Of all the Holocaust novel genres, the most interesting is often the one that doesn’t describe clearly defined horrors, written with a clarity that brings the events into the present, whether written in present tense or not, but the one grasping at memories, personal or cultural, and even more so the ones of shadow memories, of the gaps that narrators have passed over or lost—_Sebald’s Austerlitz_ one of the definers of this sub-genre. Inka Parei’s What Darkness Was takes this forward, acknowledging that history has been made in Germany since the Holocaust, and that it too can be poorly understood and put into a larger continuum of culture, and lost or denied culture. Set in late 1977 in West Germany and within the addled, lost consciousness of an old man, What Darkness Was isn’t a novel of direct connections, of completeness, of action and reaction, or of explanations for the reader, but instead of gestures toward, of using abstraction, atmosphere to set the reader up to find how it comes together, and what it has to offer from the past and for the future. Its title, embedded in a passage midway through this slim novel, stands as an example, or even a definition of this. Until coming across it in the text, the title is vague, but beautiful, then:
The night seemed endless. The old man felt wide awake. He tried to understand what darkness was, how merciless and absolute it was—nothing could chase it away. You could only ever light up tiny parts of a darkness like that, every light source ridiculous in comparison to the sun. Lamps, even very strong ones, had a light that was limited, its end foreseeable with the naked eye.
This shedding of light onto little spots of darkness is the aim of the novel, even while aware of the impossibility of full light, even finding time to dwell in the dark and find beauty. It goes beyond aesthetics, ideas, or any cultural examination, and instead is the core of the novel; indeed it is the plot. This trick, turning usual extraneous-to-the-plot elements into plot, is exciting, original, and makes a compelling read (I planned to put the book down after sixty pages and go to bed, then promised I would stop at ninety, before finally just finishing it in one read). At the opening, our old man protagonist is in complete darkness, even literally, but also in his place in life. His house is not his home: it is not one he built, bought, or aged in, but inherited, without being able to remember from whom. Disconnected from his present, “part of him was still living in Berlin;” yet not able to recall enough of his past to bring that to life either.
As Parei builds the setting, there is slight humor in an old newspaper with a picture of Elvis that is not, though contemporary for the novel, a cultural calling from the past, refusing idealization by being not the hip-swinging Elvis, but the aged, fat, soon-to-die-on-a-toilet Elvis. Though humor is not a running current, a keenness of detail is, and Katy Derbyshire’s translation preserves the wonderful way that states of being and atmosphere intermingle and become the same: “Too little sleep was like a blanket that was too thin or too short, something you could not help tugging at, in a constantly restless and alert state” or the menace behind “the absence of sound in all the lifeless things that cities consist of, the silence of the mortar, the walls and rail, the aluminum casings, the silence of wood and hewn stones.” This world the old man is walking through, it can leave people behind, it can pass over accomplishment and sin—unless someone moves against the silence.
The old man is not obviously that someone. His time is spent in silence, watching his neighbors, half-heartedly contemplating his past while avoiding any participation in his present outside of the watching. His re-entry to both is sparked by the first watched neighbor he has contact with, known only as “the stranger.” The stranger, a recent arrival in the next-door apartment, becomes the central point for the old man’s thoughts, and the center of his actions, along with the actions of the others in the neighborhood. The old man is compelled to know the stranger, to find out more, yet also to keep him no more than a stranger; he is both scared for and scared of. Here is where I can struggle with giving too much away, ruining the few “events.” The blank slate that is the stranger allows him to exist with more than one identity, an identity from the Baader-Meinhof Germany of the novel’s present, given to him by threatening neighbors and by the old man himself, and the unnamed victims of Germany’s past—as “He’s one of them. I have to save him,” passes through the old man’s thoughts.
A struggle between the often separate realities of intellectual, rational understanding of experience, and of immediate physical experience is often played out at the same time as the past vs. present dynamic, one that dominates the old man in simple ways like a reflection on a childhood memory of spinning around and watching objects around dissolve, all while knowing that was only in his eyes and in paralyzing ways, describing the stranger’s eyes, “as though they affected his sight, but he knew that was an illusion. In reality it was him, looking at the stranger, who was distracted by eyes like that, plunged into confusion and overlooking other things.” It at times becomes a fight for sanity, a fight to be able to exist rationally, yet accept one’s experiences, and for the old man, experiences are not always something he wants to accept. He has a home that was gifted to him by an unknown man except for a last name, and all the men he remembers with the name have as guilty a past as he does, as German men of his age did.
Early on, the old man, seeing a scratch he made in paint as he unlocked a door is “unsettled. . . . that he could see across the layers of different coats of paint as if looking back across decades, down to the surface.” Looking at a simple scratch, at such a benign physical marker of the past is too much for him, and during this, the world around him is fogged and scattered, but as he watches more, hears more, tries to act and respond to current events, more and more memories come to him, and more clearly. The physicality of his present as he searches the basement, trying to find out what his neighbors are up to and how the stranger is involved, bring the clearest narrative of his past in the military, culminating in a cold reality that had been until now in that darkness.
This is not to say that What Darkness Was pulls itself into a formal, structured narrative. At the end we are not left with answers, and there is much in the novel that is as unclear to the old man as it is to us, though we are made to wonder if we haven’t lit our lamp bright enough, pushed it into the right corners, or maybe are simply a little too American and don’t know 1977 Germany well enough. Or must some things remain in the darkness and all we can do is bring out the most important things, and not, either intentionally or passively, keep the most dangerous things in the dark, for they will dim the present as well.
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .