This review that originally appeared in Critics at Large is reproduced here because the author through her central protagonist does not cross that line of darkness and descend into bigotry and xenophobia.
|Author Jenny Erpenbeck.|
“It is accounted a sin to turn any man away from your door.”– Tacitus, quoted by a character in Go, Went, Gone.
As I write, German politics is on the cusp of a political crisis. Angela Merkel has provided a beacon of stability and pragmatism, if not vision and eloquence, for the last dozen years in governing the economic powerhouse of the European Community. Earlier this autumn, her centrist Christian Democrats lost sixty-five seats in the Reichstag while the extreme far-right party, the Alternative for Germany (AfD), gained ninety-four seats – with thirteen percent of the vote – primarily in the former GDR. The AfD, which chillingly speaks about the Volk that evokes a dark period in German history, capitalized on voter fear of immigrants after Merkel allowed over one million migrants in 2015-16 to enter Germany, even though the people who voted for AfD were relatively untouched by the flow of refugees. Merkel’s inability so far to forge a coalition that sidelines the AfD may result in Germans heading back to the polls – perhaps giving that xenophobic, anti-Islam party more seats.
In this dispiriting time, a tonic that I would offer is the originally fresh novels of Jenny Erpenbeck, The Visitation, End of Days and the latest in her loose trilogy, the extraordinary and timely Go, Went, Gone (New Directions, 2017, translated by Susan Bernofsky). Erpenbeck, who was born and grew up in the former East Berlin, is attuned to the turbulence of German history in the twentieth century. The Visitation narrates that history through the lives of the successive inhabitants of a grand house by a lake who end up being dislodged because the changing political environment renders their continued presence dangerously precarious, a novel reminiscent of Simon Mawer’s The Glass Room. End of Days is a cleverly constructed novel that spans a century from Galicia at the turn of the twentieth century to the united Federal Republic of Germany that is perhaps refracted through the long life of one woman. I say “perhaps” because Erpenbeck repeatedly kills her off then revives her, the first time just after her birth by slightly changing the circumstances that led to her death, later as a desperate teenager who commits suicide, then as a middle-aged victim of a Stalinist purge.