German & Austrian literature

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THE GLASS BEES BY ERNST JÜNGER

If you have been following my reviews you will know that I have spent a significant number of weeks in Prague this year. I have already shared many stories pertaining to my time in that city, but there is one that I have been keeping in reserve. One Saturday night I lost my friend in the classy [it isn’t classy] Lucerna nightclub. Upon exiting the building at 4am I realised that not only had my phone died, but that I also did not know my way back to the hotel, nor even, in my inebriated state, remember its name. I tried, first of all, to enlist the help of a taxi driver, but with his little English and my little Czech, we amicably agreed to drop the matter. Next, I approached the locals, and for the first time in my life I understood what it meant to be a foreigner in need, rather than simply a tourist, for they all treated me with either suspicion or disdain.

At this point, I began to pray; not to God, of course, but to my phone. I made promises, extravagant promises, to it in return for a little juice, a few moments of illumination, one bar, anything, so that I could call or text or, and this thought was almost too much to bear, use google maps to navigate a route back to the hotel. But it wasn’t to be; the phone had forsaken me; and so I set off. To where? To nowhere, to anywhere. I walked. Head up. Feet dancing to a peculiar rhythm. After a while I spotted two people, or, to be precise, I heard them. Their voices were familiar. English voices. Northern English voices. The two girls were from Wigan, a place I had staunchly avoided throughout my life, but which now seemed glorious to me, and, no, they did not mind if I walked with them, for they were lost too.

Of course, eventually I found my way to my back to the Residence Leon D’Oro, sometime around 6am, but that is not important, not relative to this review anyway. What has stayed with me in terms of this experience is the experience. Had my phone not died I would never have trawled the streets of Prague in the early hours of the morning in the company of two girls; the friendship we shared for a short period of time, which was precious to me then, and remains precious to me now, would have been denied me. Indeed, isn’t it the case that many of the forms of technological progress that have found their way into our everyday lives, while claiming to bring people together, often, and for prolonged periods of time, in reality keep us apart? Are these machines improving our lives or destroying them? Obviously, I am not alone in my concerns; the science fiction community has engaged with them on more than one occasion. Yet it was something of a surprise to find similar ideas present in the novel under review here, The Glass Bees by Ernst Jünger, which was published in 1957.

“Human perfection and technical perfection are incompatible. If we strive for one, we must sacrifice the other.”

In terms of plot, of which there isn’t a great deal, the focus is on Richard, a former cavalryman who narrates the book. He is in a dire financial predicament, which has put a strain on his marriage and led to him having to sell most of his possessions; in turn, he has approached an old colleague, Twinnings, who appears to be some kind of employment broker or agent. It is this man who puts Richard in contact with Zapparoni, whose [very successful] business is in robotics. Richard is, therefore, at a low ebb; in fact, I have come across few characters who are as relentlessly disappointed, and self-critical, as he is. Indeed, he points out that a chief of staff once called him an ‘outsider with defeatist inclinations,’ an assessment he goes to great lengths to validate. He is ‘suspicious’ and ‘quickly hurt’; he is ‘a man of failure’ who is ‘not suited to deal with money or earn it’; he has ‘experienced much but accomplished little’, and so on.

However, what is fascinating about Richard is not that he is dissatisfied with the way that his life has unfolded, in terms of material gain, but rather that he is a ‘man out of time.’ Consider, first of all, his former occupation: the army. This is significant because it brings to mind values such as honour, bravery, discipline, comradeship, integrity, and so on. These values, he finds, are not compatible with civilian life, but specifically with the modern, capitalist way of life. Indeed, he states himself that he is ‘old fashioned’, that he is ‘one of those people who still wasted their time with scruples, while all the others, who pocketed whatever profit was offered, looked down on me.’ A significant proportion of The Glass Bees is devoted to Richard’s army anecdotes, to his wistful reminiscences about what life, or his life, used to be like, when he felt more at home in the world.

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In this way, The Glass Bees is something of a lament, or a requiem; it is one man looking at the world and concluding that it has, irrevocably, gone to shit. And that, moreover, technology has played a prominent role in this. Horses, for example, are, according to Richard, ‘doomed’; these ‘magnificent creatures’ have ‘disappeared from the fields and streets, from the villages and towns.’ ‘Everywhere,’ he continues ‘they have been replaced by automatons.’ Being a former cavalryman, he focusses specifically on war, of course, which is now waged with machines; it is a robot war, involving tanks and guns, not horses and swords; and these machines are levellers, they can make a titan of ‘a pimply lad from the suburbs.’ Technology has meant that war is no longer reserved for skilled, brave and noble men [although this may never have actually been the case] and, perhaps more significantly, made it so that it is no longer a fight, but murder instead. One can apply this idea to other areas of life too, for hasn’t technology made it so that some things are too easy? Skill, experience, all kinds of human qualities have been made redundant by machines.

If Richard is a man out of time, it would be tempting to say of Zapparoni that he is the new man, the man time of the times, or even of a time to come. He is said to have ‘money to burn’, having achieved a monopoly in his field; and one cannot, we’re told, open a paper or magazine or sit in front of a screen without seeing his name. All of which sounds familiar, but not necessarily prescient. His work is in robotics, as previously stated, but I’m not particularly interested in these designs, and so will not linger over them. What I do want to touch upon is the idea that ‘in his opinion, nature was inadequate, both in its beauty and logic, and should be surpassed.’ Does Zapparoni consider himself to be a God? Or is it rather that he believes that he can improve upon God’s work? Certainly this is an attitude that we do encounter much these days, not solely in the field of robotics, but also in cosmetic surgery,  genetic engineering, etc.

The Glass Bees is barely 200 pages long, and I have only scratched the surface of what it contains, but this review, I hope, goes some way to showcasing how complex, how intelligent, imaginative and challenging it is. It may also, and this is maybe more important to me personally, have given some idea of how moving it is. This is, make no mistake, a very sad book. It would be easy to dismiss it as the reactionary, curmudgeonly grumblings of a miserable old man, especially when you consider that Jünger was himself a former soldier, and a passionate advocate of that way of life; but that would be missing the point entirely. For me, the German exposes our arrogance, our irresponsibility, and our negligence towards the world and towards each other; and he gives powerful voice to his, and to my, dismay. ‘The beauty of the forests was past,’ he writes, which is to say that it exists but we no longer notice or appreciate it. Well, not until one night your phone dies.

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THE MAIMED BY HERMANN UNGAR

‘I’m starting to believe in God,’ I said to someone the other day. Not in a positive way. No. More and more I am convinced that a higher power exists, and that He is fucking with me. What other explanation could there be, I ask myself with despicable arrogance, for the relentless misfortune that has befallen me in recent times? Twelve months ago, things were not perfect, of course, but I was happy, carefree; my life had meaning, direction. And now? Disaster and misery, that twin-headed dog, has pinned me to the ground and is slobbering on my face. Yet on occasions I find myself laughing. Sitting in my room or walking down the street. It’s funny, because it’s absurd. Something else? Another one? Whatever next? Chaos dominates my existence; it is standing on my bollocks in high-heels and calling me a dirty bitch.

So, right now I feel especially drawn to, and sympathetic towards, Franz Polzer – poor Franz Polzer – whose life unravels over the course of just over two-hundred pages. However, as one would expect, The Maimed begins in an unassuming manner, as Ungar sketches the ‘monotonous routine’ that constitutes Franz’s existence prior to the unpleasantness that makes up most of the action. Polzer works in a bank, we are told, and has held the same position for seventeen years. He leaves the house at the same time every day, ‘never a minute earlier or later.’ He is a capable man, who is not fulfilling his potential, principally because he is desperate to maintain the status quo. He wishes to remain unnoticed; he prizes order and habit; he finds solace in the monotony; so much so, in fact, that when later in the novel he is offered a promotion he turns it down.

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[Staircase of Old Prague, 1924, Jaromír Funke]

At this early stage one might believe that one has stumbled upon something like a Bohemian version of The Book of Disquiet. Yet Polzer’s primary emotion is not disappointment, or a resigned acceptance of his dreary fate, but fear. He is afraid of thieves and murderers, of the unknown or unseen something that is ‘standing in the dark, waiting’; he fixates upon creaks and noises during the night. He sees disapproving looks, or outright threat, in every glance. He worries about his conversations being overheard; he worries about being forced out of his room, and of being thrown out of the apartment altogether. He even frets about the shabbiness of his clothes, spending an entire evening hiding a hole in his trousers with his hat. In short, everything frightens Polzer, including, or especially, children.

It is interesting in this respect to compare him to Karl Fanta, his childhood friend. While Karl is certainly more outspoken than Polzer, more handsome, more rich and successful, he too is almost constantly afraid. Indeed, he believes his wife to be not only unfaithful, but intent on killing him off and taking his money. This is not, however, the only, nor most interesting, similarity between the two men. Both are, or consider themselves to be, persecuted, and taken advantage of, by others, particularly the women in their lives. Moreover, both could be said to be enfeebled, one mentally and the other physically. This, I believe, goes some way to explaining the title of the novel. Karl is maimed externally, by virtue of the loss of his legs and his arm, by the illness that will take his life; Polzer, on the other hand, is maimed internally, psychologically.

“What Polzer feared had begun. The door had been opened. Once order had been disrupted, ever increasing chaos was bound to follow. The breach had been made through which the unforeseen could pour in, spreading fear.”

As with many socially awkward people, a number of Franz’s problems arise because he is incapable of successfully articulating his desires. He cannot, or will not, stand up for himself or put his foot down with any authority. This means that even when he says ‘no’ to something he isn’t taken seriously, or is, in a sense, overruled by someone who is more confident and aggressive. [This also happens when someone wishes to do him a kindness, such as the doctor who ‘loans’ him money for a new suit]. Therefore, Klara Porges, his nemesis and landlady, does not have to force or outright threaten him into taking her for a walk, and ultimately taking her as a lover, she merely has to apply a small amount of mental or emotional pressure and Polzer will crumble.

There is, however, one incident that takes place between the couple that one would describe as actual physical intimidation. This is when Porges whips Polzer with the buckle-end of a belt in order to make him strip. I was, at this point, put in mind of Thomas Mann’s description of The Maimed as ‘a sexual hell.’ In the most literal way this phrase strikes one as odd, as there is very little actual sex in the book, certainly nothing graphic. Yet it is apt when one considers the sadistic [and masochistic – although this is less pronounced] impulses of many of the characters. Early in the narrative, for example, it is revealed that Polzer was often held down by his father and beaten by his aunt. This, I would argue, goes beyond mere punishment and, as with Frau Porges and the belt, enters into the realm of sexual punishment; it is about getting off on power and the helplessness of others [especially when bearing in mind that it is suggested that the man and his sister were engaged in a incestuous relationship]. Moreover, Karl Fanta enjoys berating his wife Dora, making her strip for him; and it is her unhappiness, discomfort, and possible disgust, that is the source of this enjoyment.

Probably the most noteworthy [or controversial depending upon your religious stance] exploration of sadistic and masochistic impulses is in relation to Christianity. When Karl Fanta insists on a male nurse, he is given Sonntag, a former butcher. Initially, he seems reserved and dutiful, but after a while it is revealed that he is a born again Christian, who has peculiar, albeit not unique, ideas about sin and atonement. For Sonntag it seems that one atones for ones sins through submission and humiliation, and, to this end, he pays particular attention to the ‘haughty’ Dora. So once again one sees the powerful glorying in their ability to make the weak do their bidding, in their capacity for making these people suffer. Likewise, the weak are not only accepting of their punishment, but are willingly submitting to it.

Before I conclude I want to acknowledge the author, and, specifically, emphasise the quality of his prose. At first it struck me as artless – with its short sentences and the repetition of banal words and phrases – but before long I understood its purpose. It is unexciting, pedestrian, sometimes a chore to read; it is, therefore, perfectly in tune with its protagonist. Furthermore, in many novels of this sort – The Tenant by Roland Topor, for example – there is a lack of character depth, a necessary human dimension that is missing. The everyman; the average man; the boring man…how does one make it seem as though he is alive? Well, Hermann Ungar managed it; he gave life to the dead, to Franz Polzer, poor Franz Polzer, and that is ultimately what makes The Maimed a masterpiece.

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THE ROBBER BY ROBERT WALSER

I plod through life in a disgraceful manner, it is true. I approach every day as though it were a Sunday afternoon in midsummer. Even in relation to my writing, which I would like to one day make my career. So many times I have been encouraged to grab the tiger by the tail, and I agree that it would be in my best interests, and yet I never do. Instead, I gently rub its nose and admire its whiskers. In this way, many opportunities have passed me by, and I have watched them, sleepy-eyed, as though I was sitting on a warm and pleasant riverbank, and they were slow-moving sailing boats. For this reason, I have always related to Robert Walser’s protagonists, but especially the ‘layabout’, ‘good-for-nothing’, ‘hopelessly indolent’, but amiable Robber.

The Robber is a young man who, we’re told, is exceedingly poor and only able to live by virtue of the charity others bestow upon him, such as the money given to him by the Batavian uncle, and the attentions of a number of well-meaning women. In this way, he is very much like Simon, from The Tanners, who, early in that novel, is allowed to stay in an apartment beyond his means by a landlady who takes a particular shine to him. It would be tempting, in light of this, to see both men as ‘users’, as the sort who will gladly take advantage of others, and while that might be literally true, there is certainly no sense that they do so with conscious deliberation or, if you like, malice aforethought. Simon and the Robber are dreamers and drifters, rather than arch manipulators; there is something naïve, soft and kittenish about them, and so it is no surprise that people often take it upon themselves to look after them, to indulge them, in the way that one would a stray but friendly little animal.

For me, the Robber’s dominant character trait is a kind of gentle frivolity, lightheartedness or lack of seriousness. For example, when he finds out that Rathenau, a German statesman, has been assassinated he claps his hands;  he is, moreover, enchanted by unkind looks and delights at not being able to gain the esteem of gentlemen. From my experience, readers tend to find this precious otherworldly-ness, these quirks, either aggravating or charming. I cannot, of course, influence how any particular person will react, but I would argue that there is more to the Robber than mere whimsy, or silliness, although I suspect he would value both of those things. He is, without question, an genuine eccentric, someone who is not entirely sane, and, as such, he is rather vulnerable – Walser points out that he does not have any friends, for example – and this makes the flightiest of his flights of fancy touching.

“He resembled the leaf that a little boy strikes down from its branch with a stick, because its singularity makes it conspicuous.”

In this regard, his name is obviously significant, for a robber, like an eccentric,  is someone who has, in a sense, stepped outside of polite, conventional society by virtue of his behaviour. This outsiderness is further emphasised by the lack of steady occupation and also by his interactions with the middle classes. Indeed, class plays a subtly important role in the novel. For example, the respectable Stalder sisters want him to respond to their coquetry, to behave in certain predictable ways, to marry them, but of course he does not, for the Robber is disinterested in, or not familiar with, middle class duties, values, institutions, etc. Furthermore, there are a number of references throughout to narrowmindedness, where Walser, or the Robber, lament that those who are different, or behave differently, are not accepted or are bullied and criticised. Take the teacher with the ‘odd nature,’ who was told she knew nothing of her profession. Only with time and support is she able to become a productive member of society. The idea is, then, not that it is a good thing to be outside of conventional society, but that it is incumbent upon society to make everyone feel included and worthy. Which is, of course, a lovely sentiment.

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[One of Walser’s microscripts]

The Robber was Robert Walser’s last novel, and although it was written in 1925, it wasn’t published until the 1970’s. There was, I am sure, more than one reason for this, but it is worth noting, first of all, that The Robber is one of Walser’s microscripts, which means that it was written in pencil in tiny, almost indecipherable letters. I can just imagine how a publisher would react to being presented with such a manuscript. Moreover, the style of the novel is especially unusual. There is, for example, absolutely no plot, and precious little character depth and no development. Indeed, although it isn’t set out on the page in the same way, one might compare it to David Markson’s Wittgenstein’s Mistress, which is composed of a series of declarative statements.

Yet perhaps the most trying, or amusing, aspect of the novel, depending on your tolerance level for this sort of thing, is its digressiveness. The first line is ‘Edith loves him,’ and in a conventional narrative one would expect that it would then be explained just who exactly Edith is, who the ‘he’ is, and that there would follow from that some discussion as to the nature of their relationship. But Walser promises ‘more on that later’ and throws in a random reference to a ‘famous’ hundred francs, which, of course, one has no prior knowledge of. And this is not, as noted, a one-off; he does it frequently, relentlessly, so that the story is constantly running down dead-ends [‘that hundred francs will come to nothing at all,’ he later writes]. The effect upon the reader is that it keeps one from ever finding a firm-footing; it is disorientating. As a writer, Robert Walser snatches away the tablecloth and sends all the plates and cutlery flying [but, ah, how beautifully he approached the table].

In 1929 Walser admitted himself to a sanatorium, upon his sister’s urging, and, I think I am right in saying, remained there until his death. With this in mind, there is a tendency to view The Robber as a manifestation of madness, but I think this would be simplistic, not to mention unfair to the author, because it, in a sense, deprives him of credit or complete responsibility for it, it is akin to saying that he wrote it despite himself or that he had no option but to write it the way that he did. I don’t believe that. One must remember that none of Walser’s novels have a strong plot, and they are all erratic, episodic and digressive, to a lesser or greater degree. That was his style. It is, for me, simply the case that The Robber is the most complete, the most sophisticated example of that style; it is what he had been working towards all along. It, in my opinion, expertly, deliberately, captures the stop-startingness, the circularity, the charming meaninglessness of everyday life.

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THE OTHER SIDE BY ALFRED KUBIN

For years I had been toying with a story about a social experiment, in which a scientist, or psychologist, sets up a dream community. The idea was that a group of volunteers would be given the opportunity to live, for a time, in an environment resembling the world of dreams, where, to be specific, the normal, or comprehensible, coexists with the strange and inexplicable. Initially, this environment would be strongly regulated and controlled, with the help of dream-actors. However, the philosophical heart of the story was that the inhabitants would, after a period of acclimatisation, act out themselves, which means that they would, once they realised that they essentially have the freedom, without consequences, to do as they please [because their world is a dream], turn the dream community into a nightmare.

I thought this story of mine was really quite clever, until, as is often the way with one’s best ideas, I found out that someone had already written something very similar, which is to say that my enthusiasm was considerably dampened by the discovery of Alfred Kubin’s The Other Side, a novel, published in 1908, in which a man establishes a Dream Realm. The man in question is the mysterious, and exceedingly rich, Claus Patera, who was once the childhood friend of the narrator. The novel’s action is set in motion when a representative of Patera’s arrives at the narrator’s residence with a near-unbelievable tale and an invitation.

The invitation is, of course, to join Pearl, a place described as catering for those who are unhappy with modern civilisation, and where the aim is to give life ‘the deepest possible spiritual dimension.’ It is, therefore, a kind of sanctuary; but more intriguing than that is the suggestion that it is for those with an aversion to progress or with a passion for the past. Indeed, we are told that physically the place is made up of imported old buildings, various antiquities, classic artworks, even such things as ‘a broken old chair.’ There is, moreover, a large wall surrounding the community, in order to keep the outside [modern] world away. At this stage one is not sure how exactly this situation, this way of life, relates to the concept of dreams. Does it mean simply that Pearl is ideal for its inhabitants or is there actually something dream-like about it?

This question is soon answered when the narrator and his wife arrive in the Dream Realm, and the novel veers away from popular adventure story dynamics and becomes strange and sinister. Immediately, the narrator notes how ‘conditions there were most bizarre.’ One way of understanding this is in relation to the inhabitants. The community was recruited from ‘creatures of excessive sensibility’, those whose manias had ‘not yet got out of hand,’ and numerous hysterics, drunkards, criminals, spiritualists, and so on. They are all, then, not only what you might call abnormal, but also clearly vulnerable in some way.

In any case, the point is that if you gather together thousands of people with various manias, people who are socially or mentally abnormal, or unstable, what you are likely to find is that living among them will be something like being in a dream, in that their behaviour will be unpredictable. One instance of this is when a man addresses an audience that is not there. Furthermore, you will likely find that ordinary social arrangements, such as buying and selling, will break down or change in character; and this is what happens, so that, for example, the narrator sometimes pays a lot for very little, or nothing for an item that would, in the outside world, have been expensive. I thought that all this was fascinating.

Yet there are also elements of the inexplicable or [potentially] supernatural. The sky, we are told, was permanently dull, ‘the sun never shone,’ and the moon and stars could not be seen at night. This, of course, has nothing to do with the mental aberrations of the community’s inhabitants. However, one might argue that the narrator and his wife are themselves mad or go mad, in a kind of One Flew Over the Cuckoo’s Nest confrontation with the madness of others. Indeed, it is worth pointing that the narrator, towards the beginning of the book, describes himself as someone who is emotionally unstable, who is prone to ‘abrupt changes of mood.’ Therefore, even some of the more alarming aspects of life in Pearl – such as the housekeeper who appears to change into different people, the blind white horse, and so on – could be explained in this way.

Regardless, there is a large, gripping section of the novel that is simply great, pure horror writing. The narrator’s wife, for example, makes a pronouncement about how she feels, as they approach the Dream Realm, that they will never leave. There is also the constant wailing and moaning; and the hissing and knocking coming from the well; there are numerous references to hauntings and ghosts; there are doppelgängers and horrific deaths; there is a relentless atmosphere of terror, paranoia, and unease. It is wonderful, creepy stuff, and was perhaps influenced by the work of Edgar Allen Poe, which Kubin had previously illustrated.

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As we reach this point in this very long review you are perhaps wondering what exactly the book’s themes are, especially in view of its reputation as an allegory or sophisticated satire. Well, part of me is reluctant to get into all that. I have written before about my dissatisfaction with readers and critics who insist on there being, in certain kinds of novels, a single, consistent idea behind the surface action that explains the work, that magically transforms what you are reading into something else entirely. Take The Plague by Albert Camus, which, for me, is not only more impressive when taken on face value, but is frequently subject to interpretations of a tenuous nature. Kafka, of course, suffers the same fate. Indeed, it seems as though the stranger the work is, the more we, perhaps understandably, strive to find the normal, which is to say the comprehensible, in it.

I am not, of course, suggesting that allegory does not exist, or that it isn’t a genuine literary technique, but that it is important, first of all, to ensure that the work itself supports the theory. Secondly, some books can, maybe should, be enjoyed as they are; confusion is ok, weird is ok; there does not always have to be an explanation, a broader significance, a single underlying target. Bearing this in mind, it is my advice to read The Other Side without worrying too much about figuring out what the real story is. Some would tell you it is about German idealism, or religion, or capitalism, or anarchy, or numerous other things, all of which certainly play a part in the text, but really none of these interpretations stand up to scrutiny if one is looking for a coherent and unifying authorial statement.

There is, for example, no doubt that Kubin sets up Patera, who is frequently called ‘Lord’, as a God figure, and Hercules Bell, an American who creates The Lucifer Club, as Satan. One could see the Dream Realm, which is created by Patera, as representative of the earth, or even the Garden of Eden, over which these two figures fight; or at least one might say that Bell, as the Devil, attempts to wrest control of it. Indeed, at one point the narrator references that famous argument for the fallibility, or even non-existence, of God when he asks why, as Bell brings anarchy to the realm, Patera does not seek to intervene; he must not, he muses, be powerful enough. However, Pearl is, prior to Bell’s arrival, far too odd, damaging and unstable to be an Eden, and it seems rather pointless to create a surreal dream realm as a stand in for earth, when one could simply have set the novel in an ordinary community, if one’s intention was to write a religious allegory about the battle between good and evil.

As for capitalism, Bell is certainly a capitalist, a millionaire who believes in the power of money. But he doesn’t stride into Pearl and ruin it, for it wasn’t a utopia to begin with. In terms of German idealism, I don’t know enough about the subject, but, once again, wouldn’t it be a more powerful statement to begin with a utopia before showing it being destroyed? Perhaps the point was to argue that a utopia is impossible? Well, yes, but then what is the purpose of Bell? Isn’t his role, his impact, diluted by the fact that Pearl was never a competently functioning society?

“His eyes were like two empty mirrors reflecting infinity. The thought crossed my mind that Patera was not alive at all. If the dead could look, that is what their gaze would be like.”

If there is anything in all this it is as a warning against the dangers of Demi-Gods or false Gods. Both Patera and Bell are powerful figures, who attract followers; they are authority figures, to whom the general population of Pearl look for guidance, or by whom they are influenced. Indeed, the narrator spends much of the novel in pursuit of Patera, in the belief that he will help him or at least be able to provide answers to his questions. Yet the great man is always out of reach, he, although he extended the invitation to live in Pearl, provides no support. So, one has two main players, one who does nothing, who is absent, and one who is all-action, but brings chaos in his wake, and neither is worthy of faith. If The Other Side deserves to be called prescient, which it sometimes is, it would be in relation to this, to characters such as Hitler or Stalin, who wanted to be viewed as God-like, and who appeared to promise new worlds or new, better ways of living, but who ultimately turned out to be psychopaths, human and dangerously flawed.

One final thing before I finish. For me, the key to Kubin’s novel, to understanding it, or appreciating it, is not in relation to allegory or satire; its strength is not in politics or social science but in imagination. One must remember that the narrator is an artist, as is the author, and it is partly what motivates him to go to Pearl. The artist, one might argue, strives for new experiences, is drawn to the unusual, but it is more than that. The realm of dreams, isn’t that the artist’s realm? The world of the imagination, where anything is possible…this is where the narrator goes to live, and this is where Alfred Kubin himself lived. Now, if you will excuse me, I am off to work on my new story idea about a man who wakes up one day to find himself arrested for a crime he hasn’t committed. I’m thinking of calling it The Trial.

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THE LORD CHANDOS LETTER BY HUGO VON HOFMANNSTHAL

Dear Lord Chandos

This is not a review, of course; nor is it a letter, for what is the point of writing a letter to someone who cannot reply, who would not reply even if he were a real man, and not a fictional character? No, it is more a confession masquerading as a game. [How tedious these games are, the games I have so often played in order to distract myself from myself]. On Friday night I was in a pub with two friends. I had invited them there in order to seek their advice, and I had confessed to them too, which is to say that I talked about myself with the same lack of enthusiasm I bring to almost all human spoken interaction. And, rather absurdly, I tried to explain this, this state of mind, this near-constant feeling of being behind glass, such that having a chat in a pub with two friends strikes me as a chore and my confession more like a duty.

In your letter to Francis Bacon you state that you want to open yourself up entirely, or words to that effect, which seems like rather futile effort, in light of your issues and problems. Perhaps you feel as though you owe Bacon something, in return for his concern regarding your mental paralysis? [Go to the doctor’s, I was told, and tell him everything. I can’t help but chuckle at the irony]. You write about your previous achievements, and how you now feel distant from them, and from any future work. The phrase you use is an unbridgeable gulf. You cannot write; you will not write. How I envy you this [voluntary or involuntary] renunciation. I do not believe in words, I do not understand them either; they are, to me, like an oppressive frame, a border, a barrier; they are a large sheet of glass upon which I unenthusiastically claw for appearance’s sake.

‘And there were other projects I toyed with. Your kind letter brings these back too. They dance before me like miserable mosquitoes on a dim wall no longer illuminated by the bright sun of a happy time, each of them engorged with a drop of my blood.’

You once lived in continuous inebriation. Drunk on intellectual stimulation, you might say. Yet there was, for you, no difference, at that time, between the spiritual, or intellectual, and physical worlds. The pleasures were equal. Therefore, your admission is that there has been a kind of breaking down, that something within you has given way. [Which is a sign of mental illness, of course]. Indeed, you write about how it came to be that words ‘disintegrated’ in your mouth ‘like rotten mushrooms.[Which is a lovely image, even to me, a man who does not believe in words]. In this way, your letter could be interpreted as something like a cry of anguish, a requiem for something precious that you have lost. It need not, as such, be directly, or solely, applied to language, but to any important object or thing that inexplicably loses its lustre or meaning. One of the most unfathomable, truly distressing aspects of human experience is the death, or extinguishing, of a passion.

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[Ludwig Wittgenstein]

Isn’t it this passion that highlights the inadequacy of language? You do a very good job throughout your letter of giving voice, of applying words, to your feelings, and yet to what extent do they capture your inner life? Isn’t that the issue? Poor exhausted words; let them sleep, for they are over-taxed. Words, like time, is a cage we have voluntarily built around ourselves. I hate. I love. I want. I need. What nonsense. ‘If a lion could talk, we should not be able to understand him’, Wittgenstein argued. I would argue we don’t, and can’t, understand each other; we stand, each at opposing ends of an unbridgeable gulf, shouting absurdities into the wind. We are a Spaniard and an Italian, who believe that they are conversing, that they are coming together, because certain of their sounds are vaguely familiar. Games again; always games.

Yes, the passion is important, to you and to me. Or let us say the feeling, the moment of transcendence, as experienced when in the presence of ‘a watering can, a harrow left in a field, a dog in the sun, a shabby churchyard,’ these ordinary things that take on ‘a sublime and moving aura.’ How hippyish, your vast empathy, your harmony! And yet I too feel – although it is impossible to say that what we feel is the same thing, of course – the tremors of the supernatural. I was once, one early evening, sitting on a bench, in Rotherham bus-station, and within me there was a sense, an overwhelming, indescribable, sense of well-being. The irony, of course, is that this hippyish empathy, this melting butter oneness, does not lead necessarily to peace, but, just as likely, to frustration or bitterness or despair. These experiences are, alas, fleeting, and, once gone, one is left in the unenviable position of being completely unable to express, to others, and even to yourself, what exactly you have experienced.

So, what is the point of writing, the purpose of which is communication, when it will inevitably end in failure? Why did you write? Why am I writing now? I wanted to end this piece [for it is not, as stated, a letter, nor a review] with an expression of gratitude, for I was, prior to this, myself close to the point of abandoning for good this so often unpleasant activity. And yet this has reminded me that there is something in the grasping, if not for me then hopefully for someone else, someone who may read this and find some level of pleasure in it, as I did in your work.

February 2016

[P]

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DARK SPRING BY UNICA ZÜRN

I have always been resistant to the idea of having children. There are numerous reasons for this but the main one is that I worry about what kind of man I am, what kind of father I would be. I am concerned about my capacity for love, or at least my ability to consistently display that love. I have found that, despite my best efforts, I often give people the impression of being disinterested;  I am, I am told, as emotionally distant, or detached, as a Japanese novel. And so I can’t, I feel, risk putting a child in that situation. One of humanity’s greatest flaws is the selfish desire to bring children, necessarily without their consent, into environments that are harmful, to damage them with our own neuroses and hang-ups.

The little girl in Unica Zürn’s Dark Spring is, without question, one such child, which is to say that she is an unfortunate product of an environment that is less than ideal. Yet, perversely, the short, bleak novel begins on a positive note with a description of the ‘first man in her life,’ her father, and his passionate displays of affection towards his daughter. She loves him, we’re told, from ‘the first moment.’ However, it quickly becomes clear that he is often absent, initially as a soldier in the war, and then, it is suggested, as a consequence of a inherent male restlessness, or perhaps because of a failing marriage. In any case, the girl, who is said to be ten or twelve throughout the greater part of the novel, is ‘painfully aware’ that he is rarely at home.

This feeling of abandonment is made even more acute by having a mother who, although physically present, is emotionally absent. A self-absorbed woman, she spends most of her time in her room, and only occasionally allows the knocking child to enter. She even dismisses, out of jealousy, the one maid that the girl bonds with. Unsurprisingly, therefore, she suffers from a ‘dreadful sense of loneliness’ and is ‘tortured by a fear of the invisible.’ She lives, in essence, alone in a quiet house, and as such is forced to make her own amusements, her own discoveries, and, as a result, she becomes increasingly peculiar and increasingly a danger to herself.

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[Unica Zürn, as photographed by Hans Bellmer]

In this way, the novel is a portrait of the negative effects of neglect. The girl is described as quiet, but this is not unusual, or especially damaging, of course. More of a concern is that she retreats into fantasy, into her own imagination in order to endure her ‘boring’ life. These fantasies and imaginary scenarios are not, however, the kind that one would expect, or welcome, in a child. She is, for example, terrified of the gorilla that she believes is roaming the house. She also plays games, with herself and with other children, that all seem to involve death, or, in Zürn’s own words, are ‘filled with horror and daggers.’ Alarmingly, this focus on death and unpleasantness also extends to her sexual fantasies, in which she conjures up groups of men, mostly dark-skinned or foreign-looking men, who ‘surround her bed each night’ and ravage, rape and murder her.

“They invent a howling theatrical language through which it becomes possible to express the grief of the whole world, a language understood by no one but the two of them.”

There are two instances of actual sexual assault in the novel, both perpetrated upon the little girl. This is not something I want to discuss in detail, partly because it upsets me, but also because I think the reader should not interpret the girl’s sexual deviancy [I don’t like using that word, but I know of no other that is more appropriate in this case] as being a consequence of it, or not entirely anyway. Yes, she is raped, and she comes to fantasise about rape, and she develops a masochistic impulse, so that she finds pleasure in ‘pain and suffering.’ But, for me, Zürn makes it clear that it is the pain of abandonment that primarily motivates her behaviour. For example, there is a scene in Dark Spring when the little girl allows, encourages, a dog to lick her between the legs, and it is said that her excitement is made greater by the possibility that someone – i.e. her parents – might walk in on her. They don’t though, of course; nor do they notice that her brother – whom she hates – is upstairs using the mother’s vibrator for his own sexual gratification.

There is much more that can be written about this little novel, which one can read in only a couple of hours, important themes and ideas that I have overlooked or only briefly touched upon, such as masochism, oedipal desires, escape, the importance of strong role models, father/daughter bonds, etc. but I have neither the heart nor the energy to tackle them all right now. Maybe later I will edit and add to this review. For the moment, I will conclude with something about Zürn’s style, because it is one of the book’s strong points. She wrote in clipped, mostly unemotive sentences, which add to the odd atmosphere. Moreover, as one might have guessed, the girl is never named; she is regarded with detachment, and described throughout as ‘she’ or ‘her’, and so on. So she has, one might say, also been abandoned by her creator, who will not properly, fully acknowledge her either.

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THE NOTEBOOKS OF MALTE LAURIDS BRIGGE BY RAINER MARIA RILKE

I don’t imagine that I will always read. I hope not, anyway. For someone who is so scared of death it is rather perverse, or certainly absurd, that I spend so much of my time amongst the dead, instead of engaging with the world around me. Indeed, that is why I started reading heavily, it was, I’m sure, a way of turning away from a world that I so often felt, and still feel, at odds with, towards another that I could control and which did not challenge me. With books, I can pick and choose a sensibility, an outlook, that chimes with my own and I can guarantee company and conversation that I don’t find alienating or dispiriting. To this end, I have read The Notebooks of Malte Laurids Brigge three times. As a novel it is something of a failure, but large parts of it resonate with me as much as, if not more than, any writing ever set down on paper.

“My last hope was always the window. I imagined that outside there, there still might be something that belonged to me, even now, even in this sudden poverty of dying. But scarcely had I looked thither when I wished the window had been barricaded, blocked up, like the wall. For now I knew that things were going on out there in the same indifferent way, that out there, too, there was nothing but my loneliness.”

The Notebooks is essentially the thoughts, memories and impressions of Malte, a twenty-eight year old Dane who has recently moved to Paris. There are a number of well-known but now dated novels that deal with the ex-pat experience, such as Cortazar’s Hopscotch and Miller’s Tropic of Cancer, novels that are invariably marred by machismo and pretension. The Notebooks, however, contains none of that. Rilke’s Paris isn’t a playboy’s playground, littered with booze and whores; it is a ‘great’ city, full of ‘curious temptations,’ but there is nothing glamorous about it and no sense that Malte is living some kind of mock-heroic existence. Indeed, in the opening line of the novel he states that Paris is a place where, it strikes him, one does not go to live, but where one goes to die; it is a place that smells of pommes frites and fear.

That Malte is the last, or one of the last, in his family line is trebly significant, for he is preoccupied with death, with solitude, and with nostalgia. One notices that, again in contrast with many other similar novels, there is not one living character with whom he regularly engages or communicates. In Paris he is an observer, making notes about ordinary citizens, but never interacting with them. For example, he sees a pregnant woman ‘inching ponderously along by a high, sun-warmed wall’ as though ‘seeking assurance that it was still there,’ he watches a man collapse, and then another who has some kind of physical ailment that causes him to hop and jerk suddenly. He appears to be drawn to the eccentric and lost, the suffering and down-trodden, no doubt because he identifies with them, but he remains alone and isolated himself. Towards the end of the novel he states that he once felt a loneliness of such enormity that his heart was not equal to it.

However, when he is surrounded by people, such as when there is a carnival, he describes it as a ‘vicious tide of humanity’ and notes how laughter oozes from their mouths like pus from a wound. Malte is the kind of man who lives mostly in his head, who, although he encourages his solitude, is scared of losing his connection with the world, of withdrawing and parting from it. At one point he goes to the library, and praises it as a place where people are so engrossed in their reading that they barely acknowledge each other. He spends his time strolling to little shops, book dealers and antique places, that, he says, no one ever visits. Once more, we see an interest in obscure things, in things that have been forgotten or neglected. One of my favourite passages is when he comes upon a torn down building, and he states that it is the bit that is left that interests him, the last remaining wall with little bits of floor still visible. It is the suggestion of something once whole, once fully functioning that grabs his attention.

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[Rainer Maria Rilke  – left – and Auguste Rodin in Paris]

As noted, much of the book is concerned with Malte’s memories regarding his family, specifically in relation to his childhood. One understands how this – his upbringing and family situation – may have gone some way to making him the man he is. He is taciturn, he says, and then notes how his father was too. His father was not fond of physical affection either. Later, in one of the more autobiographical anecdotes, Malte talks about his mother’s mourning for a dead child, a little girl, and how he would pretend to be Sophie [the name of Rilke’s own mother] in an effort to please her. It is therefore not a surprise that he is highly sensitive, inward-looking and ill at ease with himself. Indeed, there is much in The Notebooks about identity and individuality. There are, Malte says, no plurals, there is no women, only singularities; he baulks at the term family, saying that the four people under this umbrella did not belong together. Furthermore, at one stage he fools around, dressing up in different costumes, in which he feels more himself, not less; but then he tries on a mask and has some kind of emotional breakdown.

All of these things – ruins, obscurity, deformity, ailments, nostalgia, the self, loneliness – come together in what is the book’s dominant theme, which is that of death. Only Tolstoy’s Ivan Ilych and Lampedusa’s The Leopard contain as much heartrending insight into the subject. There are numerous passages and quotes I could discuss or lift from the text, but, not wanting to ruin your own reading, I will focus on only one. When writing about individuality, Malte bemoans the fact, as he sees it, that people do not die their own deaths anymore, they die the death of their illness, they become their illness and their passing, therefore, has nothing to do with them. In sanatoriums, he continues, people die ‘so readily and with much gratitude’; the upper classes die a genteel death at home, and the lower-classes are simply happy to find a death that ‘more or less fits.’

“Who is there today who still cares about a well-finished death? No one. Even the rich, who could after all afford this luxury, are beginning to grow lazy and indifferent; the desire to have a death of one’s own is becoming more and more rare. In a short time it will be as rare as a life of one’s own.”

Malte contrasts these predictable, unheroic deaths with that of his uncle, Chamberlain Christoph Detlev Brigge. The old Chamberlain died extravagantly; his death was so huge that new wings of the house ought to have been built to accommodate it. He shouted and made demands, demands to see people – both living and dead – and demands to die. This voice plagued the locals, keeping them in a state of agitation; it was a voice louder than the church bells…it was the voice of death, not of Christoph, and it became the master, a more terrible master than the Chamberlain had ever been himself. The point that Malte is making seems to be that one should not go gentle into that good night, that one should not accept the death that most pleases others, that causes the least amount of fuss. You will die, there is no escape, it is within you, your death, from the very first moment, you carry it with you at all times, but you do not have to go out with a whimper.

One might also argue that in looking to the past, in tracing his memories, Malte is running away from death, or that he is attempting to give death the finger, by turning back the clock and keeping these people alive in his own mind and on paper. In any case, it is not difficult to see how for someone so introspective death would be a major concern, for death robs you of that, it prevents everything, it brings everything to a stop, including the ability to think. You cease to be, and what truly makes you yourself is not your appearance, but your thoughts and your experiences. I wonder if this is why, towards the very end of the novel, Malte suddenly begins to write about Christ and God, even going so far as to write to them. Is this a final, cowardly bid to convince himself that death is not the end? I don’t know, but it is fair to say that The Notebooks does lose its way in the final ten or twenty pages.

I wrote at the beginning of this review that The Notebooks of Malte Laurids Brigge is a failure as a novel and this probably warrants further explanation. Rather like Pessoa’s The Book of Disquiet, which it resembles in many ways actually, I imagine that some readers will find it difficult to read the book cover-to-cover. There is absolutely no plot, and many of the entries do not follow on from the previous one. Moreover, after a few pages about Paris, which I would guess serve to draw in a number of people, the focus abruptly shifts, and the book then becomes increasingly strange and elusive, with a relentless interiority. None of this bothers me, however. While I do hope to give up reading one day, I will, without question, carry this book around inside me for the rest of my life, rather like my death.