Berlin Alexanderplatz Readalong – Part 3

Berlin Alexanderplatz Readalong Part 3 – “Chapters” 6/7

 

  1. The German original calls the chapters “Books” not chapters. In my opinion this is a gross error and robs the English reader of seeing some intertextual links. How do you feel about this?

 

I feel it’s a problematic omission. As I mentioned in the previous post, I’m pretty sure that in writing Berlin Alexanderplatz, Döblin referenced Simplicissimus, which is also divided in books, not chapters, uses a similar structure with short summaries at the beginning of each chapter (there are chapters with long titles in the books). One of Döblin’s later works, the over 1000 pages long historical novel Wallenstein (maybe an excellent choice for next year’s readalong? – just kidding) deals with the 30-year war, the same era during which Grimmelshausen’s famous work takes place. By the time he wrote Wallenstein, he most certainly knew Simplicissimus, but looking at BA’s structure he already knew it then.

But even if these intertextual links wouldn’t exist, I’m not sure why a translator has to change “book” to “chapter”. It seems a bit shoddy.

 

  1. Were you surprised to find out what happened to Franz after Reinhold pushed him out of the car? Do you find that Döblin is unnecessarily cruel to his creation?

 

It was a bit of a shocker and reinforced my earlier assumptions that Döblin likes to emphasize what a strong hold he has on his creature. Poor Franzeken is at his mercy.

 

  1. What does Berlin Alexanderplatz tell us about Döblin’s “Menschenbild” – his philosophical conception of human beings?

 

I find his concept of man very pessimistic. Not only does it seem that people can’t better themselves, they are also puppets on strings without any freedom. They are driven and things happen to them. Once the “machine infernale” is set into motion, there’s no stopping it. Fate will get you, no matter what. At the time when he wrote this novel, Döblin was an atheist. He’d been army doctor during WWI, and I assume that might have shaken his faith. When he was writing Berlin Alexanderplatz, he was “Nervendoktor”, – psychiatrist. He must have seen his share of tragedy and depravity. All this seems to come into play in his work.

 

  1. Do you have a favourite character so far?

 

I really like Herbert and Eva. Even crooks have a certain code of honour and while Reinhold is a character that doesn’t know any loyalty or honour, both Herbert and Eva are representative of this roguish code of honour, as I would call it and I like them for that. Yes, Herbert is a criminal and Eva a type of prostitute, or kept woman, but they are loyal to Franz and genuinely care. They help with anything they can.

 

  1. In these chapters, we see Franz attending political meetings. What did you think about these sections and his friend’s reactions?

 

I thought the reactions were extreme. I can only assume they didn’t like him exposing himself like this and drawing too much attention. The meetings he attends are meetings of the communist party. Franz isn’t even a communist, he’s far closer to national Socialist thinking. I read these sections as criticism of communism. I don’t know anything about Döblin’s political convictions, but maybe anti-communism was his own position.

 

  1. Most novels can be read without the reader knowing anything about the author’s life. What about this case? Were you compelled to read up on the author?

 

I find it always helps to know a bit about the author but often it’s not necessary. Not so in this case. I read up quite a bit. I was particularly interested in Döblin’s religion. For someone like me, who grew up in a Catholic environment, this was peculiar to read. While it’s very pessimistic, I also felt it had so many Catholic elements. It was interesting to me to know, while he was born into a Jewish family, Döblin converted to Catholicism. I could already sense it here and it helped me understand some passages and the use of some quotes.

Berlin Alexanderplatz Readalong – Part 2

I don’t think I’ve ever been this inactive during a German Literature Month and I’m sorry about that. I had made plans but now I even struggle to keep up with our readalong. It’s like everything that is annoying and time-consuming came at the same time, robbing me of what precious little time I had to begin with.

  1. What do you make of Döblin’s structuring of the novel?  The short summaries at the beginning of each chapter, each section? The montage technique? 

I think the structuring works well in this context, as it breaks up the narrative and, in doing so, moves away from traditional storytelling techniques. Since Franz is pretty much a guinea pig for Döblin to demonstrate his world view, identification with the protagonist was never his aim. The short summaries convey an ironic tone but also mirror older books, that had a similar approach. I’m thinking of Candide, or Grimmelshausen’s Simplicissimus. Both have tragic heroes the authors use to illustrate their philosophy and world view. Obviously, the older protagonists are very different from Franz. They aren’t criminals or depraved people, but, just like him, victims of the circumstances.

  1. Women and the treatment of women in Berlin Alexanderplatz …. Discuss.

This is such an interesting question. So far, we haven’t seen any positive depictions of women. There will be one in the next book but so far, I’m constantly shaking my head and would like to talk some sense into them. Why do they fall for these men? I can only assume it’s mostly about sex. Many of these relationships are between a pimp and his women, and those can be very complicated. Dependency and addiction come into play. Seeing how so many women are attracted to Franz, I was wondering what he looked like. I don’t seem to remember reading a description. The way Döblin depicts women made me wonder what relationships he had with women. But then again, one can’t say that the men are described in a more positive way.

  1. This section introduces Reinhold, who will prove to be Franz Biberkopf’s main antagonist.  What do you think of Biberkopf’s initial underestimation of Reinhold?

Unfortunately, underestimating Reinhold is quite typical for Franz who is anything but astute. In some ways, one could say, the author wanted to show that Franz is, despite what he does, not a totally bad person and he doesn’t immediately think bad of people or situations. You can’t be entirely bad, if you’re this naïve. One could also say, that Franz triggers something dark in Reinhold.

  1. What was the highlight of this section for you? What the lowlight?

The last scenes were the highlight and the lowlight. I had a hard time believing that Franz didn’t realise was he was signing up for when he joined Pums, Reinhold and the others. I’m not entirely sure what Döblin wanted to tell us. That Franz really meant to become a better man, but was stupid enough not to see what was coming? Franz is decidedly not a very intelligent man, but I think Döblin’s intention was another one.  Once more, Döblin shows us that Franz is a construct. An invention he uses to make us see certain things. He deliberately places him in harm’s way and then pushes him even further down, to illustrate how unfree Franz is. Franz can decide to become better as much as he likes, it won’t work because it’s not up to him. Society and fate are against him. And, most of all, his author who won’t stop before he has destroyed him completely. At least, that’s how it feels at this point.

Berlin Alexanderplatz Readalong – Part 1

Due to some time constraints this and next week, my post is very short.

Welcome to the #germanlitmonth readalong of Alfred Döblin’s Berlin Alexanderplatz.  What enticed you to readalong with us?

When I buy a book in a bookshop, I sometimes keep the receipt. I did so in this case and that’s how I know that the book has been on my shelves for 19 years. I bought it in September 2000. I know that when I bought it, I was extremely keen on reading it. But for some reason I didn’t and because I always felt it was a book that had to be read during autumn – possibly because I visited Berlin in autumn – I postponed it from year to year. When Lizzy mentioned she wanted to read it during this GLM, I decided that the time had finally come.

Summarise your initial expectations.  Are they being met?

It’s pretty much how I expected it. Highly readable in some places, and more experimental in others. I struggled more reading the first book than I thought I would. I wasn’t in the right frame of mind, but once I made more time for reading it and saw certain patterns in the storytelling emerge, I was captivated.

Which edition/translation are you using and how is it reading? If you’re reading the original German, is there anything noteworthy about Döblin’s language?

I’m reading the German original and am constantly thinking that it’s almost impossible to translate this adequately because of the extensive use of Berlin vernacular. But since Döblin uses a collage/montage technique there are other challenges. He uses bits from songs, slogans, poetry, and many other sources. Occasionally he uses them verbatim, quite often though, he changes words. Of course, you can translate them, but they won’t mean the same to a foreign reader. With the changes, they might even be more unrecognizable. I was also wondering, if the translators really caught all the allusions and quotes. They would have to be extremely knowledgeable about German culture and literature

The more descriptive passages, especially those in which the narrator/author are present are very beautiful. There’s a rhythm and sound to his sentences that’s unique. The choice of words is very careful.

What are your first impressions of Berlin and Franz Biberkopf?

Because of the way Döblin chose to tell this story, I think of Franz as a guinea pig or a marionette. I feel like I see the threads, the author is using to make him move. I can’t think of him as a real person at all. Interestingly, I feel very differently about Berlin. The city comes across as more of person than Franz. The city comes to life. One has the feeling of experiencing a particular moment in a very particular place.

Welcome to German Literature Month IX 2019

Welcome all! It’s that glorious time of the year again – a full month of Germanic literary indulgence! This is just a quick admin post as there may be newcomers who wonder how this event works.

1. Read anything you want in any language you want … as long as the material was originally written in German.

2. You can follow the themed reading schedule, or ignore it completely by reading as you please for the entire month.

3. If you’re joining in the Berlin Alexanderplatz readalong, please leave an email address to receive the readalong discussion questions.

4. Share what you are reading and what you felt about it by using the tag #germanlitmonth on your blog posts, tweets, instagram shots or booktube videos.

5. Please add a link to each review on the linky at www.germanlitmonth.blogspot.com. (This is an invaluable help when pulling together the author index at the end of the event. Check out the indices from previous years if you’re looking for something to read.)

6. Have fun!

Berlin Alexanderplatz Readalong – German Literature Month 2019

In order to commemorate the centennial of the founding of the Weimar Republic, Lizzy and I are hosting a readalong of Berlin Alexanderplatz  during German Literature Month 2019. Döblin’s tale is one the seminal novels (if not the seminal novel) of that era.

We will discuss the novel over 4 weeks and we are intending to send out discussion questions a week in advance of each date. You can answer these or post your own thoughts, entirely as you please. If you’re intending to participate, please leave a comment and your email below.

The schedule is as follows.  (Each section is circa 100-140 pages in the NYRB classics edition.)

Saturday 9.11.2019 Chapters 1-2

Saturday 16.11.2019 Chapters 3-5

Saturday 23.11.2019 Chapters 6-7

Saturday 30.11.2019 Chapters 8-9

Announcing German Literature Month 2019

2019 is a significant year in terms of German history, both actual and literary. It’s

  • 30 years since the Fall of the Wall;
  • 100 years since the Founding of the Weimar Republic; and
  • 200 years since publication of Goethe’s West-Eastern Divan.

Lizzy and I have decided to include all of the above into the plan for GLM IX!

To commemorate The Fall of the Wall there will be an ex-DDR week. For the founding of the Weimar Republic, the badge has been converted to Bauhaus-favoured sans serif typography and we will host a readalong of Alfred Döblin’s seminal Berlin Alexanderplatz. Last, but definitely not least, there will be a Goethe Reading Week.

There will also be plenty of read-as-you-please time so you can choose from the whole gamut of German-language literary pleasures (writing from outside Germany, historical and crime fiction, graphic novels, etc) entirely according to your heart’s desire.

The reading schedule looks like this:

01-02.11.19 Read as You please
03-09.11.19 Ex-DDR week
10-16.11.19 Read as You Please
17-23.11.19 Goethe Reading Week
24-30.11.19 Read as You Please

 

The Berlin Alexanderplatz readalong will take place on 4 Saturdays commencing on 9.11. More details and sign-up post to follow shortly.

As always, to participate in German Literature Month you can stick to the plan, pick and choose only the parts that interest you, or follow your own path entirely. You can read in any language you want. The only rule is that whatever you read must have originally been published in German.

All that remains now, is for you to search through your shelves, your library catalogues or maybe undertake a shopping expedition! German Literature Month IX will be here before you know it! Will you join us?


 

The Driver’s Seat by Muriel Spark (1970)

Muriel Spark is one of those authors that’s hit or miss for me. I liked the first two books I’ve read (pre-blogging) – Girls of Slender Meansand The Prime of Miss Jean Brodie. Especially the first was a favourite the year I read it. The next one I picked was Territorial Rights– you can find my review here – and it was the first I really didn’t like. And now The Driver’s Seat is the second. I know it’s a favourite of many people, but I found it cold, sly, and just didn’t like the way it was told. Yes, it has amazing moments and I enjoyed some of the slyness but overall, it’s not my thing. That said, I can see why someone would like it, as it’s quite whacky and the writing is strong.

The book starts with Lise looking for the perfect dress. When  she is told by a salesperson that the one she’s been trying on doesn’t stain because it’s made of a special fabric, Lise loses it completely. From that moment on the reader knows that something’s very wrong with Lise. Two pages after this intro we find this passage, and it’s an excellent example of Spark’s slyness – and cleverness.

Her lips are slightly parted: she, whose lips are usually pressed together with the daily disapprovals of the accountants’ office where she has worked continually, except for the months of illness, since she was eighteen, that is to say, for sixteen years and some months. Her lips, when she does not speak or eat, are normally pressed together like the ruled line of a balance sheet, marked straight with her old-fashioned lipstick, a final and judging mouth, a precision instrument.

As a reader we’re so fascinated by the description of Lise, that we might overread the little aside about her illness. We sympathize with someone who’s spent her youth at an office she clearly doesn’t like, doing a boring, tedious job. We also sympathize with her wish to organize the perfect holiday, down to the perfect holiday attire. But then we see her in action, see how she reacts to people, talks to people and how she chooses a garish outfit that will make her look like a cross between a striped lollipop and an old-fashioned prostitute. So clearly, the illness is very important and it’s easy to see what kind of illness that might have been.

From the beginning of the novel we know what will happen to Lise. We’re informed by the narrator who, at times stays a pure observer, but, then again, becomes omniscient and foreshadows or reveals the outcome of the book. Lise will get into trouble. She will be found murdered. This isn’t a spoiler, as it’s revealed early on. Just after the narrator has dropped that bomb on us, he/she retreats and describes his creature from outside.

I was keen to find out, what went wrong and how Lise got herself killed. The end is surprising and echoes that first passage I quoted above.

So, there’s humour here, there’s an oddly fascinating character who plays roles, speaks in many different accents, does a lot of very outlandish thing, and courts danger. So, you may wonder – what’s not to like?

It was the tone of the book. I’m usually fond of characters behaving so wildly. But I didn’t care for the way Spark described “her creature”, like a scientist who describes a butterfly he’s just spiked. At times it is humorous. We’ve all seen people behave strangely. Because they were drunk or because they were crazy or just eccentrics and that can be very entertaining. But watching them like this also lacks empathy. It’s unkind and cold. Territorial Rights had a similar tone, similar slyness. Those who love Spark will say, yes, but that tone is exactly the point. I’m sure it is, but it’s too cold for me. That said, I will read her again because she’s a clever writer and says a lot about many themes – gender relations, things that we’re topical at the time like macrobiotic food, the way society reacts when someone doesn’t fit in. And I like how she disobeys many of the writing rules that are usually taught in writing classes these days.

To do this book justice, which I feel, I might not have done, I leave you with two quotes that show how strong Sparks’ writing is.  One quote is from a very humorous scene. The other one is one of those short things Lise says that reveal more than whole passages in other books.

The chandeliers of the Metropole, dispensing a vivid glow upon the just and unjust alike, disclose Bill the macrobiotic seated gloomily by a table near the entrance. He jumps up when Lise enters and falls upon her with a delight that impresses the whole lobby, and in such haste that a plastic bag he is clutching, insufficiently sealed, emits a small trail of wild rice in his progress towards her.

And here’s Lise. This is another “sly” quote as we suddenly get a look into Lise’s state of mind that’s more telling than most of what she does.

“It makes me sad”, she says. “I want to go home, I think. I want to go back home and feel all that lonely grief again. I miss it so much already.”