I have a confession to make: I suffer from World War II novel fatigue. There are so many heart-rending, moving and harrowing books set during the years 1939-45 (as well as plenty of not so heart-rending, moving and harrowing ones) that a story in this category has to promise something out of the ordinary to persuade me to pick it up.
So when I heard that the Israeli novel on the 2012 shortlist for the Independent Foreign Fiction Prize was a war novel, I was pretty uninspired. If it hadn’t been for some very enthusiastic comments by members of the judging panel at the London Book Fair, I wouldn’t have given it a second look.
However the premise of Aharon Appelfeld’s novel, which is told from the perspective of an 11-year-old Jewish boy who seeks refuge in a Ukrainian brothel and enters into a sexual relationship with the prostitute who hides him, sounded intriguing. And when it beat the other contenders to the prize, I decided I had to find out whether this book, written by a Holocaust survivor, had something new to say about the events that ultimately led to Israel’s independence.
This is a novel that jumps in and out of the future tense. Starting on the eve of the boy Hugo’s birthday as his mother anticipates their impending separation, the narrative carries a strong sense of foreboding. This works partly through the dramatic irony that comes from the reader’s knowledge of subsequent historical events. Significantly, however, Appelfeld’s descriptions are so subtle and fresh that, were it not for the novel’s marketing, the reader might not even realise that this is a novel set during the war until several chapters in.
This freshness sets the characters free from the accumulated literary baggage of decades of war literature, giving Appelfeld the leeway to present them as individuals first. He does this by foregrounding details in language that is often disarming in its simplicity – the scene where Hugo says goodbye to his mother while trying to keep her for another minute then another, for example, is very touching.
The power of plain language becomes something of a theme in the book, with the prostitute Mariana telling Hugo at one point that ‘a spare way of speaking can also be colourful’. It’s a shame that Appelfeld doesn’t adhere to this when it comes to Hugo’s letters to his mother, which, full of phrases such as ‘the place is feverish’ and ‘in my heart I know that most of the fears are groundless’, have an odd ring to them. Whether these expressions are attempts on Appelfeld’s part to capture the pomposity of intelligent youth or instances of awkward translation, they jar against the subtle immediacy of the rest of the text.
The setting of the novel is very simple too, with much of the action taking place in Mariana’s room and the small closet in which Hugo sleeps. It’s a tribute to Appelfeld’s skill that he is able to sustain an engaging narrative with such a small array of characters and locations. This makes the final section after Mariana and Hugo leave the brothel all the more powerful for its contrast with what has gone before.
Barring one or two slightly repetitious passages, the intensity of the story builds towards the final chapters as a growing awareness of Jewish identity emerges in Hugo’s mind. This is summed up by a woman he encounters helping displaced people towards the end of the book. Her words suggest something of the sense of shared experience and kinship in the face of adversity that would underpin the formation of the future Jewish state:
‘We have to leave together and watch over one another. Brothers don’t say, I’ve already given. Brothers give more, and we have, thank God, a lot to give. One gives a cup of coffee and the other helps a woman bandage her wounds. One gives a blanket, and the other raises the pillow of a person who’s having trouble breathing. We have a lot to give. We don’t know yet how much we have.’
Without doubt, this is a powerful and striking take on the events that shook the world 70 years ago. Even if it wasn’t the pick of the Shadow Independent Foreign Fiction Prize judges, it is an accomplished and beautiful work.
Nevertheless, as the novel ended I found myself impatient to see how the story continued after the state of Israel declared its independence. I was curious about books set in the country in recent years and itched to read something like Sara Shilo’s The Falafel King is Dead or David Grossman’s To the End of Land to see how these narratives played out in light of all that has happened in the region since 1948. Ah well, maybe next year.
Blooms of Darkness by Aharon Appelfeld, translated from the Hebrew by Jeffrey M Green (Alma Books, 2012)
I am an Indian and absolutely liked your idea and congratulations!
I would recommend Chowringhee , originally written in Bengali by Sankar and translated by Arunav Sinha (http://popularpenguins.co.in/chowringhee.asp).
Also, from Israel, do check out Etgar Keret’s short stories.
Thanks – these sound intriguing!
I just found out abut your blog. I think it is an excellent idea. However I do have some existential issues with a project which seems to corroborate the fact that the English-speaking publishing industry dominates the world. It also implies the fact that you need to learn English first in order to read world literature…
In any case, I was very impressed that you mentioned Shilo’s book. Writers like her do show a more Sephardi/Mizrachi face of Israel, which has been almost forgotten in light of more internationally-acclaimed Ashkenazi/European Israeli writers. (see A.B. Yehoshua)
Also Israel literature is SO much more than the war, regardless of what most Europeans think. Please see Etgar Keret and Yehoshua Kenaz.
Thanks – I have since read ‘The Falafel King is Dead’, which I really enjoyed.
My intention certainly wasn’t to suggest that you have to learn English to read world literature. It’s simply that it is my mother tongue and therefore the language I read in. In fact, as I discovered during my quest there are lots of other languages that have some amazing works available – either in the original language or through translation – which we English language speakers can’t reach.
Aharon Appelfeld should win the Nobel Prize in Literature!