kairos (jenny erpenbeck, tr michael hofmann)

The transition of Berlin from a city divided to a city unified is one of the more epic geopolitical tales of my lifetime. My generation grew up with the Berlin Wall and this island outpost of “the West” within the communist empire. This in itself being one of the most long-lasting and evident aftershocks of the Second World War. The wall felt intractable, as though it would be there forever. So when it went, it revealed the porousness of historical absolutes. Nothing lasts forever.

Erpenbeck’s novel tells this tale from the point of view of the East, which could be termed the point of view of the losers. It’s a love story which from the get-go seems fucked up. Hans is in his mid fifties and Katharina is nineteen when they meet. For all that the narrative is largely told from her besotted point of view, the reader knows this isn’t a happy-ever-after tale. As Hans becomes increasingly controlling and abusive, with Katharina seemingly unable to see the wood from the trees, the novel takes a darker turn. The reader is asked to buy into their unpleasant, toxic relationship. The writing itself becomes more and more uncontrolled. Characters come and go, there are sudden jumps in time. Hans and Katharina are devastatingly unhappy, then they’re cosy all over again. It’s a vortex, and the vortex spins and spins. The point of view of Ingrid, Hans’ wife, is only touched on, and Katharina seemingly has no sense of guilt or responsibility towards the unfortunate wife, unable to see Hans for what he is.

Which will finally be revealed when the novel reaches its epilogue. They have a word here, remate, which literally means ‘finish’, but is also used to mean something like ‘a sting in the tail’. Erpenbeck keeps this up her sleeve. (Perhaps a DDR public would have worked this out sooner.) Hans, a novelist and journalist, is not quite what he seems, and even Katharina, his long-term lover, is unable to work this out.

All of which is complex, even torturous. The middle of the novel is a mazy, roundabout read. The reader, blessed with historical knowledge the characters don’t have, knows where this is headed. The fate of the relationship is tied to the fate of the DDR, a country that will soon cease to exist. The last quarter of the novel documents the decline and fall of East Germany with great precision. The writer skips over the day the wall is breached, because this isn’t a novel about that moment. It’s a novel about the effects of the transition on the individuals who lived in the East, who, in one way or another, adhered to the values, flawed or not, of the East German regime. The novel suddenly becomes more political, as the looming demiurge of capitalism overtakes and invades. Erpenbeck knows that, like the relationship of her ill-crossed lovers, the project that is dying is doing so because of irredeemable flaws. But still - there was something there, wasn’t there? Another way of living, beyond callow materialism.

In this closing sequence a novel which seems at times to deliberately alienate the reader comes full circle. The sting in the tail is at most an afterthought. The dream died a long time ago. All that was left was the shadow of the dream, the missing teeth of the wall that sought to keep out Mammon. 

+++

Nb - I have recently read two non-fiction books about the DDR, Red Love and Stasiland, which help to contextualise the world of Kairos. As the world reverts towards an extreme dichotomy between ‘The West’ and all that this has come to imply, and the unknown, ‘East’, the dialectic which Berlin itself represented for nearly half a century seems more and more a representation of the different paths the world might have taken.

red love: the story of an east german family (w. maxim leo, tr shaun whiteside)

What was the DDR? A country that only existed for less than half a century, like a hangover from a 19th century Europe where the borders were constantly shifting. A state founded with counter-fascist ideals that soon became almost as repressive and fascist as the state it sought to replace. The birth and death of the communist ideals within Western Europe. Leo’s book is an account of the state he was born into, one that didn’t exist when his parents were born and wouldn’t exist when his children were born. A brief, melancholy state, which was also a state of mind. Using his family history, he investigates how the DDR came to be and what it represented for his grandparents’ generation, and then his parents’. His parents, Wolf and Anne, come across as beautiful children of the post-war generation, their struggles every bit as romantic as those of their contemporaries through the sixties and seventies in the west. (My father’s original first name was Wolf, and the account of Leo’s father’s young life in the immediate post-war Berlin might echo that of my father’s.) By the time Leo himself reaches adolescence, the dream has well and truly died. Although his father was a committed doubter, his mother sought to kept the socialist flame alive. But Leo belongs to a generation that is in thrall to the west, and in his account the collapse of the wall and the DDR has such an inevitability to it that the ultimate experience of its end is almost mundane. There is still, to my mind, a sense of urban quiet to the leafy streets of east Berlin. As though, no matter the political state of the nation, this strange tranquility will always predominate. Leo does not appear to mourn the loss of his birth country, but perhaps, even in the act of writing about it, of excavating that past, there is a latent nostalgia, even if this is a nostalgia for something that never really existed.  

all the lights [clemens meyer]

All The Lights is a collection of short stories. There are plenty of them (15). There are no overt connections between the stories, but plenty of covert ones. These covert links have the effect of sparking associations in the reader’s mind: did this character crop up in another tale? Haven’t I read this somewhere else in the book? The book’s title, for example, is a phrase that recurs with regularity across many, if not all of the stories, and every time you come across this phrase it helps to construct a network of communality between apparently diverse episodes. (This might be even more apparent in the original, it’s hard to tell, although it should be noted that the translation by Katie Derbyshire is excellent.)

The stories are all set in the Eastern side of a reunified Germany, the former DDR. As such, they are the haunted tales of history’s losers, in one way or another. Even the foreigners who appear, including a Dutch boxer, are losers. They are the ones who history will not celebrate, whose stories are never going to be more than bittersweet. Which is not to say there is no light in the book, or that it’s remorselessly grim; just that there’s an aura of lost possibilities, of the unfulfilled dream. The shadow of the West. 

Under this umbrella, the author constructs elegant portraits of the little people trying to make their way. The immigrants, the warehouse workers, the salesmen. There’s a touch of Carver in all this, but there’s also a flavour of Cortazar in the way Meyer elides time. Like Cortazar he is not afraid of skipping backwards and forwards within the timeline of the story. The effect is disorientating, in the same way in which life can be disorientating. The present and the past and the future collide head-on in a single paragraph. This demands an assurance and skill from the writing; Meyer is not afraid to lead the reader to the border of incomprehension before reeling them back again to the through line of the narrative. Again, this frequently reflects the state of his subjects, people who don’t feel in control of their destiny, who never know if they’re about to fall off a cliff or get knocked out, but battle on regardless.

[As an aside, in Berlin last weekend, we visited the “DDR Museum”, a place which in the end I found unbearably sad. All the hope (all the lights) of a utopian dream reduced to rubble, steamrollered by the capitalist machine and corruption. In the museum people smirk at the Trabant or the mono-politics. It’s all but forgotten that beneath the surface there was once the dream of a more egalitarian and less materialistic society.]