1. Thomas Bernhard’s novel Correction is nominally the story of an unnamed narrator who leaves England after a severe illness to return to his native Austria to “sift and sort” the writings of his childhood friend Roithamer.
Roithamer, a brilliant but insane scientist, is the self-exiled son of an old, wealthy family. He uses an unexpected inheritance to fund an idealistic project: the building of a perfect Cone in the isolated heart of the Kobernausser forest. Roithamer envisions this Cone as the perfect home for his sister to live in (although he doesn’t bother to actually, y’know, talk to her about it). Roithamer’s sister dies almost immediately after taking up residence in the Cone. Roithamer then commits suicide.
Correction is divided into two sections, each a single, long, dense paragraph with no text break for the reader to rest upon. Bernhard’s sentences wind and unwind and rewind, sometimes snaking out for pages at a time; like Samuel Beckett, to whom he is often compared, Bernhard is a master of the comma splice. The effect is exhausting.
The first section of Correction is “Hoeller’s Garret,” named after the novel’s primary physical setting. Hoeller is a taxidermist who has built his own house in the Aurach gorge as a sort of dare to nature itself. Hoeller’s house inspires Roithamer’s Cone, and Hoeller’s garret becomes Roithamer’s work space—which is to say thinking space—for planning and executing his idealistic project.
Following Roithamer’s suicide, the unnamed narrator too moves into Hoeller’s garret, one of many formal repetitions in Correction (these formalizing plot repetitions are echoed in Bernhard’s syntactic repetitions).
In “Hoeller’s Garret” we learn about the childhood friendship between the narrator, Hoeller, and Roithamer. The paragraph (or chapter, if you will) includes details about Roithamer’s troubled family as well as an early horrific encounter with death, themes that will repeat throughout the novel.
The second section, “Sifting and Sorting,” finds the narrator working though Roithamer’s (mostly autobiographical) papers. The narrator appends a simple tag like “thus, Roithamer” or “so Roithamer” as attribution to Roithamer’s first-person statements, but this device pops up less and less as the book progresses, and it becomes clear that Roithamer has ventriloquized the narrative.
“Sifting and Sorting” focuses on Roithamer’s unhappy childhood, his endless fights with his mother, and his wish to perfect an idealization (namely, his Cone). The narrator channels Roithamer who channels the voices of his mother and father (and occasionally his detested brothers)—and of course, the reader channels all. The narrator slowly gives over to Roithamer’s voice as the novel’s final pages rush out in a series of diary entries, and Bernhard’s taxing syntax performs a mesmerist act on the reader, who, stunned, must return to the text in yet another repetition.
2. I’ve thus far failed to illustrate any of the above claims with an example of Bernhard’s prose.
It’s possible to plunder Correction for tight phrases, sharp, dark aphorisms, and other little bits of strange wisdom, but that doesn’t really convey the effect of what it’s like to read Bernhard’s sentences.
Better then to offer an example. Here’s the novel’s second sentence:
The atmosphere in Hoeller’s house was still heavy, most of all with the circumstances of Roithamer’s suicide, and seemed from the moment of my arrival favorable to my plan of working on Roithamer’s papers there, specifically in Hoeller’s garret, sifting and sorting Roithamer’s papers and even, as I suddenly decided, simultaneously writing my own account of my work on these papers, as I have here begun to do, aided by having been able to move straight into Hoeller s garret without any reservations on Hoeller’s part, even though the house had other suitable accommodations, I deliberately moved into that four-by-five-meter garret Roithamer was always so fond of, which was so ideal, especially in his last years, for his purposes, where I could stay as long as I liked, it was all the same to Hoeller, in this house built by the headstrong Hoeller in defiance of every rule of reason and architecture right here in the Aurach gorge, in the garret which Hoeller had designed and built as if for Roithamer’s purposes, where Roithamer, after sixteen years in England with me, had spent the final years of his life almost continuously, and even prior to that he had found it convenient to spend at least his nights in the garret, especially while he was building the Cone for his sister in the Kobernausser forest, all the time the Cone was under construction he no longer slept at home in Altensam but always and only in Hoeller’s garret, it was simply in every respect the ideal place for him during those last years when he, Roithamer, never went straight home to Altensam from England, but instead went every time to Hoeller’s garret, to fortify himself in its simplicity (Hoeller house) for the complexity ahead (Cone), it would not do to go straight to Altensam from England, where each of us, working separately in his own scientific field, had been living in Cambridge all those years, he had to go straight to Hoeller’s garret, if he did not follow this rule which had become a cherished habit, the visit to Altensam was a disaster from the start, so he simply could not let himself go directly from England to Altensam and everything connected with Altensam, whenever he had not made the detour via Hoeller’s house, to save time, as he himself admitted, it had been a mistake, so he no longer made the experiment of going to Altensam without first stopping at Hoeller’s house, in those last years, he never again went home without first visiting Hoeller and Hoeller’s family and Hoeller’s house, without first moving into Hoeller’s garret, to devote himself for two or three days to such reading as he could do only in Hoeller s garret, of subject matter that was not harmful but helpful to him, books and articles he could read neither in Altensam or in England, and to thinking and writing what he found possible to think and write neither in England nor in Altensam, here I discovered Hegel, he always said, over and over again, it was here that I really delved into Schopenhauer for the first time, here that I could read, for the first time, Goethe’s Elective Affinities and The Sentimental Journey, without distraction and with a clear head, it was here, in Hoeller’s garret, that I suddenly gained access to ideas to which my mind had been sealed for decades before I came to this garret, access, he wrote, to the most essential ideas, the most important for me, the most necessary to my life, here in Hoeller’s garret, he wrote, everything became possible for me, everything that had always been impossible for me outside Hoeller’s garret, such as letting myself be guided by my intellectual inclinations and to develop my natural aptitudes accordingly, and to get on with my work, everywhere else I had always been hindered in developing my aptitudes but in Hoeller’s garret I could always develop them most consistently, here everything was congenial to my way of thinking, here I could always indulge myself in exploring all my intellectual possibilities, here my intellectual possibilities, here in Hoeller’s garret my head, my mind, my whole constitution were suddenly relieved from all the outside world’s oppression, the most incredible things were suddenly no longer incredible, the most impossible (thinking!) no longer impossible.
If you’re interested, that’s 722 words (I wrote about 500 words before Bernhard’s sentence, if you need a point of contrast).
The repetition is easy to note even by absently gazing over the passage. The repeated phrase “Hoeller’s garret” stands out in particular, introducing the reader to the novel’s primary setting and establishing this “ideal place” in context against Altensam (the hated aristocratic home), England (self-imposed exile of a sort), and the Cone (the ideal ideal place).
We can also track a subtle shift in the final third of the sentence, as Roithamer’s voice ventriloquizes the narrator’s. Note how in the first third of the sentence, the narrator employs the first-person pronoun “I” which soon disappears in the middle third to be replaced by “he” (referring to Roithamer), until finally transforming into an “I” again in the final third—only this “I” is Roithamer’s “I.” This sentence demonstrates not only the demanding sentence structure that characterizes Correction as a whole, but also its narrative program of ventriloquism.
3. Okay. So I’ve offered plot summary, a lump of text, and a few comments on Bernhard’s prose—but I’ve hardly made a go of untangling the knotty density of Correction. (Although is that really what I came here to do? I don’t know. I hope not). Here are some stray, loose thoughts on Correction, offered here with little support (and the vague promise that I’ll write more about Correction in the future—shorter, more focused posts that hopefully expand on these ideas):
Correction shows how idealism, and specifically the will to create and perfect the ideal, leads to breakdown, death, insanity, suicide.
The Cone is a massive idealized phallus that reduces the agency of Roithamer’s sister, isolates her, and becomes her tomb.
Roithamer is part of a long tradition in literature of strange sister-lovers, dudes who dote on—and idealize—their sisters too much.
Roithamer seems to suffer from a sort-of reverse Oedipus complex, where he identifies with the strength of his father and hates his mother, who he sees as a cultural philistine, lower class, anti-intellectual. This complex leads to chauvinism against women in general, and possibly prevents him from better understanding his sister, who he essentially imprisons.
Correction reminded me often of Poe’s story “The Fall of the House of Usher.”
Correction reminded me often of W.G. Sebald’s novel Austerlitz, although Correction obviously came first, and Sebald clearly cited Bernhard as an influence.
At some of its rantier points, Correction reminded me of Notes from Underground.
Correction took me forever to read, mostly because every time I picked it back up I had to twist my way into its circular, repetitive rhythms anew. Lots of rereading.
My auditory imagination: In time, it was Werner Herzog’s voice that read Correction to me.
Correction performs its own deconstruction.
Correction is often so scathing and harsh in its treatment of humanity as to be difficult to swallow. One has to step back repeatedly and remind oneself that Roithamer is not sane.
Correction is also very, very funny at times—astonishingly so, even. Its humor is truly absurd, the absurdity of a parent’s funeral, or the absurdity of simply having to go on. I can’t help but cite a favorite line here—“waking up is the always frightening minimum of existence.”
The other side of “waking up is the always frightening minimum of existence” is of course death in general, or suicide in particular. Correction posits suicide as the ultimate correction, the final clearing gesture. The ideal.
And, not a thought on Correction, but a question for readers: What next? — Concrete, The Loser, or Yes?
18 thoughts on “Three Notes on Thomas Bernhard’s Novel Correction (Plot, Prose, and a Riff)”
The first two of your suggestions would both be good ones to read next, though I’ve yet to get round to Yes. I tend to think of Concrete as perhaps the most quintessentially Bernhardian novel- just somehow seems to encapsulate what he’s about. The Loser is one of my favourites, and would form a good comic counterpoint to Correction, which is probably Bernhard at his most heavy-going. It also forms part of a loose trilogy with Old Masters and Woodcutters, both of which are utterly brilliant (I’ve written about the first two here http://dannysbyrne.wordpress.com/2011/02/20/the-loser-by-thomas-bernhard/ and here http://dannysbyrne.wordpress.com/2011/04/30/old-masters-by-thomas-bernhard/ if you’re interested)
Thanks for the recommendation. I have The Loser on Kindle as well as paperback, so I think it’ll be my next Bernhard (once I finish Crime and Punishment).
love Yes, The Loser, Gargoyles, Voice Imitator. Thanks for your blog.
The Loser is one of my favourite novels. It’s brilliant.
Thats it! It was Herzog’s voice in my head when I was reading Correction!
[…] this passage from Thomas Bernhard’s Correction we can see the strange, bleak, black humor that characterizes the novel: It’s a folk art of […]
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Depends what you want from your next Bernhard novel. All three are great. Yes will be the easiest to get through, followed by Concrete, then The Loser. But as someone mentioned above, The Loser is part of a wonderful loose trilogy with Old Masters and Woodcutters (aka Cutting Timber). I know you didn’t give it as an option, but I’d consider Old Masters next, just because Bernhard finds a few little moments of light and connection amidst the darkness and it is thus a nice counterweight to the nearly impenetrable darkness of Correction. (They are my two favorites of his. Most days.)
You are lucky to have the first read of so many of his works still before you.
Thanks for your comments and suggestions, David,
I proposed Yes, The Loser, and Concrete simply because I already have them (I live near a very large and very well-stocked used bookstore where I have lots of book credit, and I picked them up over the past few months as I saw them come in).
I started The Loser a few days ago; with its much shorter sentences and more apparently humorous outlook, it’s been far more inviting than Correction.
I’ll keep an eye out for Woodcutters and Old Masters (or just ask my shop to order them for me)>
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[…] From Thomas Bernhard’s novel Correction. […]
[…] 3. (I riffed on Correction here). […]
[…] echoes the work of Thomas Bernhard, another cult writer I finally got to in 2012. His novels Correction and The Loser challenged me, made me laugh, and occasionally disturbed […]
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[…] Correction by Thomas Bernhard. English translation by Sophie Wilkins. 1983 first edition trade paperback by Aventura. Cover design by Keith Sheridan featuring an illustration by Marshall Arisman. I wrote about Correction here. […]