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Little Man, What Now?, by Hans Fallada
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- Sales Rank: #1369366 in Books
- Brand: Academy
- Published on: 1983-02-01
- Ingredients: Example Ingredients
- Binding: Paperback
- 379 pages
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“Nothing lasts but being alone” (p. 324).
By Russell Bittner
“Lammchen believed in the solidarity of all workers: ‘Your colleagues won’t land you in it! It’ll turn out all right, Sonny love. I always believe nothing bad can happen to us. Why should it? We’re hard-working, we’re thrifty, we’re not bad people, we want our Shrimp (Horst), we want him very much—why should anything bad happen to us? It wouldn’t make sense!” (p. 69).
Lammchen (Emma, Johannes Pinneberg’s wife) is perhaps guilty of nothing more than wishful thinking in this delivery to her husband. And yet, this also sets the stage for what’s to come.
I believe this paragraph on pp. 122 – 123 adds further décor to that same stage: “(a)nd here he was back in the Little Tiergarten. Pinneberg had known it since childhood. It had never been particularly pretty, no comparison with its larger brother on the other side of the Spree, just a makeshift bit of green. But on this first of October, half wet and half dry, half cloudy, half sunny, with the wind blowing out of all corners and a lot of ugly brownish-yellow leaves, it looked particularly desolate. It wasn’t empty, far from it. Masses of people were there, clothed in grey, and sallow-faced. Unemployed people, waiting for something, they didn’t themselves know what, for who waited for work any more…? They were just standing around, without any plans; it was equally unpleasant at home, so why shouldn’t they stand around? There was no sense in going home now, since they always ended up there anyway, however reluctantly, and there was plenty of time for that.”
As unremarkable as most of the above may sound (in reality, all of it sounds excruciatingly familiar to many of us in 2016-America), one aspect of the new Germany finally begins to surface only on p. 210 with: “‘(y)ou see!’ she said. ‘People do notice. That’s what I’m always saying to Max, they do notice. And I just wish that anti-semites would have a notice on their door, so that one doesn’t need to bother them in the first place. It always comes like a bolt from the blue. ‘Take your indecent stuff out of here, you filthy old Jewess,’ someone said to me yesterday.”
And by p. 262, while discussing a night at the movies which a wealthier “patron” of the family has made possible for our two protagonists, even Lammchen is beginning to sound concerned: “‘I know what Sonny means, and you’ve got to agree with him. The thing is that although it’s just a film, people like us have got reason to be frightened, and it’s only luck if things go right for a while. Something can always happen that we’ve got no means of dealing with. The wonder is that it doesn’t happen more often.’”
In short order after this, Sonny loses his job, and matters start to turn progressively more parlous for Lammchen and Sonny (as we see in the following passage on pp. 305 – 306): “(s)itting in the train for an hour, Pinneberg had gathered up the fuel for quite a lively blaze of rage, hate and bitterness. But it was only a little blaze, and once he was in the grey monotonous crowd that pushed its way through the labour exchange, a crowd with so many different faces and forms of dress, but haunted by the same fears, the same stress, the same bitterness… Oh, what was the point? He was one of them, one of six million actually, pushing past the counters, so why get excited? Tens of thousands were worse off; they didn’t have a good wife, or they had half a dozen children instead of just the one. Move along there, Pinneberg. Take your money and clear off. We really don’t have any time for you, you’re nothing so special that we can stop for you.”
On pp. 314 – 315, Sonny comes to a disturbing realization about his own present predicament: “(a)nd suddenly Pinneberg understood everything. Faced with this policeman, these respectable people, this bright shop window, he understood that he was on the outside now, that he didn’t belong here any more, and that it was perfectly correct to chase him away. Down the slippery slope, sunk without trace, utterly destroyed. Order and cleanliness, gone; work, material security, gone; making progress and hope, gone. Poverty is not just misery, poverty is an offense, poverty is a stain, poverty is suspect.”
It’s difficult to know, with any degree of certainty, how to evaluate this work by Hans Fallada. I take as a given that the translator, Susan Bennett, is a competent one—and that she produced a work in tone, style and content that was entirely consonant with Fallada’s original. As I don’t have access to that original and can’t make a line-by-line comparison, I’ll simply have to take it for granted that hers is a true rendering.
What can I now say about LITTLE MAN, WHAT NOW? Firstly, that it’s a love story between a husband and wife that results, initially, in the birth of one male baby they call ‘Shrimp.’ The nickname is a cute one, and there’s a lot of cuteness in Fallada’s prose. In the background and development of this young family, however, is the story of a country and a people on the verge—as we now know—of catastrophe. Although there are a number of well-limned portraits of other less important characters in LITTLE MAN, WHAT NOW?, Hans Fallada’s novel is fundamentally the story of a young family in pre-war (WWII) Berlin.
Have I read more moving stories of people navigating through personal dire straits? Yes. Knut Hamsun’s HUNGER comes immediately to mind—as does Jack London’s MARTIN EDEN. But Fallada’s sketch in LITTLE MAN, WHAT NOW?is at least trenchant enough to convince me that he experienced a lot of this first-hand. No matter how vivid a writer’s imagination, (s)he can’t make this stuff up.
In that sense, Fallada’s opus is well worth reading and contemplating.
RRB
06/05/16
Brooklyn, NY
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