»What Are We Going to Do With Our Lives?«

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...

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...

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The hitherto unpublished and unknown correspondence between Ingeborg Bachmann and Hans Magnus Enzensberger allows one to relive how, after the Second World War, two of the most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...

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...

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...