Die Blechtrommel kindle à Paperback read Ñ günter grass

mobi à Die Blechtrommel ´ Günter Grass

Die BlechtrommelFrom the long nightmare of the Nazi era to his anarchic adventures in post war Germa This excitingly felt like an ur text not only of magic realism but of a lot of later 20th century litfic Its postmodern self awareness of its references the grotesuerie and sleaze and vagabond escapades in mundane settings were all characteristic of the 1980s and 90s novels that were my first acuaintance with serious contemporary fiction And by no means only Midnight's Children which is basically The Tin Drum plus X Men in a different culture The Tin Drum's influence may have been renewed with the 1979 film probably why there are references in early 80s music like Japan's Tin Drum album and arguably the name Bronski Beat Several of these key traits in fiction had already become visible in earlier 1950s writings like Lolita 1955 and early Kingsley Amis Lucky Jim 1954 and Philip Larkin and would soon be carried forward by Pynchon Yes this did sometimes pop up earlier in the twentieth century notably Joyce though I feel there was often something refined and less scuzzy and claustrophobic there regardless of subject matter like the interwar Paris scene was and of course its own compatriot Berlin Alexanderplatz which isn't as ludic and effervescent The mood of The Tin Drum ultimately harks back to at least from the English language perspective the 18th century picaresue romp and the early modern Shakespeare Rabelais Cervantes and late medieval Chaucer But when linked with the works and trends it prefigured or inspired The Tin Drum feels like a landmark in a general notable break from the witty pinched primness of the interwar decades the memory of WWI trauma and then the nervousness of the 1930s hanging over it either hinting at or avoiding sex Thinking here about eg Woolf and because I've read them this year Chandler and early Hemingway as well as golden age detectives Wodehouse etc There's something rather late 1960s about The Tin Drum most especially in the scenes in The Onion Cellar jazz club in post war Dusseldorf which read to me like what if people had tried to deal with WWII trauma through a 1960s happening it seems to be trying to regain the liberal experimental mood popularly associated with Weimar Berlin which was so rudely interrupted and bring it back into the flow of culture in whatever modified way is possible It shows strands of continuity between that and the jazz hipsters of the 1950s and in turn the hippies The novel is of course deliberately un beautiful and un refined The infamous scene of the eels and the horsehead one can imagine was concocted for its especial disgustingness; readers are even treated to a detailed recap near the end The whole project represents and celebrates what the Nazis called 'degenerate art' and the voice of a person whom they wanted to exterminate once he was no longer useful to them as entertainment A character who as part of further artistic reaction from the author fails to be pure and nice in order to most neatly and piously refute them The only character whose good looks are freuently remarked on the beautiful blue eyed blond Jan Bronski the embodiment of 'a lover not a fighter' is supposed to be comically cowardly in contrast to the Nazi Aryan ideal of such a man as a brave and selfless soldier Though I confess I failed to notice this until analysing the book after reading as he simply seemed like a type very recognisable to me a man who is attractive but a bit gormless and given that it takes actual fighting to make him recoil not half as gormless as some 21st century menThat deliberate failure of Oskar to be nice is complicated he is creepy lascivious and at least a minor criminal all negative stereotypes long associated with dwarves Criticism of this is not merely a part of the 21st century social justice movement when Charles Dickens was writing David Copperfield in serial form 1849 50 an acuaintance of his confronted him about the character of Miss Mowcher a dwarf like she was; Dickens began a process of modifying the character to make her positive and less of a caricature Oskar on one level reinforces these stereotypes which have been seen in many films made since WWII but the novel is also implicitly about asserting his right to choose to be alive and to be heard at length as a person regardless of his being unpleasant and an offender and fitting negative stereotypes For this reason too the reliability of his narrative is genuinely ambiguous in unusual contrast to say Lolita and many other literary unreliable narrators of the following decadesI'd felt like I ought to read The Tin Drum since my teens Günter Grass being one of the authors listed in The Divine Comedy track 'The Booklovers' whom I've been trying to make my way through twenty odd years after I would like to have finished them At some point I also figured I should read it because it's about an important part of Polish history albeit the very opposite end of the country from where my family came from and therefore almost a different country It literally was one when my grandparents were born But the book always sounded either boring horrible or both One particular GR friend review a few years ago intensified my assumption that it would be horrible But by the start of this year I'd read at least one book by enough of the listed authors that The Tin Drum was one of only two post war and therefore likely easier to read titles left on my list and so it was time to have a go at it when I could Many of the adventures Oskar relates first of his grandparents and parents and then his own are fun and expansive than I ever expected this book to be and it isn't until a third of the way into the novel that Nazism definitively intrudes when Kristellnacht is reported But a background grimness always hangs over the story because the narrator mentions from the very first that he is at the time of telling his tale locked up in an institution and as he is a dwarf in mid century Germany who also has moderate as distinct from mild autism like traits and behaviours that does not seem to bode well at all A GR friend who has autistic sons also saw these traits in the character Knowledge of Oskar's unfreedom casts shadow on the most picaresue episodes or any times he or his allies appear to be on the up; even the grotesue episodes would read lightly otherwise Also strange and unpleasant was reading about the war from a German perspective without overt apologies and unambiguous resistance in the text reading the words of news reports about German successes and failures from the official German early 1940s perspective mentioned much as if they were weather If I'd ever read anything else like that it was very rarely The Tin Drum is unlike the vast majority of WWII books where one relaxes on characters' behalf once the war is over The constant foreshadowing subverts that usual trajectory or wartime fiction which I'm guessing had already become a cliché by the time Grass was writing this novel Whilst Oskar turns out to be imprisoned for uite different reasons and it emerges in some ways he likes institutional life and his keeper the author has created a continual tension that shows how in some ways the war wasn't over and people were still living amid its wreckage and legacy even if the literal battles had finished in Europe Even if the West German state's ideology and approach to someone like Oskar is different there can't help be some hint of his potential fate under Nazism lingering in one's imagined idea of the ending during a first reading Official discomfort with Oskar's inappropriateness at one stage near the end seems to echo that with Meursault's lack of emotion Also symbolic of the persistent legacy of the Nazi era of people remaining partly shackled by its ideas is that Oskar keeps returning to the idea of marrying one female character although he knows that during the war she would have acuiesced to him being killed off in a state programme with other 'defectives'Having recently embarked on reading the original John Constantine Hellblazer comics in the weeks just before I read the second half of The Tin Drum they proved an interesting comparison in this respect Background and synopses for later volumes indicate that Constantine will at points end up in prison and a psychiatric hospital but he always gets out again He's got trials ahead of him that must include literally which lends a certain heaviness but he ultimately ends up a free man Drawing parallels between Oskar and comics characters seems appropriate Maybe I give too much weight to Kavalier and Clay but as with American comics by Jewish refugees The Tin Drum is also about degenerate art andor the degenerate artist having superpowers Oskar singshattering glass in Breon Mitchell's English coinage and his later ability to affect others' emotional states through drumming Though Oskar as a character of ambiguous morality and very visible flaws has far in common with the dark troubled andor satirical superheroes of the 1980s and onwards than with the Golden Age A major difference between comics and litfic is that as can be seen in many GR reviews of The Tin Drum in a literary novel if a narrator is in a mental institution it's implied the reader should automatically conclude this is an unreliable narrator a reflex which seems to conflict with the popularity of social justice driven interpretations of other features of literature; whereas in comics and their recent screen adaptations uite a lot of heroes and other trustworthy characters seem to have been in one at some point or at least been regarded as mad by others around them for example Thor and Erik Selvig in the Marvel Thor films The Tin Drum on the cusp between fantasy and literary realism maintains its balancing act in this respect too as a fantasy or comics protagonist Oskar could be believed; if he is read strictly as a literary realist protagonist the 'magic realism' could be part of his madness Whilst that distinction and set of trends wasn't as apparent in 1959 as it is now though the protagonists of ghost stories often wondered if they were mad or were suspected of being so it still reads as if it's intentionally unresolved which Oskar is and that is another strength of the novel that makes it a classic it can be read as relevant to a trend which was not so fully developed as it is now The writing in The Tin Drum is not as overtly experimental and easily readable than I expected from the novel's reputation It didn't reuire the level of adjustment and attention that say Thomas Mann would at time of writing I've been looking again at the beginnings of his big books However it also has flights of the spectacular especially in elaborate metaphors and in the long lists and recaps in the second half of Oskar's life the events of the novel and the history of Danzig Translator Breon Mitchell's afterword draws attention to the way Grass uses sentence length to create tension and momentum And notes that this was not replicated in the first English translation by Ralph MannheimMost of the protracted metaphors are really euphemisms and reflect the way that many people who lived through WWII couldn't talk or couldn't talk directly about the events of those years Some of them are truly impressive and subtle such as the one in the final chapter of Part One 'Faith Hope Love' about Santa Claus almonds and the gasman But others especially the roundabout sexual euphemisms which often simply seem to reflect older generations' discomfort talking directly about sex became IMO increasingly tedious Though I think many GR friends who enjoy Rabelaisian novels full of wordplay would love these regardless These two reasons for euphemism intersect when the story reaches the Russian occupation of Germany and the mass rapes by soldiers At the time The Tin Drum was published there remained a national refusal to talk about this and that was still the case in the late 1950s as was seen in the reception of the memoir A Woman in Berlin So it was bold to allude to it at all The innuendos used about it in The Tin Drum read with a playfulness that's highly inappropriate to the contemporary reader though do probably reflect male minimisation of harm as well as the collective hushing up and therefore suit the era from a certain angleAnd The Tin Drum does reflect its times effectively whilst also seeming very modern in its approach some of the latter may be because of the new English translation It is about its times whilst also being than that not least because of having a few years' distance from its biggest events and because events are a backdrop a catalyst not the only story even whilst they are integral to the characters' fates Over the past couple of years I've had a few conversations online about Brexit novels and recently others with a friend about the inevitable glut of covid litfic that will be showing up over the next two or three years In general I think it is still too close to these events for really good and interesting works to come out of them taking account of multiple perspectives and a lot of what there is currently or will be soon is thinly disguised polemic andor early processing in fictional form Though one or two things of enduring interest will surely come out of it via sheer weight of numbers Whilst reading in Part Three of The Tin Drum about the 1948 West German currency reform and its effects in multiple characters' lives I thought this is how it should be done The reform is undoubtedly pervasive and difficult in its immediate effects yet the story is still driven by the characters and not by their opinions on the subject I've not found out how long Grass took to write The Tin Drum but the best part of ten years' distance whether in composition or revisions went into making that section the way it was The story's arc is also thirty years or and when dealing with relatively recent but deep rooted events and reactions I think a canvas that large tends to produce the most interesting resultThere is lots I'd like to say about The Tin Drum which I haven't got space for especially reading the novel in the context of Grass' revelations about fighting in the war and as a work of hidden guilt But many other aspects are covered elsewhere so I have concentrated on a few topics that weren't in the GR reviews I've read A few lines of this paragraph in comment 3 below

kindle Die Blechtrommel

Die Blechtrommel kindle à Paperback read Ñ günter grass ç On his third birthday Oskar decides to stop growing Haunted by the deaths of his parents and wielding his tin drum Oskar recounts the events of his extraordinary life; from the long nightmare of the Nazi era to his anarchic adventures in post war GermanOn his third birthday Oskar decides to stop growing Haunted by the deaths of his par I had an intense reaction to this book I friggin hated it Or rather I loved to hate it while I was reading it It was an assignment in a Postmodern Lit class and everyone in the class liked the protagonist but me I thought he was awful I couldn't believe they enjoyed him much less admitted to enjoying him But some part of me must have understoodThat was the point This is a story I felt in my stomach It was so full of perversion of the grotesue and I was 20 and a good girl and wanted so badly to not be drawn to it but there I was ploughing through Disgusted with so much along the way but to my great surprise I found myself touched I cried for a character I thought I was completely repelled by I couldn't believe it And at the end when I reached the last page when I finished and shut the bookI was grateful Not to have finished it; I was grateful that I got to read it in the first place There are awful images and episodes that stick with me It is not pleasant to revisit them But you know what With every bit of my smiley idealistic being I sayThank God Or rather Thank Grass There isn't always easy beauty or recognizable beauty around us Oftentimes the beauty is buried in dirt and hard earned and doesn't even look like anything lovely at all once you get to it But you hold it in your hands and it will move you And if you're lucky it will change you

Günter Grass ´ Die Blechtrommel epub

Ents and wielding his tin drum Oskar recounts the events of his extraordinary life; When you hear an inner Oskar Matzerath hitting his tin drum in protest against the utter absurdity of life you know it is time to make a choice for or against sanityOskar himself chose the easy way out deliberately refusing to grow up and accept moral guidelines and in the end he chose the asylum as the best place to write his unreliable yet truthful account on the brutal times he called his ownWhat do you do if you missed that point at age three to stop growing but you have been gifted the curse of hearing the noise of the world Sanity is a scary mindset and hard to carry for long stretches You tend to lose parts of it when the world heats up and you never can be entirely sure you still have it even when you check it every so oftenOne of the reuisites of sanity is to disagree with the majority of the British public That is Oscar Wilde's conclusion and Oskar Matzerath may well have come to the same conclusion about his own environment in reverse if this Germany is sane I better be on the other team The Tin Drum to me is one of the most oppressively true novels ever written on eual terms with Midnight's Children or One Hundred Years of Solitude for its exploration of human irrationality and excess In some respects it is difficult to digest because it hits closer to home But at the same time it enhanced the powerful effect of the Asian and South American versions of human failure to live properly as I know from The Tin Drum that the deeper truth of chaos is a sane description of reality than the insane project of writing objective accountsOskar is drumming at full force and some of his naughty brothers who refused to grow up a long time ago don't have the reuired wisdom and sanity to get themselves locked away before causing harm than the planet can takeDo you hear the noise