The Loser is a brilliant fictional account of an imaginary
relationship among three men—the late piano virtuoso Glenn Gould, the
unnamed narrator, and a fictional pianist, Wertheimer—who meet in 1953
to study with Vladimir Horowitz. In the face of Gould's incomparable
genius, Wertheimer and the narrator renounce their musical ambition, but
in very different ways. While the latter sets out to write a book about
Gould, Wertheimer sinks deep into despair and self-destruction.
"Like Swift, Bernhard writes like a sacred monster. . . . A remarkable
literary performer: [he] goes to extremes in ways that vivify our sense
of human possibilities, however destructive."—Richard Locke, Wall
"The excellence of Bernhard—and it is a kind virtuosity, ably maintained
in this American translation—is to make his monotonous loathing not only
sting but also, like Gould at the piano, sing."—Paul Griffiths,
Times Literary Supplement
"[He is] one of the century's most gifted writers."—David Plott,
"America has been sadly immune to the charm and challenge of Bernhard's
work and the American public has deprived itself of the deep and serious
pleasure of reading one of the great writers of this century. . . . One
of the great works of world literature. Its arrival on these shores is a
significant literary event."—Thomas McGonigle, New York Newsday
"synopsis" may belong to another edition of this title.
For music lovers, perfectionists, and estheticians, Thomas Bernhard's The Loser (1983) poses an irresistible drama of failed excellence. In 1953 three friends, among whom is the famed Glenn Gould, study with Horowitz. Rarely sleeping, hardly eating, they burn intensely with the white and ruthless flame of virtuosity. Only Gould ascends. But this is no conventional narrative--neat, action-driven, or linear. It opens with the specter of death--Gould's at 51, and a suicide. Art exalts even as it destroys, when the aspirant is found wanting. Both Wertheimer, the suicide, and the narrator turn their backs on their musical careers, thus triggering their process of "deterioration." What is the consequence of throwing it all away? And yet, what are the rewards of realized genius? After Gould becomes, indeed, Glenn Gould, the two friends go to visit him in Canada. "He had barricaded himself in his house. For life. All our lives the three of us have shared the desire to barricade ourselves from the world. All three of us were born barricade fanatics."
Bernhard fans will recognize the restrained rant, the execution of an idea carried to a logical, caustic extreme. The rant creates, of the novel, a grand philosophical speculation: What is devotion to one's art? What is it to truly understand one's art and to not misuse one's gift? And, alas, The Loser can also be read as the profound consequence of perfectionism, whereby all efforts to create or execute anything of note are squashed in the critical mind's ruthless self-scrutiny. The narrator works, for example, on his Glenn Gould essay for nine years, grateful, in the end, that he has published nothing. "How good it is that none of these imperfect, incomplete works has ever appeared, I thought, had I published them.... [T]oday I would be the unhappiest person imaginable, confronted daily with disastrous works crying out with errors, imprecision, carelessness, amateurishness." The one regenerative act seems to be that of self-destruction. Destruction, indeed, becomes the flip side of perfectionist rigor. Thomas Bernhard (1931-89) was his own unique genius and in The Loser, one of his most acclaimed novels, he creates a chilling portrait of tragic compulsion, teasing and testing our assumptions human behavior. --Hollis GiamatteoFrom the Back Cover:
A brilliant account of an imagined relationship among three men- including the late piano virtuoso Glenn Gould- who meet in 1953 to study with Vladimir Horowitz.
"About this title" may belong to another edition of this title.
Book Description University Of Chicago Press, 1996. Paperback. Book Condition: New. Bookseller Inventory # DADAX0226043886
Book Description University Of Chicago Press, 1996. Paperback. Book Condition: New. Never used!. Bookseller Inventory # P110226043886
Book Description University Of Chicago Press, 1996. Paperback. Book Condition: New. book. Bookseller Inventory # M0226043886
Book Description University Of Chicago Press. PAPERBACK. Book Condition: New. 0226043886 New Condition. Bookseller Inventory # NEW7.0987249