IN THE SECOND PHASE of Veza's career — after the closure of the Arbeiter-Zeitung in February 1934 and until the Anschluss in March 1938 — she wrote two plays, The Ogre and The Tiger, and a number of short stories and novellas, which all distinguish themselves sharply from the material that appeared in the workers' press between 1932 and 1934. Canetti in contrast wrote nothing that he could present for publication. The intensified censorship meant that Veza had to change her style and subject matter if she wanted to get published in Austria, let alone Nazi Germany. Unlike Canetti, she continued to write for readers — at least there are many signs that indicate that after a period of readjustment to the new, repressive political reality, this is what she wanted to do. Success now came much harder, as there were fewer opportunities, which she seems quickly to have realized. She can hardly have dramatized the story of the Igers' marriage with the expectation that it would be published, let alone performed on stage, under either Dollfuß or Schuschnigg. Her indictment of the patriarch, the linchpin of the neo-Catholic order, for his bullying behavior, is too strong for that, regardless of whether Iger is intended to represent Dollfuß, as Angelika Schedel has proposed. Dagmar Lorenz writes that “geared towards a class-conscious proletariat, Der Oger, with its easy-to-follow conflicts, its overt revolutionary message, and its conventional dramatic techniques, is clearly didactic.”