In their usual classy-as-hell manner, New York Review Books delivered a real gem last month in the 2008 Reading the World selection THE POST-OFFICE GIRL, by Stefan Zweig and translated by Joel Rotenberg. Zweig’s posthumously published book is bitter, brutal, and everything I love about post-war literature while still retaining some of the sweet softness of, say, A LITTLE PRINCESS by Frances Hodgson Burnett. The book is aptly billed as one which “lays bare the private life of capitalism”—it also exposes the meaninglessness and triviality of life and class while remaining firmly realistic.

The title character is Christine Hoeflehner, a mere shade of postal official in a province outside Vienna who, in her miserable innocence, knows neither pleasure nor joy. Until, of course, she does. Ms. Hoeflehner is a survivor of the first World War, but only in the sense that she is still living. The Great War took the family business and, in fact, much of the family. She is old before her time and her mother an invalid and her charge. As for many, misery became the constant. Zweig writes:

The war has in fact ended. But poverty has not. It has only ducked beneath the barrage of ordinances, crawled foxily behind the paper ramparts of war loans and banknotes with their ink still wet. Now it’s creeping back out, hollow-eyed, broad-muzzled, hungry, and bold, and eating what’s left in the gutters of the war. An entire winter of denominations and zeroes snows down from the sky…every thousand melts in your hand.

Imagine taking a young woman from that bleak picture, a woman who has always worked and never known luxury or rest and whisking her away to a palace—The Palace Hotel—it’s like something from a fairy tale. For Christine Hoeflehner, the fairy tale came true. Her wealthy aunt and uncle lavish her with all kinds of lovely foods and clothes. There and then, her name changes. She becomes Fräulein Christiane von Boolen, a glamorous doppelganger to her former self, a sort of gaudy butterfly entranced by the life of society and by the attentions of young men unscarred by the great tragedies of life. Zweig writes:

But how could she think, when would she think? She has no time to herself. No sooner does she appear in the lounge than someone from the merry band is there to drag her along somewhere—on a drive or a photo excursion, to play games, chat, dance; there’s always a shout of welcome, and then it’s bedlam. The pageant of idle busyness goes on all day. There’s no end of games played, things to smoke, nibble on, laugh at, and she falls into the whirl without resistance when any of the young fellows shouts for Fräulein von Boolen…

Perhaps it is odd that I mentioned that children’s classic, A LITTLE PRINCESS. No, it’s not odd—in Ms. Hoeflehner there is such a simple appreciation of luxury goods, an intimate affection for all the pleasures of wealth. She is childlike in the way she takes in pleasure, perhaps selfish, but blamelessly so. For all his criticism of the wealthy, it must be noted that Zweig doesn’t condemn wealth or luxury. His characters love comfort as we all love comfort and who, honestly, can deny its charms? As before, this “lays bare the private life of capitalism,” it doesn’t attack it, but reveal it. The novel doesn’t make moral claims; Zweig doesn’t judge the way people live their lives, merely contrasts them, makes glaringly obvious the inequalities—without assigning blame.

The vacation came to an abrupt end. As dreams do. Fräulein Christiane von Boolen was revealed to be, merely, Christine Hoeflehner and, in shame and anger, she returned to Klein-Reifling, to the small town she came from. With her mother dead and her memories of her time at the resort too vivid, Christine cannot sink back into her own life. This is the real meat of the story; this is the bitter Part Two. A spectre of discontent is introduced in Christine Hoeflehner and Zweig provides it a mate, Ferdinand Farrner. In Ferdinand, Christine finds a kindred spirit, an awareness of the unfairness of life. Together, they come to a precipice familiar to the poor. They can no longer stand. They jump.

When one reads a book of this range, it is impossible not to stare hard at the author who crafted these words, who built—or rebuilt—this world of extremes, of pleasure and deprivation. There’s a disturbing autobiographical element. Even for someone only vaguely aware of Zweig’s life, his personal history seems obscenely connected to his characters, as though he had already lived out several possible lives through his books. Toward the end of World War II, having achieved safety in Brazil, Zweig and his wife killed themselves— out of despair for European civilization. His suicide was the suicide of Europe, his death was the death of humanism. Zweig was a well-known pacifist and an adored writer. His forfeit was a recognition of his failed hope and we can mourn him, but not too long or too strong. Such a man as Zweig was too sincere to invent anything as improbable as a happy ending. His characters chose life, almost arbitrarily, and after all, there isn’t that much difference.

THE POST-OFFICE GIRL
by Stefan Zweig
Translated from the German by Joel Rotenberg
New York Review Books
257 pgs, $14.00


Comments are disabled for this article.

....

The Post-Office Girl
By Stefan Zweig
Translated by Joel Rotenberg
Reviewed by Jeff Waxman
ISBN:
$
Astragal
Astragal by Albertine Sarrazin
Reviewed by Tiffany Nichols

Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .

Read More >

Live Bait
Live Bait by Fabio Genovesi
Reviewed by Megan Berkobien

When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .

Read More >

The Skin
The Skin by Curzio Malaparte
Reviewed by Peter Biello

“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .

Read More >

Love Sonnets & Elegies
Love Sonnets & Elegies by Louise Labé
Reviewed by Brandy Harrison

With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .

Read More >

Conversations
Conversations by César Aira
Reviewed by Tiffany Nichols

In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .

Read More >

Nothing Ever Happens
Nothing Ever Happens by José Ovejero
Reviewed by Juan Carlos Postigo

You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .

The narrative history of. . .

Read More >

The Pendragon Legend
The Pendragon Legend by Antal Szerb
Reviewed by P. T. Smith

Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .

Read More >