MLRy 98.1, 2003 253 Christa Wolf's autobiographical novel Kindheitsmuster is a very sincere explo? ration of the unwitting implication and complicity of the narrator's childhood self, and Wolf's text is acutely aware of the limits of remembering and commemoration. Vati and Februarschatten are also texts which referclosely to extratextual persons and events: to Josef Mengele's death, and a collective lynching of Russian war prisoners who had escaped from Mauthausen in February 1945. Snyder Hook engages with all novels in a paraphrasing reading, in which the texts' unchallenged insights into post-traumatic conditions and the workings of power and domination are supported by appropriate references to the seminal works of Cathy Caruth, Alice Miller, and Michel Foucault. This approach does have its merits, and Snyder Hook provides straightforward accounts of the texts and the issues at stake. The most convincing chapters are those on Wolf and Reichart. In her chapter on Schneider's Vati, entitled 'The Sins of the Fathers', Snyder Hook takes issue with the negative immediate reception of this text. Her argument closely resembles that of Peter Morgan's essay 'The Sins ofthe Fathers: A Reappraisal ofthe Controversy about Peter Schneider's Vati' (German Life and Letters, 47 (1994), 10433 ), with which it also shares a chapter heading. That she fails to mention Morgan's essay altogether is a striking omission. Snyder Hook's affirmative readings reveal their shortcomings in the chapters on Jelinek and Bernhard. Both texts lay a number of traps forthe reader. Jelinek's novel Die Ausgesperrten, set in the Vienna of the late 1950s, responds in a complex and contradictory way to Sartre's play Les Sequestres d'Altona (Die Eingeschlossenen in German translation). Snyder Hook could make a case fordisregarding the link, but to read the novel's gruesomely staged ending, where the son slaughters his parents and sister,along the lines of Selbsttherapiemisses the point. Nor does Snyder Hook's study face up to the deeply ironic configuration of Bernhard's Ausloschung. The narrator, Franz-Josef Murau, is a palimpsestic figure, composed of fictional predecessors in Bernhard's and others' texts. The topos ofthe text, the castle in Wolfsegg, is a complex site ofboth literaryand historical horror and trauma. Murau wants to leave it forgood, in a move to Rome, but Wolfsegg returns in Rome in several ways. I can only point to the disturbing black humour of this novel by way of its ending. Murau donates the castle of Wolfsegg and 'alles Dazugehorende' (Bernhard's italics) to Vienna's Jewish community. When, in the final diabolic framing, Murau thanks Eisenberg, the Rabbi, forhis acceptance ofthe bequest, Murau is grammatically neither alive nor dead, thus reiterating the impasse of Ausloschung: 'Von Rom aus, wo ich jetzt wieder bin und wo ich diese Ausloschung geschrieben habe, und wo ich bleiben werde, schreibt Murau (geboren 1934 in Wolfsegg, gestorben 1983 inRom),dankteichihmfurdieAnnahme.' Emmanuel College, Cambridge Andrea Capovilla Fakten und Fiktionen: Strategien fiktionalbiographischer Dichterdarstellungen in Ro? man, Drama und Film seit 1970. Beitrdge des Bad Homburger Kolloquiums, 21.-23. Juni 1999. Ed. by Christian von Zimmermann. (Mannheimer Beitrage zur Sprach-undLiteraturwissenschaft,48)Tubingen:Narr. 2000. xi + 352 pp. ?60. ISBN 3-8233-5648-8 (pbk). Fakten und Fiktionen is a collection of sixteen articles on primarily German but also British, American, French, and Scandinavian literary biographies produced between 1970 and 2000. As the title of the volume indicates, the emphasis is on works that thematize the relationship between documentary 'evidence' and narrative invention. An introductory essay by Ansgar Niinning outlines a theoretical approach to the study of recent historical biography. Niinning draws an important distinction between 'fic? tional biography' and 'biographical metafiction': the former strives for a 'neutralfe] 254 Reviews Vermittlung des Geschehens, ohne Aufmerksamkeit auf die Erzahlinstanz oder die Prozesse der narrativen Strukturierungzu ziehen' (p. 23), while the latter foregrounds the process of reconstructing and representing historical events. Niinning's scheme is heavily indebted to the work of Linda Hutcheon, but he refines her concept of 'historiographical metafiction' by stressing that the representational problems of biographical writing can be thematized 'implicitly' (that is, by purely formal means) as well as explicitly through narratorial intervention. The typologist's mania for classification...