Nine Days in Germany and What I Read, II: Lübeck
(Part I covered Berlin.) Three works of short fiction embodied the rest of our journeying, from Berlin to Lübeck to home. We were sad to say goodbye to Lemmy and Roxanne, the affectionate, fluffy cats who came with our Berlin flat, but there were further adventures to be had. The hosts of our Lübeck Airbnb apartment also owned two cats we briefly met, but it wasn’t the same as having surrogate pets around.
Goodbye to Berlin by Christopher Isherwood (1939)
Isherwood intended for these six autofiction stories to contribute to a “huge episodic novel of pre-Hitler Berlin” titled The Lost. Two “Berlin Diary” segments from 1930 and 1933 bear witness to a change in tenor accompanying the rise of Nazism. Even in lighter pieces about a holiday at the Baltic coast and his friendship with a family who run a department store, menace creeps in through characters’ offhand remarks about “dirty Jews” ruining the country. The narrator, Christopher Isherwood, is a private English tutor staying in squalid boarding houses or spare rooms. His living conditions are mostly played for laughs – his landlady, Fraulein Schroeder, calls him “Herr Issyvoo” – but I was also reminded of George Orwell’s didactic realism. I had it in mind that Isherwood was homosexual; the only evidence of that here is his observation of the homoerotic tension between two young men, Otto and Peter, whom he meets on the Ruegen Island vacation, so he was still being coy in print. Famously, the longest story introduces Sally Bowles (played by Liza Minnelli in Cabaret), the lovable club singer who flits from man to man and feigns a carefree joy she doesn’t always feel. This is the middle of three Berlin books; I will have to find those and explore Isherwood’s other work as I found this witty and humane, restrained but vigilant. (Little Free Library) 
On balance, we planned the division well: busy city days first, followed by a more restful long weekend; reliable English-speaking opportunities while we built up our confidence, then a more provincial setting where we could try out a bit of German. Friends were curious why we chose Lübeck. Two charitably assumed that I went for the Thomas Mann connections, but that was an incidental side benefit. (I quailed at the prospect of reading the 700+-page debut novel based on his family history, Buddenbrooks; instead, I intended to reread Death in Venice, but my Project Gutenberg download didn’t work, so I’ve earmarked it for Novellas in November instead.)
Nope, I was in it for the marzipan. Lübeck has been known for its marzipan since 1795. In 1926, there were 36 marzipan manufacturers in this northern city; three remain today and of course we visited both cafes and all three shops. Niederegger has a small museum above the Bettys-like café. You would not believe the scale or number of tableaux made entirely of almond paste! Nor the variety of flavours and packaging in the shop downstairs. We enjoyed marzipan hot chocolate, cappuccino and cakes, and came away with a modest supply of treats. We also dropped into a trendy restaurant where I had a “Lübecker martini” combining rum, marzipan liqueur and espresso.
-
- Marzipan hot chocolate and traditional nusstorte at the Niederegger cafe.
-
- Marzipanland was better! I had Othello Torte and a marzipan cappuccino.
In a German Pension by Katherine Mansfield (1911)
Mansfield was 19 when she composed this slim debut collection of arch sketches set in and around a Bavarian guesthouse. The narrator is a young Englishwoman traveling to take the waters for her health. A quiet but opinionated outsider (“I felt a little crushed … at the tone – placing me outside the pale – branding me as a foreigner”), she crafts pen portraits of a gluttonous baron, the fawning Herr Professor, and various meddling or air-headed fraus and frauleins. There are funny lines that rest on stereotypes (“you English … are always exposing your legs on cricket fields, and breeding dogs in your back gardens”; “a tired, pale youth … was recovering from a nervous breakdown due to much philosophy and little nourishment”) but also some alarming scenarios. One servant girl narrowly escapes being violated, while “The-Child-Who-Was-Tired” takes drastic action when another baby is added to her workload. Most of the stories are unmemorable, however. Mansfield renounced this early work as juvenile and inferior – her first publisher went bankrupt and when war broke out in Europe, sparking renewed interest in a book that pokes fun at Germans, she refused republishing rights. (Secondhand – Well-Read Books, Wigtown) 
On our travels, I also read…
- portions of various e-books for paid Shelf Awareness reviews: Benbecula by Graeme Macrae Burnet, Beard by Kelly Foster Lundquist, Wreck by Catherine Newman;
- part of Bright Lights, Big City by Jay McInerney, which I’ll finish for Novellas in November;
- and portions of e-books for fun: Startlement by Ada Limón and An Oral History of Atlantis by Ed Park (more short story catch-up reviews to come).
Aside from marzipan, Lübeck has a lot going for it: lovely medieval Brick Gothic architecture – the iconic Holstentor gate once featured on the 50-mark note; proximity to the Baltic Sea; and connections with three Nobel Prize winners, two for literature – the other being Günter Grass. On the Saturday morning, we took a bus to Travemünde, a popular seaside resort town, for a walk along the cliffs. The path was busy with cyclists but the dog beach was nearly deserted. We watched a ferry setting off for Sweden. (Had we had a few more days to play with, we would have liked to tack on trips to Denmark from here and into Poland from Berlin.)
Buddenbrookhaus, the home of Mann’s grandparents, is undergoing a several-year renovation and expansion project. I wasn’t too upset about missing out on it, and there was a Mann exhibit in the tourist information centre. Instead, I went to the Günter Grass House museum, which opened in 2002. Grass spent his last 20 years living 15 miles south of Lübeck and kept an office in this building. For future reference, there’s a good-value day-ticket one can buy that covers all the museums in Lübeck. My husband went to the natural history museum while I learned about Grass, whom I’d never read before, and about Else Lasker-Schüler, whose works were on display in the rotating upstairs exhibit featuring figures who, like Grass, were writers and visual artists.
Grass grew up in what is now Danzig, Poland and was drafted into the Waffen-SS at age 17. He was lucky in that he soon received a minor injury that landed him in American custody. The Tin Drum, his well-known debut novel, drew on his military background, which he otherwise rarely discussed. Formally trained in art, he illustrated his works with the same motifs that appear in words. Flora and fauna run all through: fruit, onions; birds, snails, the flounder, cats and dogs. A multitalented writer, he also produced plays, poetry and political commentary. He won the Nobel Prize in 1999 and died in 2015. I found the material on his life and work unexpectedly diverting. I read the short volume below as soon as we got back.
-
- Some of Grass’s grotesque hybrid animal drawings
-
- Replica of the Grass family’s store in Danzig
-
- Else Lasker-Schüler exhibit, including her death mask
Of All that Ends by Günter Grass (2015)
[Translated from German by Breon Mitchell]
This posthumous prosimetric collection contains miniature essays, stories and poems, many of which seem autobiographical. By turns nostalgic and morbid, the pieces are very much concerned with senescence and last things. The black-and-white sketches, precise like Dürer’s but looser and more impressionistic, obsessively feature dead birds, fallen leaves, bent nails and shorn-off fingers. The speaker and his wife order wooden boxes in which their corpses will lie and store them in the cellar. One winter night they’re stolen, only to be returned the following summer. He has lost so many friends, so many teeth; there are few remaining pleasures of the flesh that can lift him out of his naturally melancholy state. Though, in Lübeck for the Christmas Fair, almonds might just help? The poetry happened to speak to me more than the prose in this volume. I’ll read longer works by Grass for future German Literature Months. My library has his first memoir, Peeling the Onion, as well as The Tin Drum, both doorstoppers. (Public library) 
Of all that ends: books, holidays, seasons. It was a trip that, like so many we take these days, was sometimes irksome and exhausting, and could be overwhelming (Berlin) or boring (Lübeck) by turns – yet was still far preferable to the humdrum of home life. And – isn’t it always the way? – just as we’d gotten comfortable with greetings, farewells and other everyday phrases in a new language, it was time to leave. We were more comfortable with French when ordering a vegan supper at a café and drinks in a bustling Art Deco bar during our quick overnight stay in Brussels, then it was onto the Eurostar to come back home. Somewhere on those many train rides back, I caught this monster cold that will not die after 10 days and counting. And the very day we arrived back in the UK, we felt a sudden shift to late autumn weather.
November will be here before we know it.
Nine Days in Germany and What I Read, Part I: Berlin
We’ve actually been back for more than a week, but soon after our return I was felled by a nasty cold (not Covid, surprisingly), which has left me with a lingering cough and ongoing fatigue. Finally, I’m recovered just about enough to report back.
This Interrail adventure was more low-key than the one we took in 2016. The first day saw us traveling as far as Aachen, just over the border from France. It’s a nice small city with Christian and culinary history: Charlemagne is buried in the cathedral; and it’s famous for a chewy, spicy gingerbread called printen. Before our night in a chain hotel, we stumbled upon the mayor’s Green Party rally in the square – there was to be an election the following day – and drank and dined well. The Gin Library, spotted at random on the map, is an excellent and affordable Asian-fusion cocktail bar. My “Big Ben,” for instance, featured Tanqueray gin, lemon juice, honey, fresh coriander, and cinnamon syrup. Then at Hanswurst – Das Wurstrestaurant (cue jokes about finding the “worst” restaurant in Aachen!), a superior fast-food joint, I had the vegetarian “Hans Berlin,” a scrumptious currywurst with potato wedges.
The next day it was off to Berlin with a big bag of bakery provisions. For the first time, we experienced the rail cancellations and delays that would plague us for much of the next week. We then had to brave the only supermarket open in Berlin on a Sunday – the Rewe in the Hauptbahnhof – before taking the S-Bahn to Alexanderplatz, the nearest station to our Airbnb flat.
It was all worth it to befriend Lemmy (the ginger one) and Roxanne. It’s a sweet deal the host has here: whenever she goes away, people pay her to look after her cats. At the same time as we were paying for a cat-sitter back home. We must be chumps!
I’ll narrate the rest of the trip through the books I read. I relished choosing relevant reads from my shelves and the library’s holdings – I was truly spoiled for choice for Berlin settings! – and I appreciated encountering them all on location.
As soon as we walked into the large airy living room of the fifth-floor Airbnb flat, I nearly laughed out loud, for there in the corner was a monstera plant. The trendy, minimalist décor, too, was just like that of the main characters’ place in…
Perfection by Vincenzo Latronico (2022; 2025)
[Translated from Italian by Sophie Hughes]
Anna and Tom are digital nomads from Southern Europe who offer up their Berlin flat as a short-term rental. In the listing photographs it looks pristine, giving no hint of the difficulties of the expatriate life such as bureaucracy and harsh winters. “Creative professionals” working in the fields of web development and graphic design, they are part of the micro-generation that grew up as the Internet was becoming mainstream, and they tailor their products and personal lives to social media’s preferences. They are lazy liberals addicted to convenience and materialism; aspiring hedonists who like the idea of sex clubs but don’t enjoy them when they actually get there. When Berlin loses its magic, they try Portugal and Sicily before an unforeseen inheritance presents them with the project of opening their own coastal guesthouse. “What they were looking for must have existed once upon a time, back when you only had to hop onto a train or a ferry to reach a whole other world.” This International Booker Prize shortlistee is a smart satire about online posturing and the mistaken belief that life must be better elsewhere. There are virtually no scenes or dialogue but Latronico gets away with the all-telling style because of the novella length. Were it not for his note in the Acknowledgements, I wouldn’t have known that this is a tribute to Things by Georges Perec. (Read via Edelweiss)
We got to pretend to be hip locals for four days, going up the Reichstag tower, strolling through the Tiergarten, touring the Natural History Museum (which has some excellent taxidermy as at left), walking from Potsdam station through Park Sanssouci and ogling the castles and windmill, chowing down on hand-pulled noodles and bao buns at neighbourhood café Wen Cheng, catching an excellent free lunchtime concert at the Philharmonic, and bringing back pastries or vegan doughnuts to snack on while hanging out with the kitties. The S-Bahn was included on our Interrail passes but didn’t go everywhere we needed, so we were often on the handy U-Bahn and tram system instead. Graffiti is an art form rather than an antisocial activity in Berlin; there is so much of it, everywhere.
-
- Reichstag (Photos 1, 2 and 4 by Chris Foster)
-
- Reichstag tower designed by Norman Foster
-
- The Philharmonic
-
- Brandenburg Gate (Photos 1-3 by Chris Foster)
-
- Postdam’s Park Sanssouci
-
- Wen Cheng noodles
-
- Brammibal’s vegan doughnuts
I brought along another novella that proved an apt companion for our explorations of the city. Even just spotting familiar street and stop names in it felt like reassurance.
Sojourn by Amit Chaudhuri (2022)
The narrator of this spare text is a Böll Visiting Professor experiencing disorientation yet resisting gestures of familiarity. Like a Teju Cole or Rachel Cusk protagonist, his personality only seeps in through his wanderings and conversations. After his first talk, he meets a fellow Indian from the audience, Faqrul Haq, who takes it upon himself to be his dedicated tour guide. The narrator isn’t entirely sure how he feels about Faqrul, yet meets him for meals and seeks his advice about the best place to buy warm outerwear. An expat friend is a crutch he wishes he could refuse, but the bewilderment of being somewhere you don’t speak the language at all is such that he feels bound to accept. Meanwhile, there is the possibility of another academic admirer, Birgit, becoming his lover. Strangely, his relationship with his cleaning lady, who addresses him only in German, seems the healthiest one on offer. As the book goes on, the chapters get shorter and shorter, presaging some kind of mental crisis. “I keep walking – in which direction I’m not sure; Kreuzberg? I’ve lost my bearings – not in the city; in its history. The less sure I become of it, the more I know my way.” This was interesting, even admirable, but I wanted more story. (Public library) 
We spent a drizzly and slightly melancholy first day and final morning making pilgrimages to Jewish graveyards and monuments to atrocities, some of them nearly forgotten. I got the sense of a city that has been forced into a painful reckoning with its past – not once but multiple times, perhaps after decades of repression. One morning we visited the claustrophobic monument to the Murdered Jews of Europe, and, in the Tiergarten, the small memorials to the Roma and homosexual victims of the Holocaust. The Nazis came for political dissidents and the disabled, too, as I was reminded at the Topography of Terrors, a free museum where brutal facts are laid bare. We didn’t find the courage to go in as the timeline outside was confronting enough. I spotted links to the two historical works I was reading during my stay (Stella the red-haired Jew-catcher in the former and Magnus Hirschfeld’s institute in the latter). As I read both, I couldn’t help but think about the current return of fascism worldwide and the gradual erosion of rights that should concern us all.
Aimée and Jaguar: A Love Story, Berlin 1943 by Erica Fischer (1994; 1995)
[Translated from German by Edna McCown]
Elisabeth “Lilly” Wust was a good German: the estranged wife of a Nazi and mother of four young sons. She met Felice Schragenheim via her new domestic helper, Inge Wolf. Lilly (aka Aimée) was slow to grasp that Inge and Felice were part of a local lesbian milieu, and didn’t realize Felice (aka Jaguar) was a “U-boat” (Jew living underground) until they’d already become lovers. They got nearly a year and a half together, living almost as a married couple – they had rings engraved and everything – before Felice was taken into Gestapo custody. You know from the outset that this story won’t end well, but you keep hoping – just like Lilly did. It’s not a usual or ‘satisfying’ tragedy, though, because there is no record of what happened to Felice. She was declared legally dead in 1948 but most likely shared the fate of Anne and Margot Frank, dying of typhus at Bergen-Belsen. It’s heartbreaking that Felice, the orphaned daughter of well-off dentists, had multiple chances to flee Berlin – via her sister in London, their stepmother in Palestine, an uncle in America, or friends escaping through Switzerland – but chose to remain.
The narrative incorporates letters, diaries and interviews, especially with Lilly, who clearly grieved Felice for the rest of her life. The book is unsettling, though, in that Fischer doesn’t let it stand as a simple Juliet & Juliet story; rather, she undermines Lilly by highlighting Felice’s promiscuity (so she likely would not have remained faithful) and Lilly’s strange postwar behaviour: desperately trying to reclaim Felice’s property, and raising her sons as Jewish. This was a time capsule, a wholly absorbing reclamation of queer history, but no romantic vision. (Secondhand purchase – Community Furniture Project)
[A similar recent release: Milena and Margarete: A Love Story in Ravensbrück by Gwen Strauss]
The Lilac People by Milo Todd (2025)
This was illuminating, as well as upsetting, about the persecution of trans people in Nazi Germany. Todd alternates between the gaiety of early 1930s Berlin – when trans man Bertie worked for Magnus Hirschfeld’s Institute of Sexual Science and gathered with friends at the Eldorado Club for dancing and singing their anthem, “Das Lila Lied” – and 1945 Ulm, where Bert and his partner Sofie have been posing as an older farming couple. At the novel’s start, a runaway from Dachau, a young trans man named Karl, joins their household. Ironically, it is at this point safer to be Jewish than to be different in any other way; even with the war over, rumour has it the Allies are rounding up queer people and putting them in forced labour camps, so the trio pretend to be Jews as they ponder a second round of escapes.
While this is slow to start with, and heavy on research throughout, it does gather pace. The American officer, Ward, is something of a two-dimensional villain who keeps popping back up. Still, the climactic scenes are gripping and the dual timeline works well. Todd explores survivor guilt and gives much valuable context. He is careful to employ language in use at that time (transvestites, transsexuals, “inverts,” “third sex”) and persuasively argues that, in any era, how we treat the vulnerable is the measure of our humanity. (Read via Edelweiss)
[A similar recent release: Under the Pink Triangle by Katie Moore (set in Dachau)]
We might have been at the Eldorado in the early 1930s on the evening when we ventured out to the bar Zosch for a “New Orleans jazz” evening. The music was superb, the German wine tasty, the whole experience unforgettable … but it sure did feel like being in a bygone era. We’re so used to the indoor smoking ban (in force in the UK since 2007) that we didn’t expect to find young people chain-smoking rollies in an enclosed brick basement, and got back to the flat with our clothes reeking and our lungs burning.
It was good to see visible signs of LGTBQ support in Berlin, though they weren’t as prevalent as I perhaps expected.
For a taste of more recent German history, I’ve started Kairos by Jenny Erpenbeck, which is set in the 1980s not long before the Berlin Wall came down. Unfortunately, my library hold didn’t arrive until too late to take it with me. We made a point of seeing the wall remnants and Checkpoint Charlie on our trip.
Other Berlin highlights: a delicious vegetarian lunch at the canteen of an architecture firm, the Ritter chocolate shop, and the pigeons nesting on the flat balcony – the chicks hatched on our final morning!
And a belated contribution to Short Story September:
Touchy Subjects by Emma Donoghue (2006)
I seem to pluck one or two books at random from Donoghue’s back catalogue per year. I designated this as reliable train reading. The 19 contemporary stories fall into thematic bundles: six about pregnancy or babies, several about domestic life, a few each on “Strangers” and “Desire,” and a final set of four touching on death. The settings range around Europe and North America. It’s impressive how Donoghue imagines herself into so many varied situations, including heterosexual men longing for children in their lives and rival Louisiana crawfishermen setting up as tour-boat operators. The attempts to write Black characters in “Lavender’s Blue” and “The Welcome” are a little cringey, and the latter felt dated with its ‘twist’ of a character being trans. She’s on safer ground writing about a jaded creative writing tutor or football teammates who fall for each other. I liked a meaningful encounter between a tourist and an intellectually disabled man in a French cave (“The Sanctuary of Hands”), an Irishwoman’s search for her missing brother in Los Angeles (“Baggage”) and a contemporary take on the Lazarus myth (“Necessary Noise”), but my two favourites were “The Cost of Things,” about a lesbian couple whose breakup is presaged by their responses to their cat’s astronomical vet bill; and “The Dormition of the Virgin,” in which a studious young traveller to Florence misses what’s right under his nose. There are some gems here, but the topics are so scattershot the collection doesn’t cohere. (Secondhand – Awesomebooks.com)
Trip write-up to be continued (tomorrow, with any luck)…
#SciFiMonth: A Simple Intervention (#NovNov24 and #GermanLitMonth) & Station Eleven Reread
It’s rare for me to pick up a work of science fiction but occasionally I’ll find a book that hits the sweet spot between literary fiction and sci-fi. Parable of the Sower by Octavia Butler, The Book of Strange New Things by Michel Faber and The Sparrow by Mary Doria Russell are a few prime examples. It was the comparisons to Margaret Atwood and Kazuo Ishiguro, masters of the speculative, that drew me to my first selection, a Peirene Press novella. My second was a reread, 10 years on, for book club, whose postapocalyptic content felt strangely appropriate for a week that delivered cataclysmic election results.
A Simple Intervention by Yael Inokai (2022; 2024)
[Translated from the German by Marielle Sutherland]
Meret is a nurse on a surgical ward, content in the knowledge that she’s making a difference. Her hospital offers a pioneering procedure that cures people of mental illnesses. It’s painless and takes just an hour.
The doctor had to find the affected area and put it to sleep, like a sick animal. That was his job. Mine was to keep the patients occupied. I was to distract them from what was happening and keep them interacting with me. As long as they stayed awake, we knew the doctor and his instruments had found the right place.
The story revolves around Meret’s emotional involvement in the case of Marianne, a feisty young woman who has uneasy relationships with her father and brothers. The two play cards and share family anecdotes. Until the last few chapters, the slow-moving plot builds mostly through flashbacks, including to Meret’s affair with her fellow nurse, Sarah. This roommates-to-lovers thread reminded me of Learned by Heart by Emma Donoghue. When Marianne’s intervention goes wrong, Meret and Sarah doubt their vocation and plan an act of heroism.
Inokai invites us to ponder whether what we perceive as defects are actually valuable personality traits. More examples of interventions and their aftermath would be a useful point of comparison, though, and the pace is uneven, with a lot of unnecessary-seeming backstory about Meret’s family life. In the letter that accompanied my review copy, Inokai explained her three aims: to portray a nurse (her mother’s career) because they’re underrepresented in fiction, “to explore our yearning to cut out our ‘demons’,” and to offer “a queer love story that was hopeful.” She certainly succeeds with those first and third goals, but with the central subject I felt she faltered through vagueness.
Born in Switzerland, Inokai now lives in Berlin. This also counts as my first contribution to German Literature Month; another is on the way!
[187 pages]
With thanks to Peirene Press for the free copy for review.
Station Eleven by Emily St. John Mandel (2014)
For synopsis and analysis I can’t do better than when I reviewed this for BookBrowse a few months after its release, so I’d direct you to the full text here. (It’s slightly depressing for me to go back to old reviews and see that I haven’t improved; if anything, I’ve gotten lazier.) A couple book club members weren’t as keen, I think because they’d read a lot of dystopian fiction or seen many postapocalyptic films and found this vision mild and with a somewhat implausible setup and tidy conclusion. But for me this and Cormac McCarthy’s The Road have persisted as THE literary depictions of post-apocalypse life because they perfectly blend the literary and the speculative in an accessible and believable way (this was a National Book Award finalist and won the Arthur C. Clarke Award), contrasting a harrowing future with nostalgia for an everyday life that we can already see retreating into the past.
Station Eleven has become a real benchmark for me, against which I measure any other dystopian novel. On this reread, I was captivated by the different layers of the nonlinear story, from celebrity gossip to a rare graphic novel series, and enjoyed rediscovering the links between characters and storylines. I remembered a few vivid scenes and settings. Mandel also seeds subtle connections to later work, particularly The Glass Hotel (island off Vancouver, international shipping and finance) but also Sea of Tranquility (music, an airport terminal). I haven’t read her first three novels, but wouldn’t be surprised if they have additional links.
The two themes that most struck me this time were the enduring power of art and how societal breakdown would instantly eliminate the international – but compensate for it with the return of the extremely local. At a time when it feels difficult to trust central governments to have people’s best interests at heart, this is a rather comforting prospect. Just in my neighbourhood, I see how we implement this care on a small scale. In settlements of up to a few hundred, the remnants of Station Eleven create something like normal life by Year 20.
Book club members sniped that the characters could have better pooled skills, but we agreed that Mandel was wise to limit what could have been tedious details about survival. “Survival is insufficient,” as the Traveling Symphony’s motto goes (borrowed from Star Trek). Instead, she focuses on love, memory, and hunger for the arts. In some ways, this feels prescient of Covid-19, but even more so of the climate-related collapse I expect in my lifetime. I’ve rated this a little bit higher the second time for its lasting relevance. (Free from a neighbour) 
Some favourite passages:
the whole of Chapter 6, a bittersweet litany that opens “An incomplete list: No more diving into pools of chlorinated water lit green from below” and includes “No more pharmaceuticals,” “No more flight,” and “No more countries”
“what made it bearable were the friendships, of course, the camaraderie and the music and the Shakespeare, the moments of transcendent beauty and joy”
“The beauty of this world where almost everyone was gone. If hell is other people, what is a world with almost no people in it?”
Ferdinand, the Man with the Kind Heart by Irmgard Keun (#NovNov23 and #GermanLitMonth)
My second contribution to German Literature Month, hosted by Lizzy Siddal, after Last House Before the Mountain by Monika Helfer. I spotted this in a display of new acquisitions at my library earlier in the year and was attracted by the pointillist-modernist style of its cover (Man with a Tulip by Robert Delaunay, 1906) featuring the image of a dandyish yet slightly melancholy young man. I had never heard of the author and assumed it was a man. In fact, Irmgard Keun (1905–82) was a would-be actress who wrote five novels and fled Germany when blacklisted by the Nazis. She was then, variously, a fugitive (returning to Germany only after a false report of her suicide in The Telegraph), a lover of Joseph Roth, a single mother, and an alcoholic. (I love it when a potted author biography reads like a mini-novel!)
Ferdinand (1950) was her last novel and is a curious confection, silly and sombre to equal degrees. It draws on her experiences living by her journalism in bombed-out postwar Cologne. Ferdinand Timpe is a former soldier and POW from a large, eccentric family. His tiny rented room is actually a corridor infested by his landlady Frau Stabhorn’s noisy grandchildren. He’s numb, stumbling from one unsuitable opportunity to another, never choosing his future but letting it happen to him. He once inherited a secondhand bookshop and ran it for a while (I wish we’d heard more about this). Now he’s been talked into writing articles for a weekly paper – it turns out the editor confused him with another Ferdinand. Later he’s hired as a “cheerful adviser” who mostly listens to women complain about their husbands. He is not quite sure how he acquired his own fiancée, Luise, but hopes to weasel out of the engagement.
Each chapter feels like a self-contained story, many of them focusing on particular relatives or friends. There’s his beautiful but immoral cousin, Johanna; his ruthless businessman cousin Magnesius; his lovely but lazy mother, Laura. His descriptions are hilarious, and Keun’s vocabulary really sparkles:
“Like many businesspeople, Magnesius is a jovial and generous party animal, only to emerge as even icier and stonier later. He damascenes himself. To heighten the mood, he has jammed a green monocle in one eye, and pulled a yellow silk stocking over his head. Just now I saw him kissing the hand of a woman unknown to me and offering to buy her a brand-new Mercedes.”
“Luise is a nice girl, and I’ve got nothing against her, but her presence has something oppressive about it for me. I have examined myself and established that this feeling of oppression is not love, and is no prerequisite for marriage, not even an unhappy one. I suppose I should tell her. But I can’t.”
Our antihero gets himself into ridiculous situations, like when he’s down on his luck and pays an impromptu visit to a former professor, Dr Muck, perhaps hoping for a handout; finding him away, he has to await his return for hours while the wife hosts a ladies’ poetry evening:
I was desperate not to fall asleep. Seven times I tiptoed out to the lavatory to take a sip from my flask. In the hall I walked into a sideboard and knocked over a large china ornament – I think it may have been a wood grouse. I broke off a piece of its beak. These things are always happening to me when I’m trying to be especially careful.
Hidden beneath Ferdinand’s hapless and frivolous exterior (he wears a jerkin made from a lady’s coat; Johanna says it makes him looks like “a hurdy-gurdy man’s monkey”), however, is psychological damage. “I feel so deep-frozen. I wonder if I’ll ever thaw out in this life. … Sometimes I feel like wandering on through the entire world. Maybe eventually I’ll run into a place or a person who will make me say yes, this is it, I’ll stay here, this is my home.” His feeling of purposelessness is understandable. Wartime hardship has dented his essential optimism, and external signs of progress – currency reform, denazification – can’t blot out the memory.
There’s a heartbreaking little sequence where he traces his rapid descent into poverty and desperation through cigarettes. He once shuddered at people saving their butts, but then started doing so himself. The same happened with salvaging strangers’ fag-ends from ashtrays. And then, worst of all, rescuing butts from the gutter. “So I never even noticed that one day there was no smoker in the world so degenerate that I could look down on him. I stood so low that no one could stand below me.”
I tend to lose patience with aimless picaresque plots, but this one was worth sticking with for the language and the narrator’s amusing view of the world. I’d happily read another book by Keun if I came across one. Her best known, from the 1930s, are Gilgi and The Artificial Silk Girl.
(Penguin Modern Classics series, 2021. Translated from the German by Michael Hofmann. Public library) [172 pages] 
Last House Before the Mountain by Monika Helfer (#NovNov23 and #GermanLitMonth)
This Austrian novella, originally published in German in 2020, also counts towards German Literature Month, hosted by Lizzy Siddal. It is Helfer’s fourth book but first to become available in English translation. I picked it up on a whim from a charity shop.
“Memory has to be seen as utter chaos. Only when a drama is made out of it is some kind of order established.”
A family saga in miniature, this has the feel of a family memoir, with the author frequently interjecting to say what happened later or who a certain character would become, yet the focus on climactic scenes – reimagined through interviews with her Aunt Kathe – gives it the shape of autofiction.
Josef and Maria Moosbrugger live on the outskirts of an alpine village with their four children. The book’s German title, Die Bagage, literally means baggage or bearers (Josef’s ancestors were itinerant labourers), but with the connotation of riff-raff, it is applied as an unkind nickname to the impoverished family. When Josef is called up to fight in the First World War, life turns perilous for the beautiful Maria. Rumours spread about her entertaining men up at their remote cottage, such that Josef doubts the parentage of the next child (Grete, Helfer’s mother) conceived during one of his short periods of leave. Son Lorenz resorts to stealing food, and has to defend his mother against the mayor’s advances with a shotgun.
If you look closely at the cover, you’ll see it’s peopled with figures from Pieter Bruegel’s Children’s Games. Helfer was captivated by the thought of her mother and aunts and uncles as carefree children at play. And despite the challenges and deprivations of the war years, you do get the sense that this was a joyful family. But I wondered if the threats were too easily defused. They were never going to starve because others brought them food; the fending-off-the-mayor scenes are played for laughs even though he very well could have raped Maria.
Helfer’s asides (“But I am getting ahead of myself”) draw attention to how she took this trove of family stories and turned them into a narrative. I found that the meta moments interrupted the flow and made me less involved in the plot because I was unconvinced that the characters really did and said what she posits. In short, I would probably have preferred either a straightforward novella inspired by wartime family history, or a short family memoir with photographs, rather than this betwixt-and-between document.
(Bloomsbury, 2023. Translated from the German by Gillian Davidson. Secondhand purchase from Bas Books and Home, Newbury.) [175 pages] 
Alone by Daniel Schreiber (Blog Tour)
Daniel Schreiber is a Berlin-based essayist and biographer of Susan Sontag. These philosophical reflections on solitude and loneliness, coinciding with the first year of the pandemic, reveal his ambivalence about living alone and his frustration that the idea of the couple so defines society that anyone who does not fall in line is considered aberrant.
“I never made a conscious decision to live alone,” Schreiber says. Although he has had many partners, some of them long term, and even lived with two of them for a time, he is single at the time of writing, and can’t help but think that his state implies some kind of deficiency. Part of this he attributes to queer shame that he must have subconsciously internalized, and part to Pauline Boss’s concept of the “ambiguous loss” – missing what one has never had.
The author has many friends, men and women, but feels that society tells us platonic love is less than romantic love; “friendship is thus reduced to a time of transition … a threshold state that ends when one successfully integrates into traditional forms of cohabitation.” His friend novelist Hanya Yanagihara (who gives a quote on the cover) corroborates this suspicion, which A Little Life affirms: “In the end, she said, you are always alone when you are single.”
The “Never So Lonely” chapter is about the Covid-19 situation in particular. Schreiber acknowledges that being alone does not have to equate to loneliness, yet the less he saw of people during lockdowns, the more he struggled mentally and emotionally. “At some point, a self-reinforcing dynamic of fear set in: the lonelier I felt, the less I could talk about it. And the less I talked about it, the lonelier I felt.”
Hiking, gardening, yoga and, eventually, foreign travel were among his coping strategies. This is as much a mini-memoir as it is a work of cultural criticism. Its academic tone is evident from a glance at the bibliography: Hannah Arendt, Roland Barthes, Joan Didion, Deborah Levy, Audre Lorde, Maggie Nelson and so on. This resonated with other loneliness- or solitude-themed books I’ve read, such as The Lonely City by Olivia Laing and Journal of a Solitude by May Sarton. It offers not answers, but solemn, quiet thoughts.
(Original publication: 2021. Translated from the German by Ben Fergusson.)
With thanks to Reaktion Books for the proof copy for review.
Four for #WITMonth: Jansson, Lamarche, Lunde and Vogt
I’ve managed four novels for this year’s Women in Translation month: a nostalgic, bittersweet picture of island summers poised between childhood and old age; a brief, impressionistic account of domestic violence and rape; the third in a series looking at how climate change and species loss reverberate amid family situations; and a visceral meditation on women’s bodies and relationships. Two of these were review copies from the recently launched Héloïse Press, which “champions world-wide female talent”.
The Summer Book by Tove Jansson (1972; 1974)
[Translated from the Swedish by Thomas Teal]
It was just the same long summer, always, and everything lived and grew at its own pace.
This was only the second time I’ve read one of Jansson’s books aimed at adults (as opposed to five from the Moomins series). Whereas A Winter Book didn’t stand out to me when I read it in 2012 – though I will try it again this winter, having acquired a free copy from a neighbour – this was a lovely read, so evocative of childhood and of languid summers free from obligation. For two months, Sophia and Grandmother go for mini adventures on their tiny Finnish island. Each chapter is almost like a stand-alone story in a linked collection. They make believe and welcome visitors and weather storms and poke their noses into a new neighbour’s unwanted construction.
Six-year-old Sophia, based on Jansson’s niece of the same name, is precocious and opinionated, liable to change her mind in an instant. In “The Cat,” one of my favourite stand-alone bits, she’s fed up with their half-feral pet who kills lots of birds and swaps him for a friend’s soppy lap cat, but then regrets it. She’s learning that logic and emotion sometimes contradict each other, which becomes clearer as she peppers Grandmother with questions about religion and superstition.
As is common to Jansson’s books, there’s a melancholy undercurrent here.
Everything was fine, and yet everything was overshadowed by a great sadness. It was August, and the weather was sometimes stormy and sometimes nice, but for Grandmother, no matter what happened, it was only time on top of time, since everything is vanity and a chasing after the wind.
Sophia’s mother died, and although her grandmother has the greater presence, Papa is also around, dealing with practicalities in the background. Death stalks around the edges, reminding Grandmother of her mortality through bouts of vertigo that have her grabbing for her heart medication. On just the second page we have this memento mori:
“When are you going to die?” the child asked.
And Grandmother answered, “Soon. But that is not the least concern of yours.”
And so it doesn’t feel like our concern either; the focus is on the now, on these beautiful little moments of connection across the generations – like in “Playing Venice,” when Grandmother stays up all night rebuilding Sophia’s model city that was washed away by the rain. (Public library)
The Memory of the Air by Caroline Lamarche (2014; 2022)
[Winner of an English PEN Award; translated from the French by Katherine Gregor]
In a hypnotic monologue, a woman tells of her time with a violent partner (the man before, or “Manfore”) who thinks her reaction to him is disproportionate and all due to the fact that she has never processed being raped two decades ago. When she goes in for a routine breast scan, she shows the doctor her bruised arm, wanting there to be a definitive record of what she’s gone through. It’s a bracing echo of the moment she walked into a police station to report the sexual assault (and oh but the questions the male inspector asked her are horrible).
The novella opens with an image that returns in dreams but is almost more a future memory of what might have been: “I went down into a ravine and, at the bottom, found a dead woman. She was lying in a shroud, on a carpet of fallen leaves.” I read this in one sitting – er, yoga session – and it has stayed in my mind in intense flashes like that and the flounce of her red dress on the summer day that turned into a nightmare. At an intense 70 pages, this reminded me of Annie Ernaux’s concise autofiction (I’ve reviewed Happening and I Remain in Darkness). An introduction by Dr Dominique Carlini-Versini contextualizes the work by considering the treatment of rape in contemporary French women’s writing.
The Memory of the Air will be published on 26 September. With thanks to Héloïse Press for the proof copy for review.
The Last Wild Horses by Maja Lunde (2019; 2022)
[Translated from the Norwegian by Diane Oatley]
The third in Lunde’s “Climate Quartet,” with its recurring elements of migration, shortages and environmental collapse. Always, though, the overall theme is parent–child relationships and the love that might be the only thing that keeps us going in the face of unspeakable challenges. Here she returns to the tripartite structure of The History of Bees (much my favourite of the three): a historical strand, a near-contemporary one, and a dystopian future story line. The link between the three is Przewalski’s horses (aka takhi).
In the early 1880s, Mikhail Alexandrovich Kovrov, assistant director of St. Petersburg Zoo, is brought the hide and skull of an ancient horse species assumed extinct. Although a timorous man who still lives with his mother, he becomes part of an expedition to Mongolia to bring back live specimens. In 1992, Karin, who has been obsessed with Przewalski’s horses since encountering them as a child in Nazi Germany, spearheads a mission to return the takhi to Mongolia and set up a breeding population. With her is her son Matthias, tentatively sober after years of drug abuse. In 2064 Norway, Eva and her daughter Isa are caretakers of a decaying wildlife park that houses a couple of wild horses. When a climate migrant comes to stay with them and the electricity goes off once and for all, they have to decide what comes next. This future story line engaged me the most.
I appreciated some aspects: queer and middle-aged romances, the return of a character from The End of the Ocean, the consideration across all three plots of what makes a good mother. However, the horses seemed neither here nor there. There are also many, many animal deaths. Perhaps an unsentimental attitude is necessary to reflect past and future values, and the apparent cruelty of natural processes, but it limits the book’s appeal to animal lovers. Maybe the tone fits the Norwegian prose, which the translator describes as lean.
The fourth book of the quartet, publishing in Norway next month, is called something like The Dream of a Tree; a focus on trees would be a draw for me. After the disappointment of Books 2 and 3, I’m unsure whether I want to bother with the final volume, but it makes sense to do so, if only to grasp Lunde’s full vision. (Public library)
What Concerns Us by Laura Vogt (2020; 2022)
[Translated from the German by Caroline Waight]
Vogt’s Swiss-set second novel is about a tight-knit matriarchal family whose threads have started to unravel. For Rahel, motherhood has taken her away from her vocation as a singer. Boris stepped up when she was pregnant with another man’s baby and has been as much of a father to Rico as to Leni, the daughter they had together afterwards. But now Rahel’s postnatal depression is stopping her from bonding with the new baby, and she isn’t sure this quartet is going to make it in the long term.
Meanwhile, Rahel’s sister Fenna knows she’s pregnant but refuses a doctor’s care. When she comes to stay with Rahel, she confides that the encounter with her partner, Luc, that led to conception was odd, rough; maybe not consensual. And all this time, the women’s mother, Verena, has been undergoing treatment for breast cancer. All three characters appear to be matter-of-factly bisexual; Rahel and Fenna’s father has long been out of the picture, replaced in Verena’s affections by Inge.
As I was reading, I kept thinking of the declaration running through A Ghost in the Throat by Doireann Ní Ghríofa: “This is a female text.” Vogt’s vision is all breasts and eggs, genitals actual and metaphorical. I loved the use of food in the novel: growing up, the girls cherished “silly nights” when their mother prepared an egg feast and paired it with a feminist lecture on reproduction. Late on, there’s a wonderful scene when the three main characters gorge on preserved foodstuffs from the cellar and share their secrets. (Their language is so sexually frank; would anyone really talk to their mother and siblings in that way?!) As in the Lunde, the main question is what it means to be a mother, but negotiating their relationships with men stretches the bonds of this feminine trio. One for fans of Rachel Cusk and Sally Rooney.
With thanks to Héloïse Press for the proof copy for review.
Three Novellas in Translation
The Institute by Vincent Bijlo
[London’s Holland Park Press specializes in making classic and contemporary Dutch literature available in English translation.]
Otto Iking is a resident at the Institute, a boarding school for the blind. He characterizes his fellow students firstly according to their smell – “foul soap,” “piss” or “grated Swiss cheese” – only later adding in details about their speech and habits. It’s a zany sort of place, powered by pranks and strange decisions. Some stand-out scenes include hiding Harry’s glass eyes and a visit from the president of Surinam, a former Dutch colony. The slapstick humor works well (“When I walked into a lamppost, I said sorry. When I struck my head against a traffic sign, I said sorry. No one has ever apologised to street furniture as often as I did”), but some humor translates less well, seeming cruel or even offensive (“Tony was fat and deaf and black-skinned”).
Alongside the silliness is the matter of Otto’s coming of age. He has the first inklings of what sex is about and falls for Sonja, and also undergoes training to prepare him for the real world, things like reading and writing Braille, preparing and eating tricky meals (soup’s a killer). One day he hopes to go to a mainstream school and broadcast radio programs. The institutional setting and quirky cast reminded me of The Secret Diary of Hendrik Groen, 83¼ Years Old and Linda Grant’s The Dark Circle.
The Institute, originally from 1998, was published on April 27th. Translated from the Dutch by Susan Ridder. My thanks to Bernadette Jansen op de Haar for sending a free copy for review.
This is the first of three Otto Iking novels. Vincent Bijlo, a Dutch stand-up comedian, was born blind.
My rating: 
Dance by the Canal by Kerstin Hensel
[Peirene Press issues its translated European novellas in trios. This is the final installment in the “East and West: Looking Both Ways” series; I’ve also reviewed the first two, The Last Summer by Ricarda Huch and The Orange Grove by Larry Tremblay.]
I don’t think I’ve ever read a novel narrated by a homeless person before. Gabriela von Haßlau has a noble name and a solid upper-middle-class background – her father was a surgeon and chief medical officer specializing in varicose veins; her mother was trained as a radiographer before becoming a housewife and society hostess – but her life took a turn for the worse at some point and she now lives in an encampment under a canal bridge in the town of Leibnitz (a fictional stand-in for Leipzig).
It’s July 1994 and she decides to write her life story on whatever scraps of paper she can get her hands on. She remembers being forced to play the violin as a child even though she was largely unmusical, enduring mockery at school for being one of the intelligentsia, playing hooky with her best friend Katka, and failing at a mechanical engineering apprenticeship. The narrative toggles between Gabriela’s memories and her present situation: getting blankets and food from a shelter and trying to avoid being sent to the mental hospital.
My unfamiliarity with German history, especially that relating to East Germany and reunification, means I probably missed some nuances of the plot; I found the ending quite sudden. What was most worthwhile about the book for me was experiencing homelessness with Gabriela and tracing some of the unfortunate events that led her to this situation. It’s also interesting to see how she shapes her life story in scenes and streams of consciousness.
Dance by the Canal, originally from 1994, was published on July 3rd. Translated from the German by Jen Calleja. With thanks to Peirene Press for the free copy for review.
My rating:
Hair Everywhere by Tea Tulić
[London’s Istros Books specializes in Balkans and South-Eastern European literature in translation.]
How could I resist such a terrific title and cover image? This was Croatian novelist Tea Tulić’s first book. In brief, titled vignettes almost like flash fiction stories, she dramatizes how a cancer diagnosis affects three generations of women. The book is strong on place, sensual detail and scene-setting. The narrator’s mother is in the hospital, and all the specialists and medicinal plant extracts in the world don’t seem to be helping. In such a restrictive narrative format, a line or two of dialogue can reveal a lot about a character’s attitude. The grandmother is a weary pessimist – “I just need to help your mother get through this and then I can die” – while the narrator is quite the hypochondriac.
The tone ranges from poignant to cynical, as in the absurd two-page sequence in which the family cannot locate an on-duty doctor who can read the latest X-ray results for them. The deadpan language and mixture of black humor and pathos reminded me of Adios, Cowboy by Olja Savičevi, which coincidentally is the only other Croatian novel I’ve encountered, and was originally published in the same year, 2011.
A few favorite lines:
“One little cloud was urinating.”
“While I watch her lying in bed, I can feel the umbilical cord between us. Something I have tried to cut a thousand times already. And now I hold onto that invisible cord as though I were hanging from a bridge.”
“Patrick Swayze” in its entirety: “My brother is angry because the doctors say they cannot help Mum. I tell him Patrick Swayze had lots of money but he still died of cancer.”
Hair Everywhere was published on May 22nd. Translated from the Croatian by Coral Petkovich. My thanks to Susan Curtis for sending a free copy for review – and to TJ at My Book Strings for making me aware of this title during Women in Translation Month.
My rating:
German Lit Month: The Tobacconist by Robert Seethaler
I don’t participate in a lot of blogger challenges (though I’ll be doing “Novellas in November” on Monday); it’s more of a coincidence that I finished Austrian writer Robert Seethaler’s excellent The Tobacconist (translated from the German by Charlotte Collins) towards the end of German literature month.
You may recall that I read Seethaler’s previous novel, A Whole Life, on my European travels this past summer, and didn’t think too much of it. I’d read so much praise for its sparse style, but I couldn’t grasp the appeal. Here’s what I wrote about it at the time: “This novella set in the Austrian Alps is the story of Andreas Egger – at various times a farmer, a prisoner of war, and a tourist guide. Various things happen to him, most of them bad. I have trouble pinpointing why Stoner is a masterpiece whereas this is just kind of boring. There’s a great avalanche scene, though.”
But I’m very glad that I tried again with Seethaler, because The Tobacconist is one of the few best novels I’ve read this year, and very much a book for our times despite being set in 1937–8.
Seventeen-year-old Franz Huchel’s life changes for good when his mother sends him away from his quiet lakeside village to work for her old friend Otto Trsnyek, a Vienna tobacconist. “In [Franz’s] mind’s eye the future appeared like the line of a far distant shore materializing out of the morning fog: still a little blurred and unclear, but promising and beautiful, too.”
Though the First World War left him with only one leg, Trsnyek is a firebrand. Instead of keeping his head down while selling his cigars and newspapers, he makes his political opinions known. This sees him branded as a “Jew lover” and persecuted accordingly. One of the Jews he dares to associate with is Sigmund Freud, who is a regular customer even though he already has throat cancer and will die just two years later.
Especially after he falls in love with Anezka, a flirtatious but mercurial Bohemian girl, Franz turns to Professor Freud for life advice. “So I’m asking you: have I gone mad? Or has the whole world gone mad?” The professor replies, “yes, the world has gone mad. And … have no illusions, it’s going to get a lot madder than this.”
Through free indirect speech, the thought lives of the various characters, and the postcards and letters that pass between Franz and his mother, Seethaler gradually and subtly reveals the deepening worry over the rise of Hitler and the situation of the Jews. This novel is so many things: a coming-of-age story, a bittersweet romance, an out-of-the-ordinary World War II/Holocaust precursor, and a perennially relevant reminder of the importance of finding the inner courage to stand up to oppressive systems.
Freud and his family had enough money and influence to buy their way to England. So many did not escape Hitler’s regime. I knew that, but discovered it anew in this outstanding novel.
Some favorite passages:
Dear Mother,
I’ve been here in the city for quite a while now, yet to be honest it seems to me that everything just gets stranger. But maybe it’s like that all through life—from the moment you’re born, with every single day, you grow a little bit further away from yourself until one day you don’t know where you are any more. Can that really be the way it is?
And as more than twenty thousand supporters bellowed their assent into the clear Tyrolean mountain air, Adolf Hitler was probably sitting beside the radio somewhere in Berlin, licking his lips. Austria lay before him like a steaming schnitzel on a plate. Now was the time to carve it up. … People were cosseting their faint-hearted troubles and hadn’t even noticed yet that the earth beneath their feet was burning.
(from a letter from Mama) Just imagine, Hitler hangs on the wall even in the restaurant and the school now. Right next to Jesus. Although we have no idea what they think of each other.
Freud: “Most paths do at least seem vaguely familiar to me. But it’s not actually our destiny to know the paths. Our destiny is precisely not to know them. We don’t come into this world to find answers, but to ask questions. We grope around, as it were, in perpetual darkness, and it’s only if we’re very lucky that we sometimes see a little flicker of light. And only with a great deal of courage or persistence or stupidity—or, best of all, all three at once—can we make our mark here and there, indicate the way.”
My rating: 
Happy Thanksgiving to all my American readers! In previous years we’ve been able to find canned pumpkin in the UK to make a pumpkin pie, but alas, this year there have been supply issues (my husband blames Brexit). Nor can we find a real pumpkin – they disappear from the shops after Halloween. Without pumpkin pie it doesn’t feel much like Thanksgiving.
At any rate, here’s a flashback to the seasonal posts I wrote last year, one about five things I was grateful for as a freelance writer (they all still hold true!) and a list of recommended Thanksgiving reading.
Bookish Beck = Rebecca Foster. American transplant to England. Freelance proofreader and book reviewer.
Bookish Beck 