Summary
Robert Musil: Legacy for Life
The very title of the book *Nachlass zu Lebzeiten* (Literary Legacy for Life) - published in December 1935 by the publishing house Humanitas-Verlag from Zurich - was almost certainly a reaction to the provocative article published on June 28, 1933 in the newspaper *Berner Tagblatt* by Karl Zelig (literary, Viennese publisher who operated from the shadows and patron of numerous German and Austrian writers in exile). The article dealt with the Carinthian writer Robert Musil, who - either figuratively or figuratively, given his isolation from the public - was claimed to have "died a few years ago" and that his fame, like Kafka's, was based solely on works published after his death. But since the German word *Nachlass* also means "stock sale discount", the title also reflects the author's bitterness at having to end his life prematurely - and at a time when the value of his "goods" was decreasing. Since 1938, this book has been on the "List of Harmful and Undesirable Literature"; it was even marked as one of the acts against which the Reichsführer of the SS himself issued a special general ban. That was no accident. These journalistic and literary texts - which today, almost a hundred years later, are read as a successful presentation of the reality and truth of the 20th century, its comprehensive dehumanization of all areas of life and the penetration of brutal, bare-force politics - were then, and with reason, perceived as barely disguised anti-National Socialist. If the collection consists of four different types of literary texts, in each of them at least one element sends a poisonous arrow towards the then increasingly aggressive dictatorship. Already the first "picture", entitled *Glue for flies*, can be read as a paradigm for all the others, because the mentioned glue is nothing but the fatal glue of populist ideology. The simplicity of modern means of getting rid of pesky insects suggests a modern, perfected killing technique in general, and images of dead flies suggest scenes from war. In "cheerless considerations" (the title is a sort of reverse paraphrase of Nietzsche's *Untimely Considerations* after the revaluation of all values), Trieder's note stands out in this sense, suggesting: open your eyes, see things from a different perspective. In the "stories that are not" (because the emphasis is not on the story, but on history) - in the story of a small man who tries to find strength and finds it in the giant GSPAD (GSP buses) - it will not be difficult to recognize the Führer himself. Finally, in the crown of the entire collection, the novella *Kos*, the reader will find an existentialist cry for an (existential) step out of the rut of bourgeois life that so easily turns the individual into a particle in the crowd.
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