism (1974) 90, p. 611.
  66. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 43/44.
  67. ↑ Kaspar H. Spinner: Prosaanalyen. From Thomas Bernhard , “Watten”. In: Literature and Criticism (1974) 90, p. 611.
  68. ↑ Kaspar H. Spinner: Prosaanalyen. From Thomas Bernhard , “Watten”. In: Literature and Criticism (1974) 90, p. 611.
  69. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 95.
  70. ↑ Christa, Strebel-Zeller: The obligation of the depth of one's own abyss in Thomas Bernhard's prose. Junius-Verlag, Zurich 1975, p. 108.
  71. ↑ See Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), pp. 29–35.
  72. ↑ Kaspar H. Spinner: Prosaanalyen. From Thomas Bernhard , “Watten”. In: Literature and Criticism (1974) 90, p. 609.
  73. ^ Thomas Bernhard : Watten. An estate. Suhrkamp, ​​Frankfurt am Main 1998 (= Suhrkamp Taschenbuch 2820), p. 9.
  74. ↑ Hermann Helms-Derfert: The burden of history. Interpretations of prose by Thomas Bernhard . Böhlau Verlag, Cologne 1997, p. 86.
  75. ↑ Kaspar H. Spinner: Prosaanalyen. From Thomas Bernhard , “Watten”. In: Literature and Criticism (1974) 90, p. 610.