FREE PDF Õ BOOK Die Blechtrommel

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Die BlechtrommelElivers a scathing dissection of the years from 1925 to 1955 through the eyes of Oskar Matzerath the dwarf whose manic beating One of those books you read and remember them after years of reading masses of other books A masterpiece

Günter Grass ã Die Blechtrommel TEXT

The publication of The Tin Drum in 1959 launched Günter Grass as an author of international repute Bitter and impassioned it d 462 From 1001 Books ‎Die Blechtrommel ‭ The Tin Drum Günter GrassThe Tin Drum is a 1959 novel by Günter Grass The novel is the first book of Grass's Danziger Trilogies Danzig Trilogy and winner of the Nobel Prize in literature It was adapted into a 1979 film which won both the Palme d'Or in the same year and the Academy Award for Best Foreign Language Film the following year The story revolves around the life of Oskar Matzerath as narrated by himself when confined in a mental hospital during the years 1952–1954 Born in 1924 in the Free City of Danzig now Gdańsk Poland with an adult's capacity for thought and perception he decides never to grow up when he hears his father declare that he would become a grocer Gifted with a piercing shriek that can shatter glass or be used as a weapon Oskar declares himself to be one of those clairaudient infants whose spiritual development is complete at birth and only needs to affirm itself He retains the stature of a child while living through the beginning of World War II several love affairs and the world of postwar Europe Through all this a toy tin drum the first of which he received as a present on his third birthday followed by many replacement drums each time he wears one out from over vigorous drumming remains his treasured possession; he is willing to commit violence to retain itتاریخ نخستین خوانش روز سی ام ماه آگوست سال 2001میلادیعنوان طبل حلبی؛ اثر گونتر گراس؛ برگردان عبدارحمن صدریه؛ تهران، نشر نوقلم، چاپ دوم 1379، در 733ص، شابک 9649113029؛ موضوع داستانهای نویسندگان آلمانی سده 20معنوان طبل حلبی؛ اثر گونتر گراس؛ برگردان سروش حبیبی؛ تهران، نیلوفر، 1380، در793 ص، شابک 9644481666؛ طَبلِ حَلَبی، رمانی ست به قلم «گونتر گراس»؛ و شاهکار ایشان است، کتاب نخستین بار، در سال 1959میلادی، در جهان منتشر شد؛ «طبل حلبی» اثری گیج کننده است، خوانشگر را در چنگال واژه های دهشتزای خود میگیرد؛ و آنگاه در زندگی رهایش میکند؛ این رمان در کنار دو رمان دیگر ایشان، با عنوانهای «موش و گربه»؛ و «سال‌های سگی»؛ سه‌ گانه‌ ای را شکل می‌دهند؛ شخصیت اصلی رمان، پسری است به نام «اسکار ماتزراث»، که تصمیم می‌گیرد، از سن سه سالگی، بزرگ‌تر نشود؛ بنابراین در همان قد و قواره ی کودکی، می‌ماند؛ اما از نظر فکری رشد می‌کند؛ افراد دور و بر این پسر، او را کودک می‌انگارند؛ در حالیکه او، همه چیز را می‌بیند، و درک می‌کند، و هر جا که بتواند، از توانایی‌های ویژه ی خویش، برای تفریح، یا تغییر شرایط، سود می‌برد؛ در این رمان رخدادهایی نیز در دوران «هیتلر» آمده، که کودک داستان شاهد آنها بوده، و نقشی نیز در آنها ایفا کرده است؛ شرایط جسمی کودک، که به صورتی ناقص‌ الخلقه است، باعث آزار دیگران شده، و او، از احساسات دیگران، سوء استفاده می‌کند؛ روایت به نوعی نشانگر شرایط زمانی جامعه ی آن دوران «آلمان» استتاریخ بهنگام رسانی 09071399هجری خورشیدی؛ ا شربیانی

BOOK Die Blechtrommel

FREE PDF Õ BOOK Die Blechtrommel ë The publication of The Tin Drum in 1959 launched Günter Grass as an author of international repute Bitter and impassioned it delivers a scathing dissection of the years from 1925 to 1955 through the eyes of Oskar Matzerath the dwarf whose manic beating on the toy of his retarded childhood fantastically counterpoiOn the toy of his retarded childhood fantastically counterpoints the accumulating horrors of Germany and Poland under the Nazis This excitingly felt like an ur text not only of magic realism but of a lot of later 20th century litfic Its postmodern self awareness of its references the grotesuerie and sleaze and vagabond escapades in mundane settings were all characteristic of the 1980s and 90s novels that were my first acuaintance with serious contemporary fiction And by no means only Midnight's Children which is basically The Tin Drum plus X Men in a different culture The Tin Drum's influence may have been renewed with the 1979 film probably why there are references in early 80s music like Japan's Tin Drum album and arguably the name Bronski Beat Several of these key traits in fiction had already become visible in earlier 1950s writings like Lolita 1955 and early Kingsley Amis Lucky Jim 1954 and Philip Larkin and would soon be carried forward by Pynchon Yes this did sometimes pop up earlier in the twentieth century notably Joyce though I feel there was often something refined and less scuzzy and claustrophobic there regardless of subject matter like the interwar Paris scene was and of course its own compatriot Berlin Alexanderplatz which isn't as ludic and effervescent The mood of The Tin Drum ultimately harks back to at least from the English language perspective the 18th century picaresue romp and the early modern Shakespeare Rabelais Cervantes and late medieval Chaucer But when linked with the works and trends it prefigured or inspired The Tin Drum feels like a landmark in a general notable break from the witty pinched primness of the interwar decades the memory of WWI trauma and then the nervousness of the 1930s hanging over it either hinting at or avoiding sex Thinking here about eg Woolf and because I've read them this year Chandler and early Hemingway as well as golden age detectives Wodehouse etc There's something rather late 1960s about The Tin Drum most especially in the scenes in The Onion Cellar jazz club in post war Dusseldorf which read to me like what if people had tried to deal with WWII trauma through a 1960s happening? it seems to be trying to regain the liberal experimental mood popularly associated with Weimar Berlin which was so rudely interrupted and bring it back into the flow of culture in whatever modified way is possible It shows strands of continuity between that and the jazz hipsters of the 1950s and in turn the hippies The novel is of course deliberately un beautiful and un refined The infamous scene of the eels and the horsehead one can imagine was concocted for its especial disgustingness; readers are even treated to a detailed recap near the end The whole project represents and celebrates what the Nazis called 'degenerate art' and the voice of a person whom they wanted to exterminate once he was no longer useful to them as entertainment A character who as part of further artistic reaction from the author fails to be pure and nice in order to most neatly and piously refute them The only character whose good looks are freuently remarked on the beautiful blue eyed blond Jan Bronski the embodiment of 'a lover not a fighter' is supposed to be comically cowardly in contrast to the Nazi Aryan ideal of such a man as a brave and selfless soldier Though I confess I failed to notice this until analysing the book after reading as he simply seemed like a type very recognisable to me a man who is attractive but a bit gormless and given that it takes actual fighting to make him recoil not half as gormless as some 21st century menThat deliberate failure of Oskar to be nice is complicated he is creepy lascivious and at least a minor criminal all negative stereotypes long associated with dwarves Criticism of this is not merely a part of the 21st century social justice movement when Charles Dickens was writing David Copperfield in serial form 1849 50 an acuaintance of his confronted him about the character of Miss Mowcher a dwarf like she was; Dickens began a process of modifying the character to make her positive and less of a caricature Oskar on one level reinforces these stereotypes which have been seen in many films made since WWII but the novel is also implicitly about asserting his right to choose to be alive and to be heard at length as a person regardless of his being unpleasant and an offender and fitting negative stereotypes For this reason too the reliability of his narrative is genuinely ambiguous in unusual contrast to say Lolita and many other literary unreliable narrators of the following decadesI'd felt like I ought to read The Tin Drum since my teens Günter Grass being one of the authors listed in The Divine Comedy track 'The Booklovers' whom I've been trying to make my way through twenty odd years after I would like to have finished them At some point I also figured I should read it because it's about an important part of Polish history albeit the very opposite end of the country from where my family came from and therefore almost a different country It literally was one when my grandparents were born But the book always sounded either boring horrible or both One particular GR friend review a few years ago intensified my assumption that it would be horrible But by the start of this year I'd read at least one book by enough of the listed authors that The Tin Drum was one of only two post war and therefore likely easier to read titles left on my list and so it was time to have a go at it when I could Many of the adventures Oskar relates first of his grandparents and parents and then his own are fun and expansive than I ever expected this book to be and it isn't until a third of the way into the novel that Nazism definitively intrudes when Kristellnacht is reported But a background grimness always hangs over the story because the narrator mentions from the very first that he is at the time of telling his tale locked up in an institution and as he is a dwarf in mid century Germany who also has moderate as distinct from mild autism like traits and behaviours that does not seem to bode well at all A GR friend who has autistic sons also saw these traits in the character Knowledge of Oskar's unfreedom casts shadow on the most picaresue episodes or any times he or his allies appear to be on the up; even the grotesue episodes would read lightly otherwise Also strange and unpleasant was reading about the war from a German perspective without overt apologies and unambiguous resistance in the text reading the words of news reports about German successes and failures from the official German early 1940s perspective mentioned much as if they were weather If I'd ever read anything else like that it was very rarely The Tin Drum is unlike the vast majority of WWII books where one relaxes on characters' behalf once the war is over The constant foreshadowing subverts that usual trajectory or wartime fiction which I'm guessing had already become a cliché by the time Grass was writing this novel Whilst Oskar turns out to be imprisoned for uite different reasons and it emerges in some ways he likes institutional life and his keeper the author has created a continual tension that shows how in some ways the war wasn't over and people were still living amid its wreckage and legacy even if the literal battles had finished in Europe Even if the West German state's ideology and approach to someone like Oskar is different there can't help be some hint of his potential fate under Nazism lingering in one's imagined idea of the ending during a first reading Official discomfort with Oskar's inappropriateness at one stage near the end seems to echo that with Meursault's lack of emotion Also symbolic of the persistent legacy of the Nazi era of people remaining partly shackled by its ideas is that Oskar keeps returning to the idea of marrying one female character although he knows that during the war she would have acuiesced to him being killed off in a state programme with other 'defectives'Having recently embarked on reading the original John Constantine Hellblazer comics in the weeks just before I read the second half of The Tin Drum they proved an interesting comparison in this respect Background and synopses for later volumes indicate that Constantine will at points end up in prison and a psychiatric hospital but he always gets out again He's got trials ahead of him that must include literally which lends a certain heaviness but he ultimately ends up a free man Drawing parallels between Oskar and comics characters seems appropriate Maybe I give too much weight to Kavalier and Clay but as with American comics by Jewish refugees The Tin Drum is also about degenerate art andor the degenerate artist having superpowers Oskar singshattering glass in Breon Mitchell's English coinage and his later ability to affect others' emotional states through drumming Though Oskar as a character of ambiguous morality and very visible flaws has far in common with the dark troubled andor satirical superheroes of the 1980s and onwards than with the Golden Age A major difference between comics and litfic is that as can be seen in many GR reviews of The Tin Drum in a literary novel if a narrator is in a mental institution it's implied the reader should automatically conclude this is an unreliable narrator a reflex which seems to conflict with the popularity of social justice driven interpretations of other features of literature; whereas in comics and their recent screen adaptations uite a lot of heroes and other trustworthy characters seem to have been in one at some point or at least been regarded as mad by others around them for example Thor and Erik Selvig in the Marvel Thor films The Tin Drum on the cusp between fantasy and literary realism maintains its balancing act in this respect too as a fantasy or comics protagonist Oskar could be believed; if he is read strictly as a literary realist protagonist the 'magic realism' could be part of his madness Whilst that distinction and set of trends wasn't as apparent in 1959 as it is now though the protagonists of ghost stories often wondered if they were mad or were suspected of being so it still reads as if it's intentionally unresolved which Oskar is and that is another strength of the novel that makes it a classic it can be read as relevant to a trend which was not so fully developed as it is now The writing in The Tin Drum is not as overtly experimental and easily readable than I expected from the novel's reputation It didn't reuire the level of adjustment and attention that say Thomas Mann would at time of writing I've been looking again at the beginnings of his big books However it also has flights of the spectacular especially in elaborate metaphors and in the long lists and recaps in the second half of Oskar's life the events of the novel and the history of Danzig Translator Breon Mitchell's afterword draws attention to the way Grass uses sentence length to create tension and momentum And notes that this was not replicated in the first English translation by Ralph MannheimMost of the protracted metaphors are really euphemisms and reflect the way that many people who lived through WWII couldn't talk or couldn't talk directly about the events of those years Some of them are truly impressive and subtle such as the one in the final chapter of Part One 'Faith Hope Love' about Santa Claus almonds and the gasman But others especially the roundabout sexual euphemisms which often simply seem to reflect older generations' discomfort talking directly about sex became IMO increasingly tedious Though I think many GR friends who enjoy Rabelaisian novels full of wordplay would love these regardless These two reasons for euphemism intersect when the story reaches the Russian occupation of Germany and the mass rapes by soldiers At the time The Tin Drum was published there remained a national refusal to talk about this and that was still the case in the late 1950s as was seen in the reception of the memoir A Woman in Berlin So it was bold to allude to it at all The innuendos used about it in The Tin Drum read with a playfulness that's highly inappropriate to the contemporary reader though do probably reflect male minimisation of harm as well as the collective hushing up and therefore suit the era from a certain angleAnd The Tin Drum does reflect its times effectively whilst also seeming very modern in its approach some of the latter may be because of the new English translation It is about its times whilst also being than that not least because of having a few years' distance from its biggest events and because events are a backdrop a catalyst not the only story even whilst they are integral to the characters' fates Over the past couple of years I've had a few conversations online about Brexit novels and recently others with a friend about the inevitable glut of covid litfic that will be showing up over the next two or three years In general I think it is still too close to these events for really good and interesting works to come out of them taking account of multiple perspectives and a lot of what there is currently or will be soon is thinly disguised polemic andor early processing in fictional form Though one or two things of enduring interest will surely come out of it via sheer weight of numbers Whilst reading in Part Three of The Tin Drum about the 1948 West German currency reform and its effects in multiple characters' lives I thought this is how it should be done The reform is undoubtedly pervasive and difficult in its immediate effects yet the story is still driven by the characters and not by their opinions on the subject I've not found out how long Grass took to write The Tin Drum but the best part of ten years' distance whether in composition or revisions went into making that section the way it was The story's arc is also thirty years or and when dealing with relatively recent but deep rooted events and reactions I think a canvas that large tends to produce the most interesting resultThere is lots I'd like to say about The Tin Drum which I haven't got space for especially reading the novel in the context of Grass' revelations about fighting in the war and as a work of hidden guilt But many other aspects are covered elsewhere so I have concentrated on a few topics that weren't in the GR reviews I've read A few lines of this paragraph in comment 3 below