H. Adler - Panorama

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Panorama: краткое содержание, описание и аннотация

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Published for the first time in English, Panorama is a superb rediscovered novel of the Holocaust by a neglected modern master. One of a handful of death camp survivors to fictionalize his experiences in German, H. G. Adler is an essential author — referenced by W. G. Sebald in his classic novel
, and a direct literary descendant of Kafka.
When
was discovered in a Harvard bookshop and translated by Peter Filkins, it began a major reassessment of the Prague-born H. G. Adler by literary critics and historians alike. Known for his monumental
, a day-by-day account of his experiences in the Nazi slave-labor community before he was sent to Auschwitz, Adler also wrote six novels. The very depiction of the Holocaust in fiction caused furious debate and delays in their publication. Now
, his first novel, written in 1948, is finally available to convey the kinds of truths that only fiction can.
A brilliant epic,
is a portrait of a place and people soon to be destroyed, as seen through the eyes of young Josef Kramer. Told in ten distinct scenes, it begins in pastoral Word War I — era Bohemia, where the boy passively witnesses the “wonders of the world” in a thrilling panorama display; follows him to a German boarding school full of creeping xenophobia and prejudice; and finds him in young adulthood sent to a labor camp and then to one of the infamous extermination camps, before he chooses exile abroad after the war. Josef’s philosophical journey mirrors the author’s own: from a stoic acceptance of events to a realization that “the viewer is also the participant” and that action must be taken in life, if only to make sure the dead are not forgotten.
Achieving a stream-of-consciousness power reminiscent of James Joyce and Gertrude Stein, H. G. Adler is a modern artist with unique historical importance.
is lasting evidence of both the torment of his life and the triumph of his gifts.

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Anna and the mother are outside in the foyer, the chain no longer on, since so many keep arriving and the children able to be heard as they come up the steps, as Anna opens the door before they even ring, and the children are led into the living room, all of them dressed up in their good clothes. Bubi and Kitti are there, as well as Ludwig, and though they act as if they don’t know each other, they don’t make a fuss, many other children also there whom Josef has played with in the park, a number of them having a younger brother or sister who is very small and hardly talks at all, Ernst with the long hair also there, and classmates such as Hugo Treml, though there are also other children Josef doesn’t know at all, or just barely, they being not from his school or from the park but belonging to friends of his aunts. These children are very well-mannered and don’t speak to anyone unless a grown-up asks them something, Paul Wetzler being such a child, who belongs to a friend of Aunt Gusti’s, though Josef had visited him once and still recalled the birthday party they had put on, the Wetzlers being very rich. They had a real magician, who stood on a table and did many tricks with a watch and with cards and with a diabolo and with balls and with handkerchiefs and with eggs, though they weren’t real eggs but white stones, the magician also pulling gifts for the children out of his hat, then calling up each child and, strangely enough, presenting him with a gift, the smaller children afraid of the magician, though he said that he wouldn’t hurt them and no one should be afraid.

Once the children are all gathered together in the living room, the mother says that she hopes they will all get along and have a fine time today, because Josef turned eight the day before yesterday, and everyone hopes that he’ll be a fine young man. The children listen quietly as the mother speaks, though they don’t pay attention much, many looking around and making funny faces. Then Aunt Gusti tells everyone to pay attention, because she is going to play something on the piano by Robert Schumann, who was a great composer who wrote lots of beautiful music, and because he loved children so he had written music for them, even though he wrote other music that was not especially for children, because it was too difficult and was instead just about children, though that which he had written for children is delightful, and from which the aunt would like to play, as she proceeds to present three pieces, one of which is called “The Merry Peasant.” A little girl about the same age as Kitti, but much dumber, immediately begins to cry and says that she wants to go home, Aunt Betti going to her and telling her that she has to be quiet so that others can hear the music, saying that she must behave, because afterward there will be many good things to eat and lots of surprises, after which she is quiet and only sniffles. Then Aunt Gusti is soon done at the piano, and as she finishes, all of the children cheer and clap, pleasing the aunt deeply, after which she says that she was happy to play, especially as it brought pleasure to others. And then the mother begins to sing, Aunt Gusti accompanying her as they do a number of lovely songs, such as “The Mill Wheel Turns” and “Do You Know How Many Stars There Are?” Josef loves these songs, and the children are pleased as well, all of them singing with soft, sweet voices, though the grown-ups like to sing, too, there being once a month a pleasant musical evening put on by the soldiers at the hospital, Josef having been allowed to go the last time, when a man in a tuxedo had played a piano and his mother had sung and everyone applauded loudly, while those who could not clap because they were missing a hand had loudly called out “Bravo! Bravo!” and the mother had to sing another song and yet another, as she grew more and more pleased and smiled, until finally she said so sweetly that she could do no more, for there was lots more to come on the program, though she hoped she would have the chance to sing again if it pleased others for her to do so.

The mother had sung only three songs for the children, ending with “Sweetheart Mine,” after which it was time, Aunt Betti anxious to move things along, Anna having already quietly opened the door four times to place two pitchers on the table, which today is set and doesn’t have any dish towels on it, but rather a real tablecloth, the pitchers sitting there full of cocoa, as well as a proper cake made of flour, which no one has anymore, as well as cookies and gingerbread stars, all of the children surprised as Aunt Betti exclaims, “So, children, you’ve listened so sweetly. But you don’t have to keep listening forever. Now it’s time to talk and eat!” Everyone helps out and leads the children to the long table, and for the smallest who are too little there are chairs with high pillows so that the little tots sit no lower than the bigger kids and they can all reach across the table with their hands. As they all sit there in front of their plates and stare at the cups full of cocoa, and as the mother and Aunt Gusti place cake on the plates and hand out sweets, the children look pleased and happy just to see the way the steam rises from the cups, the mother laughing with delight and saying, “All right, help yourselves and enjoy!” Then they all eat and drink, and soon there are stains on the white tablecloth, but no one scolds them, the grown-ups not even sitting down, as today they are the servants and the children are the masters, the adults serving them, though the father looks exhausted and sits in a corner, the mother bringing him a cup of cocoa that he holds in his hand, now and then taking a sip, though he eats nothing, nor do the other grown-ups, since they are too busy and Aunt Betti’s face is bloodred.

Finally the children have eaten everything, Anna starts clearing the table, the others helping, and then the table is shoved aside so that there is more space in the living room, all of the chairs placed in a row, as they begin to play games, though someone announces that two children have to go out, which they do, after which the musical chairs continues, but then one chair is knocked over so hard that it breaks, which will give Wenzel something to fix, as Aunt Betti says, “Children, that’s too wild! This won’t do! We need to play some games that are a little less lively!” And then Bubi says that he and Kitti have a big surprise, which he had said nothing about because Tata had said that he shouldn’t, but that now Kitti would like to dance and Bubi would accompany her on the harmonica, to which the mother says, “How wonderful of you both to play something for our party! Go ahead and begin!” And so Bubi begins to blow on his harmonica as loud as he can, though he’s not that loud, since a harmonica is not as loud as an accordion, as Kitti begins to dance around so strangely, lowering her skirt and raising first one leg and then the other like a chicken in the yard, and then she lowers the skirt again and spreads her hands wide, the mother and the aunts saying how charming she is, some of the other children pleased as well, the father laughing, though some of the children don’t pay attention and just sit there biting their fingernails. Josef doesn’t like the dance and such dumb blowing on the harmonica, for he never thought of Bubi as being so childish, especially since he wanted to be a general, and Ludwig comes over to Josef and says, “This dancing is stupid. Now you see what an idiot Bubi is.” Josef half believes so himself, but he won’t admit it to Ludwig, who has upset him by saying that, so Josef doesn’t say a word. But finally the dance is over, almost everyone delighted and amazed by Kitti as they praise her, saying oh, how graceful, what a surprise, and Aunt Betti kisses Kitti on the forehead, though Bubi says that Tata had known that it would be precious, which is why she had sewn this dress special from an old nightgown with lace in order that one be able to dance well within it, to which Kitti adds, “I danced real nice! I danced real nice! I danced real nice!” Then the mother says, “If I understand correctly, my dear, you danced very well!”

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