漢斯-烏爾裏希·特萊希爾，1952年生於德國威斯特法倫州。曾在柏林自由大學攻讀日耳曼語言文學，副修哲學和政治學，1983年獲博士學位，後在意大利做過德語教師。1985-1991年在柏林自由大學做教學輔助工作，1993年獲大學執教資格，1995年起成為萊比锡大學德國文學院教授。作品有詩集《剩餘的未來》、《塔蘭颱拉舞》、《親愛的苦難》、《惟一的客人》等，長篇小說《失蹤者》、《特裏斯坦和弦》。他也是研究現當代德語文學的學者，撰有《沒有終結的斷片——沃爾夫岡·剋彭研究》、《磨滅的過程——現代文學與詩學個案調查》等學術著作。《塵世的愛神》於2002年由德國蘇爾坎普齣版社齣版。

這個英譯本譯的比較糟糕，見AMAZON上的評論：

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Lost Words, April 4, 2000

By D. Barr "Too many movies"

The reader should be careful when reading this translation. The original German title is "Verlorene," which, while it does not retain its definite article ("die Verlorene") is a plural form. A better translation would have been "The Lost" -- and the family and the history and country in this book are indeed all lost. Other passages in the book make the reader of German wonder if this translation would be trustworthy. Readers of English-language literature should always be careful when approaching translations of German books, especially books dealing with horror, loss or grief. German has a great tradition of tragi-comedy -- in the original German, "All Quiet On The Western Front," (Actual title "In The West Nothing New" -- a pithy political title in itself!) loses its flavor of wild bitter humor. American readers have a tendency to trivialize anything "comic," as do American critics. The Germans, who have had to deal with such a long, painful history, have dealt with it by developing a fiercely tragic comic form. It doesn't translate, because German humor -- simultaneously balancing between the edgy, sharp, brilliant, and delicate, and filled with convuluted, ornate and subtle puns -- is so very language-linked, but the English reader should always keep this tradition in mind. In "The Lost," rape is not meant to be funny -- comedy is how a German deals with it. Don't be fooled by your tradition, or the translation. This is a book like a hammer.