by Hans Fallada
“Lawd, Amanda, love! Now don’t start about love, too. Staring in the sky at evening and love as well! That’s not healthy; all you’ll get is a cold. A real good sleep’s better than all your love. Love only makes people stupid.”
“Good night, Ma Krupass. But I’d like to know what you’d have said if someone had told you that forty years ago.”
“Ah, dear, why that’s quite different. Forty years ago and love! They were other times then. But nowadays even love’s good for nothing.”
“Rubbish,” says Amanda, pulling her chair up to the window.
VI
We must go on. We’re in a hurry! Must we still go to Neulohe? Hello, hello! Careful! Get out of the way—here comes a cart heavily laden with sacks. They have no horses. All the horses are at work in the fields, not one can be spared—and so the people are pushing the fifty hundredweights over the bumpy yard toward the barn.
Who is coming across the yard? Who is shouting that it must go quicker? Old Geheimrat von Teschow. He has become his own bailiff, forester, clerk; now he becomes his own draught horse, too. He strains at the shaft. “Push, men. I’m seventy and you—you can’t even do a few hundredweights? Weaklings!”
Hardly is the cart at rest than he must be off. Oh, he has so much to do, exhorting, supervising, calculating; from early morning onwards he is half dead from overwork. That delights him. He has two tasks. He must build up Neulohe again, despoiled by his son-in-law and his own daughter, in conjunction with a gang of thieves and criminals. And he must refill his money chests emptied by the Reds!
His activity is tireless; he is miserly, close-fisted. He robs his own wife of the eggs in the larder, to sell them; he is constantly inventing new ways of economizing. When the men complain: “Herr Geheimrat, you must let us live,” he shouts: “Who lets me live, then? I have nothing more. I’m a poor man. I have debts—that’s how much they robbed me!”
“But, Herr Geheimrat, you have the forest.”
“The forest? A few pine trees! And what do you think the Treasury demands from me? Before the war I paid eighteen marks income tax a year. And now? The scoundrels want thousands! Well, they don’t get them! No, you economize; I have to.”
He is full of ideas. If in the mornings he has the bell to start work rung five minutes too early, he’ll sweat five hours’ unpaid overtime out of sixty people. He cheats them in the wages; if he diddles everyone once a week over no more than a pfennig, he’ll have saved thirty marks in the year. He must hurry up; the shares which he purchased during the inflation are worth nothing.
“But a bit more, Elias, than you get for your thousand-mark notes.”
“You wait, Herr Geheimrat, just you wait.”
But he can’t wait, the old Geheimrat. His property, in shares, in cash, has dwindled away. When he dies there must be at least as much as he received from his father. Why? For whom? The daughter is restricted to her inheritance, and from this are deducted all amounts already received. He has also fallen out with the son. For whom? He doesn’t know. But he rushes around, he calculates—and apart from that he’ll grow very old. He has no intention of departing these next twenty years; he’ll see many a young man die yet.
Upstairs, at her window in the Manor, sits the old lady, his wife. But not as formerly is her friend Jutta von Kuckhoff at her side. Jutta has fallen into disfavor; Jutta has been sent away. Jutta must see how she gets on by herself in this world; she has set herself against her heavenly welfare, she has opposed Herr Herzschlüssel.
Herr Herzschlüssel is a bearded man in a black coat, the leader of a strict sect—consisting, probably, only of himself—devoted solely to repentance and contrition. He has freed Frau Belinde from the “petrified” Church; he has proved to her that he alone embodies the true gospel of Jesus. Now she may hold as many prayer meetings as she will; no longer need she fear pastor or superintendent.
But Jutta mutinied against Herr Herzschlüssel. She declared that he stole, drank, had affairs with women. Jutta, however, is merely a soured old spinster, and Herr Herzschlüssel has a beautifully tended beard, a gentle voice. When he carries Frau Belinde in his strong arms to the deck chair, she is as happy as this sinful flesh is allowed to be in this life.
In a last battle Jutta von Kuckhoff tried to push the Geheimrat towards Herr Herzschlüssel. But the Geheimrat merely laughed. “Herzschlüssel,” he croaked, “ah, Jutta, he’s a good man. He saved us a girl at least, and we’re at last out of the church, and pay no more church taxes. Belinde’s always in a good mood—and all for a bit of food. No Jutta, such a man should stay!” And thus the two old people have been provided with an occupation—they don’t need to think about their children any longer.
VII
On his free days Herr von Studmann likes to take a walk to the graveyard of a neighboring village. There he sits on a bench before an ancient grave. This, when he first discovered it, was overgrown with ivy; he has had the stone cleared. On it can be read that Helene Siebenrot, sixteen years of age, was herself drowned in the rescue of a drowning child. “She was ignorant of swimming.”
Herr von Studmann likes to sit here. It is quiet; in the summer no one has time to come to the churchyard, no one disturbs him. The birds sing. On the other side of the rubble wall, in the village street, the harvest wagons creak. He thinks about the young girl. Helene Siebenrot was her name—she was ignorant of swimming. She was ready to help, but she herself needed help. He, too, was ready to help, but he didn’t know how to swim either.
Dr. Schröck is very satisfied with him, the patients like him, the staff have no complaints to make about him—Herr von Studmann can grow old in this sanatorium, he can die here. The thought has nothing terrifying for him. He has no wish to be outside again in the world of the healthy. He has discovered that he cannot accommodate himself to life. He had his standards, wished life to adapt itself to them. Life didn’t do this, and Herr von Studmann foundered. In great and in little things. He could make no concessions. “Eh, what!” the old doctor says, “you’re simply an old maid in trousers.”
Herr von Studmann merely chuckled. He made no answer. He’s reached the point when he didn’t try to teach those who are unteachable.
He couldn’t swim. That was it. For the rest Herr von Studmann will prove an excellent uncle for the Pagel children. He intends to spend his leave with them.
Only the thought of the woman still unknown to him disturbed him. Women are so … incomprehensible! No, there was nothing of women about him. The medical orderly had talked nonsense. Women, whether married or single, were completely alien to him. But that doesn’t stop you being an uncle—without submitting to such difficult relationships. Perhaps he would be able to travel with the Pagels—without knowing how to swim!
VIII
A fresher wind stirs the white curtains. The woman has waked up, she has lit the small night lamp, she looks over to the other bed.
The man is asleep. He lies on his side, doubled up a little, his face peaceful. The somewhat curly blond hair gives him a boyish appearance; the lower lip is pushed out.
The woman examines this familiar face, but it is undisturbed by worry, and untroubled by cares. Sometimes in the night he starts to speak. He’s frightened, he cries out.… then she wakes him and says only, “You’re thinking about it again.” There was a time when great burdens were loaded on him, but he endured. Endured only? No, he was made strong, he discovered something in himself which gave him a foothold, something indestructible—a will. Once he had been merely lovable—then he became worthy of love.
The young wife smiles—at life, at her husband, at happiness.… It is not a happiness dependent on external things; it rests in herself as the kernel in the nut. A woman who loves and knows herself to be loved feels the happiness which is always with her as a blessed whispering in her ear—drowning the noise of the day—the tranquil happiness which has nothing more to desire.
She hears the man’s breathing; then, softer and faster, that of the child. G
ently the white curtains stir.
Everything has quite changed.
She puts out the light.
Good, good night!
Afterword
Among German novelists of the first half of the twentieth century, Hans Fallada stands out as the chronicler of the proverbial little man and his fight for happiness and dignity in times of severe hardship. In Wolf Among Wolves, first published in 1937, Fallada presents us with an inspiring tale of perseverance in an era of political, social and economic upheaval. Set in 1923 amidst the rampant inflation that gripped Germany following World War I, Wolf Among Wolves has been referred to by literary critics as “a masterpiece of critical realism” and “one of the major novels published in fascist Germany.” It is now regarded as the author’s most ambitious literary achievement.
With Wolf Among Wolves, Fallada returned, after a foray into children’s literature, to the gritty and ethically infused realism that had established him as one of the few bestselling German authors of the 1920s and 1930s. For all its unrestrained epic power, the novel is a compelling example of his concern with the intricacies of composition. What is striking from the beginning is the symphonic quality of the text. In Part One of the novel, covering only twenty-four hours, the omniscient narrator weaves a web of interrelated characters and stories. “A girl and a man were sleeping on a narrow iron bed. […] The dollar stands for the moment at 414,000 marks.” From the very first sentences, Fallada’s epic throws the reader into the middle of things: a dingy Berlin boarding house, on a hot day in July 1923, at six o’clock in the morning. From here, the reader is taken on a journey to varied locales that are linked in one way or another to the story that is about to unfold: apartments and avenues, police stations and prison cells, roulette parlors and hotel cafés, and, eventually, the countryside. With its swift fluctuation between places and characters, the novel reads almost like a movie script. Throughout, Wolf Among Wolves is long on action, short on reflection, and one of Falladas greatest strength’s as a writer is his ability to gradually build up narrative tension. Providing the reader with glimpses into the lives of his main characters, he successfully appropriates the montage style that was highly popular in Weimar cinema.
The protagonist is Wolfgang Pagel, the man on the “narrow iron bed,” a young former soldier who inhabits a corrupt world, in which the miseries of inflation have created an atmosphere of cynical self-advancement. Immature and selfish at the outset of the story, Pagel undergoes a fundamental transformation that allows him to embark upon the humanist mission of the novel, which is to find “something on earth which was still worth [the] effort.” As one character says about the resilient Pagel: “You want to go through all this misery? Such an appetite for life, young man, could give one indigestion!” Pagel spends four months on the Neulohe estate east of the Elbe because, in the words of his pregnant girlfriend Petra Ledig, he “must become a man before he can be a father.” Pagel meets this challenge, and by the end of the novel he is working toward a medical degree at Berlin’s Humboldt University. His development from a drifting gambler, who sees in roulette “the prospect of something big,” to a medical student eager to devote his life to helping others is unparalleled in Fallada’s work. The narrator comments emphatically, “Once he had been merely lovable—then he became worthy of love.”
As the action proceeds, the novel becomes more relentless in its depiction of people “who from day to day increasingly lost all feeling of self-respect and propriety.” The loss of moral rectitude parallels currency devaluation, the dispiriting effect of which is evoked in an early passage:
A feeling of impotent hatred overcame Rittmeister Joachim von Prackwitz. Somewhere in this town there was a machine—naturally a machine, for men would never submit to be prostituted for such a purpose—which vomited paper day and night over the city and the people. “Money” they called it; they printed figures on it, beautiful neat figures with many noughts, which became increasingly rounder. And when you had worked and sweated to put by a little for your old age, it all became worthless paper, paper muck.
The Berlin of the inflation years as depicted in Wolf Among Wolves is one of moral depravity—a place known for “heroin and cocaine, ‘snow,’ nude dances, French champagne and American cigarettes, influenza, hunger, despair, fornication and crime.” In one of the most powerful passages in the novel, the narrator describes the city as a veritable “Oriental bazaar”: “Dealers, beggars, strumpets: almost shoulder to shoulder they stood on both sides of the pavement.” As Joachim von Prackwitz, the farmer from the Neulohe estate, promenades through Friedrichstraße, then and now one of Berlin’s bustling avenues, he is appalled by “the misery, the indecency, the demoralization which manifest[s] itself in Berlin in broad daylight.” Judging from their suggestive glances, even the young salesgirls are already trapped in this urban netherworld: “Why save oneself up for tomorrow? Who knows where the dollar will stand, who knows whether we shall be still alive tomorrow?” Forcing his way through the crowd, Prackwitz arrives at the arcade passing from Unter den Linden to Friedrichstraße and enters, sensing that “he might have come from purgatory into hell”:
The shops paraded huge pot-boiler pictures of naked women, repulsively naked, with revoltingly sweet pink breasts. Chains of indecent picture-postcards hung everywhere. […] But the young boys were by far the worst of all. In their sailor suits, with smooth bare chests, cigarettes impudently sticking in their lips, they glided about everywhere; they did not speak, but they looked at you and touched you.
Overcome with “shuddering nausea,” Prackwitz, who throughout the novel is characterized by his childlike naïveté, finally comes to think of Neulohe “as an untouched island of purity,” a provincial refuge from Berlin, that “morass of infamy.”
Fallada’s Berlin is not the right place for Wolfgang Pagel to mature and develop into a responsible, compassionate man. It is in the country, at the estate in East Prussia, that Pagel learns the benefits of hard work. As the narrator puts it in one of the hundreds of passages that was left out in the 1938 translation: “… these were not the times to rely on God in Heaven. These were times to work yourself until you drop.” By the end of the novel, Pagel, whom we first meet gambling in the Berlin night clubs, is in charge of the estate’s accounts. He is the last man standing, desperately trying to manage a farm that has been ruined by the incompetence, indifference, and greed of almost everybody around him.
Reviewing Wolf Among Wolves in The New Yorker in 1938, Clifton Fadiman criticized the novel for its “somewhat unconvincing notion that the countryside possesses magical curative values for those rotted by the vices of the city.” However, there is nothing in Wolf Among Wolves that indicates a simplistic economy of geographical disparities. In fact, Pagel is quick to realize that the country is no less corrupt than the city and that the idyllic vision of a “peace of the fields,” which Studmann had conjured upon their arrival in Neulohe, is a mere delusion. Both metropolis and countryside are places of extreme disillusionment, of social, economic and political uncertainty. A few years prior to Wolf Among Wolves, Fallada had argued that the way of life of farmers had yet to be convincingly captured by German artists. Working on farms in northern and eastern Germany during the immediate postwar years, he witnessed both the plight of the laborers and the economic forces affecting farmers. Wolf Among Wolves illustrates that, as H.J. Schueler sums up in his seminal study on Fallada’s fiction, “the times were just as terribly out of joint on the land as in the cities.”
Fallada depicts a society in which each individual pursues his or her own self-interest—a pack of lone and hungry wolves, as the title suggests. As Schueler puts it, “The quest for survival proves to be the paramount concern of all the parties involved in the bitter battle of all against all.” Wolfgang Pagel lives among these wolves, but he will not become one of them. Rising above the feverish roulette rooms, he overcomes the temptation to succumb to society’s demoralizing influence. In spite of his surroundings
, Pagel forges ahead, managing to find values worth holding onto, and proving that he is more than just a “leaf on life’s stream.” In Fallada’s view, the individual is not determined by society, but rather has the chance to shape his own fate. It is up to him how he responds to social and moral ills. And yet, some are too weak to meet the challenges, as the example of the Rittmeister Joachim von Prackwitz, the Neulohe farmer, illustrates. Amidst the chaos of the inflation year, with the estate in desperate need of responsible management, his wife realizes how incompetent he is: “a weakling, spineless, without self-control, at the mercy of every influence, a babbler.” The uniform and the firm world-view that came with it had provided him with security, but now it becomes clear that there is “nothing in him, nothing, no core, no faith, no ambition, not one thing to give him the power to resist.” The Prackwitz family is at the center of the descent into moral turpitude, and the kidnapping of their daughter by one of their servants is the painful culmination of the family’s disintegration.
While the Rittmeister is shattered by the challenges of the times, “lost, in a lost age,” Wolfgang Pagel emerges morally invigorated from his stay in the country. Unlike Prackwitz, he will learn how to assume responsibility for his own actions. As the former soldier matures, he comes to rethink his definition of courage:
I used to think that courage meant standing up straight when a shell exploded and taking your share of the shrapnel. Now I know that’s mere stupidity and bravado; courage means keeping going when something becomes completely unbearable.
The end of the novel mirrors the beginning. One year has passed, it is once more summer in the city, and Wolfgang and Petra are lying in bed. And yet, the narrator informs us, “everything has become very different.” Most importantly, they have both repudiated their previous behavior. Petra, the girl from the streets, has spent the intervening time working in a rag-and-bone business, determined not to see Wolfgang again until he grew up: “Is my child to have such a spoiled darling for its father,” she had asked herself, “one for whom I have no proper respect?” Wolfgang has struggled to prove himself worthy of Petra’s respect, realizing that assuming the role of husband and father requires him to accept responsibility for his own actions. Fallada was no doubt a “dedicated humanist,” as Schueler writes, and it is through sincere commitment to others that Wolfgang can redeem himself. This central lesson is spelled out in a passage that was omitted in the 1938 translation:
