232 Reviews modernity is from the unified medieval world-view. Thus, although St Anthony, who stands on the right ofGrunewald's crucifixion scene, is never named in the novel, he is apparently alluded towhen Esch imagines himself living in a monastic cell and when Major v. Pasenow, a bewildered arch-conservative, feels plagued by 'd?monische[m] Gez?cht'. Eduard v. Bertrand resembles Ahasuerus, theWan dering Jew, because he does so much travelling. Although Gr?newald does not depict Ahasuerus, he may portray Lucifer as a feathered angel playing the viol with a sceptical frown. (In identifying this angel as Lucifer, L?tzeler follows Ruth Mellinkoff's The Devil at Isenheim [Berkeley, Los Angeles and London, 1988]; this interpretation, though persuasive, is not yet standard, and can hardly have been known toBroch.) And since Bertrand, though featherless and unmusical, is likewise a sceptic, 'dieVerwandtschaft zwischen Luzifer als Gestalt Gr?newalds und Luzifer als Romanfigur Brochs istnicht zu ?bersehen' (p. 36). Such interpretations do violence to the text by extracting phrases from their context. For example, when young Pasenow, entering a church, recalls Isaiah 1. 3 ('The ox knoweth his owner and the ass hismaster's crib; but Israel doth not know, my people doth not consider'), L?tzeler, quoting only thefirst sentence, invitesus to associate it with the traditional Christmas story (not represented byGr?newald); yet in context the quotation movingly conveys the confusion and estrangement of Pasenow's generation. And since Broch's reflections on themodern crisis of belief are ifanything over-explicit in their biblical references, to search for concealed allusions seems wrong-headed. Fortunately, the impression of a gifted scholar misled by an obsession is modified later in the book, when L?tzeler, abandoning Gr?newald, deftly sketches Broch's theory of 'Wertzerfall' and his characters' perverted quests for substitute saviours. There follow a short biography of Broch and a chronology of his lifeand works. Had itbeen as good throughout, thisbook, with itsbeautiful coloured illustrations, would certainly have assisted this series' declared purpose of building bridges between literature and theology. But curious readers should plunge straight into Broch. St John's College, Oxford Ritchie Robertson The Austrian Anschluss inHistory and Literature. By Eoin Bourke. (Literature as Testimony i). Galway: Arlen House. 2000. 138 pp. ?16.00 (paperback), isbn 1-903631-05-x; ?30.00 (hardback), isbn 1-903631-06-8. The theatre director Rudolf Beer's words, 'Verwienerte Nazis ? die werden nie grausam sein', could serve as a tragically ironic subtitle to thiscompilation of factual and fictional accounts of Austria before, during and after the Anschluss. Beer himself, like somany others, experienced soon enough his tragicmisreading of the Viennese psyche anno igj8, and what Eoin Bourke describes, graphically and all too clearly, in this slim volume is well enough known. His account is ordered chronologically in seven sections from 'The Events Leading to the Anschluss' through 'Heldenplatz, 15th March', 'The Aftermath', 'The Holocaust Begins', 'The "Final Solution" ', 'Resistance and Collaboration' (only five pages on 'Resistance', alas) to,finally, thewretched tale of'Post-War Restoration'. Readers of thisjournal will not need tobe reminded of thisunhappy period ofAustrian history. AUSTRIAN STUDIES, II, 2OO3 233 What makes the study of interest,however, and well worthy of inclusion in any seminar or library collection of books on twentieth-centuryAustria, isnot somuch the innovative concept 'Workbook' (whereby its slightly largermargins encourage readers of thishorrific sequence of events tojot down theirown comments forfuture readers to consider) but the selection of illustrativematerial. This could almost have been reorganized in the form of a 'reader', forBourke has gathered a representative selection of prose, poetry and drama ? both factual, or based on fact, and fictional ? written over a period of fortyyears or so, a selection which contains much material new to this reviewer. The poets are particularly fascinating, ranging as they do from thewell-known, such asWerfel, Fried, Jandl (who inspires the author to a little literarycriticism),Kramer and Viertel, tomany less-known dialect poets such as JosefMayer-Limberg and Richard Wall, and several who must be classed as amateurs. Quite a surprise isHermann Broch's 'Nun da ich schweb im Atherboot' written as he flew out of Aspern to freedom after three weeks imprisonment inAlt...