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Instead of tracing intertextual references in Bernhard's œuvre, this essay reads his inventories as "corpora"—"ectopic" entities—that disrupt conventional systems of narration and orders of knowledge. Taking into account the persistent materiality of writing, the essay identifies the narrator of Amras as a "floating organ," a textual (out)growth that traces the corporeal topography of Bernhard's narrative. [ABSTRACT FROM AUTHOR]

Wolf Haas's crime novels have been praised for their immersion into local contexts, moods, and sounds. Less attention has been paid to the fact that Haas's talkative narrator constitutes an interesting experiment with two distinctive types of narration: the I-narrator is mildly unreliable, but ventures at the same time into the domain of an ironic and rhetorically masked version of omniscient narration and metanarrativity. A close reading of selected passages illustrates how suspense and stylistic innovation can be achieved through unsuspected means, namely through substitutionary perception, second-person address, and strategic frame-breaking. [ABSTRACT FROM AUTHOR]

The article comments on the photographic negotiations in German author Thomas Bernhard's novel "Auslöschung." Bernhard had a huge fascination with photography which reflects through his exceptional collection of photographs showcasing various stages of his life. The photographs of Bernhard, however, have a certain anxiety surrounding them. Auslöschung too contains extensive meditations on photography. The author in this article contends that the contexts within which photographs are taken and viewed are central to their meaning. The photographs discussed in the book play a central thematic and structural role in the telling of a family history.