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Últimos poemas
- GenresPoetry
84 pages, Paperback
First published January 1, 2006
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About the author
Ingeborg Bachmann
185 books618 followers“What actually is possible, however, is transformation. And the transformative effect that emanates from new works leads us to new perception, to a new feeling, new consciousness.” This sentence from Ingeborg Bachmann’s Frankfurt Lectures on Poetics (1959-60) can also be applied to her own self-consciousness as an author, and to the history of her reception. Whether in the form of lyric poetry, short prose, radio plays, libretti, lectures and essays or longer fiction, Bachmann’s œuvre had as its goal and effect “to draw people into the experiences of the writers,” into “new experiences of suffering.” (GuI 139-140). But it was especially her penetrating and artistically original representation of female subjectivity within male-dominated society that unleashed a new wave in the reception of her works.
Although Bachmann’s spectacular early fame derived from her lyric poetry (she received the prestigious Prize of the Gruppe 47 in 1954), she turned more and more towards prose during the 1950’s, having experienced severe doubts about the validity of poetic language. The stories in the collection Das dreißigste Jahr (The Thirtieth Year; 1961) typically present a sudden insight into the inadequacy of the world and its “orders” (e.g. of language, law, politics, or gender roles) and reveal a utopian longing for and effort to imagine a new and truer order. The two stories told from an explicitly female perspective, “Ein Schritt nach Gomorrha” (“A Step towards Gomorrah”) and “Undine geht” (“Undine Goes/Leaves”), are among the earliest feminist texts in postwar German-language literature. Undine accuses male humanity of having ruined not only her life as a woman but the world in general: “You monsters named Hans!” In her later prose (Malina 1971; Simultan 1972; and the posthumously published Der Fall Franza und Requiem für Fanny Goldmann) Bachmann was again ahead of her time, often employing experimental forms to portray women as they are damaged or even destroyed by patriarchal society, in this case modern Vienna. Here one sees how intertwined Bachmann’s preoccupation with female identity and patriarchy is with her diagnosis of the sickness of our age: “I’ve reflected about this question already: where does fascism begin? It doesn’t begin with the first bombs that were dropped…. It begins in relationships between people. Fascism lies at the root of the relationship between a man and a woman….”(GuI 144)
As the daughter of a teacher and a mother who hadn’t been allowed to go to university, Bachmann enjoyed the support and encouragement of both parents; after the war she studied philosophy, German literature and psychology in Innsbruck, Graz and Vienna. She wrote her doctoral dissertation (1950) on the critical reception of Heidegger, whose ideas she condemned as “a seduction … to German irrationality of thought” (GuI 137). From 1957 to 1963, the time of her troubled relationship with Swiss author Max Frisch, Bachmann alternated between Zurich and Rome. She rejected marriage as “an impossible institution. Impossible for a woman who works and thinks and wants something herself” (GuI 144).
From the end of 1965 on Bachmann resided in Rome. Despite her precarious health—she was addicted to pills for years following a faulty medical procedure—she traveled to Poland in 1973. She was just planning a move to Vienna when she died of complications following an accidental fire.
Joey Horsley
Although Bachmann’s spectacular early fame derived from her lyric poetry (she received the prestigious Prize of the Gruppe 47 in 1954), she turned more and more towards prose during the 1950’s, having experienced severe doubts about the validity of poetic language. The stories in the collection Das dreißigste Jahr (The Thirtieth Year; 1961) typically present a sudden insight into the inadequacy of the world and its “orders” (e.g. of language, law, politics, or gender roles) and reveal a utopian longing for and effort to imagine a new and truer order. The two stories told from an explicitly female perspective, “Ein Schritt nach Gomorrha” (“A Step towards Gomorrah”) and “Undine geht” (“Undine Goes/Leaves”), are among the earliest feminist texts in postwar German-language literature. Undine accuses male humanity of having ruined not only her life as a woman but the world in general: “You monsters named Hans!” In her later prose (Malina 1971; Simultan 1972; and the posthumously published Der Fall Franza und Requiem für Fanny Goldmann) Bachmann was again ahead of her time, often employing experimental forms to portray women as they are damaged or even destroyed by patriarchal society, in this case modern Vienna. Here one sees how intertwined Bachmann’s preoccupation with female identity and patriarchy is with her diagnosis of the sickness of our age: “I’ve reflected about this question already: where does fascism begin? It doesn’t begin with the first bombs that were dropped…. It begins in relationships between people. Fascism lies at the root of the relationship between a man and a woman….”(GuI 144)
As the daughter of a teacher and a mother who hadn’t been allowed to go to university, Bachmann enjoyed the support and encouragement of both parents; after the war she studied philosophy, German literature and psychology in Innsbruck, Graz and Vienna. She wrote her doctoral dissertation (1950) on the critical reception of Heidegger, whose ideas she condemned as “a seduction … to German irrationality of thought” (GuI 137). From 1957 to 1963, the time of her troubled relationship with Swiss author Max Frisch, Bachmann alternated between Zurich and Rome. She rejected marriage as “an impossible institution. Impossible for a woman who works and thinks and wants something herself” (GuI 144).
From the end of 1965 on Bachmann resided in Rome. Despite her precarious health—she was addicted to pills for years following a faulty medical procedure—she traveled to Poland in 1973. She was just planning a move to Vienna when she died of complications following an accidental fire.
Joey Horsley
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Displaying 1 - 15 of 15 reviews
February 21, 2023
Había leído poemas suyos antes y nunca había terminado de conectar, así que empecé este librito con algo de respeto. Pero wow, de esas veces en las que sientes que estás asistiendo a un acontecimiento lector al que vas a tener acceso muy pocas veces y que ni siquiera puedes nombrar o describir, solo admirar y atravesar. ¡Qué suerte leerlo!
“El mundo quiere / definitivamente / imponerse, / estar ya dicho. / No lo digáis”.
“El mundo quiere / definitivamente / imponerse, / estar ya dicho. / No lo digáis”.
May 29, 2020
“he adorado un algo y he sido devota delante de una nada”.
July 12, 2021
Una verdadera joya.
February 17, 2020
Me dejó helado.
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April 9, 2024Brutal como siempre
September 16, 2020
No te he perdido a ti, sino al mundo.
May 31, 2024
"Y si aún creo en el mar, confiaré en la tierra."
Jamás creí que su poesía me golpearía el corazón con esta contundencia, decir que me han conmovido sería faltar a la verdad, porque ha mezclado mis sentimientos para dar forma a una sensación de lo más espectacular, cuando la poesía llena de esta manera y desborda el corazón de dolor y calma, uno agradece poder sentirlo y descubrirlo.
Ingeborg Bachmann (1926 - 1973) fue una poeta y autora austríaca, una de las más destacadas escritoras en lengua alemana del siglo XX. Su muerte aún es un misterio, solo se sabe que sucedió en un hospital de Roma, tres semanas después de un incendio en su habitación, el 17 de octubre de 1973, falleció dejando su obra incompleta.
La publicación de sus Obras completas (1978) incluyó dos grupos de poemas escritos con posterioridad a su obra publicada; son estos Últimos poemas los que Cecilia Dreymüller y Concha García han traducido y ponen a nuestra disposición en esta cuidada edición.
Jamás creí que su poesía me golpearía el corazón con esta contundencia, decir que me han conmovido sería faltar a la verdad, porque ha mezclado mis sentimientos para dar forma a una sensación de lo más espectacular, cuando la poesía llena de esta manera y desborda el corazón de dolor y calma, uno agradece poder sentirlo y descubrirlo.
Ingeborg Bachmann (1926 - 1973) fue una poeta y autora austríaca, una de las más destacadas escritoras en lengua alemana del siglo XX. Su muerte aún es un misterio, solo se sabe que sucedió en un hospital de Roma, tres semanas después de un incendio en su habitación, el 17 de octubre de 1973, falleció dejando su obra incompleta.
La publicación de sus Obras completas (1978) incluyó dos grupos de poemas escritos con posterioridad a su obra publicada; son estos Últimos poemas los que Cecilia Dreymüller y Concha García han traducido y ponen a nuestra disposición en esta cuidada edición.
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September 10, 2021"he adorado un algo y he sido devota delante de una nada"
December 27, 2021
Abandona la poesía,
pero abandónala así
pero abandónala así
September 15, 2022
«Bohemia está junto al mar», «Una especie de pérdida» y «Nada de Delikatessen» me han fascinado, wow.
September 25, 2023
¿En qué nivel superior hay que estar para decidir dejar de escribir poesía porque sientes que se te da muy fácil y no es un desafío? Ingeborg es ESA mujer.
May 26, 2024
GIRLS WHEN. HE ADORADO UN ALGO Y HE SIDO DEVOTA DELANTE DE UNA NADA. 😮💨😮💨🥴😷🤒😰😩😫😖😣😤😭😢😞
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October 9, 2008Casi un silencio. Epílogo de Invocación a la Osa Mayor, pero sin condena, menos resentimiento de postguerra, un lenguaje que encantando no deja de ser directo. No necesita habla postfeminista. Una paleta de hielo de todos los sabores.
January 21, 2015
"¿Debo
aprisionar un pensamiento
llevarlo a la iluminada celda de una frase?"
aprisionar un pensamiento
llevarlo a la iluminada celda de una frase?"
November 6, 2015
«Si Bohemia está aún junto al mar, vuelvo a creer a los mares.
Y si aún creo en el mar, confiaré en la tierra».
Y si aún creo en el mar, confiaré en la tierra».
Displaying 1 - 15 of 15 reviews