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246:." In announcing the publication of the translation, Yale University Press described it as "a spectral journey through the catastrophic history embedded in the landscape of Austria . Concocted from experimental theater, splatter film, Gothic literature, philosophy, religion, and more, Jelinek’s phantasmagorical masterwork is a fierce confrontation with our fraught legacies in the name of the innocent dead".
293:. Of these undead protagonists, the three primary are Gudrun Bichler, Edgar Gstranz and Karin Frenzel; they are incapable of speech, obsessed with sex, and brutal. They are confronted with the mass of Holocaust victims, who wish to achieve new life by means of the couple, Gudrun and Edgar; however their plan fails since Gudrun and Edgar are likewise undead. The setting dissolves into a sea of mud.
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that "Jelinek’s prose is dense, chock-full of localisms and bits of political history, and riven with that most
Germanic form of humor, die Wortspiele — puns, basically." He went on to say that "is a tale of death, disgust, and despair. But it’s no bummer; it is playful and proudly strange. And it
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called the novel "a savage reckoning with the
Holocaust; an indictment of consumer culture; a compilation of ghastly erotica replete with undead orgies; an erudite display of Joycean wordplay; and a relentlessly bleak portrait of the human capacity for self-deception."
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Ballhausen, Thomas / Krenn, GĂĽnter: This is Hell: Elfriede
Jelinek’s „Children of the Dead“ and Her Rewriting of Herk Harvey’s „Carnival of Soul“. In: Autelitano, Alice / Re, Valentina (Hg.): il racconto del film. narrating the film. Udine
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133:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
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Kecht, Maria Regina: The
Polyphony of Remembrance. Reading „Die Kinder der Toten“ . In: Lamb-Faffelberger, Margarete / Konzett, Matthias P. (Hg.): Elfriede Jelinek. Writing Woman, Nation, and Identity. Madison 2007. S.
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offers a forceful riposte to a culture—one both historical and contemporary—that abjures the buried and the bygone. Its raw pessimism invigorates, even when it risks feeling totally exhausting."
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Wilson, Ian W.: Greeting the
Holocaust's Dead? Narrative Strategies and the Undead in Elfriede Jelinek's „Die Kinder der Toten“. In: Modern Austrian Literature. Vol. 39, No. 3/4, 2006. S. 27-55.
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in 1996. The prologue and epilogue were translated into
English by Louise E. Stoehr in 1998, while a full English translation by Gitta Honegger was published by Yale University Press in 2024.
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253:. Along with this goes an associative mode of writing which incorporates plays on words and constantly disrupts linear narration through looping and repeated narrative strands.
472:
Ortner, Jessica: Poetologie „nach
Auschwitz“. Narratologie, Semantik und sekundäre Zeugenschaft in Elfriede Jelineks Roman „Die Kinder der Toten“. Kopenhagen, Diss. 2012.
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is her longest work. Although it can be classified as a postmodern horror novel, Jelinek herself calls it a "ghost story written in the tradition of the
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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Gsoels-Lorensen, Jutta: Elfriede
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In 2019, directors Kelly Copper and Pavol Liska collaborated on a feature film adaptation,
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Die Kontrakte des Kaufmanns. Eine Wirtschaftskomödie
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