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“I lived the same life as everyone else, the life of ordinary people, the masses.” Sitting in a prison cell in the autumn of 1944, the German author Hans Fallada sums up his life under the National Socialist dictatorship, the time of “inward emigration”. Under conditions of close confinement, in constant fear of discovery, he writes himself free from the nightmare of the Nazi years. He records his thoughts about spying and denunciation, about the threat to his livelihood and his literary work and about the fate of many friends and contemporaries. The confessional mode did not come naturally to Fallada, but in the mental and emotional distress of 1944, self-reflection became a survival strategy.
Fallada’s frank and sometimes provocative memoirs were thought for many years to have been lost. They are published here for the first time.
- Sales Rank: #749933 in Books
- Published on: 2014-11-24
- Original language: English
- Number of items: 1
- Dimensions: 9.30" h x 1.05" w x 6.45" l, 1.18 pounds
- Binding: Hardcover
- 300 pages
Review
"This is certainly a revelatory book. As its author intended, it reveals much about the pernicious nature of Nazi rule during the Third Reich; the compromises demanded, the tribulations endured, the lives ruined. At one point Fallada laments: “Oh, how they bled us dry! How they robbed us of every joy and happiness, every smile, every friendship! Yet it also reveals something that its author did not intend, and that is Fallada’s own deeply flawed character."
The Financial Times
"An outspoken memoir of life under the Nazis written from a prison cell... a fascinating document"
The Independent
"Exquisite and troubling... one of the most powerful accounts of life in the Third Reich."
The Economist
"This is a remarkable book"
The Scotsman
""Colourful and anecdotal reflections of life under Hitler. Fallada's diary turns out to be not a record of quotidian events inside but reminiscences of scrapes, challenges and day-to-day reality outside, from the advent of Nazi misrule to the final stages of the war."
The Sunday Herald
"Fallada, one of Germany's most well-regarded writers of the 20th century, tells the tale of a writer and his friends, and how the swell of Nazism means there's always a listening ear outside the door - except this time he's telling his own story"
South China Morning Post
"A Stranger in My Own Country is an engrossing book that reads more like a novel than a memoir.”
Nomadic Press
"His prison diary is a heartfelt diatribe against the nazis, revealing a highly compromised man riddled with contradictions and ambiguity. In reading it, the high price Fallada paid for living out the war in his homeland is all too clear."
Morning Star
"A rare account of living close to an edge that you can’t quite locate in the darkness.""A rare account of living close to an edge that you can’t quite locate in the darkness."
Tribune
"Vivid"
Sydney Morning Herald
“Fallada’s strength as a diarist is to convert his unsteady, sometimes ethically questionable existence into disciplined, objective narrative. His life and writings reflect the endless need to challenge authoritarianism in both family and society.”
The Tablet
"This long-awaited publication will... greatly increase our knowledge of an author whose reputation has never been completely eclipsed in Germany, and who is now being rediscovered in Britain, the USA, France, and Italy. All these countries have recently published his last, posthumously published novel [Alone in Berlin], thus demonstrating his rare ability to attract the common and the literary reader alike."
Modern Language Review
"Recording his experiences of Nazi Germany while confined in an asylum in 1944, Hans Fallada wrote in real life what Günter Grass later wrote in fiction. An intriguing literary testament, expertly edited by two leading Fallada scholars, and skilfully translated by Allan Blunden."
Geoff Wilkes, The University of Queensland
The Australian
‘This wonderful volume, painstakingly transcribed from his microscopic handwriting by his gifted biographer, Jenny Williams, and her fellow Fallada scholar and archivist, the poet Sabine Lange, is a conversational memoir: blunt, whimsical, outrageous, anecdotal and often hilarious. Allan Blunden’s translation conveys the exasperated humour.’
Irish Times
‘An absorbing evocation of a troubled, all-too-human life under an inhuman tyranny.’
Times Literary Supplement
About the Author
Hans Fallada was born in Greifswald, Germany, on 21 July 1893 as Rudolf Wilhelm Friedrich Ditzen; he took his pen name from a Brothers Grimm fairy tale. He died of heart failure brought on by the cumulative effects of mental and physical exhaustion on 5 February 1947 in Berlin. Fallada was the author of many bestselling novels including Little Man - What Now? (1932), Wolf among Wolves (1938) and Alone in Berlin (1947)
Most helpful customer reviews
5 of 6 people found the following review helpful.
"We really were very stupid..."
By S. McGee
Novelist Hans Fallada wrote what may have been one of the best (and most chilling books) about everyday life and ordinary resistance to the Nazi regime in Every Man Dies Alone, published weeks after his death in early 1947 but only recently translated into English. I finally read that a few months before being offered the opportunity to read this journal, a chronicle of his own experiences in the Third Reich that Fallada penned at great risk to his own life while incarcerated in a psychiatric facility in the autumn of 1944, and so leaped at the chance to understand how his own life may have informed that remarkable novel.
What I found in this is an equally remarkable work, albeit of a very, very different order. In the same way that "Hans Fallada" was a pseudonym for that Wilhelm Dietz adopted when he began writing, so this sheds light on the experiences of an 'ordinary German' between 1933 and 1945 in the same way that the novel does, but in a radically unfiltered way. The editors have chosen to give readers the original 1944 text -- written in tiny handwriting on the small quantity of paper provided to Fallada by his doctors/guardians, producing a "calligraphic conundrum" -- rather than an edited typescript Fallada produced in 1945, revised and revisited in light of the Nazi defeat, which gave him the chance to explain and expand on some of his statements and defend some of his views. (The excellent end notes and postcript clarify many of these alterations.) What is left is nonetheless astonishing. Under the eyes of a medical establishment, someone known to be opposed to the regime scribbles about his experiences, his disdain for the Nazis oozing from his pen on every page. "The relative subtlety of the iron fist in the velvet glove is too sophisticated for them," he sneers; "what a dung heap they have turned Germany into." The Nazis, he writes, are a "group of hysterics, psycopaths, monomaniacs and sadists". Fallada, who was confined to the sanatorium after firing a pistol in a dispute with his ex-wife (both testified he wasn't aiming it at her), might not have been nuts when one considers the "crime" for which he was sent to the institution in the first place, but reading this, one has to question his sanity at putting it all down on paper, even though all were aware that Germany was losing the war. Fallada himself occasionally pauses in his chronicle to consider the risks, and admits as much -- and then goes right back to writing.
None of which makes Fallada an appealing or even heroic figure, as the diaries reveal. A genius as a writer? Quite possibly, especially when one considers how he was able to turn out such amazing novels in short periods of time. But he specialized in carrying chips on his shoulder -- indeed, some of his objection to the Nazis emerges as being due to their vulgarity and lack of education, and more of it to their offenses against him, personally, rather than to any higher and more abstract ideals. He delves into quarrels with local figures where he lived, and with literary figures. While these sometimes feel like whining, though, they ended up giving me a good sense both of Fallada (how difficult it must have been to work with someone who probably was charming when he felt like it and then incredibly frustrating much of the rest of the time) as well as of society at the time. How hard was it for someone like Fallada to understand the real motivations or actions of some of his colleagues, who were camouflaging their own actions to protect themselves and others? In other instances, his petty squabbles with local schoolmasters and mayors show vividly just how corrupt the Nazi regime rendered German life in the tiniest matters, on a day to day basis.
It's not possible to emerge from this revering Fallada, but his attitudes probably reflect those of many Germans who despised the Nazis but remained patriotic. Fallada had little more love for those who chose to emigrate and judge his actions from afar (he couldn't understand why his publisher would have returned from self-imposed exile in Brazil to volunteer to serve in the military, even running a minefield to do so, but admired him for his decision). He chose "internal emigration" -- and so what? "We didn't do anything so preposterous as to hatch conspiracies or plot coups, which is what people in other countries always expected of us," he writes. And why should they have, he argues, since "we were not intent on committing suicide when our death would be of no use to anyone."
Of course, the third rail here is the question of the Holocaust, and the manuscript and its revisions betray Fallada's own ambivalence on this regard. He prefers to see himself as "philo-Semitic", yet clearly is aware of who is Jewish and who is not, merrily ascribing racial traits to individuals. He writes of the canard that all Jews love money, noting that he saw one Jewish scientist return to Nazi Germany to work on a scientific project, "dining off roast goose at th expense of the German Reich"; another woman refused to leave the country because it meant abandoning a tiny pension. "What I discovered was that Jews have a different attitude to money than I do, and it was an attitude that I didn't care for personally, in fact one that I found quite repugnant," he extrapolates, wildly. On the other hand, his rage at the treatment of Jewish friends and former colleagues leaks through onto the page, and his 1945 revisions to the text show that he has come to understand why they made common cause with each other, excluding even their "truest friend of non-Jewish blood" in favor of co-religionists whom Fallada considered to be fools. "The dangers that constantly threatened the Jews did not affect us," he writes, sadly.
This is a novel that sheds light on the literary landscape of an era and its personalities. Fallada's concerns sometimes are petty, from firewood to gossip, and only occasionally more lofty -- but that is the nature of the kind of daily life that he is chronicling. The mere fact that he put pen to paper many months before the Nazi regime fell was an act of courage.
My sole concern about this elegantly translated and impeccably edited book is that anyone reading it who hasn't yet Every Man Dies Alone or other of Fallada's novels, might be deterred from doing so. Read those novels first, and then come back to this to provide you with a backdrop to that book. It helped me understand some of Fallada's inspiration for what is one of his masterpieces, and serves as an odd kind of counterpoint to other chronicles of daily life in Nazi Germany penned by the likes of William Shirer (the CBS correspondent; up until the point he was expelled from the country) and the very, very different experiences of his fellow German, Victor Klemperer, who chronicled life as a Jew in Hitler's Germany right up until 1945.
Highly recommended; with kudos to the publisher for undertaking the translation and publication.
4 of 5 people found the following review helpful.
Emotional and Interesting Reflections
By JD Cetola
Hans Fallada (pseudonym for Rudolf Wilhelm Friedrich Ditzen) authored many excellent and best selling novels during the rise of Nazi Germany including "The Drinker", "Little Man, What Now?", and the posthumous (and fantastic) "Every Man Dies Alone". "A Stranger in My Own Country" is labeled as 'The 1944 Prison Diary', but is more a reflection of his life and several incarcerations as he remained in Germany during the National Socialist dictatorship of Hitler from 1933 through his imprisonment in a "mental institution" from September through mid-December of 1944.
Fallada was not Jewish, but he was no fan of Nazis and his various publications were favorably received by much of the public, but not the government and he was variously considered an "undesirable author" and often under watch or suspicion. Unlike many similarly considered artists of the time, Fallada chose to remain in Germany rather than emigrate elsewhere. This resulted in multiple nervous breakdowns and bouts of depression as well as several stays in institutions (or "protective custody"). The entries in this diary were written in shorthand in order to protect his writings and conserve the limited paper he was granted as were the stories and novel ("The Drinker") he wrote during this time. The reflections paint an interesting look at the progression of Nazism during the 1930s and the cost to those who remained behind. Fallada's writing is powerful, moving, and remarkably insightful, particularly given the circumstances under which they were written. Although not as cohesive or as strong and emotive as his novels, the entries in this book are well worth reading for historical context and provide insight into one of the 20th century's best writer's mindset and life. Also included are a timeline of Fallada's life and many footnotes for his entries, many of which add to the historical context of his reflections.
2 of 2 people found the following review helpful.
Interesting view of Hans Fallada's experiences
By maven
An interesting view of Hans Fallada's experiences in Nazi Germany, including how he was considered an "undesirable writer" by the Nazis, faced a great deal of trouble from this and minor scuffles with Party members, and how his work was affected over the years.
That said, this book would probably only be of interest to someone who has read at least some of Fallada's work, and is curious about him as a person as well as a writer. It gives a glimpse into how he crafted his stories and characters, sometimes borrowing from real life. But it also shows the fallibility of human memory and what motivates us, as the editors note the inaccuracies and adjustments Fallada made as he wrote and later edited this diary.
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