“Beware of Pity” by Stefan Zweig – Pitfalls of Pity

This is my review of Beware of Pity (Stefan Zweig’s classic novel) (B-Format Paperback) by Stefan Zweig.

Set in the Austro-Hungarian Empire just before the outbreak of the First World War, a story which you might expect to find dated proves very gripping. It is written from the viewpoint of Anton Hofmiller, as he looks back ruefully to the time when, as a young cavalry officer, emotionally undeveloped after spending his adolescence in army training, he was first flattered to be wined, dined and treated with unwonted respect in the house of a wealthy local aristocrat, then moved by the plight of the teenage daughter of the house, paralysed by an unspecified illness.

Although you may guess the general direction of the tale it is remarkable for the depth with which Zweig explores the narrator’s complex emotions, and for the vivid evocation of a world about to end – the privileged, snobbish, ritualistic ostrich-like world of the ossified Austro-Hungarian army. He describes with great realism the joys of riding in close formation with one’s men, or galloping freely across the countryside, the huge social pressure to conform in this community rife with gossip and banter bordering on bullying. The book reminds me strongly of Roth’s “The Radestky March”.

If the style sometimes seems anti-semitic, this must be a reflection of the times, since Zweig was himself a Jew. I admit to finding the emotional intensity overwhelming at times, although Zweig has a gift for taking you to the limit of endurance and then introducing a fresh development which releases the tension and shifts you to a contrasting mood – which may in turn become too much. In view of Zweig’s suicide during World War 2, a few years after this book was written, one wonders how much it reflects the overwrought emotional rollercoaster of his own thoughts.

I understand why some reviewers feel the plot is too slight for a full length novel, but on balance Zweig “carries it off” as a psychological study and period piece. I could have done without the “frame” device used, apparently quite popular in the early C20, i.e. to commence with another narrator describing how he meets Hofmiller who implausibly recounts the story in great detail.

Recommended for reading on Kindle.

⭐⭐⭐⭐ 4 Stars

A lost sheep

This is my review of La neige en deuil by Henri Troyat.

This explores the tension between two brothers: Isaïe who lives the quiet life of a shepherd in a remote Alpine village after suffering brain damage following a tragic accident which cost him his career as a respected guide, and Marcellin, the much younger ne'er-do-well brother on whom he dotes. A life-changing drama is triggered by a plane crash on the icebound mountain above the village. I assume Troyat had some knowledge of mountaineering, since the book describes a nail-biting ascent. The story is well-constructed with strong dialogue revealing the psychology of the two men and vivid, original prose. The most striking aspect of this powerful novella is the description of the ice and snow at high altitude in changing weathers and times of day, and the hallucinatory effects these can wreak on a lone traveller.

⭐⭐⭐⭐⭐ 5 Stars

Seeing Blindly

This is my review of Seeing by Jose Saramago.

Translated from the Portuguese, "Seeing" by the Nobel prize winner Saramago was published in 2004 as a sequel to "Blindness" which came out nine years previously.

"Seeing" can be read as a "standalone" although the final section makes more sense and has more poignancy if you have read "Blindness" which describes the rapid social breakdown after a nameless city is struck down by an epidemic of blindness in which everything appears white.

Whereas "Blindness" contains passages of almost unbearable but plausible violence and degradation, "Seeing" seems quite mild at first, more of a political satire. After a city election in which 83% of the votes casts are blank (parallel with white blindness?), the Government is uncertain how to respond to this apparent act of mass subversion, and takes a number of crass measures in which democracy and freedom are steadily crushed. Beneath the figurehead of a benign President, the Prime Minister assumes ever more roles as a sinister intelligence service exerts control in the background. The irony which seems to escape their leaders is that, far from breaking out into crime and disorder as predicted, people seem to behave much better when left to their own devices without being governed. Also, if they really start trying to organise themselves against the state, it is because they have been driven to it.

In a country like Portugal which experienced recent dictatorship, Saramago's vision seems very apposite, and his tendency to write in allegories is understandable. What is more, in view of recent unsettling events, growth of international monopolies and centralisation, endless proof of corruption and concealment, our growing disillusion with traditional parties and politicians, Saramago's parody seems very relevant.

The facetious style of "Seeing", so that at one point the author implies he is wondering how to finish the novel, makes the occasional acts of brutality all the more chilling, and because you know that Saramago is capable of utter ruthlessness, the anticipation of violence and tension can be quite high. Yet the novel is often very funny, such as the dialogue in which the interior minister, insisting on the code-name albatross inflicts bird names on his unfortunate superintendent (puffin) and all the other parties mentioned. This is all the more ironical since Saramoga never describes any of his characters by name.

This brings me on to the style, which was quite effective in "Blindness" by creating a flow of words to carry you through the horror, but which in "Seeing" can be quite confusing. I refer to the lack of paragraphs, to the exhausting multiple-clause sentences, and the suspension of normal punctuation of speech with inverted commas and a new line for each speaker.

"Seeing" has much more dialogue than "Blindness" and some sharp, amusing , play-like exchanges were marred for me by the problem of working out who is speaking. Even when I attempted to do this, I still wasn't always sure, and the rhythm of reading was destroyed in the process. It's also hard to refer back to a point in the dense mass of text without any "landmark" line breaks.

Whereas "Blindness" left me feeling upbeat – perhaps that the ending was "too happy" – "Seeing" had a more depressing aftertaste. Another of Saramoga's ironies. Despite the effort required to read him and the numerous often tedious digressions, Saramago's books are thought-provoking and last in one's memory.

⭐⭐⭐⭐ 4 Stars

Raw Deal

This is my review of Down the Rabbit Hole by Juan Pablo Villalobos.

This is a good translation from the original Spanish of a well-written novella from the viewpoint of a young Mexican boy. Tochtli, whose father is a drug baron. For obvious reasons, Tochtli lives in a bizarre heavily-guarded world of obscene luxury, and brutal amorality, where his father allows him to see men being tortured, as part of ensuring he grows up to be suitably macho, and Tochtli casually announces that the corpses of those who have fallen foul of his father end up being fed to the lions and tiger kept in cages in the garden. The boy is obsessed with death, body parts and the number of bullets needed to kill people, according to the organ damaged. His corrupted child's perception of the world is darkly tragicomical, his misreading of situations, such as the visits of a prostitute for his father, sometimes amusing, his casual acceptance of violence and lack of "normal" feeling are often shocking although understandable.

This is an imaginative but bleak parody of the predicament of a child, subject to a distorted socialisation, deprived of the company of other children so unable to relate to them, indulged by having his every material whim satisfied, even to the extent of being taken to Liberia to capture a pair of the pygmy hippopotami with which he has become obsessed, bored by the narrow repetition of his daily life. His only real moment of closeness with his father is when the latter says that one day Tochtli will have to kill him to save his honour i.e from gaol, like a samurai in one of the violent films they love to watch.

Something of a "one trick pony" in the essential point made, the book can be read too quickly for you to worry that you may have wasted your time.

⭐⭐⭐⭐ 4 Stars

Changing Perspective

This is my review of A Fine Balance by Rohinton Mistry.

From the opening scene of passengers on an overcrowded train, Rohinton Mistry reveals his mastery of storytelling. The book reminded me at first of another modern classic, “A Suitable Boy” but proves to be much darker. The main characters suffer terribly and the powerful and corrupt for the most part seem to prosper unpunished, although the bleakness is made endurable by a mixture of irony and humour, unexpected moments of beauty and joy, combined with curiosity as to where the plot will twist next.

Like a modern Dickens or Zola, Mistry’s flowing style carries us through a complex and densely-woven plot, set mainly during the “State of Emergency” in mid-1970s India. He focuses on four main characters who form an unlikely bond: the low caste tailor Ishvar and his belligerent nephew Om, who have come to the unnamed “city by the sea” to make a living; Dina, the beautiful, spirited widow who prefers to maintain a poverty-stricken independence rather than accept a suitor arranged by her bullying brother; her lodger Maneck, forced to study refrigeration technology since the economic changes which have reached even the foothills of the Himalayas are threatening the survival of his family’s general stores.

With incidents of caste hatred, slum clearance, forced labour and sterilisation, Mistry reveals the strengthen and resilience of the human spirit: how those who are already poor manage to endure further hardship, corruption, and the cruelty of both the powerful and of those who do their bidding and impose crass laws through their own need to survive.

What makes this book great is Mistry’s ability to change the reader’s perspective on life – his power to cause a materialistic westerner to view life differently, to question accepted values and to feel more empathy and even respect for those who become beggars and slum-dwellers.

⭐⭐⭐⭐⭐ 5 Stars

Turning a blind eye

This is my review of Blindness by Jose Saramago.

I put off reading "Blindness" for a book group because the topic seems so bleak: an entire population becomes afflicted with a "white blindness", an authoritarian government tries in vain to contain the apparent contagion by imprisoning sufferers and those likely to be contaminated, but society degenerates rapidly into "primitive hordes" bent on survival.

Despite this, and a translation which may lack editing, after only one chapter into the book, I was hooked by the author's precise, dispassionate description of the first victim's experience of a sudden loss of sight, his reactions and relationship with others. In a kind of "La Ronde" chain reaction, the malady is passed on in an arbitrary way, with the focus on a small number of well-developed characters. One of these is the only one to remain sighted, which adds an extra twist to the plot e.g. should she reveal this fact, how can she remember to conceal it, how does her sight help the others to survive? She is of course well-placed to observe how people's normal inhibitions break down when they believe no one can see them.

The inevitable grim decline into anarchy is leavened with surprising acts of humanity and promising signs of people beginning to organise themselves as a rational means of surviving as long as possible.

Ironically, the aspect most likely to make me give up reading was the punctuation: no paragraphs or inverted commas. Once you realise that a capital after a comma is the start of a different person's comment, Saramago's technique certainly helps the meaning to flow more quickly into one's brain, but does give rise to occasional confusion over the speaker's identity. It's also harder to flick back and check on a point.

Saramago's tone is sometimes moralising e.g. over the promiscuous woman who has more empathy and compassion than other more upright citizens. He shows flashes of tongue-in-cheek humour, such as over people's tendency, even in a crisis, to pontificate about or latch on to theories of redemption on one hand or principles of organised systems on the other.

The characters find time to philosophise:

"We're dead because we're blind."

"Without a future, the present holds no purpose."

"Don't ask me what good and evil are, we knew what it was each time we had to act when blindness was an exception, what is right and wrong are simply different ways of understanding our relationships with the others, not that which we have with ourselves."

"Revenge, being just, is something human. If the victim has no rights over the wrongdoer, there can be no justice."

"Do you mean that we have more words than we need?" – "I mean we have too few feelings. Or that we have them but have ceased to use the words they express. And so we lose them."

"If I am sincere today, what does it matter if I regret it tomorrow?"

Despite all their patience and ingenuity, all the characters seem doomed to die prematurely of starvation and disease, yet, as Saramago observes, death is our ultimate fate anyway. I am left unsure that I have fully grasped the author's intended message: I think he is concerned about the abuse of power, but seems more preoccupied with the individual soul than mankind's pillage of the earth's resources. Whatever his intentions, the book certainly seems topical in our current unstable situation and stimulates ongoing discussion.

The story reminds me of Cormac McCarthy's "The Road", and in the same way, after a harrowing journey, ends on a perhaps surprisingly positive and upbeat note, paving the way to the sequel "Seeing" which I shall certainly read – but not straight away!.

⭐⭐⭐⭐ 4 Stars

“Comedy in a Minor Key” by Hans Keilson – Too Low Key?

This is my review of Comedy in a Minor Key by Hans Keilson.

I was inspired to read this by the recent obituary for the author Hans Keilson, who died aged 101. Forced to flee as a young Jewish man from Nazi Germany to the Netherlands, he drew on this experience to write this short novel about a Dutch couple, Wim and Marie, who agree to hide a Jewish man in their spare room, only to find themselves confronted with the problem of how to dispose of his body after his untimely death.

With its focus on the mundane practicalities of ordinary life, this book seem very realistic, but is mostly saved from seeming boring by the author’s ability to create drama out of simple incidents. Without giving too much away, there is the scene where Nico, the Jew in hiding, is drawn downstairs by the smell of milk burning on the stove at the very moment when the fishmonger knocks on the door, expecting to gut some fish in the kitchen for Marie. Even though you know that “it will be all right”, this is a situation of real tension, as is also the case when Wim and the doctor remove the body from the house under cover of darkness. Having said this, I think the book would have benefited from more heightened drama, say at the end when the couple are uncertain whether or not they have “got away” with their subversive act of harbouring a Jewish refugee.

Revealing his insight as the psychiatrist he later became, the author provides telling descriptions of the characters’ small shifts in emotion. For instance, despite his gratitude, Nico hates a vase that Wim brings home and begrudges the couple their pleasure in it, because it symbolises the freedom that he has lost to go out and buy a luxury item on a whim (no pun intended).

I agree with the reviewer who found the shifting back and forth in time at the beginning rather confusing, although I do not think it matters unduly. However, in terms of structure, it might have been more moving to show the relationship growing up between Nico and his saviours, without knowing from the outset that he is going to die. When this death comes, it could have been portrayed as more of a shock. I also found the characters a little wooden at times, and did not care about them as much as I thought I should.

Although much of the translation is excellent, a few passages seem rather trite, such as the account of Wim and Marie’s relationship after Nico has died. I think this weakness has to be laid at the author’s door, and the final pages – which should be the climax of the book – are somewhat rushed and, as stated above, to be a missed opportunity for a final burst of powerful drama.

I am left uncertain as to how “good” a writer Keilson was. Is his understated approach a strength, or the result of a limited capacity to express himself? He has used his knowledge to create a compelling situation, but could he have done more with it?

Perhaps we should appreciate a writer who steers clear of overblown prose. The odd observation stands out, such as the use of the description of the door of Nico’s room after his death to convey how his visit has changed the couple’s lives permanently:

“The black door handle remained at the horizontal, as always.

But it seemed to them both that the door was closed in a way it had never been closed before.”

⭐⭐⭐⭐ 4 Stars