Download Death in Rome (Penguin Twentieth-Century Classics) by Wolfgang Koeppen, Visit Amazon's Michael Hofmann Page, PDF

By Wolfgang Koeppen, Visit Amazon's Michael Hofmann Page, search results, Learn about Author Central, Michael Hofmann,

4 individuals of a German kinfolk are reunited accidentally within the decaying great thing about post-war Rome. those varied males, together adverse and nervous, examine of 1 another's presence in Rome and meet, their usually chilling histories unfolding via numerous literary kinds and voices.

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Extra resources for Death in Rome (Penguin Twentieth-Century Classics)

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She didn't like it. What she heard were discordant, inharmonious, mutually antagonistic sounds, a vague searching, a half-hearted experiment in which many paths were taken and none followed to its end, in which no idea asserted itself, where from the outset everything was brittle, full of doubt, doomed to despair. It seemed to Ilse that the person who had written these notes didn't know what he wanted. Did he despair because he was lost or was he lost because whichever way he went, he spread the black night of his depression, and made it impassable for himself?

He read Proust, Kafka, Faulkner and Woolf as they appeared. was the stuff his dreams were made of. By the 1930s his own career had begun. He went abroad. He wasn't a Nazi. He returned. He didn't have the reputation, the contacts, the command of foreign languages to enable him to make his way in exile. Nor did he lay claim to the condition of 'internal exile'. Along with the poet Gottfried Benn and a very few other significant writers he lived through the period in Germany. This put him at a disadvantage later.

These are all antecedents for the various Judejahns and Pfaffraths who have descended on the city now. As I said before, Koeppen is interested in establishing continuity and pattern. although the Nazis themselves, in their hunt for legitimacy and historical validation, had a deliberate policy of reinvesting old words, old places, old habits and old wars. which is why Adolf and Siegfried talk about their school as the Teutonic castle or academy; they revived concepts like the Femegericht, the 'Vehmic Court', first used in fourteenth-century Westphalia, then applied to political killings in the 1920s; they tried wherever possible to associate themselves with the military traditions of German history.

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