It was noteworthy that even in his futuristic projects, Bauknecht continued to use a setting that was vaguely mid-C. XX, without a lot of electronic gadgets but still armed with a sophisticated scenery of mechanical objects.
And the women. More has been written about the women of Bauknecht’s fiction than any other aspect of it. The so-called ℓ-type, from the propensity to use names beginning with “L,” (eg, Lysistrata, Lavinia, Lorelei, in respective works), is an engaging, intelligent, usually frightfully pretty though enigmatic and contingently-interested character. The consensus is that Bauknecht must almost certainly have had a single person in mind, on whom these characters are based, one whom he knew well but with whom he had an ambivalent, if bizarrely intimate, relationship.
As to who the prototype for these characters was, and how things ended between her and Golias Bauknecht—his too-early mutism abolishes a literary guess.
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