briefly as a journalist, mainly as a crime reporter, and then became a full-time writer. In 1970, he won the Georg Büchner Prize. In 1978, Bernhard was diagnosed with sarcoidosis. After a decade of needing constant medical care for his lungs, he died in 1989 in Gmunden, Upper Austria. Although there have been claims that he died by assisted suicide, contemporaneous obituaries reported, and Bernhard's half-brother, Dr. Peter Fabjan, confirmed that Bernhard had a heart attack. His death was announced only after his funeral. In his will, which aroused great controversy on publication, Bernhard prohibited any new stagings of his plays and publication of his unpublished work in Austria; however, in 1999 this was annulled by his heir, Peter Fabjan. Bernhard's attractive house in Ohlsdorf-Obernathal 2 where he had moved in 1965 is now a museum and centre for the study and performance of his work. Work Often criticized in Austria as a Nestbeschmutzer (one who dirties his own nest) for his critical views, Bernhard was highly acclaimed abroad. Nevertheless, while reviled by some Austrians for his outspoken and harsh views of his homeland, including its Nazi past, he was, during his lifetime, also highly acclaimed in Austria, winning major awards, and was seen by many as the preeminent writer of the time. His work is most influenced by the feeling of being abandoned (in his childhood and youth) and by his incurable illness, which caused him to see death as the ultimate essence of existence. His work typically features loners' monologues explaining, to a rather silent listener, their views on the state of the world, often with reference to a concrete situation and sometimes reported secondhand by the listener. Alongside his serious and pessimistic views, his works also contain funny observations on life. Bernhard is often considered a verbose writer, but Andreas Dorschel has broadened this view by showing that Bernhard's characters (specifically in Das Kalkwerk) oscillate between excessive speech and highly economical expressions. As Dorschel argues, the two modes produce a series of oppositions with mutually informing sides. Bernhard's main protagonists, often scholars or, as he calls them, Geistesmenschen (intellectuals), denounce everything that matters to the Austrian in contumacy-filled tirades against a "stupid populace". He also attacks the state (often called "Catholic-National-Socialist"), generally respected institutions such as Vienna's Burgtheater, and much-loved artists. His work also deals with the isolation and self-destruction of people striving for an unreachable perfection,