It is 1967. In separate wings of a Viennese hospital, two men lie bedridden. The narrator, named Thomas Bernhard, is stricken with a lung ailment; his friend Paul, nephew of the celebrated philosopher Ludwig Wittgenstein, is suffering from one of his periodic bouts of madness. As their once-casual friendship quickens, these two eccentric men begin to discover in each other a possible antidote to their feelings of hopelessness and mortality—a spiritual symmetry forged by their shared passion for music, strange sense of humor, disgust for bourgeois Vienna, and great fear in the face of death. Part memoir, part fiction, Wittgenstein’s Nephew is both a meditation on the artist’s struggle to maintain a solid foothold in a world gone incomprehensibly askew, and a stunning—if not haunting—eulogy to a real-life friendship.

LRB BOOKSHOP'S AUTHOR OF THE MONTH ONE OF THE GUARDIAN'S BEST BOOKS OF 2019WITH A NEW AFTERWORD BY BEN LERNER, AUTHOR OF THE TOPEKA SCHOOL'If you haven't read Bernhard, you will not know of the most radical advance in fiction since Joyce ... My advice: dive in.' Lucy Ellmann'I absolutely love Bernhard: he is one of the darkest and funniest writers ... A must read for everybody.' Karl Ove KnausgaardIt is 1967. Two men lie bedridden in separate wings of a Viennese hospital. The narrator, Thomas Bernhard, is stricken with a lung ailment; his friend Paul, nephew of Ludwig Wittgenstein, is suffering from one of his periodic bouts of madness. As their friendship quickens, these two eccentric men discover in each other an antidote to their feelings of despair on the unexpected strength of what they share - a spiritual symmetry forged by their love of music, black humour, disgust for bourgeois Vienna, and fear of mortality. A restless blend of fiction and memoir, Wittgenstein's Nephew is not only a haunting meditation on the artist's struggle to maintain a foothold on reality, but an impassioned eulogy to a real-life friendship - newly illuminated by Ben Lerner's afterword.

Thomas Bernhard (1931-1989) has been hailed by Gabriel Josipovici as 'Austria's finest postwar writer' and by George Steiner as 'one of the masters of contemporary European fiction.' Faber Finds is proud to reissue a selection of four of Bernhard's finest novels. Wittgenstein's Nephew (1982) opens in 1967 as two men lie bedridden in separate wings of a Viennese hospital. The narrator, Thomas Bernhard, is stricken with a lung ailment; his friend Paul, nephew of Ludwig Wittgenstein, is suffering from one of his periodic bouts of madness. As their once-casual friendship quickens, these eccentric men begin to see in each other a possible antidote to their feelings of hopelessness and mortality, on the unexpected strength of what they hold in common. 'Furious, obsessive, scathing, absolutely hilarious and oddly beautiful.' Claire Messud, Salon 'A memento mori that approaches genius.' Richard Locke, Wall Street Journal

It is 1967. In separate wings of a Viennese hospital, two men lie bedridden. The narrator, named Thomas Bernhard, is stricken with a lung ailment; his friend Paul, nephew of the celebrated philosopher Ludwig Wittgenstein, is suffering from one of his periodic bouts of madness. As their once-casual friendship quickens, these two eccentric men begin to discover in each other a possible antidote to their feelings of hopelessness and mortality—a spiritual symmetry forged by their shared passion for music, strange sense of humor, disgust for bourgeois Vienna, and great fear in the face of death. Part memoir, part fiction, Wittgenstein’s Nephew is both a meditation on the artist’s struggle to maintain a solid foothold in a world gone incomprehensibly askew, and a stunning—if not haunting—eulogy to a real-life friendship.

Thomas Bernhard was one of the most original writers of the twentieth century. His formal innovation ranks with Beckett and Kafka, his outrageously cantankerous voice recalls Dostoevsky, but his gift for lacerating, lyrical, provocative prose is incomparably his own.One of Bernhard's most acclaimed novels, The Loser centers on a fictional relationship between piano virtuoso Glenn Gould and two of his fellow students who feel compelled to renounce their musical ambitions in the face of Gould's incomparable genius. One commits suicide, while the other-- the obsessive, witty, and self-mocking narrator-- has retreated into obscurity. Written as a monologue in one remarkable unbroken paragraph, The Loser is a brilliant meditation on success, failure, genius, and fame.

Austere and uncompromising, the philosopher Ludwig Wittgenstein had no use for the avant-garde art works of his own time. He refused to formulate an aesthetic, declaring that one can no more define the "beautiful" than determine "what sort of coffee tastes good". And yet many of the writers of our time have understood, as academic theorists generally have not, that Wittgenstein is "their" philosopher. How do we resolve this paradox? Marjorie Perloff, our foremost critic of twentieth-century poetry, argues that Wittgenstein has provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Wittgenstein's ladder is an apt figure for this radical aesthetic, and not just in its ordinariness as an object. The movement "up" this ladder can never be more than what Wittgenstein's contemporary, Gertrude Stein, called "Beginning again and again". Wittgenstein shows us, too, that we cannot climb the same ladder twice: the use of language, the context in which words and sentences appear, defines their meaning, which changes with every repetition. Wittgenstein's aesthetic brooks no theory, no essentialism, no metalanguage - only a practice, a mode of operation, fragmentary and elliptical.

Fiercely observed, often hilarious, and “reminiscent of Ibsen and Strindberg” (The New York Times Book Review), this exquisitely controversial novel was initially banned in its author’s homeland. A searing portrayal of Vienna’s bourgeoisie, it begins with the arrival of an unnamed writer at an ‘artistic dinner’ hosted by a composer and his society wife—a couple he once admired and has come to loathe. The guest of honor, a distinguished actor from the Burgtheater, is late. As the other guests wait impatiently, they are seen through the critical eye of the writer, who narrates a silent but frenzied tirade against these former friends, most of whom have been brought together by Joana, a woman they buried earlier that day. Reflections on Joana’s life and suicide are mixed with these denunciations until the famous actor arrives, bringing an explosive end to the evening that even the writer could not have seen coming.

Wittgenstein's Mistress is a novel unlike anything David Markson or anyone else has ever written before. It is the story of a woman who is convinced and, astonishingly, will ultimately convince the reader as well that she is the only person left on earth.

In this exuberantly satirical novel, the tutor Atzbacher has been summoned by his friend Reger to meet him in a Viennese museum. While Reger gazes at a Tintoretto portrait, Atzbacher—who fears Reger's plans to kill himself—gives us a portrait of the musicologist: his wisdom, his devotion to his wife, and his love-hate relationship with art. With characteristically acerbic wit, Bernhard exposes the pretensions and aspirations of humanity in a novel at once pessimistic and strangely exhilarating. "Bernhard's . . . most enjoyable novel."—Robert Craft, New York Review of Books. "Bernhard is one of the masters of contemporary European fiction."—George Steiner

The scientist Roithamer has dedicated the last six years of his life to “the Cone,” an edifice of mathematically exact construction that he has erected in the center of his family’s estate in honor of his beloved sister. Not long after its completion, he takes his own life. As an unnamed friend pieces together—literally, from thousands of slips of papers and one troubling manuscript—the puzzle of Rotheimer’s breakdown, what emerges is the story of a genius ceaselessly compelled to correct and refine his perceptions until the only logical conclusion is the negation of his own soul. Considered by many critics to be Thomas Bernhard’s masterpiece, Correction is a cunningly crafted and unforgettable meditation on the tension between the desire for perfection and the knowledge that it is unattainable.