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Old Masters by Thomas Bernhard (translated from German by Ewald Osers) {Reviewed by THOMAS} It is very tiring to get everything done properly, he said, it is exhausting and, really, a waste of time to get everything done properly, but it is just as exhausting and just as much a waste of time to get everything done not properly, to do a mediocre job, so to speak, he said. As not doing anything at all does not seem to be an option available to me, despite its attractions, he said, as doing nothing is fraught with its own existential dangers, so to call them, I may as well do everything properly, he said. This is a terrible trap. I will exhaust myself and waste my time whether I do things properly or not, nobody will notice whether I do things properly or not, I am uncertain if I can tell whether I am doing things properly or not myself, but they would notice if I do nothing at all. Perhaps what I call properly is in fact mediocre, I aspire to the mediocre but fall short, or I aspire to excellence and fall short, it makes no difference, I fall to the same point, somewhere below the mediocre, far below excellence, I fall to my place in the order of things whether I aspire to the mediocre or to the excellent, I may as well aspire to excellence, whatever that means, and fail more grandly, he said, though he was unsure if this failure was more grand or more pathetic. He had, he said, entertained the intention, at least briefly, of writing a proper review of Old Masters by Thomas Bernhard, he had been rereading Old Masters not merely but at least partly for the purposes of writing this review, and he had even, while researching this review or this book, discovered what seemed to him to be a video game in which he could move around the  galleries of the Kunsthistorisches Museum in Vienna, although there were some galleries he could not enter for some reason, perhaps he had to advance to another level or perhaps he was just clumsy, avoiding the gallery attendants, searching for the location in which almost the entire book is set: the bench facing the painting White-Bearded Man by Tintoretto. Using the navigation arrows provided for the purpose by Google, he found, the player of the game can become well acquainted with the endless parquet flooring of the Kunsthistorisches Museum, with the marble staircases and gilded cornices and door-frames of the Kunsthistorisches Museum, and with much of what Reger, the dominant voice if not the narrator of Bernard’s book, dismisses as its collection of “Habsburg-Catholic state art. The Kunsthistorisches Museum is entirely in line with the artistic taste of the Habsburgs, who, at least where painting is concerned, had a revolting, totally brainless Catholic artistic taste,” writes Bernhard as Atzbacher quoting Reger, Atzbacher being the book’s narrator, even though pretty much all he does is quote what Reger has at some time said. He must concentrate on his review, he thought, I am determined to write a proper review, he said aloud, forgetting that he had already reviewed the book with a proper review, or in any case something slightly closer to a proper review than what he felt himself now capable of, not that that is saying much, some years before. Old Masters is an entirely musical book, he wrote, starting at last in a sensible way, despite being set in a painting gallery it is entirely musical both in its phrasing and in its structure, if there is a difference between the two, he thought, drifting from the task, the musical form of the book is what matters, he wondered if he could say the form is all that matters, that form is all that ever matters. Old Masters is narrated in one unbroken paragraph by Atzbacher, about whom we learn little, he wrote, but the voice that reaches us is the voice of Reger, an elderly music reviewer, who has arranged to meet Atzbacher on their regular bench in front of the White-Bearded Man but on an irregular day, they normally meet there on alternate days only. Atzbacher arrives early in order to watch Reger waiting for him from the next room, and the first half of the book consists of Atzbacher telling us what Reger has previously told him, of Reger speaking through Atzbacher, so it seems, just as Reger also speaks, as Atzbacher notes, through the museum attendant Irrsigler: “Irrsigler has, over the years, appropriated verbatim many, if not all, or Reger’s sentences. Irrsigler is Reger’s mouthpiece, nearly everything that Irrsigler says has been said by Reger, for over thirty years Irrsigler has been saying what Reger has said. If I listen attentively I can hear Reger speak through Irrsigler.” As with Irrsigler so with Atzbacher, he thinks, Atzbacher seemingly unaware of the irony. Old Masters is a very funny book, he thinks, Reger’s reported opinions amount to a stream of invective against pretty much everything held in esteem in the society in which Reger lives, and in which Bernhard lived, separated as they are only by tense, admiration, after all, being for Bernhard a form of mental weakness. “There has virtually been no culture in Vienna for a long time, and one day there will really be no culture of any kind left in Vienna, but it will nevertheless be a cultural concept even then. Vienna will always be a cultural concept, it will more stubbornly be a cultural concept the less culture there is in it,” writes Benhard as Atzbacher as Reger and perhaps again as Bernhard. Well, he thought, as with Vienna so with Nelson, though I will not write that down, he thought. Heidegger, Stifter, Bruckner, Vienna’s public lavatories, restaurants, politicians, all are derided in the most amusing fashion and at length, he wrote, in this first section, in the words of Reger as remembered by Atzbacher as he watches Reger waiting for him to arrive. This might even be Bernhard’s funniest book, he thought, the way Reger’s ridicule surges through it, builds and collapses. When Atzbacher keeps his appointment with Reger, Reger’s rants continue via Atzbacher, but at one step less remove, the rants continue but the tone changes, subtly, Old Masters might be Bernhard’s both least and most subtle book, he thought, the least subtle because of Reger’s ranting but the most subtle because of the modulation in that ranting, all in this one paragraph, the rant no longer filtered by Atzbacher’s memory is more extreme, nastier, less enjoyable, clumsier, is the fact that I can go along with Reger’s rants in the first half a mark against me, he wondered, and if so am I redeemed by being put off when we meet Reger himself in the second, so to speak, when we meet Reger in the raw, so to speak, he wondered, and Atzbacher intercuts what Reger says to him at this time in the gallery with recollections of what Reger has said to him previously at the Ambassador cafe, and the depth of Reger’s unhappiness since the death of his wife is expressed in sequences of sentences, each ending “...Reger said at the Ambassador then,” repeated like sobs, and the unhappiness flows through and gives depth to the rest of the book, which principally concerns the difficulties of carrying on living is a world devoid of value, Old Masters is perhaps Bernhard’s funniest book and his saddest. “Oh yes, Reger said, the logical conclusion would invariably be total despair about everything. But I am resisting this total despair about everything, Reger said. I am now eighty-two and I am resisting this total despair about everything tooth and nail, Reger said.” Reger’s vitriol is a survival mechanism, he wrote, to despise is to survive, that is clumsily put, he thought, too clumsily put to write down. “One’s mind has to be a searching mind, a mind searching for mistakes, for the mistakes of humanity, a mind searching for failure. The human mind is a human mind only when it searches for the mistakes of humanity, Reger said. A good mind is a mind that searches for the mistakes of humanity and an exceptional mind is a mind that finds the mistakes of humanity, and a genius’s mind is a mind which, having found these mistakes, points them out and with all the means at its disposal shows up these mistakes.” Reger despises nothing more than old masters, so Reger says, and this is why he has sat on his bench at the Kunsthistorisches Museum every other day for thirty years. “Art altogether is nothing but a survival skill, we should never lose sight of this fact, it is, time and again, just an attempt to cope with this world and its revolting aspects, which, as we know, is invariably possible only by resorting to lies and falsehoods, to hypocrisy and self-deception, Reger said. … All these pictures, moreover, are an expression of man’s absolute helplessness in coping with himself and with what surrounds him all his life. … All these so-called old masters are really failures, without exception they were all doomed to failure.” Our obsession with art, he thought, if we have an obsession with art, or with celebrity, if we have that, or with sport performers, so to call them, or with wealthy people, or actors, or singers, is not with how these apogees of achievement are more successful than us, more skilled, more wonderful, more spiritual even, whatever we mean by that, but with the flaws, the weaknesses, vices and misfortunes that make them like us after all, failures, and we are reassured that not even great success, however that is measured, not even great skill, not even great fame would stop us from being failures, and so we need not therefore even strive for these things, they would not in any case save us, so to speak. When the worst happens, though, we are devastated but it is not true to say that we do not also feel relief, and this is the saddest thing of all, he thought. “Reger was looking at the White Bearded Man and said, the death of my wife has not only been my greatest misfortune, it has also set me free. With the death of my wife I have become free, he said, and when I say free I mean entirely free, wholly free, completely free, if you know, or if at least you surmise, what I mean. I am no longer waiting for death, it will come by itself, it will come without my thinking of it, it does not matter to me when. The death of a beloved person is also an enormous liberation of our whole system, Reger now said. I have lived for some time now with the feeling of being totally free. I can now let anything approach me, really anything, without having to resist, I no longer resist anything, that is it, Reger Said.” Atzbacher accepts the ticket Reger offers him to attend a performance of Kleist’s The Broken Jug, a work also mocking human faillings, at the Bergtheater that evening, but, Atzbacher says, “The performance was terrible,” ending the book with the first opinion he has expressed that might be his own, though, given the formative influence of Reger upon him, can any opinion be his own, can anyone’s opinion anyway be considered their own, he wondered. I will give up on this review, he decided, I cannot write the review properly he realised, whatever could constitute properly, perhaps I could have done so once but I can do so no longer, at least not today, the only day I have to write it, he thought, my mind no longer performs in that way. He had spent a long time playing the Kunsthistorische Museum game but he could not find the painting of the White Bearded Man.