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Previously published in the respective language / territory; rights available again: Spanish world rights (Akal), Catalan rights (Edicions 62), Norway (Bokvennen), Finland (Weilin & Göös), Czech Republic (Mlada fronta), Slovakia (Slovensky Spisovatel), Bulgaria (Na Otetschestwenia Front), Lithuania (Lithuanian Writers Union), Slovenia (Pomuska Zalozba), Macedonia (Tri), Israel (Hakibutz Hameuchad / Sifriat Poalim)
Domestic Rights Sales: German Book Club (Büchergilde Gutenberg), German Audiobook (DAV), German Radio Play (HR2)
»In Malina, 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. Malina explores love, ›deathstyles,‹ the roots of fascism, and passion.« (book description from the new U.S. edition by...
»In Malina, 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. Malina explores love, ›deathstyles,‹ the roots of fascism, and passion.« (book description from the new U.S. edition by New Directions)
»Fascism is the first thing in the relationship between a man and a woman, and I attempted to say that here in this society there is always war. There isn’t war and peace, there’s only war.« Ingeborg Bachmann»A portrait, in language, of female consciousness, truer than anything written since Sappho's Fragment 31. Once you're in, you're in [...] You're racing along, deep in the rhythms of the narrator's thoughts, which are bone-true and demonically intelligent.« Rachel Kushner
»Ingeborg Bachmann's intense, mesmerizing novel [is] enigmatic, yet piercing in its insight [...] Bachmann carries her readers to the very brink of meaning and expression in this courageous and important novel, which is equal to the best of Virgina Woolf and Samuel Beckett.« New York Times Book Review
»In place of Wittgenstein’s language as city, Malina creates a vision of Vienna as language, one might even say as mind: to what extent it may be feminine, masculine, or otherwise is impossible to discern.« Music & Literature
»An existential portrait, a work of desperate obsession, a proto-feminist classic, and one of the most jagged renderings of female consciousness European literature has produced.« The Nation
»A psychological thriller of a tormented, existential sort. And it’s a love triangle, though a triangle most accurately drawn with dotted lines, given that it’s debatable how many of its members are real. [T]here’s no question that the book shares a spirit with any and all books about the unsought psychological challenges of being a woman in this world. Lucid and powerful.« John Williams, The New York Times Book Review
»Bachmann’s moral seriousness, modernist and primeval, is nowhere in doubt, nor is her terror: it rides her language (burning and cooling, by turns) into strange dialectical valleys, up Alpine peaks, into labyrinthine Viennese apartments and sardonic lakeside villas.« 4Columns
»If I was permitted to keep one book only it would be Malina. Malina has everything.« Claire-Louise Bennett
»It seems in Malina there is nothing Bachmann cannot do with words.« The New York Review of Books
»A Viennese woman cooks dinner for her lover, waits by the telephone, delays embarking on a trip or writing the book she’s meant to write. And in that nulltime, the abyss of twentieth-century trauma yawns wide open and engulfs her.« Tom McCarthy
»The most intelligent and important woman writer our land has produced this century.« Thomas Bernhard
»A masterpiece!« Naja Marie Aidt, Publishers Weekly
»Bachmann’s voice is rare and strong–strong enough to transport us to a new domain of fiction.« Los Angeles Times
»Malina will always be in style.« 4Columns
»A portrait, in language, of female consciousness, truer than anything written since Sappho's Fragment 31. Once you're in, you're in [...] You're racing along, deep in the rhythms of the narrator's thoughts, which are bone-true and demonically intelligent.« Rachel Kushner
»Ingeborg Bachmann's intense, mesmerizing novel [is] enigmatic, yet piercing in its insight [...] Bachmann carries her readers to the very brink of meaning and expression in this courageous and important...
Ingeborg Bachmann was born on June 25, 1926 in Klagenfurt. She began to write when she was at school. She studied Philosophy in Innsbruck, Graz and eventually in Vienna, where she met, among others, Hans Weigel. In 1949 Bachmann wrote her dissertation entitled »The Critical Reception of the Existential Philosophy of Martin Heidegger«. She subsequently started working for the Allied radio station Rot-Weiss-Rot. Her friendship with Paul Celan majorly influenced her thought. Ingeborg Bachmann is considered one of the most important German-language poets and writes of the 20th century. She died in Rome on October 17, 1973 .
Ingeborg Bachmann was born on June 25, 1926 in Klagenfurt. She began to write when she was at school. She studied Philosophy in Innsbruck, Graz...
Spring 1958: Ingeborg Bachmann – celebrated poet, winner of Literary Prize of Gruppe 47 and cover star of Der Spiegel – is broadcasting the radio play Der gute Gott von...
English world rights (Seagull), Italy (Feltrinelli)
Domestic Rights Sales: German Audiobook (speak low)
The verses in Ingeborg Bachmann’s second collection of poetry, Invocation of Ursa Major (1956), caused a sensation when they were published and soon became canonised: they were immensely...
Italy (Adelphi)
In 1956, at 30 years of age, Ingeborg Bachman began with the first drafts for the book, which is now to published in the Salzburger Bachmann Edition. It would take five years until all seven stories had been submitted to Piper Verlag ready for publication in the spring of 1961 and the first volume could be published in July that same year.
Of the writing phase the...
The hitherto unpublished and unknown correspondence between Ingeborg Bachmann and Hans Magnus Enzensberger allows one to relive how, after the Second World War, two of the most prominent writers in the German language chose to depict and regard the world, literature and the publishing industry, but also how they wished to present and be regarded themselves.
One was...
Ingeborg Bachmann’s dream notes, correspondence drafts and records from the time of her illness are of great literary interest as the primary elements of the subsequent Todesarten-texts. In addition, these writings are apt to further our knowledge about her illness and the phenomenon of illness itself. They are outrageous, courageous in their analytic approach, defeated...
The Book Goldmann is the name Ingeborg Bachmann gave to her great narrative project, which she cherished until the end. This edition renders the previously only fragmentarily...
Turkey (Can)
English world rights (Seagull), Turkey (Can)
English world rights (Seagull), France (Actes Sud), Italy (Adelphi), Poland (Czarne), Denmark (Grif), Czech Republic (Pulchra), Turkey (Ketebe), Ukraine (Osnovy), Israel (Hakkibutz Hameuchad – Sifriyat Poalim)
Previously published in the respective language / territory; rights available again: Spanish world rights (Akal)
Domestic Rights Sales: German Audiobook (Audiobuch)
English world rights (Seagull), Portuguese rights (Antígona), Chinese simplex rights (China Renmin UP), Russia (Ad marginem), France (Seuil), Italy (Nottetempo), Netherlands (Meulenhoff), Denmark (Vandkunsten), Sweden (Ellerströms), Japan (Seidosha), Poland (A5), Czech Republic (Pulchra), Romania (Art), Turkey (Kirmizi Kedi), Ukraine (Knihy XXI), Georgia (Ibis)
Previously published in the respective language / territory; rights available again: Spanish world rights (Fondo Cultura), Croatia (OceanMore)
For the young Ingeborg Bachmann and her generation, the great hope after the war soon proved deceptive. The themes in Bachmann's first volume of poetry, Deferred Time (1953), are representative of the experience that defines writing after 1945: Departure and farewell, guilt and memory. In the dramatic gestures and memorable images of her poetic language, this experience found a...