Background
Barbara Frischmuth was born on July 5, 1941, in Alt-Aussee, Austria.
Barbara attended University of Graz and
She attended Oriental studies at University of Vienna from 1964 to 1967.
Barbara Frischmuth was born on July 5, 1941, in Alt-Aussee, Austria.
Barbara spent her early years immersed in her education. A passionate student, Frischmuth's thirst for knowledge was Placated at the University of Graz, as well as the University of Vienna where she collectively studied the Turkish and Hungarian languages, as well as Oriental studies.
Frischmuth first made her mark on the literary scene in 1968 with Die Klosterschule ("The Parochial School"). A depiction of life at a Catholic girls' boarding school, the story uses Frischmuth's own childhood experiences al a similar school as fodder for the novel. In the story, she addresses the manipulative control that strict religious schools can inflict upon young women. The Parochial School was written in part as a response to Ludwig Wittgenstein's work of the 1950s.
Parochial School reflects a belief in Wittgenstein's later theory. After Parochial School, Frischmuth's next literary efforts were geared towards children. In the late 1960s, and early 1970s, she primarily wrote children's books, including Der Pluderich (1969), Philomena Muckenschnabel (1970), Polsterer (1970), Die Prinzessin in der Zwimspule (1972), Ida-und ob! (1972), and Grizzly Dickbaugh und Frau Nuffl (1975). These works illustrate Frischmuth's creative diversity, as well as her humor and ability to connect with children on their own level.
During the early 1970s, along with her books for kids, Frischmuth continued writing semi-autobiographical and philosophical literature for adults. Once again utilizing the ideals of Wittgenstein, she wrote a collection of short stories titled Tage und Jahre: Saetze zur Situation ("Days and Years: Sentences on the Situation'). These stories appear to have little relation to one another. However, they represent Frischmuth's attempt at non-manipulative storytelling. Her goal was for the reader to put the pieces together on their own, drawing their own conclusions.
In the 1970s, Frischmuth also began addressing issues close to her heart: mainly, the plight of women struggling for independence. The first of these novels, Haschen nach Wind ("Grasping at the Wind"), was published in 1974; it dealt with the struggles women encounter when trying to balance work and family. According to Dictionary of Literary Biography essayist Donald G. Daviau, of the four stories presented in Haschen nach Wind, none end happily, nor does Frischmuth provide solutions to the problems she addresses.
Frischmuth's next novel was the first in a trilogy of female-driven novels. Die Mystifikationen der Sophie Silber ("The Mystification of Sophie Silber") was published in 1976.
Frischmuth's second work in the trilogy is 1978's Amy oder Die Metamorphose ("Amy; or, The Metamorphosis").
The third in Frischmuth's trilogy is Kai utul die Liebe zu den Modelleri ("Kai and the Love of Possibilities"), published in 1979. With this novel, Frischmuth addresses the issues of putting children first over temporary love relationships.
Frischmuth continued writing throughout the 1980s, publishing in a variety of literary forms. While some stories mirrored themes used in much of her earlier work, others were a departure from it. Entzug - ein Menetekel der zaertlichsten Art ("Withdrawal - a Most Tender Warning"), strays the most. The two stories presented in this work deal with erotic imagery and sexual longing.
Throughout Frischmuth's work, it is clear that she believes in presenting women with healthy role models, as well as lifelong opportunities other than that of wife and mother.
Barbara is a member of the Grazer Gruppe (the Graz Authors' Assembly), along with Peter Handke.
Quotes from others about the person
"Frischmuth's writings offer a model study of the development of contemporary Austrian literature from an aesthetic preoccupation with language to a concern for social issues," concluded Daviau. "Frischmuth's characters, even the supernatural ones, stand out vividly; the only apparent weakness is a lack of roundedness and depth, especially in the male characters."
Barbara married and divorced at an early age.