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"Bernhard's prose is lapidary and translucent in its vocabulary, but sinuous and formidably dense in its phrasing. This prose enacts the essential motif of the novel: the notion that every 'correction' is also a negation . . . . The remarkable point is the extent to which the ascetic compactness of Bernhard's style turns these abstractions into a sensory presence . . . . [Bernhard's] connections, at once developmental and contrastive, with the great 'Austrian' constellation of Hofmannsthal, Kafka, Musil and Broch become ever clearer."--George Steiner, "Times Literary Supplement ""Correction is something exceedingly rare among novels of recent years: a paradigm of consciousness and not simply a product . . . . Bernhard has said that 'the art we need is the art of bearing the unbearable, ' and his novel joins that small group of literary works which nobly help us to do that."--Richard Gilman, "The Nation "It is high time that we keep Bernhard firmly in our mind, as European readers have been doing for many years now."--Peter Demetz, "Christian Science Monitor
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