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Kinder, Küche, Kirche: The Vanishing Sky

01 Monday Jun 2020

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Review: The Vanishing Sky, by L. Annette Binder
Bloomsbury, 2020. 278 pp. $27

In 1945, Germany’s enemies are pulverizing the country with high explosives and pounding its armies from east and west. Yet the government-controlled radio continues to promise final, total victory, demanding ever-greater sacrifice. Etta Huber, who has one teenage son with the Hitler Youth, Georg, prays for his safety, willing with all her heart that he’ll only be sent to build fortifications, not to fight. But at least her elder son, Max, is coming home to stay, after serving on the Eastern Front. Etta doesn’t ask herself why, if the army is ready to conscript fifteen-year-old Georg, Max would be discharged. All she knows is that Max is coming home to Heidenfeld, their small, rural town, and that she’ll take care of him, as always.

But when Max steps off the train — and in succeeding days, when his strange behavior draws notice and gossip, as at church — Etta realizes something’s wrong with him. Since he’s thin, with no sign of physical injury, she decides that if she feeds him enough, he’ll get better. The reader, like the doctors who try politely to tell her what she refuses to hear, knows this once-vibrant, intelligent young man who loved nature and laughter is now mentally disturbed and unlikely to recover.

The Vanishing Sky reveals the German homefront as I’ve never seen it in fiction, a small town where nobody asks too many questions or unburdens herself, so that neighbors who’ve known one another all their lives are strangers. One unforgettable instance comes after Etta visits her closest friend Ilse, who shows her a basement full of belongings she’s keeping for Jewish friends against the day when “they return”:

Maybe it was the liquor or maybe the coming rain. The road looked narrower than usual when Etta walked home. The wind bit through her scarf. She thought of those dolls in their patent shoes and all that fine silver and the clocks ticking in the cellar and Ilse keeping watch, just Ilse and her whiskey jars. How hard to be in that house, along with all those things. The air must be thick with ghosts. How little she knew about Ilse. More than forty years together and church every week. They drank their coffee and birthed their babies and knelt together at their family graves, and they were mysteries one to the other.

Ilse must trust Etta to confide such a secret, because there’s plenty of war spirit running around, and plenty of ways to punish defeatism, disloyalty, or violations of any rule. Etta’s husband, Josef, in fact, would be such a man to turn in even his own children. He takes absolutely no interest in Max’s return, only in his son’s medals, of which he’s jealous. Josef believes in final victory and chuckles at radio reports of German victories resulting in thousands of hapless Allied prisoners captured.

But, as a former schoolteacher sent into retirement because he’s no longer mentally sharp enough to manage his lessons, Josef represents a comment on the Reich’s ideology. He’s no superman, and you have to wonder whether Binding means to suggest that Max’s psychological illness has a hereditary component. More apparent is Georg’s infirmity; he’s never reached puberty and remains pudgy, physically inept despite rigorous training, and “soft.” He knows he’s not the youth in the Nazi propaganda posters, and that he wouldn’t last five minutes in battle, which is why he dreams of escape.

With Etta, Binding evokes another ideological trope, the phrase Kinder, Küche, Kirche, “children, kitchen, church,” women’s place in Reich society. Nobody could have accepted that role or performed it more faithfully than Etta, but it’s not enough to restore her elder child. At times, her insistence that one more letter, plea, or bribe will spring him from the hospital can be wearing, because the narrative runs in circles: You know the result will always be the same, and that it will make no impression on her. Even so, you have to admire her determination in the face of doom. She’s a true tragic figure.

Binding tells her story patiently, like an artist placing tiny pieces into a mosaic. The Vanishing Sky is no novel to race through. But I find it thoroughly gripping, powerful, and a brave narrative unsparing in its honesty.

Disclaimer: I obtained my reading copy of this book from the publisher; this post appeared in Historical Novels Review in shorter, different form.

The Survivor: The Good Cop

30 Monday Mar 2020

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Review: The Good Cop, by Peter Steiner
Severn, 2019. 185 pp. $29

As a cop, Detective Willi Geismeier has a steady job, something many people envy in the Munich of 1920. The collapse after the Great War has left Bavaria a wreck, like every German province. Munich is a city of desperation, destitution, theft, political gang violence, and hopelessness. The central government in Berlin struggles to keep the nation afloat, while there are many who wish to drag it down and seize power; Munich possesses more than its share of revolutionaries.

This is where Willi’s job becomes difficult, if not impossible, for so many crimes have political motivations, and ultranationalists have Munich’s judiciary in their pockets. Hard as it is for most people to credit, the most threatening movement, really a ragtag mob of thugs, hangers-on, and a few ultranationalist businessmen, calls itself the National Socialists. Its leader, who seems utterly disreputable and incompetent, is Adolf Hitler.

Marienplatz, Munich, after the failed beer-hall putsch of November 9, 1923. The lone figure standing above crowd level is Julius Streicher, later convicted at the Nuremberg trials and hanged (courtesy German Federal Archive, Bild 119-1486 / CC-BY-SA 3.0, via Wikimedia Commons)

Willi’s involvement in these deadly currents begins when unidentified assailants throw a grenade into a newspaper office, killing or wounding some journalists working there. You might think that such a crime could not have taken place without multiple witnesses; yet somehow, the leads quickly grow cold. But Willi, recognized as Munich’s best detective, doesn’t give up, because he’s a thinker first, before he’s a civil servant, and he’s studied his Shakespeare:

Willi had learned from the English bard that lawful human behavior followed well-mapped social patterns. Every crime was a unique moment in human history, where human psychology and behavior ran off the rails in a very particular way. When you looked into crime thoroughly and deeply, as Willi had, it revealed dark, as yet uncharted corners of the human soul. Criminal activity oozed through civilization’s unmapped dark alleys in ways that were surprising, illuminating, and, for Willi, irresistible.

No one trusts Willi, because he follows his own nose rather than instructions, which scares everybody in times like those. What’s more, when enemies try to trap him, he never lets himself be pinned down. He’s a survivor, in other words, and you sense that no matter how relentlessly his superiors try to push him under, he’ll bob up somewhere else. Indeed, while the most ambitious members of the police sign on with the National Socialists, Willi keeps his own counsel (and a private cache of incriminating documents). For starters, he interviews Sophie Auerbach, a reporter badly injured in the newspaper bombing, and Maximilian Wolf, an artist with a remarkable facility for drawing quick portraits. From then on, the case never goes cold.

The Good Cop is an absolutely terrific, stunning book, but not a classic thriller. There’s no condensed time frame that circumstances shorten even further; the narrative covers more than twenty years. Consequently, the “no — and furthermore,” instead of getting in the characters’ (and, therefore, the reader’s) faces, haunts the background in ever-increasing ominousness, mirroring the Nazis’ rise to power. As such, Willi’s investigation progresses in fits and starts over time, fulfilling the proverb about the wheels of justice grinding slowly, and is all the more believable for it.

At every step, Steiner creates an atmosphere so chilling, you have a ringside seat at the prizefight between lunatic thuggery and civilization — and many who subscribe to the latter don’t even recognize they’re about to be pummeled. You see how the Party attracts sadists, ideologues, petty nationalists who blame their own troubles on others, the not-terribly-bright ordinary Joes, all of them on the make. Meanwhile you also have the Munich of prostitutes, legless veterans, picket lines, storm troopers, and businessmen in fancy cars.

Steiner’s narrative can sound didactic, and you can tell he’s written the book with a cause. Even so, he knows his history, and you never doubt that what you’re reading either could have happened or actually did. He further understands how that history resonates. Not for nothing does he have the Nazis say, “Make Germany great again,” or refer to “fake news” and its purveyors, while the crowd chants, “Lock them up!”

The Good Cop tells a gripping tale, a thriller that makes you think. I highly recommend it.

Disclaimer: I obtained my reading copy of this book from the public library.

Holocaust Hallucination: Cesare

10 Monday Feb 2020

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Review: Cesare, by Jerome Charyn
Bellevue, 2020. 365 pp. $27

Berlin, 1943. Amid Germany’s war against the world and murder of European Jewry, there are many secrets dangerous to know, not least that Admiral Wilhelm Canaris, head of military intelligence, has a private agenda. Whenever he can, he hides Jews, mostly German Jews, of whom a few thousand may still be found in the capital. Most are tenuously protected by marriage to Christians; others live underground in ghettos that even the SS doesn’t bother to penetrate. But the biggest secret is that Canaris uses his best agent, the widely celebrated Cesare, to try to make sure these hunted people stay safe.

Er, wait. The head of the Abwehr rescues Jews? His best agent’s persona is a household word?

Wilhelm Canaris, executed for treason weeks before the war ended, remains a mystery as to the extent of his dissidence. This photo dates from 1940 (courtesy German Federal Archives, via Wikimedia Commons)

While floating through the dream that is this novel, once or twice I had to check the historical record, just for grounding. Concerning one particularly stunning instance, which I can’t divulge because it would give too much away, I found that Charyn reports history as it happened. So however strange Cesare may be, the truth may be even stranger. Does it matter?

No. And there’s plenty of powerful fiction here, starting with the protagonist. Cesare’s real name is Erik Holdermann; six years earlier, in 1937, he rescued a tramp from a severe beating by a group of hoodlums. The tramp was Canaris, and that made Erik’s fortune. But what he does with it is something else. Cesare takes his sobriquet from The Cabinet of Doctor Caligari, an expressionist film of 1920 in which Conrad Veidt (remember him as Major Strasser, in Casablanca?) plays a somnambulist slave who sleeps in a coffin and murders people while in a dream state. And just as Dr. Caligari explored the horrors that occur between sleep and wakefulness, consciousness and oblivion, Charyn wants to show you the nightmare that built and characterizes the Third Reich, not least of which is its citizens’ refusal to face their murderous reality.

This warped image describes life from the ground up, at least for a certain privileged class. Every form of entertainment attacked as “degenerate” by the regime exists within blocks of Gestapo headquarters, tolerated by the authorities, many of whom enjoy its frenzies. Such dualities apply everywhere. Cesare’s great, obsessive love, Lisalein von Hecht, the half-Jewish daughter of a banker, plays many roles, or appears to — his ally and protector, his betrayer, wife of a Party muckamuck, lover of a cabaret chanteuse, communist, rescuer of Jews. Her father helped bankroll Hitler because he feared the Reds more than the Nazis and assumed the vulgar corporal would be easily managed. Even Cesare himself, though not Jewish, was looked after by Jewish prostitutes as a young orphan; and when he must penetrate an inner sanctum he can’t enter any other way, despite his reputed shape-shifting skills, he wears a black uniform of the SS. To the Jews, there’s no doubt about his identity:

The ghetto had its own golem, not twisted out of clay, but a man of bone, blood, and gristle, born in Berlin. This golem had never harmed a single Jew. He often traveled about in the boots and silver sleeves of an SS captain. How wily their golem was. He mimicked their enemies, and could make a gauleiter [district leader] disappear. And if their savior was a somnambulist beholden to a white-haired German admiral, what could it matter to them? The coffin Herr Cesare slept in was secreted somewhere in [the Jewish ghetto]. And woe to any man who rocked that coffin and interfered with Cesare’s sleep.

With such portrayals and references — throw in Kafka and Melville — Cesare is a literary novel par excellence. But it’s also a disturbing, hallucinatory thriller, with as many plot twists and double crosses as the number of angels capable of dancing on the head of a pin. Throughout, the author immerses you in the hell that was the Third Reich. As with other thrillers, there’s plenty of sex, but it’s mostly desperate, typical of German activities then, rather than erotic. At times, it’s hard to tell whether female characters are mere sex objects (sometimes for each other), or whether Charyn’s trying to turn James Bond on his perfect, Casanova head.

What I do know is that Cesare possesses the reader, in a howl of pain and madness. Yet I didn’t feel suffocated, only glad I could close the cover and realize I wasn’t living inside it. And with this novel, Charyn has shown me what fiction can do.

Disclaimer: I obtained my reading copy of this book from the public library.

Perpetrators: A Meal in Winter

04 Monday Feb 2019

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Review: A Meal in Winter, by Hubert Mingarelli
Translated from the French by Sam Taylor
New Press, 2018. 138 pp. $15

One brutal Polish winter in an unspecified year during World War II, three German soldiers embark on a mission they dislike because remaining in camp would require them to do what they like even less. Emmerich, Bauer, and the unnamed narrator evade their despised lieutenant, a self-important martinet, to go hunting one of “them.” If the trio brings their quarry back to camp, they’ll be spared having to execute those prisoners already collected. But if they pretend to have caught one and shot him or her on sight, the lieutenant won’t believe them and will be certain to assign them the mass killing duty, which disturbs their dreams and troubles their consciences.

Since “one of them” means a Jew, A Meal in Winter is therefore a Holocaust novel, and an unusual one, at that. Not only does Mingarelli focus entirely on Emmerich, Bauer, and their unnamed comrade — the perpetrators — the author casts them strictly as men ordered to perform a task they hate, which poses moral dilemmas. The real sadist, therefore, is the unseen lieutenant, who has placed the three in their predicament. What’s more, they seem neutral, if not indifferent, to Jews, whereas a Polish civilian who happens on them is a vicious anti-Semite. Emmerich, Bauer, and the narrator are reservists, meaning they’re older men, and Emmerich has an adolescent son he’s worried about, an anxiety his buddies try to help them with.

No Holocaust story I’ve ever heard starts from such a focus on individuals rather than mass actions, but that doesn’t mean A Meal in Winter couldn’t have happened. Mingarelli plainly wants as spare and simple a narrative as he can get, preventing the perpetrators from hiding in a large group. That approach works well in some ways, but others, not.

The understated prose conveys the frigid, barren winter landscape, the physical difficulties of coping with it, the trio’s attempts to pull through their hardships together, and, from the outset, having to choose between unpalatable alternatives. Such is their state of mind that when they capture a Jew and find an empty house in which to warm up, that counts as a special occasion:

When I turned around, there was smoke floating from the chimney. The sight lifted my heart. Added to the fact that we had avoided the shootings and that there had been no wind since the morning, it was no exaggeration to say that this had been a good day.

And of course Emmerich’s sharp eyes [which had spotted their captive] had made it an even better day, for tomorrow we would undoubtedly avoid the shootings again, if there were any. Bringing one back meant we would have the right to go out searching again. Nobody would be giving us evil looks…. Unlike today, we would even be able to wait for the kitchen to open so we could get our rations. We would be entitled to all of that tomorrow.

So far, so good. A Meal in Winter is a haunting novel, to be sure, a razor-sharp moral tale that attempts to explain how men caught up in a heinous crime contribute their share of it. Mingarelli, a writer of great subtlety, never lets his characters soapbox; like most soldiers, they’re largely inarticulate, especially about feelings. So it is that when Emmerich frets about his son at home, and whether the boy will take up smoking — what the soldiers do plenty of — I read that as his prayer that his son will never have to hunt and kill anybody.

But there’s one problem with A Meal in Winter. Emmerich, Bauer, and friend are still killers, and they’re chasing down victims who pose no threat. They’re not fighting off Russian soldiers or Polish partisans; in fact, they’re not fighting at all, because the people they’re hunting have no weapons. Like most soldiers, these three concentrate on how to stay warm, eat enough, and get safely through another day — but that program requires them to murder innocents. Consequently, they’re unsympathetic — at least, to me — and if I’m supposed to be impressed that they tell the anti-Semitic Pole to quit foaming at the mouth, forget it.

Conversely, if Mingarelli wants to show how these men kill without malice or conviction, you could argue that’s even worse than if they were die-hard anti-Semites. Granted, a key strength of this novel is how Mingarelli leaves plenty of space for the reader to slip into the story and ask, “What would I do in this situation?” But though I understand the soldiers’ plight, which Mingarelli describes in remarkably few yet vivid words, I can’t call them victims, care about them particularly, or identify with them; they’re moral placeholders, no more.

Nevertheless, as a moral exercise, A Meal in Winter will challenge readers, and there’s much to be said for that. This slim novel won’t take you much time — I spent longer writing this review than I did reading the book — yet I’m confident it will stay with you.

Disclaimer: I obtained my reading copy of this book from the publisher via Historical Novels Review, where this commentary appeared in shorter, different form.

Surrendering to Fear: Munich

05 Monday Mar 2018

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Review: Munich, by Robert Harris
Knopf, 2018. 303 pp. $28

Robert Harris has a knack for turning intense historical events into political thrillers, as with An Officer and a Spy (the Dreyfus affair); Aquarius Rising (the destruction of Pompeii); or Dictator (Cicero’s attempt to save the Roman Republic). Harris’s best narratives immerse you so thoroughly that he persuades you to hope that history will unfold less tragically than it does, though you also know that’s impossible. Not only does this make for terrific storytelling, you can see how small moments lead to earth-shattering ones, and therefore how history might have happened differently.

With Munich, about Neville Chamberlain’s pursuit of “peace in our time” in 1938, which dismembered Czechoslovakia for Hitler’s benefit without even consulting the Czechs, Harris hasn’t quite reached those heights. I never for one second doubted that the appeasers would appease, nor did I even dream of them having second thoughts. But I admire Munich nevertheless, as a completely riveting story, with “no — and furthermore” aplenty; a re-creation of an era that leaps off the page; and an ingenious, briskly paced rendering of complex events that somehow doesn’t feel condensed.

With An Officer and a Spy and Dictator, Harris uses historical figures to spearhead his narratives, but in Munich, he can’t. Chamberlain’s cabinet contained only one or two ministers who favored standing up to Hitler, and the prime minister made sure to leave them behind in London. So, without a historical figure to push back and create conflict, Harris invents Hugh Legat, a rising star in the diplomatic corps and a junior private secretary to Chamberlain. Hugh’s growing opposition to appeasement raises the stakes, especially once he gains possession of a state secret that Hitler would kill to protect. Hugh’s opposite number in the German delegation, Paul von Hartmann, is an old friend and former Oxford classmate. He too wishes Britain and France would stand up to the Führer, and belongs to a nascent, disorganized resistance movement that wishes to depose him.

This is why Munich never attains the suspension of disbelief that drives the other novels. We do get a full portrait of Chamberlain in his arrogant stubbornness, dictatorial style, and, to some extent, his vanity, but also his sincere belief that he’s acting in Britain’s interests. I wouldn’t go so far as to say that he’s a sympathetic character, because when you see how lonely he is, you also see the snobbery and bigotry that prompt him to push others away. It’s also one thing to swallow a con job by Hermann Göring and believe that the Luftwaffe could raze London in six weeks, and another to reject, out of hand, any evidence or argument to the contrary. Still, when he claims, pathetically, that he’s also done the right thing for Czechoslovakia, you see how much he wants it to be true. But since he’s immovable, the two underlings, Legat and Hartmann, matter more here, except that they stand at the periphery of history, with little or no power to influence it.

Neville Chamberlain holds the paper that he believes will bring permanent peace to Europe, Heston Aerodrome, London, September 30, 1938 (Imperial War Museum, London, courtesy Wikimedia Commons)

However, there are compensations, for the novel revolves around the choices the pair must make and what allegiances they’ll uphold. Hugh’s the more successful characterization – stolid, unspontaneous, but more perceptive than his chiefs, capable of seeing the larger picture and trying to do the right thing in the long run. Yet in his private life, fearful of losing his beautiful, wayward, and mercurial wife, he backs away from confronting her infidelities. Harris never says he’s an appeaser like Chamberlain, but he doesn’t have to, delivering the parallel with a light touch.

Paul von Hartmann’s harder to pin down. He understands Nazism’s mythic power but hates the regime (and, for the longest time, it’s not clear why). Yet he remains a nationalist, a nuance essential to his politics and surely representative, but less clear or convincing on the page. The depth of his former closeness to Hugh (or even that they both attended Oxford) remains a secret from the reader for too long, a lack of authorial generosity that surprises me with this author.

But, as with Hugh, you see Paul’s milieu as clearly as if it were yesterday, and he’s an excellent guide. Typical is this passage about his office mates:

They weren’t such bad fellows, Hartmann thought. He had mixed with their type all his life: patriotic, conservative, clannish. For them, Hitler was like some crude gamekeeper who had mysteriously contrived to take over the running of their family estates: once installed, he had proved an unexpected success, and they had consented to tolerate his occasional bad manners and lapses into violence in return for a quiet life. Now they had discovered they couldn’t get rid of him and they looked as if they were starting to regret it.

If Munich were only a brilliant evocation of the era and its tensions and hopes, the novel would be well worth reading. But it’s more than that, and I heartily recommend it.

Disclaimer: I obtained my reading copy of this book from the public library.

Between Two Fires: A Single Spy

09 Monday Oct 2017

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Review: A Single Spy, by William Christie
Minotaur/St. Martin’s, 2017. 388 pp. $26

Alexsi Ivanovich Smirnov, the orphan-thief protagonist of this superb, hair-raising thriller, is both feral and sympathetic. I wouldn’t have thought that possible, but, then again, if you read A Single Spy — and if you like this genre at all, I suggest you do — you’ll discover that many things are possible.

The first is that Alexsi, as a mere teenager, is more than a match for the smugglers he’s taken up with in Azerbaijan. This would be a dangerous occupation anytime, but in 1936, there are Russian soldiers on one side and rival gangs on the other, and no one can afford scruples. Still, Alexsi trusts his instincts. As a practiced thief, he has a sixth sense for when others intend to rob or sell him, and whoever tries winds up with his throat cut. However, the NKVD catches him where he shouldn’t be, and just when he thinks he’s about to get a bullet in the skull, they startle him by offering him a job. If he passes their tests — and the penalty for failure is that bullet — he’ll work for them, doing the killing, robbing and prowling he’s always done, except for the state. The rewards can be enormous, as he learns immediately:

The first thing Alexsi noticed was that, unlike every other Soviet apartment, there wasn’t anyone else living there. Which was unprecedented in his experience. There were freshly painted walls and thick blue curtains. A sofa, chairs, a table. Spare and severe furniture, in the Soviet style, but to his eyes unbelievably luxurious. A gas stove and a refrigerator instead of an ice box. He opened it up and was greeted by a gust of cool air and shelves filled with food. Milk, sour cream, butter, cheese. If they were trying to impress him, it was working.

But everything’s a test. No question his handlers ask is ever innocent, no matter how it sounds, so he must think one step ahead, always. His greatest asset is his poker face, which conceals more than they know, in particular a detestation for bullies and a soft spot for a friend’s family, his only childhood respite from a violent, abusive father.

In the abstract, it seems improbable that an NKVD agent, hired and trained to be a ruthless operative for Comrade Stalin, would possess both a human core and a healthy skepticism of the Soviet regime. Yet Alexsi, despite his savage instincts for survival, has a code that tells him not to hurt anyone who hasn’t tried to harm him. Naturally, his instructions and that code will conflict. And the complications multiply, because he can only escape the fearful, terrifying Soviet Union by accepting an assignment to Berlin. There, he eventually joins the Abwehr and becomes a double agent, reporting everything back to Moscow at the risk of his life. Caught between two fires, Alexsi must be slippery indeed to avoid the flames. “No — and furthermore” governs every moment. Not only must he please his two masters while avoiding detection, once more, no conversation is innocent, no matter with whom. He takes to heart his NKVD mentor’s advice never to reveal his true identity to anyone, for any reason — and if they guess, he must find a way to dismiss it convincingly. The tension fairly ripples off the page.

Alexsi’s vantage point allows him to make private observations, comparing the two totalitarian regimes he knows. For instance, the night of Kristallnacht, he’s studying in a university library, when he overhears someone ask nervously whether the rioting in the streets has been authorized. If it is, that means they can go see what’s happening; if not, they must stay put. Alexsi thinks, This could only happen here.

Wilhelm Canaris, head of the Abwehr (courtesy Bundesarchiv via Wikimedia Commons)

While reading A Single Spy, I thought often of Alan Furst’s Night Soldiers, another excellent thriller about the training and adventures of an NKVD agent. Christie takes a different approach, making Alexsi’s education a tutorial affair rather than at a school among inquisitive classmates, probably essential to the scheme, because it allows the spy-in-training to keep his inner self private. But the novels are similar in at least two respects. Both rely on atmosphere, and both introduce plenty of sex. Christie even has Alexsi’s training include it, in a chilling scene that I find hard to believe and suspect was included for its titillation. The only other false note is how Aleksi, as a junior agent in Berlin, manages to be told certain monumental secrets from none other than Wilhelm Canaris, the chief of the Abwehr.

But these are quibbles. Overall, A Single Spy satisfies in many ways.

Disclaimer: I obtained my reading copy of this book from the public library.

Lethal Delusions: The German War

17 Thursday Mar 2016

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Review: The German War: A Nation under Arms, 1939-1945, by Nicholas Stargardt
Basic, 2015. 570 pp. $35

Some books, no matter how harrowing their subject, how unrelenting, or how complex, display such mastery, vivid detail, and fresh perspective that they demand a reading. To me, The German War is one, though I shuddered and cringed my way through, sometimes cursing or even shouting in anger. That’s what happens when terrible history feels as if it took place yesterday.

Stargardt, who teaches at Magdalen College, Oxford, asks a question that many other historians have posed: How did the German people feel about the war they waged between 1939 and 1945?

That deceptively simple inquiry involves many interlocking pieces, among them the Holocaust, Allied bombing, euthanasia, rationing, German leadership, and Nazi ideology. Stargardt covers these and more, plumbing private letters, government documents, newspapers, film, and court cases. Perhaps most revealing about public attitudes, he cites reports from the Sicherheitsdienst, or SD, the security arm of the SS, which gathered what people were saying among themselves. Having sifted through this stunning amount of material, the author conveys not only the implications of political and military decisions at the highest level, but how they affected the lives of sixteen individual Germans, in their own words.

The Nuremberg rallies were perhaps the largest public expression of loyalty to Hitler and the Nazi program. This one dates from September 1934 (Courtesy German Federal Archives, Wikimedia Commons, public domain)

The Nuremberg rallies were perhaps the largest public expression of loyalty to Hitler and the Nazi program. This one dates from September 1934 (Courtesy German Federal Archives, Wikimedia Commons, public domain)

Stargardt has a myth-busting mission, which at times makes his narrative more than a little polemical. However, I think he succeeds, and it would be picky to condemn him for imperfect pitch when he shows why the most popular, accepted tunes are based on flat notes.

For instance, he demonstrates how the overwhelming majority of Germans supported both Hitler and the war effort, even to the end, even if they felt no sympathy with Nazism. This can be hard to understand, because most foreigners have grown up believing–or being taught–that the Nazis had somehow “brainwashed” an entire nation, that Germans obeyed out of fear, and that merely a fraction knew about the crimes committed in their names, let alone perpetrated them.

Not so, says Stargardt. Hitler was widely revered, and his radio broadcasts warmed the populace, lending them strength to bear ever-increasing sacrifices, even in the war’s final weeks. Many people assumed that if he’d only known of the daily injustices and hardships they suffered, he’d have corrected them. (The SD, as the Propaganda Ministry insisted, tolerated grumbling, so long as it betrayed no disloyalty.) Nobody welcomed the outbreak of war in 1939, except for the few who thought it an adventure, but, on the other hand, nobody questioned that the war was necessary to break the stranglehold of enemies threatening to destroy the Reich. Devout Christians, Catholic or Protestant, may have deplored the Nazi scorn for religion, but they agreed that Jews, as part of an “international Jewish-Bolshevik conspiracy,” must be destroyed. Even in the last weeks, German forces bled freely for every inch of ground they yielded, as they had for almost six years. That tenacious, steadfast bravery could not have come from fear. Rather, the nation was determined not to surrender, as it had in 1918. Many fought on past the point of hopelessness to wipe away what they considered that old stain on the national honor.

As for what would later be called the Holocaust, the German public learned about it early and often. Not only did Hitler publicly promise on several occasions that Jewry would be wiped out, but on the Eastern Front, the army took part in mass killings, which were treated as perfectly natural. Soldiers described them in letters and took photos, which they showed to friends and family. The home front heard of Auschwitz, Treblinka, and so forth as death camps, though exactly how they functioned remained secret. Few people even cared until Allied air raids began causing serious destruction and loss of life, at which time many Germans assumed that these were retribution for killing Jews. Many also believed that the Jews were behind the raids, whose perceived intent was to exterminate Germany. By the same logic, Germans implicitly accepted that they were victims, not perpetrators, and even after 1945, insisted they had fought a legitimate war of self-defense. Some 37 percent still believed that their security had demanded the murder of “non-Aryans.”

If there’s one thing missing in Stargardt’s account–hard to believe, given its length and depth–it’s how certain German attitudes remained unchanged from the First World War. The notion that Britain had conspired to “encircle” and “strangle” Germany out of jealousy dates from then, as do the mantra of a defensive war compelling invasion of other countries and the belief in German victimhood. Hitler didn’t have to fabricate these popular narratives, only recall them from his own days as an ardent soldier in a Bavarian regiment.

The German War can be hard going because of its subject matter. But I’m glad I read it.

Disclaimer: I obtained my reading copy of this book from the public library.

Confusion: The Aftermath

11 Thursday Jun 2015

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Review: The Aftermath, by Rhidian Brook
Knopf, 2013. 267 pp. $26

Brook starts with a terrific premise and mines its thematic possibilities with skill. It’s 1946, and Col. Lewis Morgan, a decorated career officer, has been posted to Hamburg to govern its British zone. His wife, Rachael, and their thirteen-year-old son join him there, occupying a splendid house, one of the few left standing in that shattered city. But hanging over their long-awaited reunion is the memory of the Morgans’ elder son, killed in a German bombing raid. Rachael has never recovered and seems not to want to; Lew pushes his grief aside, throwing himself into his all-consuming job, earning German trust while helping the defeated enemy rebuild.

 

Royal Air Force canteen, occupied Germany, 1946 (Courtesy Wikimedia Commons).

Royal Air Force canteen, occupied Germany, 1946 (Courtesy Wikimedia Commons).

Scorning the rules against fraternizing with civilians, Morgan invites the Lubert family living in the house, father and daughter, to remain. The place is large enough, and Lew’s convinced the Luberts weren’t Nazis, so why create another homeless family? But Rachael is furious. Share living space with the people who killed her boy?

Meanwhile, Lew tries to govern with a light hand, dispensing kindness and common sense. But much of the job involves identifying those civilians who belonged to the secret police or were otherwise tainted, an exceptionally difficult task, for which his subordinates think he’s much too trusting. Like Rachael, they assume everyone’s guilty, so that Lew faces unrest at headquarters as well as at home. Every scene asks who’s to blame: If it’s not the woman who kept company with a Nazi bigwig, the starving children who thieve to stay alive, or the factory workers spreading dissension, then who? And is every death equivalent, or does that of Rachael’s boy really matter less or more than anyone else’s?

I wish The Aftermath had stayed with these absorbing questions, to which reason and feeling sometimes offer conflicting answers. However, the novel betrays its characters, and the only reason I can see is to pursue an even larger theme, redemption, capital R. To explain, I’ll have to reveal (sorry) what most readers will probably guess from the jacket flap, if not the situation: Rachael winds up in Lubert’s arms. The encounters are so passionate and satisfying, the two former enemies enact their own forgiveness and dream of a new life together.

Hold on. Lew’s a maddeningly distant husband–no argument there–more so because he’s off acting like a saint at work. This feels true to life; somebody’s got to pay for all that goodness. But we never see why he’s emotionally absent, and Rachael never asks. Since he wasn’t always withdrawn, maybe his wartime service changed him. And since they’ve spent almost the entire war apart, except for their boy’s funeral, maybe she might try to draw him out, especially given his reticence. But Rachael doesn’t talk at all, while expecting him to help her, somehow. But of course he doesn’t, so after a few months of painful, uneasy silence, she betrays him, which feels rather quick, as if she’d already given up on him before she arrived in Hamburg. I find it hard to sympathize with her. Or either of them, actually.

Then again, few of these relationships make psychological sense to me. Rachael’s grief is such that she neglects her surviving son–okay–but the boy somehow never catches on that his mother prefers his dead brother. Seems to me he’d try harder to get her attention. Brook also undercuts his hero by setting a cardboard villain against him–Major Burnham, the intelligence officer who hates all Germans, is even nastier drunk than sober, and corrupt, besides. The author would have done much better to switch his character with Lew’s, while keeping their politics intact. That would have added depth to both while giving Rachael more grounds to take up with Lubert.

And what a guy Lubert is, repaying Lew’s kindness by cuckolding him and, with lip service to guilt, acting as if Lew deserves it. Like Rachael, he’s a clueless parent, thinking his fifteen-year-old daughter merely rebellious and angry when she’s plainly disturbed. It’s hard to pull for him, either, so the redemptive love is hardly that, and by this time, the reader’s looking for help.

Much happens in The Aftermath that’s worth thinking about. But the characters seem to exist only in the moment, and the end wraps up loose ends all too quickly.

Disclaimer: I obtained my reading copy of this book from the public library.

No Time for Morality: Motherland

30 Thursday Apr 2015

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Review: Motherland, by Maria Hummel

Counterpoint, 2014. 375 pp. $26

The year 1944 is coming to a screaming, bloody close in Germany, but the war goes on, demanding ever more sacrifice. Frank Kappus, a reconstructive surgeon in Hannesburg, a spa town outside Frankfurt, has been drafted to an army hospital in Weimar. Two months widowed, he has remarried so that his three sons, the youngest of whom is an infant, have a mother to care for them while he’s gone.

Liesl, his new bride, must feed, clothe, and bring up three children who don’t know her. Food and clothing are impossible to find; air raids worsen life every day; the two elder boys run wild; and the neighbors treat her with suspicion and dislike, glad to tell her that she’s nothing like her beautiful, friendly, fun-loving predecessor. She’s done nothing wrong, but of course, that’s not enough. “The point was to be liked, or if you couldn’t be liked, to be overlooked.” And Liesel sticks out, leading people to wonder what secrets she has to protect.

One secret concerns eight-year-old Anselm (called Ani), the middle child, already young for his years, who’s been acting strangely, showing signs of cognitive damage, if not mental disturbance. A doctor has told Liesl that Ani may need to be evaluated at Hadamar, a psychiatric hospital where, it is whispered, the unfit are put to death. Frank Winkelmann Hadamar What Liesl does to keep him and her two other boys safe requires a remarkable degree of inner strength, which, she realizes, may vanish in an unguarded moment. Like the fine novelist she is, Hummel has set herself and her protagonist a tall task, for Liesl isn’t quite cut out for struggle. She grew up in her aunt and uncle’s home, treated like a servant among her six cousins:

Liesl had excelled at gratitude. She ate it for supper, always the last to be served. She wore it on her back, always clothed in her aunt’s stained, cast-off jumpers. She listened to it all night, positioned as nurse outside each incoming baby’s room, ordered to wake if he cried.

Meanwhile, Frank has his own troubles. He plans to desert if the Russians break through, only a matter of time, but that’s a deadly game. His superior, Captain Schnell (!) seems more devoted to punishing subversion than running a hospital, and when Frank hears a rumor that the medical officer at nearby Buchenwald may be infecting the inmates with typhus, Schnell warns him not to be curious. Frank takes the hint.

I admire much about Motherland, a novel head and shoulders above the other two I’ve reviewed here about wartime Germany (City of Women, David R. Gilham, December 11, 2014; The Undertaking, Audrey Magee, March 19). Hummel can make even a visit to the kitchen a tense occasion, and she captures the atmosphere of fear and deprivation without resorting to cartoon Nazis or melodrama. She’s also an excellent prose stylist. Women’s faces “looked as if someone had fixed their dread in stone.” Dust gathers on furniture, “as if it were ever so slowly growing a beard.” It’s details like these, rooted firmly in the mundane, that tell the story of day-to-day survival.

Yet Hummel lets her characters off the moral hook, despite her best efforts. She explains that she based her novel on family history, notably a series of letters that say nothing about the death camps or the totalitarian state, only about trying to cope. Okay. She resisted the temptation to allow her characters acts of resistance–wisely, I think–and says it hurt to leave out all but scant references to Jews or the Holocaust. (One brilliant, subtle description evokes the death camps and crematoria in a different, unexpected context.)

Fair enough. I accept that ordinary people, just trying to remain overlooked, would focus instead on where their next meal was coming from, especially when the bombs are falling. However, it’s those bombs that Liesl doesn’t think about, as in why Germany’s enemies are so relentless, or why the war has lasted so long. Nor does she ever connect the dots between the laws that may send Ani to Hadamar and those that condemn Jews.

Buchenwald was built in 1937, the first such camp on German soil, so Frank can’t be completely ignorant of what its purpose is, even if he’s never heard that inmates are injected with typhus. But he simply doesn’t think about it. Nor does he ever stop to consider that the horribly maimed men he treats have their counterparts on the other side. Nor, more broadly, does he reflect on what war has done to Europe.

Nevertheless, I could settle with this–in fact, I did, for almost the whole novel–except for the outrage that Liesl, in particular, expresses against the Americans. What they do is so unjust and heavy-handed, she believes, and I sense that the reader is meant to sympathize with her. But I can’t, not about this. Liesl never grapples with anyone else’s sufferings or how they might have come about. To me, Hummel squanders the empathy for Liesl and Frank that she’s so carefully built.

Disclaimer: I obtained my reading copy of this book from the public library.

The Sorrows of Young Werner: All the Light We Cannot See

30 Monday Mar 2015

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Review: All the Light We Cannot See, by Anthony Doerr
Scribner, 2014. 531 pp. $27.

I started reading this World War II novel with some skepticism, and I confess, the first several chapters made me wonder whether I’d like it, despite all the raves. What’s the deal with snippet-length chapters? Some feel like television–short scene, nifty tag line, go to break. Also, I’m prejudiced against stories that mix fables, especially the kind of scenes that filmmakers shoot with Vaseline on the lenses, with cruel reality. And though the first stretch of All the Light We Cannot See took bold steps, many landed mighty close to the puddles of treacle that kept gathering, the just-this-side-of-sentimentality that reminded me of Thornton Wilder on a good day.

Saint-Malo, Brittany. (Courtesy Antoine Declerck, via Wikimedia Commons).

Saint-Malo, Brittany. (Courtesy Antoine Declerck, via Wikimedia Commons)

Finally, few novelists have ever reached me with a story in which characters from very different walks of life happen to cross paths. Mark Helprin, for one, handles this skillfully, as he did with In Sunlight and in Shadow, because he takes randomness seriously as a theme. But when I picked up All the Light We Cannot See (again, light in the title), I’d just finished Adam Foulds’s In the Wolf’s Mouth (reviewed March 12), whose randomness felt merely trotted out, not explored.

But what do you know? I wound up devouring All the Light We Cannot See, and though I have reservations, I’m now probably the zillionth reviewer to recommend it. The story concerns Werner, a young, unschooled German orphan who’s taught himself electronics and a good hunk of mechanical engineering, and who’s such a prodigy that an institute for pure-bred Nazis takes him as a cadet. Meanwhile, Marie-Laure, a blind French girl whose father is a locksmith at the Paris museum of natural history–and who somehow isn’t in school–learns science from the museum staff and by reading Jules Verne in Braille.

This is the fable part, in which the world largely smiles on Marie-Laure and glares at Werner, as they run up against life’s choices. But as Marie-Laure learns from the protagonist of Twenty Thousand Leagues Under the Sea, “logic, reason, pure science: these . . . are the proper ways to pursue a mystery. Not fables and fairy tales.”

Accordingly, All the Light We Cannot See starts taking a harder line, with powerful results. Werner has only one friend at his Nazi institute, a dreamy bird-watcher, whom the others abuse as a scapegoat, and whom Werner does nothing to protect. The friend’s sufferings foreshadow the pact Werner has made with a devil who’ll demand that he use what he’s learned to kill people he’s never met. Werner tries to pretend that he’s there to celebrate pure science, but underneath, he knows better, a conflict that sharpens once the war sweeps him up. Meanwhile, the Germans invade France, and Marie-Laure’s father spirits her to his uncle’s house in St.-Malo, on the Breton coast. As the occupation tightens, and daily life becomes more threatening and dangerous, she too puts herself on the line.

I like how Doerr portrayed his two main characters; Marie-Laure’s father and great-uncle; and Werner’s institute friend. But most of the large cast feel like shadow figures, even though they command my attention by what they do. As with TV again, they fall into two categories, good and bad, and there’s never any doubt to which group they belong. However, Doerr can tell a story, eye-blink chapters or not, and the intricacies that lead to the ordained meeting between Werner and Marie-Laure compel you to turn the pages. I also like the theme of searching for light, in the mind or in reality, and what that metaphor means–warmth, delight, knowledge, freedom, humanity, love.

And then there’s the prose:

In the lurid, flickering light, he sees that the airplane was not alone, that the sky teems with them, a dozen swooping back and forth . . . and in a moment of disorientation, he feels that he’s looking not up but down, as though a spotlight has been shined into a wedge of bloodshot water . . . and the airplanes are hungry fish, harrying their prey in the dark.

All the Light We Cannot See is a beautifully written exploration of how war and greed twist people, and with which there’s no such thing as compromise.

Disclaimer: I obtained my reading copy of this book from the public library.