Abstract
The present article studies the writer's development away from her early poetry and through an experimental stage in the short story up to her final achievement in "Málina" ( 1971 ), the only finished novel of her planned trilogy "Todesarten (Ways of Dying)". This generic evolution of Bachmann runs parallel to her search for a specific language which would be capable of formulating a female discourse beyond conventional narrative strategies. By thus proceeding, the author not only poses herself outside the linguistic universe dominated by men, but as she deconstructs the female main character together with the concepts that condition her, she also verbalizes the process of her gradual destruction. Hers is therefore a way of writing which projects itself by destroying itself. The only domain left to this female voice is one that of an eloquent silence, the trace that remains after the "murder of reality ".
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