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All for Nothing (New York Review Books Classics) Paperback – February 13, 2018
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In East Prussia, January 1945, the German forces are in retreat and the Red Army is approaching. The von Globig family's manor house, the Georgenhof, is falling into disrepair. Auntie runs the estate as best she can since Eberhard von Globig, a special officer in the German army, went to war, leaving behind his beautiful but vague wife, Katharina, and her bookish twelve-year-old son, Peter. As the road fills with Germans fleeing the occupied territories, the Georgenhof begins to receive strange visitors--a Nazi violinist, a dissident painter, a Baltic baron, even a Jewish refugee. Yet in the main, life continues as banal, wondrous, and complicit as ever for the family, until their caution, their hedged bets, and their denial are answered by the wholly expected events they haven't allowed themselves to imagine.
All for Nothing, published in 2006, was the last novel by Walter Kempowski, one of postwar Germany's most acclaimed and popular writers.
- Print length368 pages
- LanguageEnglish
- PublisherNYRB Classics
- Publication dateFebruary 13, 2018
- Dimensions5 x 0.78 x 7.95 inches
- ISBN-109781681372051
- ISBN-13978-1681372051
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"A crystalline translation by Anthea Bell . . . All for Nothing isn’t easily appropriated by any ideology. Kempowski’s sympathy for the suffering of his characters and his acknowledgment of the attendant destruction of their civilization are diffused by a fine-grained ambivalence. . . . As a literary response to a long-buried collective trauma, All for Nothing is well worth reading." —Corinna da Fonseca-Wollheim, The New York Times
"Memorable and monumental: a book to read alongside rival and compatriot Günter Grass's Tin Drum as a portrait of decline and fall." —Kirkus starred review
“All for Nothing is a beautiful, forgiving and compassionate book that looks beyond the futile divisions people make between themselves. It reaches its last devastating line with poetic sensibility and the grace of a classical tragedy, confirming Kempowski as a truly great writer.” —Carol Birch, The Guardian
“Beneath its apparently affectless façade, All for Nothing seethes with human drama, contradiction and complexity. No one is blameless; no one wholly unsympathetic. The result is an astonishing literary achievement.” —Toby Lichtig, The Telegraph
"Kempowski’s novel represents one of the culminating achievements of that postwar German self-reckoning, that political and literary renegotiation of the past that has produced important work by Heinrich Böll, Günter Grass, W. G. Sebald, and, lately, Erpenbeck herself. We know that such reckoning required a delicate calculus, 'beyond all political affiliation.' Sebald, in the lectures on the Allied bombing of German cities that he delivered in 1997 (later published under the title “On the Natural History of Destruction”), argued that the 'national humiliation felt by millions in the last years of the war' was the reason that 'no one, to the present day, has written the great German epic of the wartime and postwar periods.' A little less than a decade later, but too late for poor Sebald, Walter Kempowski beautifully proved him wrong." —James Wood, The New Yorker
“Kempowski’s idiosyncratic genius lies in his ability to weave this accumulation of human fallibility into something greater. His perspective on a grim slice of history steadily broadens out to become visionary, lending his novel the irresistible pull of great tragedy.” —The Economist
“Far more than a great German novel; Kempowski’s late masterwork is a universal tract which suggests that history can only present the facts; it is crafted stories such as this which enable us to grasp a sense of the vicious reality of war.” —Eileen Battersby, The Irish Times
About the Author
Anthea Bell is the recipient of the 2009 Schlegel-Tieck Prize for her translation of Stefan Zweig's Burning Secret. In 2002 she won the Independent Foreign Fiction Prize and the Helen and Kurt Wolff Prize for her translation of W.G. Sebald's Austerlitz. Her translations of Zweig's novellas Confusion and Journey into the Pastare available as NYRB Classics.
Jenny Erpenbeck was born in East Berlin in 1967. She is the author of several works of fiction, including The End of Days, which won the Hans Fallada Prize and the International Foreign Fiction Prize, and most recently, Go, Went, Gone. Erpenbeck lives in Berlin.
Product details
- ASIN : 1681372053
- Publisher : NYRB Classics (February 13, 2018)
- Language : English
- Paperback : 368 pages
- ISBN-10 : 9781681372051
- ISBN-13 : 978-1681372051
- Item Weight : 11.2 ounces
- Dimensions : 5 x 0.78 x 7.95 inches
- Best Sellers Rank: #249,970 in Books (See Top 100 in Books)
- #2,869 in Psychological Fiction (Books)
- #3,468 in War Fiction (Books)
- #5,618 in Psychological Thrillers (Books)
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The central character is the 12 year old Peter, based in part on the author's own experiences. The family is minor nobility, with a father off fighting in Italy, and a mother who seems strangely dreamy and unattached to the realities around her. In addition, the household is made up of Auntie, some Polish maids, and Vladimir an older handy servant. They live in a once grand old mansion, Georgenhof, right adjacent to a major road. The author devotes at least one chapter each to these characters so the reader really gains an insight into their sometimes strange behavior. Also living in the nearby town of Mitkau are several government administrators, including Drygalski who typifies the many unsuccessful Germans who supported the Nazis and got nice jobs as a result. He clearly resents this formerly noble family and is somewhat of a skunk.
Peter's mother without realizing it commits about the most serious offense a German can in housing a "stranger" for one night on his way to safety. Throughout we see the civilian population torn by indecision--should they leave; if so when and how; or will the Russians once again be defeated? So they dither too long and too late--ironically similar to many Jewish people who only decided to leave Germany when it was too late. When it is clear the family must flee, the mother is being held by police and Peter and Auntie must set out on their own into the chaos. The descriptions of the hardships facing the refugees, including being mistreated by one's fellow refugees, being attacked by Russian fighter planes, and always the intolerable and harsh weather, really allow the reader to get a realistic sense of what was going on during this period. However, as Peter tries to board the last boat to safety, one of the most unsavory characters performs an actual act of heroism.
One can read history on the page; here the reader actually senses and feels what the refugees underwent--so, the book make history come vividly alive. The novel is one of the New York Review Book Classics series, rightly acclaimed as one of most important sources for matchless literature, with an unerring eye for excellence and quality. Come join these hapless residents of East Prussia as they cope with the Russian invasion, and you will have invested your time wisely.
DO NOT READ THE FORWARD FIRST! Read it when you finish, it gives away the plot AND the ending! (I learned years ago not to read Forwards first because they almost always give away too much. So glad I remembered that lesson in this case.)
Kempowski’s narrative is matter-of-fact, allowing the reader to supply the emotions. His characters are complex – none all bad or all good (so, human) – but they evoke a myriad of emotions in the reader, from frustration, to pity, to disgust.
Kempowski’s style reminded me of Vonnegut; using irony and humor on the surface with tragedy and horror beneath. He employs repetition with great effect, even supplying Auntie a catchphrase: “Nothing is easy.” reminiscent of Vonnegut’s “So it goes.” from “Slaughterhouse Five”.
It is January 1945 and the Russians are poised to invade East Prussia, where the small von Globig family lives on an estate called Georgenhof. Three family members (mother, son and aunt) and three servants (two Ukrainian maids and a Polish male servant) have waited out the war in the cold and crumbling mansion. Visitors come and go, especially now as many Germans are fleeing the oncoming Russians.
The denizens of Georgenhof seem in denial about what is happening as the Soviet Army approaches, simply thinking: “something unpleasant was brewing”. Going about their quotidian activities and interacting with strange visitors, is what makes up most of the first part of the narrative.
Then the Russians come, and you won’t be able to put it down.













