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After Midnight [Hardcover]

Irmgard Keun (Author), Anthea Bell (Translator)
4.8 out of 5 stars  See all reviews (5 customer reviews)


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Book Description

August 1987
Sanna and her ravishing friend Gerti would rather speak of love than politics, but in 1930s Frankfurt, politics cannot be escaped--even in the lady's bathroom. Crossing town one evening to meet up with Gerti's Jewish lover, a blockade cuts off the girls' path--it is the Fürher in a motorcade procession, and the crowd goes mad striving to catch a glimpse of Hitler's raised "empty hand." Then the parade is over, and in the long hours after midnight Sanna and Gerti will face betrayal, death, and the heartbreaking reality of being young in an era devoid of innocence or romance.

In 1937, German author Irmgard Keun had only recently fled Nazi Germany with her lover Joseph Roth when she wrote this slim, exquisite, and devastating book. It captures the unbearable tension, contradictions, and hysteria of pre-war Germany like no other novel. Yet even as it exposes human folly, the book exudes a hopeful humanism. It is full of humor and light, even as it describes the first moments of a nightmare. After Midnight is a masterpiece that deserves to be read and remembered anew.
--This text refers to the Paperback edition.

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Editorial Reviews

From Publishers Weekly

Keun's literary reputation is currently being reassessed. Her first two books were bestsellers in her native Germany; her later, post-World War II novels less popular. This third novel, published in Germany in 1937, takes a biting look at the final nightmarish days of the Weimar Republic. Narrator Sanna Moder, a ditzy blonde, falls in love with her cousin Franz, a relationship quickly squelched by her aunt, Franz's mother, who informs the police that Sanna has made "subversive statements" about Goring. After a harrowing interrogation, Sanna moves in with her brother, a well-known writer who has been reduced to writing National Socialist Party propaganda, and his wife. She becomes involved with their intellectual circle of friends while waiting to be reunited with her lover. Keun's real talent is as a portraitist. From the cynical journalist contemplating suicide as a way out to the newspaper seller who has invented a divining rod to unmask Jews, the author has portrayed a society desperately trying to protect itself from annihilation. Much of the material is dated, and the clever repartees, the little ironies seem sadly irrelevant now. Yet Keun's spirited defense of common decency stands out after all this time.
Copyright 1988 Reed Business Information, Inc.

Review

Praise for After Midnight

“I cannot think of anything else that conjures up so powerfully the atmosphere of a nation turned insane."
Sunday Telegraph

“You can feel the creeping evil slowly infiltrate everyday existence. But this is also a love story.”
Manchester Evening News
 
“Acerbically observed by this youthful, clever, undeceived eye….Crystalline yet acid.”
Jewish Chronicle

"If the original Nach Mitternacht is as lively as Anthea Bell's snappy English translation, Keun was not only a great satirist but also a great stylist. Now published for the first time in the United States, After Midnight is a sharp, vivid and uncompromising read on an impossible subject....[A] slim but important novel."
Shelf Awareness

"Explosive....Reading After Midnight today [still] feels dangerous. I kept turning to the copyright page, unable to believe that such a sexually and politically frank book could have been published in 1937 Germany, a time of blacklists and book burnings....Keun has an amazing gift for exposing the conflict at the heart of the average citizen, whose naivete is eventually and sometimes violently stripped away....After Midnight haunts far beyond its final page."
NPR.com's "Books We Like" --This text refers to the Paperback edition.

Product Details

  • Hardcover: 160 pages
  • Publisher: Victor Gollancz (August 1987)
  • Language: English
  • ISBN-10: 0575036567
  • ISBN-13: 978-0575036567
  • Product Dimensions: 8.5 x 5.8 x 1 inches
  • Shipping Weight: 11.2 ounces
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #2,638,425 in Books (See Top 100 in Books)

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Customer Reviews

5 Reviews
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4 star:
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Average Customer Review
4.8 out of 5 stars (5 customer reviews)
 
 
 
 
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4 of 4 people found the following review helpful:
5.0 out of 5 stars Brilliant portrait of early Nazism on a human scale, June 14, 2011
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"You can open an envelope and take out something which bites or stings, though it isn't a living creature. I had a letter like that from Franz today."

This opening line from Sanna was a great hook that brought immediacy and a tenseness that rarely dissipates in this well paced, dramatic portraiture of late 1930's Germany. Sanna is a 19 year girl caught between a desire to be flighty, flirty teenager but confronting the reality of a Germany racing full into its darkest period. Irmgard Keun wrote this story in 1937. It must have taken enormous bravery to do so and intelligence to tell it so well.

What the reader gets is a story about a girl observing and living in a swirl of increasing intolerance and oppression where one must seek out the proper worldview and express it in thought, voice and action. But what if that worldview keeps changing? She gets confused. Race laws increasingly isolate Jews, artists, political opponents. Neighbors race to tattletale to the Gestapo which now supercedes the police. Families wonder where a father or son or friend has disappeared to. Others hope to curry favor and get ahead by spying and pounding out the new "worldview" louder.

The story itself focused on Sanna and her friends affections for boys and men. They don't differentiate by race or religion but only what drives the heart. Around them is a world far less tolerant that they can barely understand. Kuen's ability to give such innocent voices clarity to the reader while not discrediting their character is a neat trick that works well. They can observe and offer insight without sounding outside their own youth and limitations.

The book worked for me as it disposes of the idea that "no one knew" or that "things could have been different". No. The Nazi regime was quickly imposing it's will on the people; divided between fervent followers and those to be sent away. They were aiming towards larger far more violent goals that were inescapable. Kuen brilliantly plays this out by introducing 2 English journalists researching the "new" Germany of which they only see good and can only praise despite all the evidence right before them. It makes a great argument on the ability to live in denial.

It's a short book. Well worth reading.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars Irmgard Keun was Not as Ingenuous as Her Heroines, September 6, 2011
Keun (1905-1983) was neither a precocious waif nor a tough cynical shop girl, like the female protagonists of her novels "Child of All Nations" and "The Artificial Silk Girl". Or was she? She certainly 'inhabited' those characters -- wore their psyches like a clinging blouse. That's her quotient of greatness as a novelist, her ability to portray the mentality of a 'common' woman with uncanny plausibility. She does men almost as accurately. But the real-life Irmgard Keun, the woman who hooked up with Alfred Döblin and Joseph Roth? Was she a sly intellectual from the start or was she someone like Susanne, the heroine of "After Midnight"? Susanne (Sanna) is patently no intellectual; she's what a Minnesotan would call "a smart cookie" - an ordinary lower-class 19-year-old German girl with no particular education or ambition other than having her bit of fun and being treated decently. But she's not blinded by glamor or pomp; she's the girly equivalent of the Boy in the fairy tale who blurted out the truth about the Emperor's New Clothes. In this case, the naked Emperor is Adolf Hitler and his entourage, and thus the whole buck-naked viciousness of the Third Reich.

Susanne has an older brother, a leftist writer named Algin who has been ostracized by the Nazi publishers. When the ingenue Susanne comes to live with her brother in Frankfurt, her reportage of the ideas she hears in her brother's circle provides author Irmgard Keun with a more explicit 'voice' with which to castigate the Nazi regime, even though Susanne often declares that she doesn't understand all of what she reports, and wishes her brother and her friends would be more cautious about 'shooting off their mouths'. Susanne, the smart-cookie "Strassenjunge, cynical beyond her years, has no urge toward 'commitments' in politics or in social life, except for her half-discarded lover Franz, whom she has left behind in Cologne. The novella commences with a letter from Franz, declaring simply that he'll be coming to Frankfurt to see her.

"After Midnight" is, in the end, a love story, though Franz doesn't arrive until late in the narrative. It's also a caustic, unvarnished portrayal of German society/culture in the early years of Nazi governance, seen through the eyes of ordinary Germans of the lower and lower-middle classes. Keun's accomplishment is to make the insanity and viciousness of Nazidom seem, as it must have seemed, both sane and virtuous to the majority of ordinary Germans at the time. How else could such horrors have transpired, unless people accepted them as congruent with mundane civilized life?

Let's make this review folksier. You want to get a taste of daily life in Hitler's Third Reich? This little novel tells it like it was.
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2 of 3 people found the following review helpful:
5.0 out of 5 stars Where to start with Keun, July 6, 2011
Melville House's Neversink Library is something that I've been looking forward to for some time, and in particular this release. I enjoyed The Artificial Silk Girl by Keun but After Midnight is the better book. I think the translation is better. There's something surreal about this tale of teenagers trying to live a normal life in the midst of the SS and Nazi Germany.

I'm looking forward to the rest of the series when they come out.
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