From Publishers Weekly
Veteran British biographer and novelist Wilson's plodding latest concerns the private life of Adolf Hitler (Wolf) and his friendship and affair with Winnie, the daughter-in-law of Richard Wagner. The novel opens in 1925 and is composed by an unnamed secretary to Winnie's husband. Though weighted down by detailed discussions of philosophy and the opera that so inspired Hitler, the narrative at times hums with life. Wilson offers a new way of viewing the charismatic (though sweating and flatulent) leader, who appears to the Wagner family as the savior who will raise up a starving and humiliated interwar Germany and who made you feel that the struggle would not have been worth it
unless it had gone too far. Unfortunately, Wilson seems so intent on demonstrating the breadth of his knowledge and research that narrative technique feels like an afterthought. This dense and dry tale is unlikely to appeal to readers who aren't already at least armchair scholars of the era.
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Wilson examines the unusual relationship between Winifred Wagner, patriotic daughter-in-law of composer Richard and guardian of his acclaimed, controversial musical legacy, and Adolf Hitler, aka “Wolf,” portrayed as a socially insecure family man and opera aficionado with a flatulence problem. The central conceit is their imagined affair, resulting in an illegitimate daughter later adopted by Herr N——, secretary at the family’s Bayreuth household. Beginning in 1925, his account takes the form of interrelated, frequently dry digressions into Wagnerian opera, Teutonic mythology, and politico-philosophical thought, interspersed with livelier anecdotes about the Wagners, his own family’s courageous actions, and Britain’s contributions to Germany’s rising anti-Semitism. A self-professed coward, the narrator also vividly describes one poignant scene of selfless heroism on the part of local townspeople. This interweaving of fact and fiction may be too close for the uninitiated to discern the difference, and readers will search in vain for anything resembling a conventional plot. However, what it does extremely well is situate readers firmly in post-Versailles Germany, a land falling inexorably into the grip of Nazi dominance. --Sarah Johnson
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