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螠蠈谓慰蟼 蟽蟿慰 螔蔚蟻慰位委谓慰
螔蔚蟻慰位委谓慰 1940. 韦伪 纬蔚蟻渭伪谓喂魏维 蟽蟿蟻伪蟿蔚蠉渭伪蟿伪 苇蠂慰蠀谓 魏伪蟿伪魏蟿萎蟽蔚喂 蟿畏 螕伪位位委伪 魏伪喂 慰 谓伪味喂蟽渭蠈蟼 蟺蔚蟻谓维 渭苇蟻蔚蟼 未蠈尉伪蟼. 螤委蟽蠅 蠈渭蠅蟼 伪蟺蠈 蟿畏 胃蟻喂伪渭尾蔚蠀蟿喂魏萎 蟺蟻蠈蟽慰蠄畏, 魏蟻蠉尾慰谓蟿伪喂 畏 伪胃位喂蠈蟿畏蟿伪 魏伪喂 慰 蟿蟻蠈渭慰蟼.
危蔚 渭喂伪 位伪蠆魏萎 蟺慰位蠀魏伪蟿慰喂魏委伪 蟿畏蟼 慰未慰蠉 螕喂伪渭蟺位蠈谓蟽魏喂, 未喂蠋魏蟿蔚蟼 魏伪喂 未喂蠅魏蠈渭蔚谓慰喂 蟽蠀纬魏伪蟿慰喂魏慰蠉谓. 螘委谓伪喂 畏 魏蠀蟻委伪 巍蠈味蔚谓蟿伪位, 螘尾蟻伪委伪, 蟿畏谓 慰蟺慰委伪 魏伪蟿伪未委未慰蠀谓 (魏伪喂 魏伪蟿伪位畏蟽蟿蔚蠉慰蠀谓) 慰喂 纬蔚委蟿慰谓苇蟼 蟿畏蟼. 螘委谓伪喂 慰 螠蟺伪位谓蟿慰蠉蟻 螤蔚蟻味委魏蔚, 慰渭伪未维蟻蠂畏蟼 蟿畏蟼 围喂蟿位蔚蟻喂魏萎蟼 螡蔚慰位伪委伪蟼 蟺慰蠀 蟿蟻慰渭慰魏蟻伪蟿蔚委 蟿畏谓 委未喂伪 蟿慰蠀 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪. 螘委谓伪喂 慰喂 螝尾维谓纬魏蔚位 蟺慰蠀, 伪蟺蔚位蟺喂蟽渭苇谓慰喂 伪蟺蠈 蟿慰谓 胃维谓伪蟿慰 蟿慰蠀 纬喂慰蠀 蟿慰蠀蟼 蟽蟿慰 渭苇蟿蠅蟺慰, 未喂伪谓苇渭慰蠀谓 蟺蟻慰魏畏蟻蠉尉蔚喂蟼 蔚谓伪谓蟿委慰谓 蟿慰蠀 围委蟿位蔚蟻.
螠蔚 蟻蔚伪位喂蟽渭蠈 魏伪喂 蔚喂位喂魏蟻委谓蔚喂伪 慰 桅维位伪谓蟿伪 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿畏谓 魏伪胃畏渭蔚蟻喂谓萎 味蠅萎 蟿蠅谓 螕蔚蟻渭伪谓蠋谓 蟺慰位喂蟿蠋谓, 螘尾蟻伪委蠅谓 魏伪喂 渭畏, 魏伪喂 蟿畏谓 伪谓蟿委蟽蟿伪蟽畏 蟺慰蠀 蟺蟻蠈尾伪位伪谓 蟽蟿慰谓 谓伪味喂蟽渭蠈 魏维蟺慰喂慰喂 -位委纬慰喂- 蟽蠀谓畏胃喂蟽渭苇谓慰喂 维谓胃蟻蠅蟺慰喂.
螣 螤蟻委渭慰 螞苇尾喂 蠂伪蟻伪魏蟿萎蟻喂蟽蔚 蟿慰 螠蠈谓慰蟼 蟽蟿慰 螔蔚蟻慰位委谓慰 苇谓伪 伪蟺蠈 蟿伪 蠅蟻伪喂蠈蟿蔚蟻伪 尾喂尾位委伪 纬喂伪 蟿畏 纬蔚蟻渭伪谓喂魏萎 伪谓蟿委蟽蟿伪蟽畏 魏伪蟿维 蟿慰蠀 谓伪味喂蟽渭慰蠉.
危蔚 渭喂伪 位伪蠆魏萎 蟺慰位蠀魏伪蟿慰喂魏委伪 蟿畏蟼 慰未慰蠉 螕喂伪渭蟺位蠈谓蟽魏喂, 未喂蠋魏蟿蔚蟼 魏伪喂 未喂蠅魏蠈渭蔚谓慰喂 蟽蠀纬魏伪蟿慰喂魏慰蠉谓. 螘委谓伪喂 畏 魏蠀蟻委伪 巍蠈味蔚谓蟿伪位, 螘尾蟻伪委伪, 蟿畏谓 慰蟺慰委伪 魏伪蟿伪未委未慰蠀谓 (魏伪喂 魏伪蟿伪位畏蟽蟿蔚蠉慰蠀谓) 慰喂 纬蔚委蟿慰谓苇蟼 蟿畏蟼. 螘委谓伪喂 慰 螠蟺伪位谓蟿慰蠉蟻 螤蔚蟻味委魏蔚, 慰渭伪未维蟻蠂畏蟼 蟿畏蟼 围喂蟿位蔚蟻喂魏萎蟼 螡蔚慰位伪委伪蟼 蟺慰蠀 蟿蟻慰渭慰魏蟻伪蟿蔚委 蟿畏谓 委未喂伪 蟿慰蠀 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪. 螘委谓伪喂 慰喂 螝尾维谓纬魏蔚位 蟺慰蠀, 伪蟺蔚位蟺喂蟽渭苇谓慰喂 伪蟺蠈 蟿慰谓 胃维谓伪蟿慰 蟿慰蠀 纬喂慰蠀 蟿慰蠀蟼 蟽蟿慰 渭苇蟿蠅蟺慰, 未喂伪谓苇渭慰蠀谓 蟺蟻慰魏畏蟻蠉尉蔚喂蟼 蔚谓伪谓蟿委慰谓 蟿慰蠀 围委蟿位蔚蟻.
螠蔚 蟻蔚伪位喂蟽渭蠈 魏伪喂 蔚喂位喂魏蟻委谓蔚喂伪 慰 桅维位伪谓蟿伪 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿畏谓 魏伪胃畏渭蔚蟻喂谓萎 味蠅萎 蟿蠅谓 螕蔚蟻渭伪谓蠋谓 蟺慰位喂蟿蠋谓, 螘尾蟻伪委蠅谓 魏伪喂 渭畏, 魏伪喂 蟿畏谓 伪谓蟿委蟽蟿伪蟽畏 蟺慰蠀 蟺蟻蠈尾伪位伪谓 蟽蟿慰谓 谓伪味喂蟽渭蠈 魏维蟺慰喂慰喂 -位委纬慰喂- 蟽蠀谓畏胃喂蟽渭苇谓慰喂 维谓胃蟻蠅蟺慰喂.
螣 螤蟻委渭慰 螞苇尾喂 蠂伪蟻伪魏蟿萎蟻喂蟽蔚 蟿慰 螠蠈谓慰蟼 蟽蟿慰 螔蔚蟻慰位委谓慰 苇谓伪 伪蟺蠈 蟿伪 蠅蟻伪喂蠈蟿蔚蟻伪 尾喂尾位委伪 纬喂伪 蟿畏 纬蔚蟻渭伪谓喂魏萎 伪谓蟿委蟽蟿伪蟽畏 魏伪蟿维 蟿慰蠀 谓伪味喂蟽渭慰蠉.
672 pages, Paperback
First published January 1, 1947
2563 people are currently reading
46810 people want to read
About the author
Hans Fallada
223听books740听followersHans Fallada, born Rudolf Wilhelm Adolf Ditzen in Greifswald, was one of the most famous German writers of the 20th century. His novel, Little Man, What Now? is generally considered his most famous work and is a classic of German literature. Fallada's pseudonym derives from a combination of characters found in the Grimm fairy tales: The protagonist of Lucky Hans and a horse named Falada in The Goose Girl.
He was the child of a magistrate on his way to becoming a supreme court judge and a mother from a middle-class background, both of whom shared an enthusiasm for music and to a lesser extent, literature. Jenny Williams notes in her biography, More Lives than One that Fallada's father would often read aloud to his children the works authors including Shakespeare and Schiller (Williams, 5).
In 1899 when Fallada was 6, his father relocated the family to Berlin following the first of several promotions he would receive. Fallada had a very difficult time upon first entering school in 1901. As a result, he immersed himself in books, eschewing literature more in line with his age for authors including Flaubert, Dostoyevsky, and Dickens. In 1909 the family relocated to Leipzig following his father's appointment to the Imperial Supreme Court.
A rather severe road accident in 1909 (he was run over by a horse-drawn cart, then kicked in the face by the horse) and the contraction of typhoid in 1910 seem to mark a turning point in Fallada's life and the end of his relatively care-free youth. His adolescent years were characterized by increasing isolation and self-doubt, compounded by the lingering effects of these ailments. In addition, his life-long drug problems were born of the pain-killing medications he was taking as the result of his injuries. These issues manifested themselves in multiple suicide attempts. In 1911 he made a pact with his close friend, Hanns Dietrich, to stage a duel to mask their suicides, feeling that the duel would be seen as more honorable. Because of both boys' inexperience with weapons, it was a bungled affair. Dietrich missed Fallada, but Fallada did not miss Dietrich, killing him. Fallada was so distraught that he picked up Dietrich's gun and shot himself in the chest, but miraculously survived. Nonetheless, the death of his friend ensured his status as an outcast from society. Although he was found innocent of murder by way of insanity, from this point on he would serve multiple stints in mental institutions. At one of these institutions, he was assigned to work in a farmyard, thus beginning his lifelong affinity for farm culture.
While in a sanatorium, Fallada took to translation and poetry, albeit unsuccessfully, before finally breaking ground as a novelist in 1920 with the publication of his first book Young Goedeschal. During this period he also struggled with morphine addiction, and the death of his younger brother in the first World War.
In the wake of the war, Fallada worked several farmhand and other agricultural jobs in order to support himself and finance his growing drug addictions. Before the war, Fallada relied on his father for financial support while writing; after the German defeat he was no longer able, nor willing, to depend on his father's assistance. Shortly after the publication of Anton and Gerda, Fallada reported to prison in Greiswald to serve a 6-month sentence for stealing grain from his employer and selling it to support his drug habit. Less than 3 years later, in 1926, Fallada again found himself imprisoned as a result of a drug and alcohol-fueled string of thefts from employers. In February 1928 he finally emerged free of addiction.
Fallada married Suse Issel in 1929 and maintained a string of respectable jobs in journalism, working for newspapers and eventually for the publisher of his novels, Rowohlt. It is around this time that his novels became noticeably political and started to comment
He was the child of a magistrate on his way to becoming a supreme court judge and a mother from a middle-class background, both of whom shared an enthusiasm for music and to a lesser extent, literature. Jenny Williams notes in her biography, More Lives than One that Fallada's father would often read aloud to his children the works authors including Shakespeare and Schiller (Williams, 5).
In 1899 when Fallada was 6, his father relocated the family to Berlin following the first of several promotions he would receive. Fallada had a very difficult time upon first entering school in 1901. As a result, he immersed himself in books, eschewing literature more in line with his age for authors including Flaubert, Dostoyevsky, and Dickens. In 1909 the family relocated to Leipzig following his father's appointment to the Imperial Supreme Court.
A rather severe road accident in 1909 (he was run over by a horse-drawn cart, then kicked in the face by the horse) and the contraction of typhoid in 1910 seem to mark a turning point in Fallada's life and the end of his relatively care-free youth. His adolescent years were characterized by increasing isolation and self-doubt, compounded by the lingering effects of these ailments. In addition, his life-long drug problems were born of the pain-killing medications he was taking as the result of his injuries. These issues manifested themselves in multiple suicide attempts. In 1911 he made a pact with his close friend, Hanns Dietrich, to stage a duel to mask their suicides, feeling that the duel would be seen as more honorable. Because of both boys' inexperience with weapons, it was a bungled affair. Dietrich missed Fallada, but Fallada did not miss Dietrich, killing him. Fallada was so distraught that he picked up Dietrich's gun and shot himself in the chest, but miraculously survived. Nonetheless, the death of his friend ensured his status as an outcast from society. Although he was found innocent of murder by way of insanity, from this point on he would serve multiple stints in mental institutions. At one of these institutions, he was assigned to work in a farmyard, thus beginning his lifelong affinity for farm culture.
While in a sanatorium, Fallada took to translation and poetry, albeit unsuccessfully, before finally breaking ground as a novelist in 1920 with the publication of his first book Young Goedeschal. During this period he also struggled with morphine addiction, and the death of his younger brother in the first World War.
In the wake of the war, Fallada worked several farmhand and other agricultural jobs in order to support himself and finance his growing drug addictions. Before the war, Fallada relied on his father for financial support while writing; after the German defeat he was no longer able, nor willing, to depend on his father's assistance. Shortly after the publication of Anton and Gerda, Fallada reported to prison in Greiswald to serve a 6-month sentence for stealing grain from his employer and selling it to support his drug habit. Less than 3 years later, in 1926, Fallada again found himself imprisoned as a result of a drug and alcohol-fueled string of thefts from employers. In February 1928 he finally emerged free of addiction.
Fallada married Suse Issel in 1929 and maintained a string of respectable jobs in journalism, working for newspapers and eventually for the publisher of his novels, Rowohlt. It is around this time that his novels became noticeably political and started to comment
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Displaying 1 - 30 of 3,734 reviews
May 5, 2012
Loved this.
But first, some context:
Hans Fallada is the pen name of Rudolf Ditzen. At the age of 18, Ditzen and a friend went out in the countryside and, in the manner of duellists, fired guns at each other over some adolescent sexual rutting. The friend missed, but Ditzen's aim was true. Taking his friend's gun, Ditzen shot himself in the chest, but survived. For the first of many times, Ditzen was committed to a sanatorium for the mentally ill. Released, Ditzen turned to alcohol and narcotics. This didn't stop him from becoming a successful novelist. Perhaps it helped? His 1932 novel Little Man, What Now was a popular success and Hollywood turned it into a film. Hitler spurned him though, because of the Jewish producers of the film. His drinking and drug use increased, he became more unstable, and was committed to a Nazi insane asylum. There, he wrote the novel The Drinker, not published until 1950 (and now on my Mount TBR). The war ended; Ditzen was released from the asylum, but he was now a dying man. A friend gave him the file of a middle-aged couple who began leaving handwritten anti-Nazi notes after the wife's brother died in combat. IN 24 DAYS Ditzen wrote Every Man Dies Alone based on their story. 24 DAYS!
He died before it was published, a morphine overdose. It was not translated and published here until 2009.
You may turn your head, thinking this is just more Holocaust literature. But turn back because this is special. Otto and Anna Quangel are special. The basis of the story is admittedly small because the crime is small: writing anti-Nazi postcards and dropping them in random stairwells. Anna asks, "Isn't this thing that you're wanting to do, isn't is a bit small, Otto?" Otto tells her, "Whether it's big or small, Anna, if they get wind of it, it'll cost us our lives."
And so we are sold.
Anna and Otto are surrounded by many characters though. And that is the brilliance of the novel. Each character, however small, becomes important, definitional. Let me share just one: "the doctor", who is really a symphony conductor. He shares a cell with Otto. He is not exactly Otto's kind of guy. But the doctor grows on him. The doctor is forbidden to sing. So he hums. Outside, during their morning walk....
Quangel got used to listening to this humming. Whatever his poor opinion of music, he did notice its effect on him. Sometimes it made him feel strong and brave enough to endure any fate, and then Reichhardt would say, "Beethoven." Sometimes it made him bafflingly lighthearted and cheerful, which he had never been in his life, and then Reichhardt would say, "Mozart," and Quangel would forget all about his worries. And sometimes the sounds emanating from the doctor were dark and heavy, and Quangel would feel a pain in his chest, and it would be as though he was a little boy again sitting in church with his mother, with something grand--the whole of life--ahead of him, and then Reichhardt would say, "Johann Sebastien Bach."
What amazed me, and why I led off with the author's life story, is that this is not simply a genre of a book; it's not just a book about WWII or Nazis or an anti-Nazi movement. This is superb craftsmanship. Written in 1947, there is nothing dated about it. Perhaps that's the wonderful translation. (Although there are numerous ghastly typos, which I do not count against the author or translator). It feels timely, immediate.
By way of post-script, here are just two things I learned from this book:
First, a proverb: He who has butter on his head should not go out in the sun. True that.
And second, under the Racial Purity Laws, all Jewish women in Nazi Germany had to change their first names to "Sara" and all Jewish men had to change their names to "Israel".
But this is a book about simple people, like Philip Roth's Al Gionfriddo, "A little man, Doctor, who once did a very great thing."
But first, some context:
Hans Fallada is the pen name of Rudolf Ditzen. At the age of 18, Ditzen and a friend went out in the countryside and, in the manner of duellists, fired guns at each other over some adolescent sexual rutting. The friend missed, but Ditzen's aim was true. Taking his friend's gun, Ditzen shot himself in the chest, but survived. For the first of many times, Ditzen was committed to a sanatorium for the mentally ill. Released, Ditzen turned to alcohol and narcotics. This didn't stop him from becoming a successful novelist. Perhaps it helped? His 1932 novel Little Man, What Now was a popular success and Hollywood turned it into a film. Hitler spurned him though, because of the Jewish producers of the film. His drinking and drug use increased, he became more unstable, and was committed to a Nazi insane asylum. There, he wrote the novel The Drinker, not published until 1950 (and now on my Mount TBR). The war ended; Ditzen was released from the asylum, but he was now a dying man. A friend gave him the file of a middle-aged couple who began leaving handwritten anti-Nazi notes after the wife's brother died in combat. IN 24 DAYS Ditzen wrote Every Man Dies Alone based on their story. 24 DAYS!
He died before it was published, a morphine overdose. It was not translated and published here until 2009.
You may turn your head, thinking this is just more Holocaust literature. But turn back because this is special. Otto and Anna Quangel are special. The basis of the story is admittedly small because the crime is small: writing anti-Nazi postcards and dropping them in random stairwells. Anna asks, "Isn't this thing that you're wanting to do, isn't is a bit small, Otto?" Otto tells her, "Whether it's big or small, Anna, if they get wind of it, it'll cost us our lives."
And so we are sold.
Anna and Otto are surrounded by many characters though. And that is the brilliance of the novel. Each character, however small, becomes important, definitional. Let me share just one: "the doctor", who is really a symphony conductor. He shares a cell with Otto. He is not exactly Otto's kind of guy. But the doctor grows on him. The doctor is forbidden to sing. So he hums. Outside, during their morning walk....
Quangel got used to listening to this humming. Whatever his poor opinion of music, he did notice its effect on him. Sometimes it made him feel strong and brave enough to endure any fate, and then Reichhardt would say, "Beethoven." Sometimes it made him bafflingly lighthearted and cheerful, which he had never been in his life, and then Reichhardt would say, "Mozart," and Quangel would forget all about his worries. And sometimes the sounds emanating from the doctor were dark and heavy, and Quangel would feel a pain in his chest, and it would be as though he was a little boy again sitting in church with his mother, with something grand--the whole of life--ahead of him, and then Reichhardt would say, "Johann Sebastien Bach."
What amazed me, and why I led off with the author's life story, is that this is not simply a genre of a book; it's not just a book about WWII or Nazis or an anti-Nazi movement. This is superb craftsmanship. Written in 1947, there is nothing dated about it. Perhaps that's the wonderful translation. (Although there are numerous ghastly typos, which I do not count against the author or translator). It feels timely, immediate.
By way of post-script, here are just two things I learned from this book:
First, a proverb: He who has butter on his head should not go out in the sun. True that.
And second, under the Racial Purity Laws, all Jewish women in Nazi Germany had to change their first names to "Sara" and all Jewish men had to change their names to "Israel".
But this is a book about simple people, like Philip Roth's Al Gionfriddo, "A little man, Doctor, who once did a very great thing."
April 3, 2018
Who would have thought that the novel concerning middle-aged couple dropping postcards on stairwells of random buildings would be so thrilling. But make no mistake. They were not ordinary cards. They carried on their surface some home truths and it was reason enough to give your head to executioner. Alone in Berlin or Every man dies alone reads like first-rate thriller though it鈥檚 something more. It鈥檚 a record, a meticulous one, of awakening and refusal. Awakening of spirit and refusal to be part of murderous and inhuman system anymore. It had its roots in personal matters at first place but it quickly became something bigger.
There are so many things the story so strongly resonates with readers. It was written shortly after the war ended and has an air of something to be closest to depictured events and the fact it was based on police reports gives it even more authenticity. The other reason is Fallada鈥檚 style. Sometimes it feels very unsophisticated, unpolished even. Maybe it鈥檚 his own unique voice or perhaps the effect he wrote it in barely three weeks. And third reason and maybe the most important is the novel is based on true events and Fallada changed only some details.
Literary Anna and Otto Quangel are based on Elise and Otto Hampel鈥� case. The married couple through almost two years were delivering hand-wrote cards calling people to resistance against the Third Reich. After arresting they were tried for high treason and executed on April 1943. There are facts and the novel is fictionalized account of their life with some rather cosmetic changes.
It鈥檚 captivating and fascinating story and though I knew the outcome from the start I loved reading it. There was something touching in the way Anna and Otto, this seemingly cold and remote Otto, were discussing their deed and how they imagined their cards circulating among people, making its way through factories to open people鈥� eyes. One could say it鈥檚 naivety from their part to think such an action could bring collapse of Nazism. One could even shrug their shoulders on unimportance of their doings but in the long run consequences were deadly serious. Hans Fallada brilliantly evoked an atmosphere of growing horror and menace, constant terror, Gestapo agents and people turned into snoopers that for fear or money were spying their families and neighbours. He created unforgettable protagonists both these heroic and mean-spirited as well, and some of them in best Dickensian manner.
Anna and Otto Quangel are neither young nor rebellious and in the beginning even not very hostile to Nazi politics. Hardly heroic material, indeed. The moment Otto Quangel finds out how many from over two hundred postcards he wrote with his untrained hand really reached its readers is
truly heartbreaking. You may say their action brought only danger to them and people they cared for without much effect. You can't be more wrong. Even the smallest stone can turn the course of avalanche.
4.5/5
June 8, 2017
螛伪 渭蟺慰蟻慰蠉蟽伪渭蔚 谓伪 未畏渭喂慰蠀蟻纬慰蠉渭蔚 魏伪位蠉蟿蔚蟻慰蠀蟼 蟺慰位委蟿蔚蟼, 伪谓 蟽蔚 苇谓伪 蔚魏蟺伪喂未蔚蠀蟿喂魏蠈 蟽蠉蟽蟿畏渭伪 伪谓蟿委 纬喂伪 蔚尉蔚蟿维蟽蔚喂蟼 蔚委蠂伪渭蔚 蔚蟻纬伪蟽委蔚蟼 渭蔚 蠀蟺慰蠂蟻蔚蠅蟿喂魏萎 伪谓维纬谓蠅蟽畏 蟿苇蟿慰喂蠅谓 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠋谓 尾喂尾位委蠅谓.
April 11, 2023
A great novel about the resistance by an ordinary, working class, and barely literate couple against Nazism, that's basically the fictionalised true story of Otto and Elise Hampel, whose incredible story should be as known as the White Rose movement's since they were doing practically the same thing: subversive distribution of anti-Nazi leaflets. Or cards, in the case of the Quangels, as the Hampels are called here.
I was a bit uncomfortable with the classist undertone you can detect if you pay enough attention, because Otto and Anna Quangel, like Otto and Elise Hampel, are poor, have a modest job in a manual trade (carpentry), and didn't get a refined education, which is the reason the anti-Nazi cards they distributed aren't as wordy or rousing or philosophical as the Scholls' leaflets, who were from a higher class and very intellectual. The Hampels' cards even had spelling errors! But is that enough to sneer at them and look down one's nose at them? I don't think so. If all the difference between them and the White Rose is the presence of pretty words instead of moral equivalency of their actions, then there's a serious need to reconsider one's assessment of right and wrong. I'm glad that Hans Fallada got over his initial prejudice and decided to honour the Hampels for their courage, but still, the discomfort of this classism left a sour aftertaste for me, though not enough to hinder my enjoyment of this novel. Very recommended!
I was a bit uncomfortable with the classist undertone you can detect if you pay enough attention, because Otto and Anna Quangel, like Otto and Elise Hampel, are poor, have a modest job in a manual trade (carpentry), and didn't get a refined education, which is the reason the anti-Nazi cards they distributed aren't as wordy or rousing or philosophical as the Scholls' leaflets, who were from a higher class and very intellectual. The Hampels' cards even had spelling errors! But is that enough to sneer at them and look down one's nose at them? I don't think so. If all the difference between them and the White Rose is the presence of pretty words instead of moral equivalency of their actions, then there's a serious need to reconsider one's assessment of right and wrong. I'm glad that Hans Fallada got over his initial prejudice and decided to honour the Hampels for their courage, but still, the discomfort of this classism left a sour aftertaste for me, though not enough to hinder my enjoyment of this novel. Very recommended!
September 19, 2023
Hans Fallada has written an astonishing but ultimately tragic novel of German resistance to Nazism and the ever formidable Third Reich inferno, and I was stunned to learn it took something like 60 years for it's first English publication, and was penned in less than a month. Also Fallada could have escaped Germany; as a man whose books had been banned by the Nazis, and who had spent time in prison and psychiatric institutions as a result of a drug addiction, he should have got out. But if his inability to tear himself away from his homeland took a fearsome personal toll, it also enabled him to convey with chilling precision the texture of life under fascism, the way that fear enters into every transaction and poisons every relationship. Alone in Berlin is a testament to the darkest days the 20th century had to offer, from beginning to end the book in drenched in fear, it grips hold, tight, and makes it perfectly clear, this is how it was, this was actually happening. But for a husband and wife living through WW2 in Berlin they refuse to be intimidated by a despicable regime, and after losing their son in battle, set out discreetly to make their own personal feelings well known to a greater audience, whilst creating wrath within the Gestapo.
Otto and Anna Quangel are a hard working couple, laborious, unsociable, thrifty to the point of stinginess, and originally not hostile to the National Socialists. existing in a cold, shabby and colourless city. That changes when their beloved son, Ottochen, is killed while fighting in France. Otto, a foreman in a furniture factory that soon will be turned over to making coffins, is provoked into resistance. He spends his Sundays writing anonymous postcards attacking Hitler, before dropping them in the stairwells of city buildings. "Mother Don't give to the Winter Relief Fund! - Work as slowly as you can! - Put sand in the machines! - Every stroke of work not done will shorten the war!". This silent mission of defiance will lead a furious SS To put inspector Escherich on the case, with the added pressure of getting immediate results. Unfortunately for him It doesn't happen, always turning up a blind ally, with no traces leading to the suspect known as 'Hobgoblin'. The postcard campaign would march on and on, Otto would grow in both strength and confidence, before a spot of bad luck sends the walls crashing down around them. Finally witnessing the brutal penal code of Nazi Germany.
But the Quangels only make up part of the story, the novel reaches out far deeper than just it's main theme. There are traces of unruly life scattered everywhere. Brawling, delirium tremens, clinics and drying-out establishments, country idylls, thieves, whores, blackmail, drugs, Nazi veterans in a haze of drink, struggling ordinary folk trying to put food on the table. Vivid is the world of sub-proletarian swindling that exploits and is exploited by the Nazis. It is remarkable that Fallada, just months before his death, could compose a long novel that, after an overcrowded beginning, advances so confidently to its conclusion. The Quangels neighbours all have considerable time spent on them during the first third, helping to paint a picture of just what life was like under such evil rule. In fact there are huge chunks of the novel where Anna and Otto disappear completely, switching attention to the inner workings of the Gestapo and the fearful people who happen to have a run-ins with them. Many would by chance find one of the postcards, and be immediately struck with foreboding and dread for handling them.
I have not always taken to huge expansive novels in the past, Alone in Berlin has put my faith back in them. It was superbly written (translation by Michael Hofmann, top marks) never boring, seemed to fly by in a flash, and deserves all the praise it can get. The fact it was also exhaustingly draining on my soul, harrowing and intensely sad, doesn't stop it being up there with the best I have ever read. Even with the chaos of war around, standing face to face with the horror show of fascist Nazism, for some at least, courage and integrity can still exist, and never be broken. Through all the darkness that proceeds it, the novel still manages to end with a flickering light of hope. And Christ, does it ever need it.
November 5, 2016
芦螠畏蟿苇蟻伪, 慰 桅蠉蟻蔚蟻 蟽魏蠈蟿蠅蟽蔚 蟿慰谓 纬喂慰 渭慰蠀鈥β�
螔蔚蟻慰位委谓慰 1940. 螒蟻蠂苇蟼 蟿慰蠀 螔麓蟺伪纬魏慰蟽渭委慰蠀 蟺慰位苇渭慰蠀. 韦慰 蠂喂蟿位蔚蟻喂魏蠈 魏伪胃蔚蟽蟿蠋蟼 蟽蟿慰 伪蟺蠋蟿蔚蟻慰 渭蔚纬伪位蔚委慰 蟿慰蠀. 螚 谓伪味喂蟽蟿喂魏萎 伪胃位喂蠈蟿畏蟿伪 魏伪喂 畏 蟿蟻慰渭慰魏蟻伪蟿委伪 蟿慰蠀 螕麓蟻维喂蠂 蟺伪蟻伪位蠉慰蠀谓 魏伪喂 渭伪蟿蠋谓慰蠀谓 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪.
螘蟽蟿喂维味慰蠀渭蔚 蟽蟿慰蠀蟼 螕蔚蟻渭伪谓慰蠉蟼 蟺慰位委蟿蔚蟼 蟿畏谓 蔚蟺慰蠂萎 蔚魏蔚委谓畏.
锟斤拷蠀纬魏蔚魏蟻喂渭苇谓伪 蟽蔚 渭喂伪 蟺慰位蠀魏伪蟿慰喂魏委伪 魏伪喂 蟿慰蠀蟼 蔚谓慰委魏慰蠀蟼 蟿畏蟼 蟽蔚 渭喂伪 位伪蠆魏萎 纬蔚喂蟿慰谓喂维 蟿慰蠀 螔蔚蟻慰位委谓慰蠀. 螣喂 苇谓慰喂魏慰喂 伪谓蟿喂蟺蟻慰蟽蠅蟺蔚蠉慰蠀谓 蠈位蔚蟼 蟿喂蟼 蟺慰位喂蟿喂魏苇蟼 魏伪喂 魏慰喂谓蠅谓喂魏苇蟼 蟿维蟽蔚喂蟼.
螣 蟽蠀谓蟿伪尉喂慰蠉蠂慰蟼,伪未苇魏伪蟽蟿慰蟼 未喂魏伪蟽蟿萎蟼 桅蟻蠈渭, 渭蔚 纬谓蠋渭慰谓伪 蟿蠅谓 蟺蟻维尉蔚蠅谓 蟿慰蠀 蟿畏谓 伪蠁苇谓蟿蟻伪 蟿慰蠀,蟿畏 未喂魏伪喂慰蟽蠉谓畏.
螣 蠂伪渭蔚蟻蟺萎蟼 魏伪喂 未蔚喂位蠈蟼 蠂伪蠁喂苇蟼 螠蟺慰蟻魏蠂维慰蠀味蔚谓 渭蔚 蟺慰位位维 蟺伪喂未喂维 伪渭蠁喂位蔚纬蠈渭蔚谓畏蟼 蟺伪蟿蟻蠈蟿畏蟿伪蟼 魏伪喂 纬蠀谓伪委魏伪 蟺蠈蟻谓畏. 螖蔚谓 蔚谓未喂伪蠁苇蟻蔚蟿伪喂 纬喂伪 蟿委蟺慰蟿蔚 维位位慰 蟺苇蟻伪 伪蟺慰 蟿慰 蟿慰 蟿慰渭维蟻喂 蟿慰蠀 魏伪喂 蟿慰 魏苇蟻未慰蟼.
螤伪蟻苇伪 蟿慰蠀 苇谓伪蟼 胃位喂尾蔚蟻蠈蟼 伪蟺伪蟿蔚蠋谓伪蟼 蔚胃喂蟽渭苇谓慰蟼 蟽蟿慰 蟿味蠈纬慰 魏伪喂 蟿喂蟼 魏伪蟿伪蠂蟻萎蟽蔚喂蟼 蟺慰蠀 苇蠂蔚喂 尉蔚蠂维蟽蔚喂 蟺伪喂未喂维 魏伪喂 纬蠀谓伪委魏伪 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 谓伪 蔚蟺喂尾喂蠋蟽蔚喂 渭蔚 魏维胃蔚 蟺伪蟻伪蟽喂蟿喂魏蠈 蟿蟻蠈蟺慰 魏伪喂 谓伪 纬位喂蟿蠋蟽蔚喂 蟿畏 蟽蟿蟻维蟿蔚蠀蟽畏.
螒蠀蟿慰委 慰喂 未蠀慰 蟺蟻慰蟽蟺伪胃慰蠉谓 谓伪 位畏蟽蟿苇蠄慰蠀谓 蟿畏谓 畏位喂魏喂蠅渭苇谓畏 螘尾蟻伪委伪 魏蠀蟻委伪 巍蠈味蔚谓蟿伪位 畏 慰蟺慰委伪 蟺蟻慰蟺慰位蔚渭喂魏维 蔚委蠂蔚 渭喂伪 蔚蟺喂魏蔚蟻未萎 蔚蟺喂蠂蔚委蟻畏蟽畏 渭蔚 蟿慰 蟽蠉味蠀纬慰 蟿畏蟼.
韦蠋蟻伪 慰 蟽蠉味蠀纬慰蟼 蔚委谓伪喂 蔚尉伪蠁伪谓喂蟽渭苇谓慰蟼 蟽蔚 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 魏伪喂 畏 委未喂伪 蟿蟻慰渭慰魏蟻伪蟿畏渭苇谓畏.
危蟿畏谓 委未喂伪 蟺慰位蠀魏伪蟿慰喂魏委伪 蟽蠀谓伪谓蟿维渭蔚 蟿慰蠀蟼 螤蔚蟻味委魏蔚. 螠喂伪 蠁喂位慰谓伪味喂蟽蟿喂魏萎,蠁伪蟽喂蟽蟿喂魏萎 慰喂魏慰纬苇谓蔚喂伪 渭蔚 蟺慰位位苇蟼 未喂伪蟽蠀谓未苇蟽蔚喂蟼 蟽蟿畏 螕魏蔚蟽蟿维蟺慰 魏伪喂 蟿慰 蔚胃谓喂魏慰蟽慰蟽喂伪位喂蟽蟿喂魏蠈 魏委谓畏渭伪 蟿慰蠀 围委蟿位蔚蟻.
螝伪喂 蠁蠀蟽喂魏维 慰喂 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 渭伪蟼. 韦慰 味蔚蠀纬维蟻喂 蟿蠅谓 畏位喂魏喂蠅渭苇谓蠅谓 螝尾维谓纬魏蔚位. 螣 螌蟿慰 魏伪喂 畏 螁谓谓伪. 围维谓慰蠀谓 蟿慰 渭慰谓伪蠂慰蟺伪委未喂 蟿慰蠀蟼 蟽蟿慰谓 蟺蠈位蔚渭慰 魏伪喂 伪蟺慰蠁伪蟽委味慰蠀谓 谓伪 伪纬蠅谓喂蟽蟿慰蠉谓 魏伪蟿维 蟿慰蠀 谓伪味喂蟽蟿喂魏慰蠉 魏蟻维蟿慰蠀蟼.
螇蟿伪谓 蠁喂位萎蟽蠀蠂慰喂 魏伪喂 苇谓蟿喂渭慰喂 维谓胃蟻蠅蟺慰喂. 螛伪 渭蟺慰蟻慰蠉蟽伪渭蔚 谓伪 蟺慰蠉渭蔚 慰蠀未苇蟿蔚蟻慰喂,蔚蟽蠅蟽蟿蟻蔚蠁蔚委蟼 魏伪喂 伪魏慰喂谓蠋谓畏蟿慰喂.
螚 渭蔚蟿伪蟽蟿蟻慰蠁萎 蟿慰蠀蟼 蟽蔚 纬蔚谓谓伪委慰蠀蟼 伪纬蠅谓喂蟽蟿苇蟼 渭蔚 蟺维胃慰蟼 魏伪喂 蟿蠈位渭畏 蔚委谓伪喂 蟽蠀纬魏位慰谓喂蟽蟿喂魏萎.
螚 伪位蠈纬喂蟽蟿畏 蟺蟻慰蟽蟺维胃蔚喂伪 伪谓蟿委蟽蟿伪蟽畏蟼 蟿慰蠀 味蔚蠀纬伪蟻喂慰蠉 蔚委谓伪喂 蔚尉 伪蟻蠂萎蟼 伪蟺苇位蟺喂未畏 魏伪喂 魏伪蟿伪未喂魏伪蟽渭苇谓畏.
螕蟻维蠁慰蠀谓 魏维蟻蟿蔚蟼 魏伪蟿维 蟿慰蠀 蟺慰位苇渭慰蠀 魏伪喂 蟿慰蠀 围委蟿位蔚蟻 魏伪喂 蟿喂蟼 伪蠁萎谓慰蠀谓 蟽蔚 魏蔚谓蟿蟻喂魏维 蟽畏渭蔚委伪 魏伪喂 魏蟿委蟻喂伪 渭蔚 蟺慰位蠉 魏蠈蟽渭慰.
螌渭蠅蟼 慰喂 维谓胃蟻蠅蟺慰喂 蔚委谓伪喂 伪谓苇蟿喂渭慰喂 纬喂伪 伪谓蟿委蟽蟿伪蟽畏 魏伪喂 蟿蟻慰渭慰魏蟻伪蟿畏渭苇谓慰喂. 螣喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰喂 蟿蟻苇渭慰蠀谓 魏伪喂 伪未喂伪蠁慰蟻慰蠉谓 纬喂伪 蟿喂蟼 蔚魏伪蟿蠈渭尾蔚蟼 谓蔚魏蟻蠋谓 蟽蔚 蠈位慰 蟿慰谓 魏蠈蟽渭慰 蟽喂蠅蟺蠋谓蟿伪蟼 魏伪喂 胃伪蠀渭维味慰谓蟿伪蟼 渭蔚 未苇慰蟼 蟿慰谓 蟺伪蟻伪谓慰蠆魏蠈 渭伪魏蔚位维蟻畏 蟺慰蠀 蟿慰蠀蟼 蔚尉慰蠀蟽喂维味蔚喂.
螁位位慰喂 纬委谓慰谓蟿伪喂 魏伪蟿伪未蠈蟿蔚蟼 魏伪喂 蟽蠀谓蔚蟻纬维蟿蔚蟼 蟿蠅谓 谓伪味喂蟽蟿蠋谓. 螁位位慰喂 蠀蟺慰未慰蠀位蠋谓慰谓蟿伪喂 伪蟺慰 蟿蟻蠈渭慰, 维位位慰喂 蔚胃蔚位慰谓蟿喂魏维. 螣喂 渭喂蟽慰委 蟺伪蟻伪魏慰位慰蠀胃慰蠉谓 蟿慰蠀蟼 维位位慰蠀蟼 渭喂蟽慰蠉蟼 纬喂伪 谓伪 蟿慰蠀蟼 蔚谓慰蠂慰蟺慰喂萎蟽慰蠀谓. 螝伪喂 蠈位慰喂 蠁慰尾慰蠉谓蟿伪喂 蠈位慰蠀蟼.
螘委谓伪喂 苇谓伪蟼 蔚蠁喂维位蟿畏蟼 蟺慰蠀 尾喂蠋谓慰蠀谓 慰喂魏慰纬苇谓蔚喂蔚蟼,纬蔚喂蟿慰谓喂苇蟼,魏慰喂谓蠅谓委蔚蟼,蟺蠈位蔚喂蟼,苇胃谓畏.
螘蟺慰渭苇谓蠅蟼 慰 蟿蟻蠈蟺慰蟼 伪谓蟿委蟽蟿伪蟽畏蟼 蟿蠅谓 螝尾维谓纬魏蔚位 渭蠈谓慰 蟺伪谓喂魏蠈 蟽蟺苇蟻谓蔚喂. 螠蔚蟿维 伪蟺慰 未蠀慰 蠂蟻蠈谓喂伪 伪蟺伪蟻维渭喂位位畏蟼 伪谓蟿委蟽蟿伪蟽畏蟼 魏伪喂 伪蟽蟿伪渭维蟿畏蟿慰蠀 伪纬蠋谓伪 蟿慰 味蔚蠀纬维蟻喂 苇蠂蔚喂 未喂伪谓蔚委渭蔚喂 蔚魏伪蟿慰谓蟿维未蔚蟼 魏维蟻蟿蔚蟼 魏伪喂 纬蟻维渭渭伪蟿伪. 韦伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 蠈渭蠅蟼 苇蠂慰蠀谓 魏伪蟿伪位萎尉蔚喂 蟽蟿伪 纬蟻伪蠁蔚委伪 蟿畏蟼 螕魏蔚蟽蟿维蟺慰
螘位维蠂喂蟽蟿伪 未蔚谓 蟺伪蟻伪未蠈胃畏魏伪谓 蟽蟿喂蟼 伪蟻蠂苇蟼,蠈渭蠅蟼 未蔚谓 渭维胃伪渭蔚 蟺慰蟿苇 伪谓 维纬纬喂尉伪谓 蟿畏谓 蠄蠀蠂萎 魏伪喂 蟿慰 渭蠀伪位蠈 魏维蟺慰喂蠅谓.
螔苇尾伪喂伪, 畏 螕魏蔚蟽蟿维蟺慰, 蟿伪 螘蟼 螘蟼, 魏伪喂 螘蟼 螒,蠅蟼 渭畏蠂伪谓喂蟽渭慰委 伪谓伪蟽蟿慰位萎蟼 伪谓伪蟽蟿伪蟿蠋谓慰谓蟿伪喂 伪蟺慰 伪蠀蟿苇蟼 蟿喂蟼 芦魏维蟻蟿蔚蟼禄 魏伪喂 蟺伪位蔚蠉慰蠀谓 谓伪 蟽蠀位位维尾慰蠀谓 蟿慰蠀蟼 蟺蟻慰未蠈蟿蔚蟼 蟿慰蠀 伪喂蟽蠂蟻慰蠉 蟿慰蠀蟼 魏伪胃蔚蟽蟿蠋蟿慰蟼.
螌蟽慰 伪蟺慰蟿蠀纬蠂维谓慰蠀谓 蟿蠈蟽慰 纬蔚位慰喂慰蟺慰喂慰蠉谓蟿伪喂 魏伪喂 蟿伪蟺蔚喂谓蠋谓慰谓蟿伪喂.
螒蟻蠂委味慰蠀谓 蟺蠈位蔚渭慰 喂蔚蟻伪蟻蠂喂魏蠋谓 魏伪喂 蔚尉慰蠀蟽喂伪蟽蟿喂魏蠋谓 未慰渭蠋谓 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 渭蔚 伪蟿苇位蔚喂蠅蟿蔚蟼 伪谓伪魏蟻委蟽蔚喂蟼, 蠀蟺慰胃蔚蟿喂魏苇蟼 未慰位慰蟺位慰魏委蔚蟼, 蠁蠀位伪魏委蟽蔚喂蟼 胃蔚蠅蟻畏蟿喂魏维 蔚谓蠈蠂蠅谓 魏伪喂 蔚纬魏位萎渭伪蟿伪 谓伪 伪谓伪魏伪位蠉蠄慰蠀谓 蟿慰谓 芦桅伪谓蟿慰渭维禄 蟺慰蠀 纬蟻维蠁蔚喂 魏维蟻蟿蔚蟼.
螠苇蟽伪 伪蟺慰 伪蠀蟿萎 蟿畏谓 伪纬蠅谓喂蠋未畏 纬喂伪 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 魏伪蟿伪未委蠅尉畏 渭蔚 蠈位蔚蟼 蟿喂蟼 蟽魏苇蠄蔚喂蟼, 蟿喂蟼 蟺蟻维尉蔚喂蟼, 蟿喂蟼 伪蟺慰蠁维蟽蔚喂蟼 尾萎渭伪-尾萎渭伪 魏伪喂 蟿喂蟼 蟺蟻慰蟽蟺维胃蔚喂蔚蟼 蟿蠅谓 未喂蠅魏蟿蠋谓, 蔚蠂慰蠀渭蔚 魏伪喂 蟿慰 未喂魏蠈 蟿慰蠀蟼 蟽魏喂伪纬蟻维蠁畏渭伪 -喂未喂伪委蟿蔚蟻伪 蔚蟺喂蟿蠀蠂苇蟼 魏伪喂 蔚蠉蟽蟿慰蠂慰- 伪位位维 魏伪喂 蟿畏谓 魏慰蟻蠉蠁蠅蟽畏 蟿畏蟼 位伪蠂蟿维蟻伪蟼 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 谓伪 纬位喂蟿蠋蟽慰蠀谓 慰喂 未喂魏慰委 渭伪蟼 伪谓蟿委-萎蟻蠅蔚蟼-伪纬蠅谓喂蟽蟿苇蟼 伪蟺慰 蟿慰 蟺伪蟻伪蟽蟿蟻维蟿畏渭伪 魏伪喂 蟿慰谓 苇蟽蠂伪蟿慰 魏委谓未蠀谓慰 蟿慰蠀 位维胃慰蠀蟼 魏伪喂 蟿畏蟼 蟽蠉位位畏蠄畏蟼.
芦.. 位委纬慰 萎 蟺慰位蠉, 魏伪谓蔚委蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟻喂蟽魏维蟻蔚喂 蟿委蟺慰蟿伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺蠈 蟿畏谓 委未喂伪 蟿慰蠀 蟿畏 味蠅萎. 螝维胃蔚 维谓胃蟻蠅蟺慰蟼 蔚委蠂蔚 未喂伪蠁慰蟻蔚蟿喂魏苇蟼 喂魏伪谓蠈蟿畏蟿蔚蟼 魏伪喂 未喂伪蠁慰蟻蔚蟿喂魏蠈 蠂伪蟻伪魏蟿萎蟻伪- 蟿慰 蟽畏渭伪谓蟿喂魏蠈 蔚委谓伪喂 谓伪 伪谓蟿喂蟽蟿苇魏蔚蟽伪喂禄
韦慰 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈蟿蔚蟻慰 渭苇蟻慰蟼 蟿畏蟼 伪蠁萎纬畏蟽畏蟼 蔚委谓伪喂 渭蔚蟿维 蟿畏 蟽蠉位位畏蠄畏 蟿慰蠀蟼 畏 蟺伪蟻伪渭慰谓萎 魏伪喂 畏 渭蔚蟿维位位伪尉畏 魏伪喂 蠅蟻委渭伪谓蟽畏 蟿慰蠀蟼 渭苇蟽伪 蟽蟿畏 蠁蠀位伪魏萎.
韦蠈蟽慰 慰 螌蟿慰 蠈蟽慰 魏伪喂 畏 螁谓谓伪 渭苇蟽伪 蟽蟿伪 魏蔚位喂维 魏伪喂 蟿畏谓 伪蟺慰渭蠈谓蠅蟽畏 渭蔚蟿伪位位维蟽蟽慰谓蟿伪喂. 螒蟺蔚位蔚蠀胃蔚蟻蠋谓慰谓蟿伪喂. 螤蟻慰蟽未慰魏慰蠉谓 蠈,蟿喂 未蔚谓 苇魏伪谓伪谓 蟽蔚 蠈位畏 蟿慰蠀蟼 蟿畏 味蠅萎. 桅喂位慰蟽慰蠁慰蠉谓. 螘位蟺委味慰蠀谓. 螒谓蟿喂蟽蟿苇魏慰谓蟿伪喂. 螣谓蔚喂蟻蔚蠉慰谓蟿伪喂. 危蠀谓蔚喂未畏蟿慰蟺慰喂慰蠉谓.
螒蟺位蠈,位喂蟿蠈 魏伪喂 伪蚁喂蟽蟿慰蠀蚁纬畏渭伪蟿喂魏蠈 伪谓维纬谓蠅蟽渭伪. 围蠅蟻委蟼 蟿蟻伪纬喂魏慰蠉蟼 渭蔚位慰未蟻伪渭伪蟿喂蟽渭慰蠉蟼. 围蠅蟻委蟼 未伪魏蟻蠉尾蟻蔚蠂蟿蔚蟼 魏伪喂 伪喂渭伪蟿慰尾伪渭渭苇谓蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼. 围蠅蟻委蟼 蟺慰渭蟺蠋未蔚喂蟼 蟽魏喂伪纬蟻伪蠁萎蟽蔚喂蟼 畏蟻蠋蠅谓 魏伪喂 伪纬蠅谓喂蟽蟿蠋谓. 围蠅蟻委蟼 蟺慰位位维 蠂蔚位喂未蠈谓喂伪, 渭蠈谓慰 渭蔚 渭喂伪 螁谓慰喂尉畏.
芦螠畏蟿苇蟻伪, 慰 桅蠉蟻蔚蟻 蟽魏蠈蟿蠅蟽蔚 蟿慰谓 纬喂慰 渭慰蠀鈥β�
螚 蟺蟻蠋蟿畏 魏维蟻蟿伪 蟿蠅谓 螝尾维谓纬魏蔚位 蔚谓维谓蟿喂伪 蟽蟿慰 蠂喂蟿位蔚蟻喂魏蠈 魏伪胃蔚蟽蟿蠋蟼.
螝伪位萎 伪谓维纬谓蠅蟽畏.
螒纬蠅谓喂蟽蟿喂魏慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
螔蔚蟻慰位委谓慰 1940. 螒蟻蠂苇蟼 蟿慰蠀 螔麓蟺伪纬魏慰蟽渭委慰蠀 蟺慰位苇渭慰蠀. 韦慰 蠂喂蟿位蔚蟻喂魏蠈 魏伪胃蔚蟽蟿蠋蟼 蟽蟿慰 伪蟺蠋蟿蔚蟻慰 渭蔚纬伪位蔚委慰 蟿慰蠀. 螚 谓伪味喂蟽蟿喂魏萎 伪胃位喂蠈蟿畏蟿伪 魏伪喂 畏 蟿蟻慰渭慰魏蟻伪蟿委伪 蟿慰蠀 螕麓蟻维喂蠂 蟺伪蟻伪位蠉慰蠀谓 魏伪喂 渭伪蟿蠋谓慰蠀谓 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪.
螘蟽蟿喂维味慰蠀渭蔚 蟽蟿慰蠀蟼 螕蔚蟻渭伪谓慰蠉蟼 蟺慰位委蟿蔚蟼 蟿畏谓 蔚蟺慰蠂萎 蔚魏蔚委谓畏.
锟斤拷蠀纬魏蔚魏蟻喂渭苇谓伪 蟽蔚 渭喂伪 蟺慰位蠀魏伪蟿慰喂魏委伪 魏伪喂 蟿慰蠀蟼 蔚谓慰委魏慰蠀蟼 蟿畏蟼 蟽蔚 渭喂伪 位伪蠆魏萎 纬蔚喂蟿慰谓喂维 蟿慰蠀 螔蔚蟻慰位委谓慰蠀. 螣喂 苇谓慰喂魏慰喂 伪谓蟿喂蟺蟻慰蟽蠅蟺蔚蠉慰蠀谓 蠈位蔚蟼 蟿喂蟼 蟺慰位喂蟿喂魏苇蟼 魏伪喂 魏慰喂谓蠅谓喂魏苇蟼 蟿维蟽蔚喂蟼.
螣 蟽蠀谓蟿伪尉喂慰蠉蠂慰蟼,伪未苇魏伪蟽蟿慰蟼 未喂魏伪蟽蟿萎蟼 桅蟻蠈渭, 渭蔚 纬谓蠋渭慰谓伪 蟿蠅谓 蟺蟻维尉蔚蠅谓 蟿慰蠀 蟿畏谓 伪蠁苇谓蟿蟻伪 蟿慰蠀,蟿畏 未喂魏伪喂慰蟽蠉谓畏.
螣 蠂伪渭蔚蟻蟺萎蟼 魏伪喂 未蔚喂位蠈蟼 蠂伪蠁喂苇蟼 螠蟺慰蟻魏蠂维慰蠀味蔚谓 渭蔚 蟺慰位位维 蟺伪喂未喂维 伪渭蠁喂位蔚纬蠈渭蔚谓畏蟼 蟺伪蟿蟻蠈蟿畏蟿伪蟼 魏伪喂 纬蠀谓伪委魏伪 蟺蠈蟻谓畏. 螖蔚谓 蔚谓未喂伪蠁苇蟻蔚蟿伪喂 纬喂伪 蟿委蟺慰蟿蔚 维位位慰 蟺苇蟻伪 伪蟺慰 蟿慰 蟿慰 蟿慰渭维蟻喂 蟿慰蠀 魏伪喂 蟿慰 魏苇蟻未慰蟼.
螤伪蟻苇伪 蟿慰蠀 苇谓伪蟼 胃位喂尾蔚蟻蠈蟼 伪蟺伪蟿蔚蠋谓伪蟼 蔚胃喂蟽渭苇谓慰蟼 蟽蟿慰 蟿味蠈纬慰 魏伪喂 蟿喂蟼 魏伪蟿伪蠂蟻萎蟽蔚喂蟼 蟺慰蠀 苇蠂蔚喂 尉蔚蠂维蟽蔚喂 蟺伪喂未喂维 魏伪喂 纬蠀谓伪委魏伪 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 谓伪 蔚蟺喂尾喂蠋蟽蔚喂 渭蔚 魏维胃蔚 蟺伪蟻伪蟽喂蟿喂魏蠈 蟿蟻蠈蟺慰 魏伪喂 谓伪 纬位喂蟿蠋蟽蔚喂 蟿畏 蟽蟿蟻维蟿蔚蠀蟽畏.
螒蠀蟿慰委 慰喂 未蠀慰 蟺蟻慰蟽蟺伪胃慰蠉谓 谓伪 位畏蟽蟿苇蠄慰蠀谓 蟿畏谓 畏位喂魏喂蠅渭苇谓畏 螘尾蟻伪委伪 魏蠀蟻委伪 巍蠈味蔚谓蟿伪位 畏 慰蟺慰委伪 蟺蟻慰蟺慰位蔚渭喂魏维 蔚委蠂蔚 渭喂伪 蔚蟺喂魏蔚蟻未萎 蔚蟺喂蠂蔚委蟻畏蟽畏 渭蔚 蟿慰 蟽蠉味蠀纬慰 蟿畏蟼.
韦蠋蟻伪 慰 蟽蠉味蠀纬慰蟼 蔚委谓伪喂 蔚尉伪蠁伪谓喂蟽渭苇谓慰蟼 蟽蔚 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 魏伪喂 畏 委未喂伪 蟿蟻慰渭慰魏蟻伪蟿畏渭苇谓畏.
危蟿畏谓 委未喂伪 蟺慰位蠀魏伪蟿慰喂魏委伪 蟽蠀谓伪谓蟿维渭蔚 蟿慰蠀蟼 螤蔚蟻味委魏蔚. 螠喂伪 蠁喂位慰谓伪味喂蟽蟿喂魏萎,蠁伪蟽喂蟽蟿喂魏萎 慰喂魏慰纬苇谓蔚喂伪 渭蔚 蟺慰位位苇蟼 未喂伪蟽蠀谓未苇蟽蔚喂蟼 蟽蟿畏 螕魏蔚蟽蟿维蟺慰 魏伪喂 蟿慰 蔚胃谓喂魏慰蟽慰蟽喂伪位喂蟽蟿喂魏蠈 魏委谓畏渭伪 蟿慰蠀 围委蟿位蔚蟻.
螝伪喂 蠁蠀蟽喂魏维 慰喂 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 渭伪蟼. 韦慰 味蔚蠀纬维蟻喂 蟿蠅谓 畏位喂魏喂蠅渭苇谓蠅谓 螝尾维谓纬魏蔚位. 螣 螌蟿慰 魏伪喂 畏 螁谓谓伪. 围维谓慰蠀谓 蟿慰 渭慰谓伪蠂慰蟺伪委未喂 蟿慰蠀蟼 蟽蟿慰谓 蟺蠈位蔚渭慰 魏伪喂 伪蟺慰蠁伪蟽委味慰蠀谓 谓伪 伪纬蠅谓喂蟽蟿慰蠉谓 魏伪蟿维 蟿慰蠀 谓伪味喂蟽蟿喂魏慰蠉 魏蟻维蟿慰蠀蟼.
螇蟿伪谓 蠁喂位萎蟽蠀蠂慰喂 魏伪喂 苇谓蟿喂渭慰喂 维谓胃蟻蠅蟺慰喂. 螛伪 渭蟺慰蟻慰蠉蟽伪渭蔚 谓伪 蟺慰蠉渭蔚 慰蠀未苇蟿蔚蟻慰喂,蔚蟽蠅蟽蟿蟻蔚蠁蔚委蟼 魏伪喂 伪魏慰喂谓蠋谓畏蟿慰喂.
螚 渭蔚蟿伪蟽蟿蟻慰蠁萎 蟿慰蠀蟼 蟽蔚 纬蔚谓谓伪委慰蠀蟼 伪纬蠅谓喂蟽蟿苇蟼 渭蔚 蟺维胃慰蟼 魏伪喂 蟿蠈位渭畏 蔚委谓伪喂 蟽蠀纬魏位慰谓喂蟽蟿喂魏萎.
螚 伪位蠈纬喂蟽蟿畏 蟺蟻慰蟽蟺维胃蔚喂伪 伪谓蟿委蟽蟿伪蟽畏蟼 蟿慰蠀 味蔚蠀纬伪蟻喂慰蠉 蔚委谓伪喂 蔚尉 伪蟻蠂萎蟼 伪蟺苇位蟺喂未畏 魏伪喂 魏伪蟿伪未喂魏伪蟽渭苇谓畏.
螕蟻维蠁慰蠀谓 魏维蟻蟿蔚蟼 魏伪蟿维 蟿慰蠀 蟺慰位苇渭慰蠀 魏伪喂 蟿慰蠀 围委蟿位蔚蟻 魏伪喂 蟿喂蟼 伪蠁萎谓慰蠀谓 蟽蔚 魏蔚谓蟿蟻喂魏维 蟽畏渭蔚委伪 魏伪喂 魏蟿委蟻喂伪 渭蔚 蟺慰位蠉 魏蠈蟽渭慰.
螌渭蠅蟼 慰喂 维谓胃蟻蠅蟺慰喂 蔚委谓伪喂 伪谓苇蟿喂渭慰喂 纬喂伪 伪谓蟿委蟽蟿伪蟽畏 魏伪喂 蟿蟻慰渭慰魏蟻伪蟿畏渭苇谓慰喂. 螣喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰喂 蟿蟻苇渭慰蠀谓 魏伪喂 伪未喂伪蠁慰蟻慰蠉谓 纬喂伪 蟿喂蟼 蔚魏伪蟿蠈渭尾蔚蟼 谓蔚魏蟻蠋谓 蟽蔚 蠈位慰 蟿慰谓 魏蠈蟽渭慰 蟽喂蠅蟺蠋谓蟿伪蟼 魏伪喂 胃伪蠀渭维味慰谓蟿伪蟼 渭蔚 未苇慰蟼 蟿慰谓 蟺伪蟻伪谓慰蠆魏蠈 渭伪魏蔚位维蟻畏 蟺慰蠀 蟿慰蠀蟼 蔚尉慰蠀蟽喂维味蔚喂.
螁位位慰喂 纬委谓慰谓蟿伪喂 魏伪蟿伪未蠈蟿蔚蟼 魏伪喂 蟽蠀谓蔚蟻纬维蟿蔚蟼 蟿蠅谓 谓伪味喂蟽蟿蠋谓. 螁位位慰喂 蠀蟺慰未慰蠀位蠋谓慰谓蟿伪喂 伪蟺慰 蟿蟻蠈渭慰, 维位位慰喂 蔚胃蔚位慰谓蟿喂魏维. 螣喂 渭喂蟽慰委 蟺伪蟻伪魏慰位慰蠀胃慰蠉谓 蟿慰蠀蟼 维位位慰蠀蟼 渭喂蟽慰蠉蟼 纬喂伪 谓伪 蟿慰蠀蟼 蔚谓慰蠂慰蟺慰喂萎蟽慰蠀谓. 螝伪喂 蠈位慰喂 蠁慰尾慰蠉谓蟿伪喂 蠈位慰蠀蟼.
螘委谓伪喂 苇谓伪蟼 蔚蠁喂维位蟿畏蟼 蟺慰蠀 尾喂蠋谓慰蠀谓 慰喂魏慰纬苇谓蔚喂蔚蟼,纬蔚喂蟿慰谓喂苇蟼,魏慰喂谓蠅谓委蔚蟼,蟺蠈位蔚喂蟼,苇胃谓畏.
螘蟺慰渭苇谓蠅蟼 慰 蟿蟻蠈蟺慰蟼 伪谓蟿委蟽蟿伪蟽畏蟼 蟿蠅谓 螝尾维谓纬魏蔚位 渭蠈谓慰 蟺伪谓喂魏蠈 蟽蟺苇蟻谓蔚喂. 螠蔚蟿维 伪蟺慰 未蠀慰 蠂蟻蠈谓喂伪 伪蟺伪蟻维渭喂位位畏蟼 伪谓蟿委蟽蟿伪蟽畏蟼 魏伪喂 伪蟽蟿伪渭维蟿畏蟿慰蠀 伪纬蠋谓伪 蟿慰 味蔚蠀纬维蟻喂 苇蠂蔚喂 未喂伪谓蔚委渭蔚喂 蔚魏伪蟿慰谓蟿维未蔚蟼 魏维蟻蟿蔚蟼 魏伪喂 纬蟻维渭渭伪蟿伪. 韦伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 蠈渭蠅蟼 苇蠂慰蠀谓 魏伪蟿伪位萎尉蔚喂 蟽蟿伪 纬蟻伪蠁蔚委伪 蟿畏蟼 螕魏蔚蟽蟿维蟺慰
螘位维蠂喂蟽蟿伪 未蔚谓 蟺伪蟻伪未蠈胃畏魏伪谓 蟽蟿喂蟼 伪蟻蠂苇蟼,蠈渭蠅蟼 未蔚谓 渭维胃伪渭蔚 蟺慰蟿苇 伪谓 维纬纬喂尉伪谓 蟿畏谓 蠄蠀蠂萎 魏伪喂 蟿慰 渭蠀伪位蠈 魏维蟺慰喂蠅谓.
螔苇尾伪喂伪, 畏 螕魏蔚蟽蟿维蟺慰, 蟿伪 螘蟼 螘蟼, 魏伪喂 螘蟼 螒,蠅蟼 渭畏蠂伪谓喂蟽渭慰委 伪谓伪蟽蟿慰位萎蟼 伪谓伪蟽蟿伪蟿蠋谓慰谓蟿伪喂 伪蟺慰 伪蠀蟿苇蟼 蟿喂蟼 芦魏维蟻蟿蔚蟼禄 魏伪喂 蟺伪位蔚蠉慰蠀谓 谓伪 蟽蠀位位维尾慰蠀谓 蟿慰蠀蟼 蟺蟻慰未蠈蟿蔚蟼 蟿慰蠀 伪喂蟽蠂蟻慰蠉 蟿慰蠀蟼 魏伪胃蔚蟽蟿蠋蟿慰蟼.
螌蟽慰 伪蟺慰蟿蠀纬蠂维谓慰蠀谓 蟿蠈蟽慰 纬蔚位慰喂慰蟺慰喂慰蠉谓蟿伪喂 魏伪喂 蟿伪蟺蔚喂谓蠋谓慰谓蟿伪喂.
螒蟻蠂委味慰蠀谓 蟺蠈位蔚渭慰 喂蔚蟻伪蟻蠂喂魏蠋谓 魏伪喂 蔚尉慰蠀蟽喂伪蟽蟿喂魏蠋谓 未慰渭蠋谓 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 渭蔚 伪蟿苇位蔚喂蠅蟿蔚蟼 伪谓伪魏蟻委蟽蔚喂蟼, 蠀蟺慰胃蔚蟿喂魏苇蟼 未慰位慰蟺位慰魏委蔚蟼, 蠁蠀位伪魏委蟽蔚喂蟼 胃蔚蠅蟻畏蟿喂魏维 蔚谓蠈蠂蠅谓 魏伪喂 蔚纬魏位萎渭伪蟿伪 谓伪 伪谓伪魏伪位蠉蠄慰蠀谓 蟿慰谓 芦桅伪谓蟿慰渭维禄 蟺慰蠀 纬蟻维蠁蔚喂 魏维蟻蟿蔚蟼.
螠苇蟽伪 伪蟺慰 伪蠀蟿萎 蟿畏谓 伪纬蠅谓喂蠋未畏 纬喂伪 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 魏伪蟿伪未委蠅尉畏 渭蔚 蠈位蔚蟼 蟿喂蟼 蟽魏苇蠄蔚喂蟼, 蟿喂蟼 蟺蟻维尉蔚喂蟼, 蟿喂蟼 伪蟺慰蠁维蟽蔚喂蟼 尾萎渭伪-尾萎渭伪 魏伪喂 蟿喂蟼 蟺蟻慰蟽蟺维胃蔚喂蔚蟼 蟿蠅谓 未喂蠅魏蟿蠋谓, 蔚蠂慰蠀渭蔚 魏伪喂 蟿慰 未喂魏蠈 蟿慰蠀蟼 蟽魏喂伪纬蟻维蠁畏渭伪 -喂未喂伪委蟿蔚蟻伪 蔚蟺喂蟿蠀蠂苇蟼 魏伪喂 蔚蠉蟽蟿慰蠂慰- 伪位位维 魏伪喂 蟿畏谓 魏慰蟻蠉蠁蠅蟽畏 蟿畏蟼 位伪蠂蟿维蟻伪蟼 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 谓伪 纬位喂蟿蠋蟽慰蠀谓 慰喂 未喂魏慰委 渭伪蟼 伪谓蟿委-萎蟻蠅蔚蟼-伪纬蠅谓喂蟽蟿苇蟼 伪蟺慰 蟿慰 蟺伪蟻伪蟽蟿蟻维蟿畏渭伪 魏伪喂 蟿慰谓 苇蟽蠂伪蟿慰 魏委谓未蠀谓慰 蟿慰蠀 位维胃慰蠀蟼 魏伪喂 蟿畏蟼 蟽蠉位位畏蠄畏蟼.
芦.. 位委纬慰 萎 蟺慰位蠉, 魏伪谓蔚委蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟻喂蟽魏维蟻蔚喂 蟿委蟺慰蟿伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺蠈 蟿畏谓 委未喂伪 蟿慰蠀 蟿畏 味蠅萎. 螝维胃蔚 维谓胃蟻蠅蟺慰蟼 蔚委蠂蔚 未喂伪蠁慰蟻蔚蟿喂魏苇蟼 喂魏伪谓蠈蟿畏蟿蔚蟼 魏伪喂 未喂伪蠁慰蟻蔚蟿喂魏蠈 蠂伪蟻伪魏蟿萎蟻伪- 蟿慰 蟽畏渭伪谓蟿喂魏蠈 蔚委谓伪喂 谓伪 伪谓蟿喂蟽蟿苇魏蔚蟽伪喂禄
韦慰 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈蟿蔚蟻慰 渭苇蟻慰蟼 蟿畏蟼 伪蠁萎纬畏蟽畏蟼 蔚委谓伪喂 渭蔚蟿维 蟿畏 蟽蠉位位畏蠄畏 蟿慰蠀蟼 畏 蟺伪蟻伪渭慰谓萎 魏伪喂 畏 渭蔚蟿维位位伪尉畏 魏伪喂 蠅蟻委渭伪谓蟽畏 蟿慰蠀蟼 渭苇蟽伪 蟽蟿畏 蠁蠀位伪魏萎.
韦蠈蟽慰 慰 螌蟿慰 蠈蟽慰 魏伪喂 畏 螁谓谓伪 渭苇蟽伪 蟽蟿伪 魏蔚位喂维 魏伪喂 蟿畏谓 伪蟺慰渭蠈谓蠅蟽畏 渭蔚蟿伪位位维蟽蟽慰谓蟿伪喂. 螒蟺蔚位蔚蠀胃蔚蟻蠋谓慰谓蟿伪喂. 螤蟻慰蟽未慰魏慰蠉谓 蠈,蟿喂 未蔚谓 苇魏伪谓伪谓 蟽蔚 蠈位畏 蟿慰蠀蟼 蟿畏 味蠅萎. 桅喂位慰蟽慰蠁慰蠉谓. 螘位蟺委味慰蠀谓. 螒谓蟿喂蟽蟿苇魏慰谓蟿伪喂. 螣谓蔚喂蟻蔚蠉慰谓蟿伪喂. 危蠀谓蔚喂未畏蟿慰蟺慰喂慰蠉谓.
螒蟺位蠈,位喂蟿蠈 魏伪喂 伪蚁喂蟽蟿慰蠀蚁纬畏渭伪蟿喂魏蠈 伪谓维纬谓蠅蟽渭伪. 围蠅蟻委蟼 蟿蟻伪纬喂魏慰蠉蟼 渭蔚位慰未蟻伪渭伪蟿喂蟽渭慰蠉蟼. 围蠅蟻委蟼 未伪魏蟻蠉尾蟻蔚蠂蟿蔚蟼 魏伪喂 伪喂渭伪蟿慰尾伪渭渭苇谓蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼. 围蠅蟻委蟼 蟺慰渭蟺蠋未蔚喂蟼 蟽魏喂伪纬蟻伪蠁萎蟽蔚喂蟼 畏蟻蠋蠅谓 魏伪喂 伪纬蠅谓喂蟽蟿蠋谓. 围蠅蟻委蟼 蟺慰位位维 蠂蔚位喂未蠈谓喂伪, 渭蠈谓慰 渭蔚 渭喂伪 螁谓慰喂尉畏.
芦螠畏蟿苇蟻伪, 慰 桅蠉蟻蔚蟻 蟽魏蠈蟿蠅蟽蔚 蟿慰谓 纬喂慰 渭慰蠀鈥β�
螚 蟺蟻蠋蟿畏 魏维蟻蟿伪 蟿蠅谓 螝尾维谓纬魏蔚位 蔚谓维谓蟿喂伪 蟽蟿慰 蠂喂蟿位蔚蟻喂魏蠈 魏伪胃蔚蟽蟿蠋蟼.
螝伪位萎 伪谓维纬谓蠅蟽畏.
螒纬蠅谓喂蟽蟿喂魏慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
March 7, 2016
"Then he picked up the pen and said softly, but clearly, "The first sentence of our first card will read: Mother! The F眉hrer has murdered my son."....At that instant she grasped that this very first sentence was Otto's absolute and irrevocable declaration of war, and also what that meant: war between, on the one side, the two of them, poor, small, insignificant workers who could be extinguished for just a word or two, and on the other, the F眉hrer, the Party, the whole apparatus in all its power and glory, with three-fourths or even four-fifths of the German people behind it. And the two of them in this little room in Jablonski Strasse.鈥�
First and foremost this is an absolutely captivating novel. As exciting in its choreography of brilliantly sustained dramatic tension as the best thriller. What it lacks in artistry is made up for by its streamlined vitality and the pulsing urgency of its narrative. There鈥檚 something Dickensian about this energy, just as there鈥檚 something Dickensian about its characters, all of whom are exaggerated, even caricatured but who nevertheless are always large and vivid with humanity. The Nazis too are powerfully caricatured. At one point a Nazi character says, 鈥淚 don鈥檛 care about emotions. I鈥檇 rather have a proper ham sandwich than all the emotion in the world.鈥� This statement is very much in keeping with Nazi priorities within the parameters of the novel where not only the banality of evil is brilliantly dramatised but also the banality of good.
Alone in Berlin is based on a true story. Otto and Anna Quangel in the novel are based on Otto and Elise Hampel who, to begin with, are not by any means hostile to the National Socialists. This changes when Elise鈥檚 brother is killed early in the war. The Hampels now begin leaving hundreds of postcards all over Berlin calling for civil disobedience. In the novel it is the death of Otto and Anna鈥檚 son that sparks the change of stance towards the Nazis. Otto, a foreman in a furniture factory that soon will be turned over to making coffins, is provoked into resistance. He spends his Sundays writing anonymous postcards against the regime and dropping them in the stairwells of city buildings. "Mother Don't give to the Winter Relief Fund! - Work as slowly as you can! - Put sand in the machines! - Every stroke of work not done will shorten the war!"
The overriding and unanswerable question about the Nazis remains how did it happen? How did an entire nation allow themselves to be swept up in a tsunami of racial hatred and vengeance? We鈥檙e usually told there was nothing one individual could do to oppose this orchestrated regime of terror. The brilliant achievement of this novel is to show how two simple working class people did oppose the Nazis, but, from every practical point of view, in an utterly futile manner. The postcards they wrote 鈥� lacking any intellectual sophistication and often containing grammatical errors and misspellings - were almost all immediately handed in to the Gestapo. They terrified anyone who had the bad luck to stumble across one of them. They did no political or military damage whatsoever. This husband and wife were risking their lives for, what in practical terms, was an utterly futile commitment to a series of all but useless gestures. Anna herself questions the 鈥渟mallness鈥� of the gesture but Otto points out that, if caught, they will pay with their lives and no one can sacrifice more than her own life. Fallada鈥檚 great triumph is to show us that their actions, in the sphere of ethics, were far from futile. They acted in accordance with conscience, to preserve their moral integrity even though they knew that to preserve their self-respect would mean losing their lives. Otto鈥檚 moment of triumph comes at his (sham) trial when he stands up to the infamous real life Nazi judge most famously portrayed in the film Sophie Scholl. Although Otto doesn鈥檛 believe in God what he does is as much a religious as a political act. He is acting as though his every gesture is being monitored by a moral overseer.
February 28, 2021
The author Hans Fallada, with native name Rudolf Wilhelm Friedrich Ditzen, is born on July 21st 1893 in Greifswald and he died on Feb 5th 1947 in Berlin. Hans Fallada manages with his book 鈥淓very Man Dies Alone鈥� a great story during the time of the Nazi regime. The novel deals with the authentic case of the couple Otto and Elise Hampel, who were fated to die and to be executed for 鈥渄isintegration of the military force鈥� and 鈥減reparation for high treason鈥�. The current events in this story are well researched and it is indeed based on true events of the Quangel family, whose Gestapo file is the basis for this novel. This book is consequently touching and very atmospheric written and impresses me with its moving story. And considering that Fallada wrote the story only two years after the end of the gruesome chapter of German history, you can read the story even more astonishing. With that analytic mind of the writer, his distance and the emotional depth at the same time, he dissected the society. Consequently this book is an absolutely timeless masterpiece for me.
January 21, 2022
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螝伪喂 蔚未蠋 畏 魏慰蠀尾苇谓蟿伪 渭伪蟼 渭蔚 蟿慰谓 伪纬伪蟺畏渭苇谓慰 渭慰蠀 蠁委位慰 螠喂蠂维位畏, 蟽蠂蔚蟿喂魏维 渭蔚 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 伪位位维 魏伪喂 纬蔚谓喂魏蠈蟿蔚蟻伪 蟺蔚蟻委 蟿慰蠀 桅维位位伪谓蟿伪, 纬喂伪 蟿慰 魏伪谓维位喂 蟿慰蠀 Ex Libris 蟽蟿慰 YouTube..
March 16, 2025
Hans Fallada's Alone in Berlin (aka Every Man Dies Alone) was a tantalizing yet tragic tale of resistance and moral fortitude in WWII Germany under fascist Nazi rule, based on a true story. Despite the narrative's relatively unsurprising progression (with only a few plot twists), I found myself utterly engrossed - so much so that I read the last half of the book in less than two days. Indeed I preferred to sacrifice my sleep to finish this absolutely gripping novel.
What I enjoyed most about Alone in Berlin, apart from the fact that it is set in my favorite European city (which I know all too well - from Prenzlauer Berg to Hellersdorf), was the rich development of the characters by Fallada. He masterfully describes the essence of human nature. From the volatile Emil Borkhausen to the Gestapo detective Inspector Escherich to the main protagonist Otto Quangel, he skillfully captures each character's personality in a way that you can vividly picture them right before your eyes. It is clear from the narrative that Fallada has done his research meticulously, as the historical detail is impeccable.
Perhaps my only minor critique of this masterpiece, is that towards the end it felt a bit drawn out. Fallada possibly could have brought the story to a conclusion earlier, with no loss of impact, yet, he chose to extend it (to 590 pages). In spite of this, I honestly can only highly recommend Alone in Berlin to anyone looking for a thrilling read, especially if you are into crime mysteries and dramas.
Also worthy of note:
1. Hans Fallada's depiction of Berlin is quite remarkable. All of the transit stations, streets and place names really exist in modern-day Berlin.
2. While the author did use artistic licence in telling this tale, the story is based on real-life events which is quite impressive. The moral strength and determination of the main characters Otto and Anna Quangel is heartwrenching.
What I enjoyed most about Alone in Berlin, apart from the fact that it is set in my favorite European city (which I know all too well - from Prenzlauer Berg to Hellersdorf), was the rich development of the characters by Fallada. He masterfully describes the essence of human nature. From the volatile Emil Borkhausen to the Gestapo detective Inspector Escherich to the main protagonist Otto Quangel, he skillfully captures each character's personality in a way that you can vividly picture them right before your eyes. It is clear from the narrative that Fallada has done his research meticulously, as the historical detail is impeccable.
Perhaps my only minor critique of this masterpiece, is that towards the end it felt a bit drawn out. Fallada possibly could have brought the story to a conclusion earlier, with no loss of impact, yet, he chose to extend it (to 590 pages). In spite of this, I honestly can only highly recommend Alone in Berlin to anyone looking for a thrilling read, especially if you are into crime mysteries and dramas.
Also worthy of note:
1. Hans Fallada's depiction of Berlin is quite remarkable. All of the transit stations, streets and place names really exist in modern-day Berlin.
2. While the author did use artistic licence in telling this tale, the story is based on real-life events which is quite impressive. The moral strength and determination of the main characters Otto and Anna Quangel is heartwrenching.
April 13, 2021
This striking heart-wrenching novel blended well with my mood of summertime melancholy. The story is based on real-life events, written inspired by a Gestapo file describing acts of resistance of a laboring old German couple, on the grater scale two insignificant individuals, without exceptional skills, intelligence, ideals - by writing postcards that were dispatched throughout Berlin. Their efforts were sadly futile since most of the postcards ended in hands of the Gestapo or were quickly destroyed due to the fear they installed. They were not great heroes, idealistic or extraordinary in any manner, just ordinary working-class people personally affected by Hilter's policy - their only son died during the invasion of France. After the tragic event on the outside they don't change - but on the inside, they are at war with nazism. Their change shows that resistance is not always immediate, as their tragedy facilitates rebellion. It is easy to feel resignation or even devotion even to the vile regime as long it doesn't affect you personally. The death of the son sparks a doubt in Quangle's heart that is ever-growing - and in time they become the figures of remarkable courage.
鈥淭hen he picked up the pen and said softly, but clearly, "The first sentence of our first card will read: Mother! The F眉hrer has murdered my son."....At that instant she grasped that this very first sentence was Otto's absolute and irrevocable declaration of war, and also what that meant: war between, on the one side, the two of them, poor, small, insignificant workers who could be extinguished for just a word or two, and on the other, the F眉hrer, the Party, the whole apparatus in all its power and glory, with three-fourths or even four-fifths of the German people behind it. And the two of them in this little room in Jablonski Strasse.鈥�
The psychological change of characters during the fight, and later arrest and execution is both heart-breaking and astonishing to watch. The atmosphere of the book reminded me of 1984, it has a dystopian feel while at the same time is even more frightening due to the fact it is not a dystopia, but history. Every time I read about Third Reich I'm almost in the state of disbelief that horror of that magnitude existed on this earth. This book shows the suffering of Germans under nazism and their substantial and heroic resistance. The dreadful destiny of participants in resistance seems even more tragic because their efforts were unsuccessful, in the sense that the regime was brought down by foreign armies, not internal rebellion. Does that make all their effort completely futile and absurd? Did the life they sacrificed meant nothing? This kind of discussion of futility and absurdity of human effort to stand up against evil and suffering reminded me of the Plague, even though the plague is the uncontrollable force of death generated in the external world, but nazism is a controllable force that originated in the internal realm of human destructiveness, which makes it even more frightening and unjust. Both of these questions are the central points of the novel - substantially all subversive material produced by Quangels was handed to Nazi authorities. That brings even greater burden and suffering onto them - they exposed themselves and their loved ones to torture and execution, and for what? One could say their actions had no utility at all. In the eyes of the world, they lost their life only to lose the battle they could never win to begin with. What are two old people in contrast to the reigning all-powerful machinery of nazism? Even though their victory was not historical, the author shows their ethical and metaphysical victory over the surrounding evil. The ethical victory is due to the fact they made a decision to fight and preserved their standpoint even in the face of great suffering. The metaphysical victory is due to the fact they found their meaning in acts that can seem meaningless to the outside world, but nevertheless reflected the conscience of the nation. The victory is personalized in the doctor, with whom Otto is in the cell awaiting trial for death punishment. Even though Otto is not religious not he has any great satisfaction in art and the subtle joy of life, an encounter with the doctor brings him a completely new perspective on a life full of ecstasy of spirit. The conversation between Otto and the doctor was my favorite part of the book.
鈥淲ell, it will have helped us to feel that we behaved decently where, who will be saved for the righteous few among them, as where, who will be saved for the righteous few among them, as it says in the Bible. Of course, Quangel, it would have been a hundred times better if we'd had someone who could have told us, such and such is what you have to do; our plan is this and this. But if there had been such a man in Germany, then Hitler would never have come to power in 1933. As it was, we all acted alone, we were caught alone, and every one of us will have to die alone. But that doesn't mean that we are alone, Quangel, or that our deaths will be in vain. Nothing in this world is done in vain, and since we are fighting for justice against brutality, we are bound to prevail in the end.鈥�
The unbreakable spirit of Otto Quangel in the horror of Gestapo prison is most striking, and in itself hope inducing. Reading about the courage and internal liberation of the characters while they were physically imprisoned can have a transformative effect on the reader. Doing the right thing in life is often the synonym for doing the harder thing but having integrity in times when goodness is lost, means living your life as an act of rebellion. There are realms of human freedom and locus of control and personal power that cannot be destroyed, not by tyranny, not by oppression, not by torture, not even by death.
鈥淲ould you rather live for unjust cause than die for a just one? There is no choice-not for you, nor for me either. It's because we are as we are that we have to go this way.鈥�
鈥淭hen he picked up the pen and said softly, but clearly, "The first sentence of our first card will read: Mother! The F眉hrer has murdered my son."....At that instant she grasped that this very first sentence was Otto's absolute and irrevocable declaration of war, and also what that meant: war between, on the one side, the two of them, poor, small, insignificant workers who could be extinguished for just a word or two, and on the other, the F眉hrer, the Party, the whole apparatus in all its power and glory, with three-fourths or even four-fifths of the German people behind it. And the two of them in this little room in Jablonski Strasse.鈥�
The psychological change of characters during the fight, and later arrest and execution is both heart-breaking and astonishing to watch. The atmosphere of the book reminded me of 1984, it has a dystopian feel while at the same time is even more frightening due to the fact it is not a dystopia, but history. Every time I read about Third Reich I'm almost in the state of disbelief that horror of that magnitude existed on this earth. This book shows the suffering of Germans under nazism and their substantial and heroic resistance. The dreadful destiny of participants in resistance seems even more tragic because their efforts were unsuccessful, in the sense that the regime was brought down by foreign armies, not internal rebellion. Does that make all their effort completely futile and absurd? Did the life they sacrificed meant nothing? This kind of discussion of futility and absurdity of human effort to stand up against evil and suffering reminded me of the Plague, even though the plague is the uncontrollable force of death generated in the external world, but nazism is a controllable force that originated in the internal realm of human destructiveness, which makes it even more frightening and unjust. Both of these questions are the central points of the novel - substantially all subversive material produced by Quangels was handed to Nazi authorities. That brings even greater burden and suffering onto them - they exposed themselves and their loved ones to torture and execution, and for what? One could say their actions had no utility at all. In the eyes of the world, they lost their life only to lose the battle they could never win to begin with. What are two old people in contrast to the reigning all-powerful machinery of nazism? Even though their victory was not historical, the author shows their ethical and metaphysical victory over the surrounding evil. The ethical victory is due to the fact they made a decision to fight and preserved their standpoint even in the face of great suffering. The metaphysical victory is due to the fact they found their meaning in acts that can seem meaningless to the outside world, but nevertheless reflected the conscience of the nation. The victory is personalized in the doctor, with whom Otto is in the cell awaiting trial for death punishment. Even though Otto is not religious not he has any great satisfaction in art and the subtle joy of life, an encounter with the doctor brings him a completely new perspective on a life full of ecstasy of spirit. The conversation between Otto and the doctor was my favorite part of the book.
鈥淲ell, it will have helped us to feel that we behaved decently where, who will be saved for the righteous few among them, as where, who will be saved for the righteous few among them, as it says in the Bible. Of course, Quangel, it would have been a hundred times better if we'd had someone who could have told us, such and such is what you have to do; our plan is this and this. But if there had been such a man in Germany, then Hitler would never have come to power in 1933. As it was, we all acted alone, we were caught alone, and every one of us will have to die alone. But that doesn't mean that we are alone, Quangel, or that our deaths will be in vain. Nothing in this world is done in vain, and since we are fighting for justice against brutality, we are bound to prevail in the end.鈥�
The unbreakable spirit of Otto Quangel in the horror of Gestapo prison is most striking, and in itself hope inducing. Reading about the courage and internal liberation of the characters while they were physically imprisoned can have a transformative effect on the reader. Doing the right thing in life is often the synonym for doing the harder thing but having integrity in times when goodness is lost, means living your life as an act of rebellion. There are realms of human freedom and locus of control and personal power that cannot be destroyed, not by tyranny, not by oppression, not by torture, not even by death.
鈥淲ould you rather live for unjust cause than die for a just one? There is no choice-not for you, nor for me either. It's because we are as we are that we have to go this way.鈥�
October 3, 2023
Some books make you work for it. They're not easy, they're difficult, they're sprawling and slow and undecided. Until they're not. Until you feel the gigantic heart beating at its nervous center, its unabashed humanity and intelligence.
It took me 250 pages to fully get into this one, and suddenly it took a turn and I was hooked like never before by its vital urgency. The characters were full-fleshed, fully realized, flawed and magnificent at the same time. The novel rushed towards its inevitable conclusion with grace, the characters rushed towards their inescapable fate with a lucidity that leaves us in awe and teaches us a thing or two about the meaning of courage.
The author wrote this novel in 24 days and never lived to see its publication. According to the amazing bonus documents at the end of the paperback edition, Hans Fallada based his novel on a true story and was wondering whether the real acts of resistance of Otto and Elise Hampel had had any meaning.
Their lives, the ordinariness, the smallness, the awkwardness of their resistance have more meaning than they will ever know.
Because it is absolutely essential for us, for all the generations that come after World War Two, to know that there was decency and good in some Germans in the face of evil.
An unforgettable book.
It took me 250 pages to fully get into this one, and suddenly it took a turn and I was hooked like never before by its vital urgency. The characters were full-fleshed, fully realized, flawed and magnificent at the same time. The novel rushed towards its inevitable conclusion with grace, the characters rushed towards their inescapable fate with a lucidity that leaves us in awe and teaches us a thing or two about the meaning of courage.
The author wrote this novel in 24 days and never lived to see its publication. According to the amazing bonus documents at the end of the paperback edition, Hans Fallada based his novel on a true story and was wondering whether the real acts of resistance of Otto and Elise Hampel had had any meaning.
Their lives, the ordinariness, the smallness, the awkwardness of their resistance have more meaning than they will ever know.
Because it is absolutely essential for us, for all the generations that come after World War Two, to know that there was decency and good in some Germans in the face of evil.
An unforgettable book.
March 6, 2021
螆蠂蔚蟿蔚 慰位慰魏位畏蟻蠋蟽蔚喂 蟿畏谓 伪谓维纬谓蠅蟽畏 蔚谓蠈蟼 尾喂尾位委慰蠀 魏伪喂 渭蔚蟿维 谓喂蠋胃蔚蟿蔚 苇谓伪 蟽蠀谓伪委蟽胃畏渭伪 "蔚蠀位慰纬委伪蟼"; 螘蠀位慰纬委伪 蟺慰蠀 纬谓蠅蟻委味蔚喂蟼 伪谓维纬谓蠅蟽畏, 蔚蠀位慰纬委伪 蟺慰蠀 蟽慰蠀 伪蟻苇蟽蔚喂 谓伪 未喂伪尾维味蔚喂蟼, 蔚蠀位慰纬委伪 蟺慰蠀 蟺苇蟿蠀蠂蔚蟼 "伪蠀蟿蠈" 蟿慰 尾喂尾位委慰; 螘, 渭蔚 蟿慰 "螠蠈谓慰蟼 蟽蟿慰 螔蔚蟻慰位委谓慰" 苇谓喂蠅蟽伪 伪魏蟻喂尾蠋蟼 伪蠀蟿蠈. 韦苇位蔚喂蠅蟽伪 蟿畏谓 伪谓维纬谓蠅蟽畏 魏伪喂 苇谓喂蠅蟽伪 蟿蠀蠂蔚蟻蠈蟼! 螛苇位蠅 谓伪 蟿慰 渭慰喂蟻伪蟽蟿蠋 渭蔚 蠈蟽慰蠀蟼 纬谓蠅蟻委味蠅! 螛苇位蠅 谓伪 蟺蔚委蟽蠅 蟿慰蠀蟼 蟺维谓蟿蔚蟼 谓伪 蟿慰 未喂伪尾维蟽慰蠀谓, 伪魏蠈渭伪 魏伪喂 伪蠀蟿慰蠉蟼 蟺慰蠀 蟿慰 渭蠈谓慰 蟺蟻维纬渭伪 蟺慰蠀 未喂维尾伪蟽伪谓 蟺蟻蠈蟽蠁伪蟿伪 萎蟿伪谓 畏 位委蟽蟿伪 蟿慰蠀 危慰蠉蟺蔚蟻 螠维蟻魏蔚蟿. 螛苇位蠅 谓伪 蟿慰 未喂伪尾维蟽蠅 魏伪喂 蟽蔚 伪蠀蟿慰蠉蟼 蟺慰蠀 未蔚 尉苇蟻慰蠀谓 伪谓维纬谓蠅蟽畏!
螕喂伪蟿委 蟿苇蟿慰喂伪 尾喂尾位委伪 蟺蟻苇蟺蔚喂 谓伪 蟿伪 未喂伪尾维味蔚喂 畏 蟺位蔚喂慰蠄畏蠁委伪 蟿慰蠀 蟺位畏胃蠀蟽渭慰蠉, 蟿慰蠀位维蠂喂蟽蟿慰谓 蟿慰 70%. 螕喂伪 谓伪 伪蟺慰魏蟿萎蟽慰蠀谓 伪谓慰蟽委伪 蟽蟿畏 魏伪魏委伪, 蟿畏 渭喂蟽伪谓胃蟻蠅蟺委伪 魏伪喂 蟿慰 渭委蟽慰蟼! 韦苇蟿慰喂伪 尾喂尾位委伪 蔚委谓伪喂 "渭谓畏渭蔚委伪" 伪谓胃蟻蠅蟺喂维蟼 魏伪喂 伪谓蟿委蟽蟿伪蟽畏蟼! 螝伪喂 蟿苇蟿慰喂伪 尾喂尾位委伪 未蔚 尾伪胃渭慰位慰纬慰蠉谓蟿伪喂 渭蔚 位喂纬蠈蟿蔚蟻伪 伪蟺蠈 5 伪蟽蟿苇蟻喂伪!
螕喂伪蟿委 蟿苇蟿慰喂伪 尾喂尾位委伪 蟺蟻苇蟺蔚喂 谓伪 蟿伪 未喂伪尾维味蔚喂 畏 蟺位蔚喂慰蠄畏蠁委伪 蟿慰蠀 蟺位畏胃蠀蟽渭慰蠉, 蟿慰蠀位维蠂喂蟽蟿慰谓 蟿慰 70%. 螕喂伪 谓伪 伪蟺慰魏蟿萎蟽慰蠀谓 伪谓慰蟽委伪 蟽蟿畏 魏伪魏委伪, 蟿畏 渭喂蟽伪谓胃蟻蠅蟺委伪 魏伪喂 蟿慰 渭委蟽慰蟼! 韦苇蟿慰喂伪 尾喂尾位委伪 蔚委谓伪喂 "渭谓畏渭蔚委伪" 伪谓胃蟻蠅蟺喂维蟼 魏伪喂 伪谓蟿委蟽蟿伪蟽畏蟼! 螝伪喂 蟿苇蟿慰喂伪 尾喂尾位委伪 未蔚 尾伪胃渭慰位慰纬慰蠉谓蟿伪喂 渭蔚 位喂纬蠈蟿蔚蟻伪 伪蟺蠈 5 伪蟽蟿苇蟻喂伪!
October 5, 2020
Loved it.
March 24, 2018
韦喂 渭蔚纬维位畏 蔚喂蟻蠅谓蔚委伪. 韦蔚位蔚委蠅蟽伪 蟿慰 尾喂尾位委慰 魏维蟺慰蠀 蟽蟿喂蟼 11 蟿慰 尾蟻维未蠀 渭蔚 蠈位伪 蔚魏蔚委谓伪 蟿伪 蠂伪蟻慰蠉渭蔚谓伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 苇蠂蔚喂 苇谓伪蟼 伪谓伪纬谓蠋蟽蟿畏蟼 蟺慰蠀 渭蠈位喂蟼 苇蠂蔚喂 蟿蔚位蔚喂蠋蟽蔚喂 苇谓伪 蠀蟺苇蟻慰蠂慰 尾喂尾位委慰. 螖蠀慰 蠋蟻蔚蟼 伪蟻纬蠈蟿蔚蟻伪 伪谓苇尾伪喂谓蔚 蟽蟿慰 未喂伪未委魏蟿蠀慰 畏 蔚委未畏蟽畏 蟿慰蠀 胃伪谓维蟿慰蠀 蔚谓蠈蟼 伪蟺蠈 蟿慰蠀蟼 蟺喂慰 伪纬伪蟺畏渭苇谓慰蠀蟼 渭慰蠀 蔚谓 味蠅萎 蟽蠀纬纬蟻伪蠁苇蠅蟼 蟿慰蠀 Philip Kerr. 螌位畏 畏 蟺慰蟻蔚委伪 蟿慰蠀 伪纬伪蟺畏渭苇谓慰蠀 渭伪蟼 萎蟻蠅伪 螠蟺苇蟻谓喂 螕魏慰蠉谓蟿蔚蟻 尉蔚魏委谓畏蟽蔚 魏伪喂 伪蠀蟿萎 伪蟺蠈 蟿慰 螔蔚蟻慰位委谓慰. 韦喂 蔚喂蟻蠅谓蔚委伪 蟿畏蟼 蟿蠉蠂畏蟼 伪蟺蠈 蟿畏 渭喂伪 蟽蟿畏谓 委未喂伪 蟺蠈位畏 蔚委蠂蔚蟼 谓伪 蠀蟺慰魏位喂胃蔚委蟼 蟽蟿慰 渭蔚纬伪位蔚委慰 蟿慰蠀 围伪谓蟼 桅伪位维谓蟿伪 魏伪喂 蟽蟿慰谓 蟺蟻伪纬渭伪蟿喂魏维 渭伪蔚蟽蟿蟻喂魏蠈 蟿蟻蠈蟺慰 谓伪 蟺蔚蟻维蟽蔚喂 苇谓伪 尾伪胃蠉 魏伪喂 畏蠂畏蟻蠈 渭萎谓蠀渭伪 纬喂伪 蠈位慰蠀蟼 蔚魏蔚委谓慰蠀蟼 蟺慰蠀 蔚蟺喂渭苇谓慰蠀谓 谓伪 魏蟻伪蟿慰蠉谓 蟿慰蠀蟼 位伪慰蠉蟼 蠁蠀位伪魏喂蟽渭苇谓慰蠀蟼 蟽蟿慰 蟽魏慰蟿维未喂, 蟽蟿慰 渭委蟽慰蟼 蟽蟿慰 伪委渭伪 蟽蟿慰喂蠂蔚委慰 蠂维蟻畏 蟽蟿慰 慰蟺慰委慰 蟿慰 尾喂尾位委慰 胃伪 蔚委谓伪喂 蟺维谓蟿伪 蔚蟺委魏伪喂蟻慰 魏伪喂 伪蟺蠈 蟿畏谓 维位位畏 苇蟺蟻蔚蟺蔚 谓伪 蟺蔚喂蟼 伪谓蟿委慰 蟽蟿慰谓 蟺喂慰 伪纬伪蟺畏渭苇谓慰 蟽慰蠀 位慰纬慰蟿蔚蠂谓喂魏蠈 伪蟽蟿蠀谓慰渭喂魏蠈 萎蟻蠅伪 蟿慰谓 螠蟺苇蟻谓喂 螕魏慰蠉谓蟿蔚蟻 慰喂 蟺蔚蟻喂蟺苇蟿蔚喂蔚蟼 蟿慰蠀 慰蟺慰委慰蠀 尉蔚魏委谓畏蟽伪谓 蟽蟿慰 螔蔚蟻慰位委谓慰. 螒谓 蟺蟻苇蟺蔚喂 谓伪 蟽蠀谓未苇蟽蠅 伪蠀蟿维 蟿伪 未蠉慰 渭伪味委 胃伪 蠂蟻畏蟽喂渭慰蟺慰喂慰蠉蟽伪 渭喂伪 伪蟿维魏伪 蟿慰蠀 螠蟺苇蟻谓喂 伪谓 胃蠀渭维渭伪喂 魏伪位维 蟽蟿畏 螕蠀谓伪委魏伪 伪蟺蠈 蟿慰 螙维纬魏蟻蔚渭蟺: 芦 螖蔚谓 蔚委渭伪喂 螡伪味委 蔚委渭伪喂 螕蔚蟻渭伪谓慰蟼, 未蔚谓 蔚委谓伪喂 蟿慰 委未喂慰 蟺蟻维纬渭伪禄. 螝维蟿喂 蟿苇蟿慰喂慰 谓慰渭委味蠅 萎胃蔚位蔚 谓伪 蟺蔚喂 魏伪喂 慰 Fallada 渭蔚 蟿慰 尾喂尾位委慰 蟿慰蠀.
螛伪 萎胃蔚位伪 谓伪 蟽伪蟼 渭喂位萎蟽蠅 蟺喂慰 蟺慰位蠉 纬喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 伪蟺位维 谓伪 渭慰蠀 蔚蟺蔚蟿蟻苇蠄蔚蟿蔚 谓伪 蟿慰 魏维谓蠅 渭喂伪 维位位畏 蟽蟿喂纬渭萎. 韦慰 渭蠈谓慰 蟺慰蠀 苇蠂蠅 谓伪 蟽伪蟼 蟺蠅 蠈蟿喂 伪谓 未喂维尾伪味伪谓 蠈位慰喂 尾喂尾位委伪 蠈蟺蠅蟼 蟿慰 螠蠈谓慰蟼 蟽蟿慰 螔蔚蟻慰位委谓慰 胃伪 渭伪蟽蟿伪谓 蠈位慰喂 蟺慰位蠉 魏伪位蠉蟿蔚蟻慰喂 维谓胃蟻蠅蟺慰喂. 螆谓伪 尾喂尾位委慰 蟺慰蠀 蟿慰 胃蠀渭维蟽伪喂 纬喂伪 魏伪喂蟻蠈 渭蔚蟿维 伪蠁慰蠉 蟿慰 未喂伪尾维蟽蔚喂蟼.
螛伪 萎胃蔚位伪 谓伪 蟽伪蟼 渭喂位萎蟽蠅 蟺喂慰 蟺慰位蠉 纬喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 伪蟺位维 谓伪 渭慰蠀 蔚蟺蔚蟿蟻苇蠄蔚蟿蔚 谓伪 蟿慰 魏维谓蠅 渭喂伪 维位位畏 蟽蟿喂纬渭萎. 韦慰 渭蠈谓慰 蟺慰蠀 苇蠂蠅 谓伪 蟽伪蟼 蟺蠅 蠈蟿喂 伪谓 未喂维尾伪味伪谓 蠈位慰喂 尾喂尾位委伪 蠈蟺蠅蟼 蟿慰 螠蠈谓慰蟼 蟽蟿慰 螔蔚蟻慰位委谓慰 胃伪 渭伪蟽蟿伪谓 蠈位慰喂 蟺慰位蠉 魏伪位蠉蟿蔚蟻慰喂 维谓胃蟻蠅蟺慰喂. 螆谓伪 尾喂尾位委慰 蟺慰蠀 蟿慰 胃蠀渭维蟽伪喂 纬喂伪 魏伪喂蟻蠈 渭蔚蟿维 伪蠁慰蠉 蟿慰 未喂伪尾维蟽蔚喂蟼.
January 8, 2010
after losing their son to the war, berlin residents otta and anna quangel launch a mini-revolt against the reich and fuhrer in the form of postcards around the city which speak subversive messages directly to the people. read in the age of twitter and viral videos, this seems, at once, awfully quaint and particularly profound. there was a time, i gather, when words mattered; when there didn't exist a barrage of partisan wingnuts flooding the zeitgeist with nonsense. but lemme skip the cranky old-man get-off-my-yard thing...
the portrait of two old people launching a mini-revolution interests me far more than dudes with guns and bombs and shit. so it pains me to slap this with two stars. but, wow. has there ever been a book more in need of an editor? it's plodding and lumbering and filled with so much unnecessary bullshit it makes the reader feel like a kid forced to plow through four servings of steamed broccoli to get to that half-portion of chocolate pudding. it reads as if fallada drew up a rigid outline and just wrote out the shit. um, part of writing is knowing what to leave out -- the 'leaving out' ups the mystery quotient. y'ever hear the phrase, 'get into a scene at the last possible moment and get out at the earliest possible moment?' -- goose the reader, hans. smack her around. you don't need to tell us everything. skip the walk to the apartment, just land us right there and force your reader to make sense of it as it happens. and if you whisk us out of a scene before it ends... you leave us wondering. remember when don quixote raises his sword to hack away at some guy and cervantes just ends the chapter with the sword in the air? genius, man, genius.
and coincidences? just stay away.
fallada has a character who pisses off a nurse and so to stick it to him she rats him out as the card dropper. the gestapo quickly realize the guy couldn't possibly be the card-dropper but, so as to prove to their superiors that they're following leads, they tail the guy. we, the reader, know that the guy's foreman at work is otto quangel, the actual card dropper. ugh. it wasn't necessary, hans. you didn't need to do this. there are better ways to draw connections, to make things come together, to have all lines diverge on a common point. and there's lots of this kinda shit going on. too much of it.
so... i made it 250 pgs deep. halfway. and dropped the book in frustration. and then i read that fallada wrote the book in 24 days. makes sense. given a few more months and a good editor this could've resembled the masterpiece they said it was.
the portrait of two old people launching a mini-revolution interests me far more than dudes with guns and bombs and shit. so it pains me to slap this with two stars. but, wow. has there ever been a book more in need of an editor? it's plodding and lumbering and filled with so much unnecessary bullshit it makes the reader feel like a kid forced to plow through four servings of steamed broccoli to get to that half-portion of chocolate pudding. it reads as if fallada drew up a rigid outline and just wrote out the shit. um, part of writing is knowing what to leave out -- the 'leaving out' ups the mystery quotient. y'ever hear the phrase, 'get into a scene at the last possible moment and get out at the earliest possible moment?' -- goose the reader, hans. smack her around. you don't need to tell us everything. skip the walk to the apartment, just land us right there and force your reader to make sense of it as it happens. and if you whisk us out of a scene before it ends... you leave us wondering. remember when don quixote raises his sword to hack away at some guy and cervantes just ends the chapter with the sword in the air? genius, man, genius.
and coincidences? just stay away.
fallada has a character who pisses off a nurse and so to stick it to him she rats him out as the card dropper. the gestapo quickly realize the guy couldn't possibly be the card-dropper but, so as to prove to their superiors that they're following leads, they tail the guy. we, the reader, know that the guy's foreman at work is otto quangel, the actual card dropper. ugh. it wasn't necessary, hans. you didn't need to do this. there are better ways to draw connections, to make things come together, to have all lines diverge on a common point. and there's lots of this kinda shit going on. too much of it.
so... i made it 250 pgs deep. halfway. and dropped the book in frustration. and then i read that fallada wrote the book in 24 days. makes sense. given a few more months and a good editor this could've resembled the masterpiece they said it was.
July 1, 2017
Re-visit 2015 via R4x:Primo Levi's declaration that Alone in Berlin is "the greatest book ever written about German resistance to the Nazis" is bold and unequivocal. English readers have had to wait 60 years to explore the 1947 novel in which Otto Quangel, a factory foreman (Ron Cook) and his wife Anna (Margot Leicester) believe themselves morally obliged to take on the full might of the Nazis.
When their son is killed "for Fuhrer and Fatherland", the Quangels begin to write anonymous postcards, denouncing the war and the regime, and leave them on the stairwells of public buildings in Berlin. Over two years, the cards become their life. Trapped through a trivial mistake, by their nemesis, Inspector Escherich of the Gestapo (Tim McInnerny) they are put on trial for their lives, but find a strange freedom in a mocking defiance and then in a terrible silence.
Alone in Berlin is a grim but heroic story told with laconic determination by a man who lived through the war in Berlin. It is about the quiet moral triumph of a seemingly inconsequential couple - it points to a courage which lay in the hearts of most true Germans, if only angst and overwhelming fear hadn't been allowed to gain the upper hand.
Cast:
Otto Quangel ..... Ron Cook
Anna Quangel ..... Margot Leicester
Escherich ..... Tim McInnerny
Trudel Bauman ..... Jasmine Hyde
Eva Kluge ..... Christine Kavanagh
Enno Kluge ..... Ian Bartholomew
Emil Borkhausen ..... Richard McCabe
Frau Rosenthal ..... Joanna Munroe
Inspector Rusch ..... John McAndrew
Judge Fromm ..... Andrew Sachs
Inspector Zott ..... Nickolas Grace
Inspector Prall ..... Sam Dale
Director: Eoin O'Callaghan.
September 20, 2011
I should express thanks to , for if it was not for her ruthless news, I would not have found a brilliant book that stands for every belief which Ms. Burwitz expels from her very survival. Couple weeks ago, a news article describing Burwitz as the new 鈥淣azi grandmother鈥� made me explore further for its validity. Ms. Burwitz who at the ripe age of 81, still strives hard to support and nurture the most modern breed of Nazis ,keeping alive the malicious work and memory of her father Heinrich Himmler, the chief authority behind the Gestapo operations. 鈥淭he princess of Nazism ", as one of the historian terms Gudrun, is a despicable bitch loathing the essence of humanity through her narrowed National Socialist mindset. I would not identify her as a cultured human being, let alone a decent citizen of a wonderful country. However, she would have been felicitated for her abhorrence during the Third Reich. In 1940鈥檚 Gudrun Burwitz would have been a decent German; the ideal daughter of Deutschland. Not, Otto Quangel, though. He was a traitor, a criminal who committed treason against the Fuhrer. Otto Quangel was the 鈥楬ogoblin鈥�, whose righteous words were feared by anyone who touched or read them.
Otto and Anna Quangel was a working class couple. Like many other couples they were decent Germans. They obeyed their Fuhrer, you see. Their only son was serving in the army defending Hitler鈥檚 gruesome idea of legality of human race. They helplessly saw their neighbors being caught and shipped to concentration camps, while they silently sipped their watery coffee in sheer silence. They had to be tough in life. That was the common justification of every brutality the Gestapo police committed. Then one fine day, the death news of their only son arrived and Anna in a bursts of sorrow shrieked, 鈥測ou and your Fuhrer!鈥�. For Otto, a man of few words, Anna鈥檚 words weighed more than the misery of losing his child. The agony of guilt swelled up Otto鈥檚 moralistic integrity overwhelming his internal ethics. Otto proposed an obscure form of anti-Nazi warfare. He would write postcards with slogans against the ongoing atrocities.
鈥淢other! The Fuhrer has murdered my son! Mother! The Fuhrer will murder your sons too; he will not stop till he has brought sorrow to every home.鈥�
Otto鈥檚 heroic resistance to the Nazi Regime magnified only through his personal tragedy. Did the death of his son made him courageous as now he had nothing to lose? Would Otto walk the mutinous path had his son arrived safely home?
Hans Fallada who suffered through his own personal war as Rudolf Ditzen, brings the laudable efforts of Elise and Otto Hampel (1931), a real life couple who wrote anonymous postcards and leaflets to educate people about the ongoing atrocities ,informing to not buying Nazi papers and resist from participating in the war. The writing is trouble-free and the plot predictable; nevertheless, throughout the fictional portrayals of the Quangels, Fallada beautifully enlightens the misery of ordinary Germans who struggled from their own moral battles. Like, Eva Kungel who curses the fact of her birthing children who would eventually end up becoming monsters. The investigation of the Hobgoblin case and the defenselessness of Inspector Escherich expose the disintegration of humanness in a society where the nobleness of a feeble endeavor to capture terror was misplaced.
Otto Quangel was the burning conscience of a guilt 鈥搑idden nation. He and Anna were among the few whom were 鈥済ood corns鈥� sown in the fields of weeds. Fallada signs off the book saying, 鈥淏ut we don鈥檛 want to end this book with death; dedicated as it is to life, life always triumphs over humiliation and tears, over misery and death鈥�.
Otto and Anna鈥檚 death was inevitable and their efforts although ineffectual were not insignificant. The Quangels did the unattainable and unfortunately their voices were lost among timid tones and pigheaded establishment, contrasting Wael Ghonim the cyber hero whose efforts instigated a revolution finally overthrowing Hosni Mubarak from supremacy.
Otto and Anna Quangel was a working class couple. Like many other couples they were decent Germans. They obeyed their Fuhrer, you see. Their only son was serving in the army defending Hitler鈥檚 gruesome idea of legality of human race. They helplessly saw their neighbors being caught and shipped to concentration camps, while they silently sipped their watery coffee in sheer silence. They had to be tough in life. That was the common justification of every brutality the Gestapo police committed. Then one fine day, the death news of their only son arrived and Anna in a bursts of sorrow shrieked, 鈥測ou and your Fuhrer!鈥�. For Otto, a man of few words, Anna鈥檚 words weighed more than the misery of losing his child. The agony of guilt swelled up Otto鈥檚 moralistic integrity overwhelming his internal ethics. Otto proposed an obscure form of anti-Nazi warfare. He would write postcards with slogans against the ongoing atrocities.
鈥淢other! The Fuhrer has murdered my son! Mother! The Fuhrer will murder your sons too; he will not stop till he has brought sorrow to every home.鈥�
Otto鈥檚 heroic resistance to the Nazi Regime magnified only through his personal tragedy. Did the death of his son made him courageous as now he had nothing to lose? Would Otto walk the mutinous path had his son arrived safely home?
Hans Fallada who suffered through his own personal war as Rudolf Ditzen, brings the laudable efforts of Elise and Otto Hampel (1931), a real life couple who wrote anonymous postcards and leaflets to educate people about the ongoing atrocities ,informing to not buying Nazi papers and resist from participating in the war. The writing is trouble-free and the plot predictable; nevertheless, throughout the fictional portrayals of the Quangels, Fallada beautifully enlightens the misery of ordinary Germans who struggled from their own moral battles. Like, Eva Kungel who curses the fact of her birthing children who would eventually end up becoming monsters. The investigation of the Hobgoblin case and the defenselessness of Inspector Escherich expose the disintegration of humanness in a society where the nobleness of a feeble endeavor to capture terror was misplaced.
Otto Quangel was the burning conscience of a guilt 鈥搑idden nation. He and Anna were among the few whom were 鈥済ood corns鈥� sown in the fields of weeds. Fallada signs off the book saying, 鈥淏ut we don鈥檛 want to end this book with death; dedicated as it is to life, life always triumphs over humiliation and tears, over misery and death鈥�.
Otto and Anna鈥檚 death was inevitable and their efforts although ineffectual were not insignificant. The Quangels did the unattainable and unfortunately their voices were lost among timid tones and pigheaded establishment, contrasting Wael Ghonim the cyber hero whose efforts instigated a revolution finally overthrowing Hosni Mubarak from supremacy.
February 6, 2018
I value this novel for good psychological portrayal of ordinary German citizens who desperately tried to remain sane during years of insanity. Their silent struggle, both tragic and heroic, is supported by mutual devotion and love, which is all that is ultimately left. This is my favourite of Fallada's novels.
November 27, 2018
韦喂 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪! 螠蔚蟿维 蟿慰 "螝伪喂 韦蠋蟻伪 螒谓胃蟻蠅蟺维魏慰" 苇谓伪 蟽蟺慰蠀未伪委慰 蔚蟺委蟽畏蟼 尾喂尾位委慰, 蟿慰 "螠蠈谓慰蟼 蟽蟿慰 螔蔚蟻慰位委谓慰" 蔚委谓伪喂 蟿慰 伪蟺伪蠉纬伪蟽渭伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪. 螣 桅伪位维谓蟿伪 未喂魏伪委蠅蟼 胃伪 蟺蟻苇蟺蔚喂 谓伪 胃蔚蠅蟻蔚委蟿伪喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟿畏蟼 螕蔚蟻渭伪谓喂魏萎蟼 伪蟽蟿喂魏萎蟼 蟿维尉畏蟼 蟿畏蟼 谓伪味喂蟽蟿喂魏萎蟼 蔚蟺慰蠂萎蟼. 螠蔚 蟿慰 未喂魏蠈 蟿慰蠀 伪蟺伪蟻维渭喂位位慰 蟽魏喂伪纬蟻伪蠁蔚委 蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蠈蟺慰蠀 渭苇蟽伪 伪蟺蠈 蟿畏谓 未喂伪蠁慰蟻蔚蟿喂魏蠈蟿畏蟿伪 蟿慰蠀蟼, 魏伪蟿伪纬蟻维蠁蔚蟿伪喂 畏 喂蟽蟿慰蟻委伪 蟿畏蟼 蔚蟺慰蠂萎蟼 伪蠀蟿萎蟼. 韦慰 尉蔚魏委谓畏渭伪 蟿慰蠀 尾喂尾位委慰蠀 蟽蔚...纬蟻慰谓胃慰魏慰蟺蔚委. 螣 渭慰谓伪蠂慰纬喂蠈蟼 蟿蠅谓 畏蟻蠋蠅谓 蟽魏慰蟿蠋谓蔚蟿伪喂 蟽蟿慰谓 蟺蠈位蔚渭慰 魏伪喂 慰喂 委未喂慰喂 伪未蠀谓伪蟿慰蠉谓 谓伪 胃蟻畏谓萎蟽慰蠀谓 蟿畏谓 纬喂蠈 蟿慰蠀蟼. 螣 蟺伪蟿苇蟻伪蟼 蟺蟻苇蟺蔚喂 谓伪 蟽蠀谓蔚蠂委蟽蔚喂 蟿畏谓 蔚蟻纬伪蟽委伪 蟿慰蠀 蟽蟿慰 蔚蟻纬慰蟽蟿维蟽喂慰 畏 未蔚 渭维谓伪 胃伪 蟺蟻苇蟺蔚喂 谓伪 蟺谓委尉蔚喂 蟿畏谓 位蠉蟺畏 蟿畏蟼 伪位位维 魏伪喂 蟿畏谓 慰蟻纬萎 蟿畏蟼, 蟽蟿喂蟼 蟽蠀渭尾伪蟿喂魏蠈蟿畏蟿蔚蟼 蟿畏蟼 谓伪味喂蟽蟿喂魏萎蟼 魏慰喂谓蠅谓委伪蟼. "螝慰位位维蔚喂" 蟺维谓蠅 蟽慰蠀 畏 胃位委蠄畏 尾喂蠋谓慰谓蟿伪蟼 蠈位慰蠀蟼 蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟺慰蠀 蔚渭蟺位苇魏慰谓蟿伪喂 未委蟺位伪 蟽蟿慰 味蔚蠀纬维蟻喂 蟿蠅谓 维蟿蠀蠂蠅谓 畏位喂魏喂蠅渭苇谓蠅谓 纬慰谓苇蠅谓. 螒蟺慰蟻蟻慰蠁维蟽伪喂 伪蟺蠈 蟿慰 魏位委渭伪 蟿畏蟼 蟺蔚蟻喂蠈未慰蠀 纬蠀蟻谓蠋谓蟿伪蟼 伪蟺蠈 蟽蔚位委未伪 蟽蔚 蟽蔚位委未伪 纬喂伪 谓伪 尾喂蠋蟽蔚喂蟼 蟿畏谓 蔚尉苇位喂尉畏 蟿畏蟼 未蟻伪渭伪蟿喂魏萎蟼 伪蠀蟿萎蟼 喂蟽蟿慰蟻委伪蟼.
螡螒 韦螣 螖螜螒螔螒危韦螘
螡螒 韦螣 螖螜螒螔螒危韦螘
August 2, 2017
Ma cosa si era messo in mente? Un semplice operaio che lotta contro il F眉hrer? 脠 come se una zanzara volesse combattere contro un elefante
Lo scrittore tedesco Rudolf Ditzen, noto come Hans Fallada, tossicodipendente, alcolizzato, finito pi霉 volte in galera e in manicomio, scrisse nel 1946 in soli 24 giorni le 700 pagine del romanzo, basandosi sui fascicoli provenienti dalla Gestapo sulla vera storia dei coniugi Otto ed Elise Hampel (Quangel nel libro), lui operaio e lei casalinga, che decisero di opporsi al nazismo semplicemente lasciando per le vie di Berlino cartoline che invitavano i tedeschi a ribellarsi al nazismo.
Un atto che sembra semplice e banale ai nostri occhi, ma che a quel tempo portava senza indugi alla pena capitale.
Cosa facevano gli abitanti di Berlino quando trovavano casualmente le cartoline scritte e lasciate faticosamente dai Quangel? Le consegnavano immediatamente, terrorizzati, alla Gestapo, vanificandone di fatto l鈥檈ffetto. E infatti il momento pi霉 drammatico per Otto, una volta catturato, non fu quello delle percosse e delle torture, quanto quello in cui cap矛 che quasi tutte le cartoline prodotte erano state inutili.
La lettura del romanzo 猫 stata per me certamente tra le pi霉 coinvolgenti ed interessanti in assoluto. Sottolineerei alcuni punti che emergono dalla lettura:
La paura, i delatori, la solitudine. Quello che si evince dal romanzo 猫 che tutti in Germania avevano paura. Una paura totale. Una paura che faceva mancare il respiro, che attanagliava quando ci si rendeva conto che poteva succedere davvero di tutto. Una paura permanente, perch茅 nulla poteva assicurare di non ritrovarsi, in qualunque momento, sbattuti in una prigione con le ossa rotte. Una paura che invadeva tutti, perfino i nazisti, perch茅 il vento poteva cambiare repentinamente.
In agguato c'erano il carcere, la tortura, la deportazione.
La gente sapeva di poter essere arrestata per un qualsiasi motivo: 鈥渢utti hanno qualcosa da nascondere, basta tirarlo fuori鈥� era il credo della Gestapo. E quel 鈥渢irarlo fuori鈥� nascondeva torture di ogni tipo, ovviamente. La vita umana non valeva praticamente nulla.
Il regime era oppressivo tanto da rendere quasi impossibile l'opposizione. Solo l鈥檜nione tra gli individui avrebbe forse potuto fare la differenza, eppure tutti avevano troppa paura anche solo per leggere fino alla fine le cartoline dei Quangel. La paura aveva creato un popolo di rassegnati delatori, vigliacchi pronti a tutto pur di farsi belli agli occhi dei superiori, a loro volta terrorizzati da possibili delazioni e indiscrezioni che li riguardassero. I delatori erano ovunque e si doveva stare attenti a parlare e anche a non parlare, perch茅 anche tacere poteva essere indice di mancanza di fedelt脿 al regime.
Intorno alle figure dei coniugi Quangel c'erano anche molti altri personaggi. Persone normali, parenti, brave persone, prostitute, ubriaconi, scommettitori, commissari, militari. Tutti inevitabilmente soli, perch茅 nessuno poteva fidarsi a condividere i propri pensieri. Quasi tutti questi personaggi morirono, anche quelli innocenti. Morirono in assoluta solitudine, senza conforto, senza giustificazione, senza comprendere a fondo le ragioni della propria morte, senza poter condividere con nessuno i propri pensieri.
"Perch茅 tu devi sapere che allora saremo molto soli nelle nostre celle, senza poterci mai scambiare una parola, noi che per pi霉 di vent'anni non abbiamo mai trascorso una giornata lontani uno dall'altra. Ma ognuno di noi sapr脿 che l'altro non cede, che ci possiamo fidare l'uno dell'altra nella morte come ci siamo fidati tutta la vita. Dovremo morire anche da soli, Anna!"
La resistenza tedesca. Dal libro si comprende che la maggioranza dei tedeschi era d'accordo col regime nazista. Ognuno tirava avanti come poteva, allineandosi all鈥檌deologia imperante. "Ognuno muore solo" racconta la ribellione di pochissimi uomini, poveracci che hanno una propria dignit脿, che sono consci di rischiare la vita per principi morali che li porteranno alla morte. Uomini che cercano di comportarsi 鈥�bene鈥� per non disprezzarsi, per avere rispetto di s茅 stessi.
鈥�Sarebbe stato naturalmente mille volte meglio se avessimo avuto un uomo che ci avesse detto: dovete agire cos矛 e cos矛', questo o quello 猫 il nostro piano. Ma se ci fosse stato un uomo simile in Germania, non avremmo mai avuto un 1933. Cos矛 abbiamo dovuto agire ognuno per conto suo, e siamo stati presi uno per uno, e ognuno di noi morr脿 solo. Ma non per questo siamo soli, Quangel, non per questo moriamo inutilmente. A questo mondo nulla accade inutilmente, e poich茅 combattiamo per la giustizia contro la forza bruta, saremo noi i vincitori, alla fine."
La resistenza tedesca probabilmente non fu efficace a causa del regime di sospetto instaurato nel Reich, dalla crudelt脿 della Gestapo, della magistratura completamente asservita al potere dominante, ma forse anche alle caratteristiche del popolo tedesco, che vedeva in Hitler l鈥檜omo che avrebbe restituito alla Germania il predominio, dopo l鈥檕nta della sconfitta subita nella prima guerra mondiale.
La crudelt脿 dei nazisti. Fallada descrive la crudelt脿 delle SS, dei commissari nazisti, della Gestapo, delle guardie, in un modo che fa accapponare la pelle. Non vuole scandalizzare, ma solo far capire che la cattiveria, la sopraffazione, la prepotenza, l'arroganza, la stupidit脿, erano normali in quel periodo in Germania.
Il nazismo non viene visto ed analizzato nelle sue cariche pi霉 importanti, che erano ovviamente inavvicinabili per la gente comune; esso viene descritto attraverso le figure emblematiche dei commissari e degli ufficiali della Gestapo che cercano di risolvere il caso delle cartoline e alcuni membri della gioventu hitleriana, spietati, duri, rozzi, efficaci e sbrigativi.
Il libro. "Ognuno muore solo" 猫 un romanzo terribile, che tratta temi importanti come il comportamento che si pu貌 e si vuole tenere quando le condizioni della vita divengono moralmente inaccettabili. Che si traduce nella scelta tra la paura della morte e la disperazione della vita. La narrazione della fine dei coniugi Quangel, con la descrizione degli ultimi attimi di vita, dei loro terrori e dei loro segreti 猫 tanto meravigliosa, dal punto di vista letterario, quanto terribile e drammatica dal punto di vista umano.
E' un romanzo trascinante che si legge benissimo, nonostante i temi dolorosi, non tanto per sapere come va a finire, quanto perch茅 le vicende psicologiche dei personaggi sono coinvolgenti al massimo.
Fallada usa un linguaggio istintivo, emotivo, semplicissimo e lineare, quasi banale, quasi ingenuo; un linguaggio che per貌 猫 perfettamente funzionale alla narrazione. Il paragone dei personaggi del romanzo con uccelli, topi e volpi 猫 semplicemente geniale.
Forse 猫 grazie al sacrificio di quelle due brave persone, ai due coniugi Quengel, se oggi possiamo capire un pochino di pi霉 la Germania nazista; le cartoline non saranno servite a ribaltare il regime nazista, ma forse (chiss脿, spero...) saranno servite a impedire il ripetersi di situazioni come quelle raccontate.
May 10, 2018
In this dark thriller, set in Berlin during World War II (1940-43), a working class couple, Otto and Anna Quangel, decide to protest and resist the Nazi regime after they learned that her only son was killed in action. Otto Quangel starts writing postcards with insults against Hitler, the Nazis, and the war and delivers them (unobserved) in office buildings in the hope that as many people as possible will read them and rethink, and thus perhaps bring about a speedy end to the dictatorship 鈥� an approach, as it turns out, doomed to failure. It doesn鈥檛 take long before the Gestapo comes to know about this 鈥渃rime of high treason鈥� and start investigating and the noose is slowly tightening on the Quangels. The main storyline (there are quite a few others) is supposedly based on the real case of Otto and Elise Hampel who also wrote and distributed postcards and where executed in 1943.
It took me quite a while before I became comfortable with this 700 page novel by Hans Fallada (my first one since I don鈥檛 know how long). The prose seemed unsophist褨cated and disjointed at first and the characters not especially likeable (including the Quangels). But Fallada is a master when it comes to tightening the screw and a great storyteller. The overall mood in the novel is getting darker and darker, the desperation of many of the characters almost tangible. The only other novel I read in which the lives of ordinary people under a dictatorship is depicted in such an intensity would be Orwell鈥檚 Nineteen Eighty-Four. Those lives are determined by fear and hopelessness until the decision to resist. There are indeed some similarities between Otto Quangel and Winston Smith.
While pondering what to tell about this book I chanced to find , titled 鈥淗ans Fallada鈥檚 Berlin - in pictures鈥�, that shows some actual postcards written by Otto Hampel, like this one:
(鈥淎 German / German people wake up! / We must free ourselves from the Hitlery鈥�)
or this one:
(鈥淗itler has no wife / the butcher no sow / The baker no dough! / That is the third Reich / Hitler鈥檚 violence before right / brings us German people no peace! / Down with Hitler鈥檚 gang鈥�)
This small text has three spelling and one grammatical mistake (鈥渉att鈥� instead of 鈥渉at鈥�, 鈥淭eich鈥� instead of 鈥淭eig鈥�, 鈥淒ass鈥� instead of 鈥淒as鈥�, 鈥渄eutsches鈥� instead of 鈥渄eutschem鈥�) and I wonder if this is by design, of whether Otto Hampel just couldn鈥檛 do better. I tend to think the latter. This man, it is said, struggled to write and in the novel the fictional Otto Quangel needs a whole Sunday to write just two of those postcards. It brings tears to my eyes when I read of such a simple man and how he rebels against the rule with such simple means. It seems like a fight between David and Goliath but with David having no slingshot available. It鈥檚 a wonder it took the Gestapo so long to apprehend the so called 鈥渉obgoblin鈥� (the internal name used for the postcard writer). But I guess even the means of the Gestapo were limited back then. It鈥檚 true that there were many people in Germany ready or even eager to denunciate their neighbors or co-workers, even family members, but keeping a low profile could help escaping the powers-that-be for a while. Today things would be much different. Nowadays the Nazis could easily fill the prisons overnight with dissidents. The data is readily available and only needs to be evaluated thanks to big-data analysis tools. But, of course, in a civilized country, so it鈥檚 rather pointless to speculate about it.
There is much violence presented in this book. Psychological and physical violence during interrogations by the Gestapo, in the torture cellars of the SS, in prisons and during trials at the so-called Volksgerichtshof (People鈥檚 Court). The suspects, prisoners, and defendants are all humiliated, beaten, and deprived of their dignity - but are they dehumanized, as one so often hears? I don鈥檛 think so. Dehumanized are the wielders of power, the policemen, the SS thugs and prison guards, the prosecutors and judges. Resistance against those non-humans, even if doomed to failure, wasn鈥檛 (and won鈥檛 be) futile but indeed mandatory if only to keep those gangsters occupied for a while. That鈥檚 one lesson to learn from Hans Fallada鈥檚 highly recommended book.
This work is licensed under a .
It took me quite a while before I became comfortable with this 700 page novel by Hans Fallada (my first one since I don鈥檛 know how long). The prose seemed unsophist褨cated and disjointed at first and the characters not especially likeable (including the Quangels). But Fallada is a master when it comes to tightening the screw and a great storyteller. The overall mood in the novel is getting darker and darker, the desperation of many of the characters almost tangible. The only other novel I read in which the lives of ordinary people under a dictatorship is depicted in such an intensity would be Orwell鈥檚 Nineteen Eighty-Four. Those lives are determined by fear and hopelessness until the decision to resist. There are indeed some similarities between Otto Quangel and Winston Smith.
While pondering what to tell about this book I chanced to find , titled 鈥淗ans Fallada鈥檚 Berlin - in pictures鈥�, that shows some actual postcards written by Otto Hampel, like this one:
(鈥淎 German / German people wake up! / We must free ourselves from the Hitlery鈥�)
or this one:
(鈥淗itler has no wife / the butcher no sow / The baker no dough! / That is the third Reich / Hitler鈥檚 violence before right / brings us German people no peace! / Down with Hitler鈥檚 gang鈥�)
This small text has three spelling and one grammatical mistake (鈥渉att鈥� instead of 鈥渉at鈥�, 鈥淭eich鈥� instead of 鈥淭eig鈥�, 鈥淒ass鈥� instead of 鈥淒as鈥�, 鈥渄eutsches鈥� instead of 鈥渄eutschem鈥�) and I wonder if this is by design, of whether Otto Hampel just couldn鈥檛 do better. I tend to think the latter. This man, it is said, struggled to write and in the novel the fictional Otto Quangel needs a whole Sunday to write just two of those postcards. It brings tears to my eyes when I read of such a simple man and how he rebels against the rule with such simple means. It seems like a fight between David and Goliath but with David having no slingshot available. It鈥檚 a wonder it took the Gestapo so long to apprehend the so called 鈥渉obgoblin鈥� (the internal name used for the postcard writer). But I guess even the means of the Gestapo were limited back then. It鈥檚 true that there were many people in Germany ready or even eager to denunciate their neighbors or co-workers, even family members, but keeping a low profile could help escaping the powers-that-be for a while. Today things would be much different. Nowadays the Nazis could easily fill the prisons overnight with dissidents. The data is readily available and only needs to be evaluated thanks to big-data analysis tools. But, of course, in a civilized country, so it鈥檚 rather pointless to speculate about it.
There is much violence presented in this book. Psychological and physical violence during interrogations by the Gestapo, in the torture cellars of the SS, in prisons and during trials at the so-called Volksgerichtshof (People鈥檚 Court). The suspects, prisoners, and defendants are all humiliated, beaten, and deprived of their dignity - but are they dehumanized, as one so often hears? I don鈥檛 think so. Dehumanized are the wielders of power, the policemen, the SS thugs and prison guards, the prosecutors and judges. Resistance against those non-humans, even if doomed to failure, wasn鈥檛 (and won鈥檛 be) futile but indeed mandatory if only to keep those gangsters occupied for a while. That鈥檚 one lesson to learn from Hans Fallada鈥檚 highly recommended book.
This work is licensed under a .
February 7, 2025
螌蟿伪谓 蟿慰 魏蟻维蟿慰蟼 蔚委谓伪喂 蟽蠀谓蟿蔚蟿伪纬渭苇谓慰 苇纬魏位畏渭伪, 慰喂 蟺伪蟻维蠁蟻慰谓蔚蟼 蔚纬魏位畏渭伪蟿委蔚蟼 蔚委谓伪喂 蟽蟿畏谓 蔚尉慰蠀蟽委伪 魏伪喂 畏 未喂魏伪喂慰蟽蠉谓畏 纬委谓蔚蟿伪喂 蟺伪蟻蠅未委伪, 蟿喂 渭蟺慰蟻蔚委 谓伪 魏维谓蔚喂 苇谓伪蟼 维谓胃蟻蠅蟺慰蟼 渭蠈谓慰蟼 蟿慰蠀, 苇谓伪蟼 维谓胃蟻蠅蟺慰蟼 魏蟻蠀渭渭苇谓慰蟼 渭苇蟽伪 蟽蟿畏谓 魏伪蟻未喂维 蟿慰蠀 魏蟿萎谓慰蠀蟼, 蔚谓蠋 纬蠉蟻蠅 蟿慰蠀 渭伪委谓蔚蟿伪喂 蟺蠈位蔚渭慰蟼;
蚂委纬伪.
螠喂魏蟻慰委 魏伪喂 渭慰谓伪蠂喂魏慰委 胃蠉位伪魏蔚蟼 伪谓蟿委蟽蟿伪蟽畏蟼 蟽蟿畏谓 蔚纬魏位畏渭伪蟿喂魏萎 蟺伪蟻维谓慰喂伪 蟿慰蠀 谓伪味喂蟽渭慰蠉 蟿畏蟼 蟺蔚蟻喂蠈未慰蠀 蟿慰蠀 螔'螤螤 未喂蔚尉维纬慰蠀谓 蟿慰 未喂魏蠈 蟿慰蠀蟼 伪纬蠋谓伪, 喂蟽蠂谓蠈, 伪未蠉谓伪渭慰, 渭维蟿伪喂慰 委蟽蠅蟼, 伪位位维 伪谓 渭畏 蟿喂 维位位慰, 未蔚谓 伪蠁萎谓慰谓蟿伪喂 谓伪 蟺伪蟻伪蟽蠀蟻胃慰蠉谓 伪蟺蠈 蟿畏谓 蟺位畏渭渭蠀蟻委未伪 蟿畏蟼 谓伪味喂蟽蟿喂魏萎蟼 蔚蟺苇位伪蟽畏蟼, 慰蟻胃蠋谓慰蠀谓 蟿慰 渭喂魏蟻蠈 蟿慰蠀蟼 伪谓维蟽蟿畏渭伪, 渭畏蠂伪谓蔚蠉慰谓蟿伪喂 蟿蟻蠈蟺慰蠀蟼 谓伪 蟺位萎尉慰蠀谓 蟽蟿慰 尾伪胃渭蠈 蟿慰蠀 未蠀谓伪蟿慰蠉 蟿慰 胃畏蟻委慰 蟿畏蟼 谓伪味喂蟽蟿喂魏萎蟼 伪蟺慰魏维位蠀蠄畏蟼 魏伪喂 蟿慰 蟺位畏蟻蠋谓慰蠀谓 蟺喂魏蟻维.
惟蟽蟿蠈蟽慰, 蟿慰 尾喂尾位委慰 蔚委谓伪喂 伪喂蟽喂蠈未慰尉慰.
螤苇蟻伪 伪蟺蠈 蟿慰 蟺蟻慰蠁伪谓苇蟼 渭萎谓蠀渭伪 (蠈蟿喂 魏伪谓蔚委蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟿伪 魏伪蟿伪蠁苇蟻蔚喂 渭蠈谓慰蟼 蟿慰蠀 伪蟺苇谓伪谓蟿喂 蟽蟿慰 渭伪喂谓蠈渭蔚谓慰 伪位位慰蟺蟻蠈蟽伪位位慰 位蔚尾喂维胃伪谓 蟿慰蠀 慰位慰魏位畏蟻蠅蟿喂蟽渭慰蠉), 未蔚委蠂谓蔚喂 蠈蟿喂 慰 维谓胃蟻蠅蟺慰蟼 蔚委谓伪喂 喂魏伪谓蠈蟼 伪魏蠈渭伪 魏伪喂 魏维蟿蠅 伪蟺蠈 蟿喂蟼 蟺喂慰 伪谓蟿委尉慰蔚蟼 蟽蠀谓胃萎魏蔚蟼 谓伪 未喂伪蟿畏蟻萎蟽蔚喂 蟿畏谓 伪尉喂慰蟺蟻苇蟺蔚喂维 蟿慰蠀, 谓伪 魏蟻伪蟿萎蟽蔚喂 蟿喂蟼 蟺蔚蟺慰喂胃萎蟽蔚喂蟼 蟿慰蠀 魏伪喂 谓伪 未蟻维蟽蔚喂. 螌,蟿喂 魏喂 伪谓 蟺蟻慰魏蠉蠄蔚喂 渭蔚蟿维. 螝伪喂 伪蟺蔚蠀胃蠉谓蔚喂 苇谓伪 苇渭渭蔚蟽慰 伪位位维 未蟻喂渭渭蠉 "魏伪蟿畏纬慰蟻蠋" 蟽蔚 蠈蟽慰蠀蟼 尾慰位蔚蠉蟿畏魏伪谓 魏伪喂 蔚纬魏位喂渭伪蟿委蟽蟿畏魏伪谓 蟿慰谓 魏伪喂蟻蠈 蟿畏蟼 蟺伪蟻伪蠁蟻慰蟽蠉谓畏蟼, 蟽蔚 蠈蟽慰蠀蟼 纬喂伪 蟿畏 未喂魏萎 蟿慰蠀蟼 维谓蔚蟽畏 魏伪喂 伪蟽蠁维位蔚喂伪 苇蟻喂尉伪谓 蟿慰谓 蟺萎蠂蠀 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠀蟺蠈蟽蟿伪蟽畏蟼 蟽蟿慰谓 蠂伪渭畏位蠈蟿蔚蟻慰 魏慰喂谓蠈 蟺伪蟻慰谓慰渭伪蟽蟿萎.
螚 喂蟽蟿慰蟻委伪 魏喂谓蔚委蟿伪喂 纬蠉蟻蠅 伪蟺蠈 蟿慰 味蔚蠉纬慰蟼 螝尾维谓纬魏蔚位, 蟺慰蠀 渭蔚蟿维 蟿慰 胃维谓伪蟿慰 蟿慰蠀 纬喂慰蠀 蟿慰蠀蟼 蟽蟿慰 渭苇蟿蠅蟺慰 蟽蟿喂蟼 伪蟻蠂苇蟼 魏喂蠈位伪蟼 蟿慰蠀 蟺慰位苇渭慰蠀, 伪蟺慰蠁伪蟽委味慰蠀谓 渭蠈谓慰喂 伪蠀蟿慰委 谓伪 伪谓伪渭蔚蟿蟻畏胃慰蠉谓 渭蔚 蟿慰 围委蟿位蔚蟻, 未喂伪谓苇渭慰谓蟿伪蟼 蟺蟻慰魏蠀蟻萎尉蔚喂蟼 蟽蔚 蠈位畏 蟿畏谓 蟺蠈位畏, 蟺蟻慰魏蠀蟻萎尉蔚喂蟼 蠂蔚喂蟻蠈纬蟻伪蠁蔚蟼, 魏伪位位喂纬蟻伪蠁畏渭苇谓蔚蟼, 蟺慰蠀 蔚魏胃苇蟿慰蠀谓 蟿伪 魏伪魏蠋蟼 魏蔚委渭蔚谓伪 魏伪喂 蟺蟻慰蟽蟺伪胃慰蠉谓 (渭维蟿伪喂伪;) 谓伪 蔚蠀伪喂蟽胃畏蟿慰蟺慰喂萎蟽慰蠀谓 魏伪喂 谓伪 魏喂谓畏蟿慰蟺慰喂萎蟽慰蠀谓 蟿慰蠀蟼 尾蔚蟻位慰谓喂味苇味慰蠀蟼.
危蠉谓蟿慰渭伪 纬委谓慰谓蟿伪喂 蟽蟿蠈蠂慰蟼 蔚谓蠈蟼 未伪喂渭蠈谓喂慰蠀 蔚蟺喂胃蔚蠅蟻畏蟿萎, 伪位位维 蔚蟺委 渭伪魏蟻蠈谓 未喂伪蠁蠉纬慰蠀谓 蟿畏 蟽蠉位位畏蠄畏, 蔚谓蠋 慰 魏伪喂蟻蠈蟼 蟺蟻慰蠂蠅蟻维蔚喂 魏伪喂 慰 蟺蠈位蔚渭慰蟼 蟽蠀谓蔚蠂委味蔚蟿伪喂.
惟蟽蟿蠈蟽慰, 畏 魏伪位萎 蟿蠉蠂畏 未蔚 渭蟺慰蟻蔚委 谓伪 未喂伪蟻魏苇蟽蔚喂 纬喂伪 蟺维谓蟿伪 魏伪喂 蔚蟻蠂蠈渭蔚谓慰蟼 慰 魏伪胃苇谓伪蟼 伪谓蟿喂渭苇蟿蠅蟺慰蟼 渭蔚 蟿喂蟼 蟽蠀谓苇蟺蔚喂苇蟼 蟿畏蟼 未蟻维蟽畏蟼 蟿慰蠀, 未蔚委蠂谓蔚喂 伪蟺蠈 蟿喂 渭苇蟿伪位位慰 蔚委谓伪喂 蠁蟿喂伪纬渭苇谓慰蟼.
螣喂 螝尾维谓纬魏蔚位, 蟺位伪喂蟽喂蠋谓慰谓蟿伪喂 伪蟺蠈 渭喂伪 蟽蔚喂蟻维 未蔚蠀蟿蔚蟻蔚蠀蠈谓蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓 (慰喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰喂 蔚委谓伪喂 纬蔚委蟿慰谓蔚蟼 蟽蟿畏谓 蟺慰位慰喂魏伪蟿慰喂魏委伪 蟿慰蠀蟼) 蟿蠅谓 慰蟺慰委伪 蟿伪 未蟻维渭伪蟿伪 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 魏伪喂 蟺伪委蟻谓慰蠀渭蔚 渭喂伪 纬蔚蟻萎 纬蔚蠉蟽畏 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 蟽蟿畏 谓伪味喂蟽蟿喂魏萎 纬蔚蟻渭伪谓委伪, 纬蔚蟻萎 魏伪喂 蟺喂魏蟻萎 纬蔚蠉蟽畏.
螔伪胃喂维 伪谓胃蟻蠅蟺喂蟽蟿萎蟼 魏伪喂 魏伪蟿维 尾维胃慰蟼 伪喂蟽喂蠈未慰尉慰蟼, 慰 桅维位伪谓蟿伪, 未蔚 未喂蟽蟿维味蔚喂 谓伪 蟻委尉蔚喂 蟽蟿慰 蟽蟿蠈渭伪 蟿慰蠀 位蠉魏慰蠀 魏伪喂 谓伪 "魏维蠄蔚喂" 蟿慰蠀蟼 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼 蟿慰蠀, 未蔚 未喂蟽蟿维味蔚喂 魏伪谓 谓伪 蟿慰蠀蟼 伪蟺慰未蠋蟽蔚喂 伪魏蠈渭畏 魏伪喂 蟽蟿慰喂蠂蔚委伪 渭伪蟿伪喂蠈蟿畏蟿伪蟼 蟽蟿慰谓 伪纬蠋谓伪 蟿慰蠀蟼, 委蟽蠅蟼 纬喂伪蟿委, 蠁委位蔚/蠁委位畏 蟺慰蠀 未喂伪尾维味蔚喂蟼 伪蠀蟿萎 蟿畏谓 魏蟻喂蟿喂魏萎, 慰喂 螝尾维谓纬魏蔚位 蠀蟺萎蟻尉伪谓, 蠈蠂喂 渭蔚 蟿畏谓 伪蠁伪喂蟻蔚蟿喂魏萎 苇谓谓慰喂伪 蟿慰蠀 "蟺维谓蟿伪 蠀蟺维蟻蠂蔚喂 苇谓伪蟼 螝尾维谓纬魏蔚位 蟺慰蠀 伪谓蟿喂蟽蟿苇魏蔚蟿伪喂", 伪位位维 纬喂伪蟿委 畏 喂蟽蟿慰蟻委伪 尾伪蟽委味蔚蟿伪喂 蟽蔚 蟺蟻伪纬渭伪蟿喂魏慰蠉蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 魏伪喂 纬蔚纬慰谓蠈蟿伪 魏喂 伪蠀蟿蠈 蔚委谓伪喂 蟿慰 蟺喂慰 伪喂蟽喂蠈未慰尉慰 蟽蟿慰喂蠂蔚委慰 蟿慰蠀 尾喂尾位委慰蠀. 螌蟿喂 蠀蟺萎蟻尉伪谓 蟺蟻伪纬渭伪蟿喂魏维 蟽蠀渭蟺伪蟿蟻喂蠋蟿蔚蟼 蟿慰蠀 蟺慰蠀 未蔚谓 伪蠁苇胃畏魏伪谓 魏伪喂 蟺蟻慰蟽蟺维胃畏蟽伪谓.
围蠅蟻委蟼 伪谓伪蟽蟿慰位苇蟼, 蠂蠅蟻委蟼 蠁蠈尾慰 魏伪喂 渭蔚 渭蔚蟿蟻喂伪蟽渭苇谓慰 蟺维胃慰蟼, 慰 桅维位伪谓蟿伪 未蔚 未喂蟽蟿维味蔚喂 谓伪 蔚魏胃苇蟽蔚喂 蟿伪 蟺维谓蟿伪 蟽蟿慰 渭维蟿喂 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏. 韦慰 蠁蠈尾慰, 蟿慰 蠂伪蠁喂蔚未喂蟽渭蠈, 蟿畏谓 伪未喂魏委伪, 蟿畏谓 蟺伪蟻维谓慰喂伪, 蟿畏谓 蔚蟺喂尾蟻维尾蔚蠀蟽畏 蟿畏蟼 渭喂蟽伪谓胃蟻蠅蟺委伪蟼 魏伪喂 蟿畏谓 蟺维蟿伪尉畏 蟿畏蟼 魏伪位慰蟽蠉谓畏蟼, 蟿慰 纬喂慰 蟺慰蠀 蟽蟿蟻苇蠁蔚蟿伪喂 蔚谓伪谓蟿委慰谓 蟿慰蠀 蟺伪蟿苇蟻伪 魏伪喂 蟿慰 伪谓蟿委胃蔚蟿慰, 蟿喂蟼 未委魏蔚蟼 蟺伪蟻蠅未委蔚蟼 蟺慰蠀 蔚尉蔚蠀蟿蔚位委味慰蠀谓 魏维胃蔚 苇谓谓慰喂伪 未喂魏伪委慰蠀, 蟿喂蟼 蟺蟻伪魏蟿喂魏苇蟼 蟿蠅谓 未喂蠅蟿喂魏蠋谓 伪蟻蠂蠋谓 蟺慰蠀 未蔚 未喂蟽蟿维味慰蠀谓 谓伪 蟽蟿蟻伪蠁慰蠉谓 伪魏蠈渭伪 魏伪喂 蔚谓伪谓蟿委慰谓 蟿蠅谓 委未喂蠅谓 蟿慰蠀蟼 蟿蠅谓 "蟽魏蠀位喂蠋谓" 蠈蟿伪谓 伪蠀蟿维 未蔚谓 伪蟺慰未委未慰蠀谓 蟿伪 伪谓伪渭蔚谓蠈渭蔚谓伪, 蟿喂蟼 蟽蠀谓胃萎魏蔚蟼 魏蟻维蟿畏蟽畏蟼, 蟿畏 未喂维蠂蠀蟿畏 魏伪魏委伪 魏伪喂 渭喂魏蟻蠈蟿畏蟿伪 蟺慰蠀 尉蔚魏喂谓维蔚喂 伪蟺蠈 蟿畏谓 魏慰蟻蠀蠁萎 魏伪喂 未喂伪蟺慰蟿委味蔚喂 蠈位伪 蟿伪 魏慰喂谓蠅谓喂魏维 蟽蟿蟻蠋渭伪蟿伪, 蟽蔚 渭喂伪 魏伪胃伪蟻蟿萎蟻喂伪 蔚尉喂蟽蟿蠈蟻畏蟽畏.
螠蔚 蟿慰 尾位苇渭渭伪 蟽蟿慰 渭苇位位慰谓, 蠈蟺蠅蟼 蠁伪委谓蔚蟿伪喂 伪蟺蠈 蟿慰 蟿蔚位蔚蠀蟿伪委慰 魏慰渭渭维蟿喂 蟿慰蠀 尾喂尾位委慰蠀, 慰 桅维位伪谓蟿伪 蠂伪喂蟻蔚蟿委味蔚喂 渭喂伪 蔚位蟺委未伪 蟺慰蠀 萎未畏 伪蠂谓慰蠁伪喂谓蠈蟿伪谓 蟽蟿慰谓 慰蟻委味慰谓蟿伪, "蟽蠋味蔚喂 蟿慰 蟺伪喂未委", 萎 伪魏蠈渭畏 魏伪位蠉蟿蔚蟻伪, 尾维味蔚喂 蟿慰 蟺伪喂未委 谓伪 蟽蠋味蔚喂 蟿慰 委未喂慰 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 伪谓伪味畏蟿蠋谓蟿伪蟼 委蟽蠅蟼 渭喂伪 谓苇伪 纬蔚谓喂维, 渭喂伪 谓苇伪 螕蔚蟻渭伪谓委伪 蟺慰蠀 伪蟺慰蟺慰喂蔚委蟿伪喂 蟿慰 蟺伪蟻蔚位胃蠈谓 蟿畏蟼 魏伪喂 蔚委谓伪喂 苇蟿慰喂渭畏 谓伪 纬蠀蟻委蟽蔚喂 蟿畏谓 蟺位维蟿畏 蟽蔚 12 蠂蟻蠈谓喂伪 蠁蟻委魏畏蟼, 蟿蟻蠈渭慰蠀, 胃伪谓维蟿慰蠀 魏伪喂 伪蟺伪尉委蠅蟽畏蟼 魏维胃蔚 伪谓胃蟻蠋蟺喂谓慰蠀 喂未伪谓喂魏慰蠉.
违蟺慰胃苇蟿蠅, 魏伪位蠈 胃伪 萎蟿伪谓 谓伪 未喂未维蟽魏蔚蟿伪喂 蟽蟿伪 蟽蠂慰位蔚委伪 魏伪喂 未蔚谓 蔚谓谓慰蠋 渭蠈谓慰 蟿伪 纬蔚蟻渭伪谓喂魏维...
违.螕. 螘委谓伪喂 蔚谓蟿蠀蟺蠅蟽喂伪魏蠈 蠈蟿喂 蠀蟺维蟻蠂慰蠀谓 伪魏蠈渭畏 伪谓蔚纬魏苇蠁伪位慰喂 (未蠀蟽位蔚喂蟿慰蠀蟻纬喂魏慰委 渭喂魏蟻蠈蠁伪位位慰喂;) 蟺慰蠀 苇蠂慰蠀谓 慰谓蔚喂蟻蠋尉蔚喂蟼 蔚蟺伪谓伪蠁慰蟻维蟼 蟿苇蟿慰喂蠅谓 魏伪胃蔚蟽蟿蠋蟿蠅谓 魏伪喂 蠀渭谓慰蠉谓 蟿慰蠀蟼 喂胃蠉谓慰谓蟿苇蟼 蟿慰蠀蟼. 危蟿慰 谓蟿慰蠀位维蟺喂 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 魏伪喂 蟽蟿伪 蟿蟽伪魏委未喂伪 慰喂 伪蟺伪谓蟿伪蠂慰蠉 "蔚胃谓喂魏喂蟽蟿苇蟼-未萎胃蔚谓-蟺伪蟿蟻喂蠋蟿蔚蟼" 蔚蟺委未慰尉慰喂 渭喂渭畏蟿苇蟼 蟿慰蠀蟼. 螠喂伪 蠁慰蟻维 蔚委谓伪喂 伪蟻魏蔚蟿萎 纬喂伪 蠈位畏 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪.
蚂委纬伪.
螠喂魏蟻慰委 魏伪喂 渭慰谓伪蠂喂魏慰委 胃蠉位伪魏蔚蟼 伪谓蟿委蟽蟿伪蟽畏蟼 蟽蟿畏谓 蔚纬魏位畏渭伪蟿喂魏萎 蟺伪蟻维谓慰喂伪 蟿慰蠀 谓伪味喂蟽渭慰蠉 蟿畏蟼 蟺蔚蟻喂蠈未慰蠀 蟿慰蠀 螔'螤螤 未喂蔚尉维纬慰蠀谓 蟿慰 未喂魏蠈 蟿慰蠀蟼 伪纬蠋谓伪, 喂蟽蠂谓蠈, 伪未蠉谓伪渭慰, 渭维蟿伪喂慰 委蟽蠅蟼, 伪位位维 伪谓 渭畏 蟿喂 维位位慰, 未蔚谓 伪蠁萎谓慰谓蟿伪喂 谓伪 蟺伪蟻伪蟽蠀蟻胃慰蠉谓 伪蟺蠈 蟿畏谓 蟺位畏渭渭蠀蟻委未伪 蟿畏蟼 谓伪味喂蟽蟿喂魏萎蟼 蔚蟺苇位伪蟽畏蟼, 慰蟻胃蠋谓慰蠀谓 蟿慰 渭喂魏蟻蠈 蟿慰蠀蟼 伪谓维蟽蟿畏渭伪, 渭畏蠂伪谓蔚蠉慰谓蟿伪喂 蟿蟻蠈蟺慰蠀蟼 谓伪 蟺位萎尉慰蠀谓 蟽蟿慰 尾伪胃渭蠈 蟿慰蠀 未蠀谓伪蟿慰蠉 蟿慰 胃畏蟻委慰 蟿畏蟼 谓伪味喂蟽蟿喂魏萎蟼 伪蟺慰魏维位蠀蠄畏蟼 魏伪喂 蟿慰 蟺位畏蟻蠋谓慰蠀谓 蟺喂魏蟻维.
惟蟽蟿蠈蟽慰, 蟿慰 尾喂尾位委慰 蔚委谓伪喂 伪喂蟽喂蠈未慰尉慰.
螤苇蟻伪 伪蟺蠈 蟿慰 蟺蟻慰蠁伪谓苇蟼 渭萎谓蠀渭伪 (蠈蟿喂 魏伪谓蔚委蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟿伪 魏伪蟿伪蠁苇蟻蔚喂 渭蠈谓慰蟼 蟿慰蠀 伪蟺苇谓伪谓蟿喂 蟽蟿慰 渭伪喂谓蠈渭蔚谓慰 伪位位慰蟺蟻蠈蟽伪位位慰 位蔚尾喂维胃伪谓 蟿慰蠀 慰位慰魏位畏蟻蠅蟿喂蟽渭慰蠉), 未蔚委蠂谓蔚喂 蠈蟿喂 慰 维谓胃蟻蠅蟺慰蟼 蔚委谓伪喂 喂魏伪谓蠈蟼 伪魏蠈渭伪 魏伪喂 魏维蟿蠅 伪蟺蠈 蟿喂蟼 蟺喂慰 伪谓蟿委尉慰蔚蟼 蟽蠀谓胃萎魏蔚蟼 谓伪 未喂伪蟿畏蟻萎蟽蔚喂 蟿畏谓 伪尉喂慰蟺蟻苇蟺蔚喂维 蟿慰蠀, 谓伪 魏蟻伪蟿萎蟽蔚喂 蟿喂蟼 蟺蔚蟺慰喂胃萎蟽蔚喂蟼 蟿慰蠀 魏伪喂 谓伪 未蟻维蟽蔚喂. 螌,蟿喂 魏喂 伪谓 蟺蟻慰魏蠉蠄蔚喂 渭蔚蟿维. 螝伪喂 伪蟺蔚蠀胃蠉谓蔚喂 苇谓伪 苇渭渭蔚蟽慰 伪位位维 未蟻喂渭渭蠉 "魏伪蟿畏纬慰蟻蠋" 蟽蔚 蠈蟽慰蠀蟼 尾慰位蔚蠉蟿畏魏伪谓 魏伪喂 蔚纬魏位喂渭伪蟿委蟽蟿畏魏伪谓 蟿慰谓 魏伪喂蟻蠈 蟿畏蟼 蟺伪蟻伪蠁蟻慰蟽蠉谓畏蟼, 蟽蔚 蠈蟽慰蠀蟼 纬喂伪 蟿畏 未喂魏萎 蟿慰蠀蟼 维谓蔚蟽畏 魏伪喂 伪蟽蠁维位蔚喂伪 苇蟻喂尉伪谓 蟿慰谓 蟺萎蠂蠀 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠀蟺蠈蟽蟿伪蟽畏蟼 蟽蟿慰谓 蠂伪渭畏位蠈蟿蔚蟻慰 魏慰喂谓蠈 蟺伪蟻慰谓慰渭伪蟽蟿萎.
螚 喂蟽蟿慰蟻委伪 魏喂谓蔚委蟿伪喂 纬蠉蟻蠅 伪蟺蠈 蟿慰 味蔚蠉纬慰蟼 螝尾维谓纬魏蔚位, 蟺慰蠀 渭蔚蟿维 蟿慰 胃维谓伪蟿慰 蟿慰蠀 纬喂慰蠀 蟿慰蠀蟼 蟽蟿慰 渭苇蟿蠅蟺慰 蟽蟿喂蟼 伪蟻蠂苇蟼 魏喂蠈位伪蟼 蟿慰蠀 蟺慰位苇渭慰蠀, 伪蟺慰蠁伪蟽委味慰蠀谓 渭蠈谓慰喂 伪蠀蟿慰委 谓伪 伪谓伪渭蔚蟿蟻畏胃慰蠉谓 渭蔚 蟿慰 围委蟿位蔚蟻, 未喂伪谓苇渭慰谓蟿伪蟼 蟺蟻慰魏蠀蟻萎尉蔚喂蟼 蟽蔚 蠈位畏 蟿畏谓 蟺蠈位畏, 蟺蟻慰魏蠀蟻萎尉蔚喂蟼 蠂蔚喂蟻蠈纬蟻伪蠁蔚蟼, 魏伪位位喂纬蟻伪蠁畏渭苇谓蔚蟼, 蟺慰蠀 蔚魏胃苇蟿慰蠀谓 蟿伪 魏伪魏蠋蟼 魏蔚委渭蔚谓伪 魏伪喂 蟺蟻慰蟽蟺伪胃慰蠉谓 (渭维蟿伪喂伪;) 谓伪 蔚蠀伪喂蟽胃畏蟿慰蟺慰喂萎蟽慰蠀谓 魏伪喂 谓伪 魏喂谓畏蟿慰蟺慰喂萎蟽慰蠀谓 蟿慰蠀蟼 尾蔚蟻位慰谓喂味苇味慰蠀蟼.
危蠉谓蟿慰渭伪 纬委谓慰谓蟿伪喂 蟽蟿蠈蠂慰蟼 蔚谓蠈蟼 未伪喂渭蠈谓喂慰蠀 蔚蟺喂胃蔚蠅蟻畏蟿萎, 伪位位维 蔚蟺委 渭伪魏蟻蠈谓 未喂伪蠁蠉纬慰蠀谓 蟿畏 蟽蠉位位畏蠄畏, 蔚谓蠋 慰 魏伪喂蟻蠈蟼 蟺蟻慰蠂蠅蟻维蔚喂 魏伪喂 慰 蟺蠈位蔚渭慰蟼 蟽蠀谓蔚蠂委味蔚蟿伪喂.
惟蟽蟿蠈蟽慰, 畏 魏伪位萎 蟿蠉蠂畏 未蔚 渭蟺慰蟻蔚委 谓伪 未喂伪蟻魏苇蟽蔚喂 纬喂伪 蟺维谓蟿伪 魏伪喂 蔚蟻蠂蠈渭蔚谓慰蟼 慰 魏伪胃苇谓伪蟼 伪谓蟿喂渭苇蟿蠅蟺慰蟼 渭蔚 蟿喂蟼 蟽蠀谓苇蟺蔚喂苇蟼 蟿畏蟼 未蟻维蟽畏蟼 蟿慰蠀, 未蔚委蠂谓蔚喂 伪蟺蠈 蟿喂 渭苇蟿伪位位慰 蔚委谓伪喂 蠁蟿喂伪纬渭苇谓慰蟼.
螣喂 螝尾维谓纬魏蔚位, 蟺位伪喂蟽喂蠋谓慰谓蟿伪喂 伪蟺蠈 渭喂伪 蟽蔚喂蟻维 未蔚蠀蟿蔚蟻蔚蠀蠈谓蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓 (慰喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰喂 蔚委谓伪喂 纬蔚委蟿慰谓蔚蟼 蟽蟿畏谓 蟺慰位慰喂魏伪蟿慰喂魏委伪 蟿慰蠀蟼) 蟿蠅谓 慰蟺慰委伪 蟿伪 未蟻维渭伪蟿伪 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 魏伪喂 蟺伪委蟻谓慰蠀渭蔚 渭喂伪 纬蔚蟻萎 纬蔚蠉蟽畏 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 蟽蟿畏 谓伪味喂蟽蟿喂魏萎 纬蔚蟻渭伪谓委伪, 纬蔚蟻萎 魏伪喂 蟺喂魏蟻萎 纬蔚蠉蟽畏.
螔伪胃喂维 伪谓胃蟻蠅蟺喂蟽蟿萎蟼 魏伪喂 魏伪蟿维 尾维胃慰蟼 伪喂蟽喂蠈未慰尉慰蟼, 慰 桅维位伪谓蟿伪, 未蔚 未喂蟽蟿维味蔚喂 谓伪 蟻委尉蔚喂 蟽蟿慰 蟽蟿蠈渭伪 蟿慰蠀 位蠉魏慰蠀 魏伪喂 谓伪 "魏维蠄蔚喂" 蟿慰蠀蟼 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼 蟿慰蠀, 未蔚 未喂蟽蟿维味蔚喂 魏伪谓 谓伪 蟿慰蠀蟼 伪蟺慰未蠋蟽蔚喂 伪魏蠈渭畏 魏伪喂 蟽蟿慰喂蠂蔚委伪 渭伪蟿伪喂蠈蟿畏蟿伪蟼 蟽蟿慰谓 伪纬蠋谓伪 蟿慰蠀蟼, 委蟽蠅蟼 纬喂伪蟿委, 蠁委位蔚/蠁委位畏 蟺慰蠀 未喂伪尾维味蔚喂蟼 伪蠀蟿萎 蟿畏谓 魏蟻喂蟿喂魏萎, 慰喂 螝尾维谓纬魏蔚位 蠀蟺萎蟻尉伪谓, 蠈蠂喂 渭蔚 蟿畏谓 伪蠁伪喂蟻蔚蟿喂魏萎 苇谓谓慰喂伪 蟿慰蠀 "蟺维谓蟿伪 蠀蟺维蟻蠂蔚喂 苇谓伪蟼 螝尾维谓纬魏蔚位 蟺慰蠀 伪谓蟿喂蟽蟿苇魏蔚蟿伪喂", 伪位位维 纬喂伪蟿委 畏 喂蟽蟿慰蟻委伪 尾伪蟽委味蔚蟿伪喂 蟽蔚 蟺蟻伪纬渭伪蟿喂魏慰蠉蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 魏伪喂 纬蔚纬慰谓蠈蟿伪 魏喂 伪蠀蟿蠈 蔚委谓伪喂 蟿慰 蟺喂慰 伪喂蟽喂蠈未慰尉慰 蟽蟿慰喂蠂蔚委慰 蟿慰蠀 尾喂尾位委慰蠀. 螌蟿喂 蠀蟺萎蟻尉伪谓 蟺蟻伪纬渭伪蟿喂魏维 蟽蠀渭蟺伪蟿蟻喂蠋蟿蔚蟼 蟿慰蠀 蟺慰蠀 未蔚谓 伪蠁苇胃畏魏伪谓 魏伪喂 蟺蟻慰蟽蟺维胃畏蟽伪谓.
围蠅蟻委蟼 伪谓伪蟽蟿慰位苇蟼, 蠂蠅蟻委蟼 蠁蠈尾慰 魏伪喂 渭蔚 渭蔚蟿蟻喂伪蟽渭苇谓慰 蟺维胃慰蟼, 慰 桅维位伪谓蟿伪 未蔚 未喂蟽蟿维味蔚喂 谓伪 蔚魏胃苇蟽蔚喂 蟿伪 蟺维谓蟿伪 蟽蟿慰 渭维蟿喂 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏. 韦慰 蠁蠈尾慰, 蟿慰 蠂伪蠁喂蔚未喂蟽渭蠈, 蟿畏谓 伪未喂魏委伪, 蟿畏谓 蟺伪蟻维谓慰喂伪, 蟿畏谓 蔚蟺喂尾蟻维尾蔚蠀蟽畏 蟿畏蟼 渭喂蟽伪谓胃蟻蠅蟺委伪蟼 魏伪喂 蟿畏谓 蟺维蟿伪尉畏 蟿畏蟼 魏伪位慰蟽蠉谓畏蟼, 蟿慰 纬喂慰 蟺慰蠀 蟽蟿蟻苇蠁蔚蟿伪喂 蔚谓伪谓蟿委慰谓 蟿慰蠀 蟺伪蟿苇蟻伪 魏伪喂 蟿慰 伪谓蟿委胃蔚蟿慰, 蟿喂蟼 未委魏蔚蟼 蟺伪蟻蠅未委蔚蟼 蟺慰蠀 蔚尉蔚蠀蟿蔚位委味慰蠀谓 魏维胃蔚 苇谓谓慰喂伪 未喂魏伪委慰蠀, 蟿喂蟼 蟺蟻伪魏蟿喂魏苇蟼 蟿蠅谓 未喂蠅蟿喂魏蠋谓 伪蟻蠂蠋谓 蟺慰蠀 未蔚 未喂蟽蟿维味慰蠀谓 谓伪 蟽蟿蟻伪蠁慰蠉谓 伪魏蠈渭伪 魏伪喂 蔚谓伪谓蟿委慰谓 蟿蠅谓 委未喂蠅谓 蟿慰蠀蟼 蟿蠅谓 "蟽魏蠀位喂蠋谓" 蠈蟿伪谓 伪蠀蟿维 未蔚谓 伪蟺慰未委未慰蠀谓 蟿伪 伪谓伪渭蔚谓蠈渭蔚谓伪, 蟿喂蟼 蟽蠀谓胃萎魏蔚蟼 魏蟻维蟿畏蟽畏蟼, 蟿畏 未喂维蠂蠀蟿畏 魏伪魏委伪 魏伪喂 渭喂魏蟻蠈蟿畏蟿伪 蟺慰蠀 尉蔚魏喂谓维蔚喂 伪蟺蠈 蟿畏谓 魏慰蟻蠀蠁萎 魏伪喂 未喂伪蟺慰蟿委味蔚喂 蠈位伪 蟿伪 魏慰喂谓蠅谓喂魏维 蟽蟿蟻蠋渭伪蟿伪, 蟽蔚 渭喂伪 魏伪胃伪蟻蟿萎蟻喂伪 蔚尉喂蟽蟿蠈蟻畏蟽畏.
螠蔚 蟿慰 尾位苇渭渭伪 蟽蟿慰 渭苇位位慰谓, 蠈蟺蠅蟼 蠁伪委谓蔚蟿伪喂 伪蟺蠈 蟿慰 蟿蔚位蔚蠀蟿伪委慰 魏慰渭渭维蟿喂 蟿慰蠀 尾喂尾位委慰蠀, 慰 桅维位伪谓蟿伪 蠂伪喂蟻蔚蟿委味蔚喂 渭喂伪 蔚位蟺委未伪 蟺慰蠀 萎未畏 伪蠂谓慰蠁伪喂谓蠈蟿伪谓 蟽蟿慰谓 慰蟻委味慰谓蟿伪, "蟽蠋味蔚喂 蟿慰 蟺伪喂未委", 萎 伪魏蠈渭畏 魏伪位蠉蟿蔚蟻伪, 尾维味蔚喂 蟿慰 蟺伪喂未委 谓伪 蟽蠋味蔚喂 蟿慰 委未喂慰 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 伪谓伪味畏蟿蠋谓蟿伪蟼 委蟽蠅蟼 渭喂伪 谓苇伪 纬蔚谓喂维, 渭喂伪 谓苇伪 螕蔚蟻渭伪谓委伪 蟺慰蠀 伪蟺慰蟺慰喂蔚委蟿伪喂 蟿慰 蟺伪蟻蔚位胃蠈谓 蟿畏蟼 魏伪喂 蔚委谓伪喂 苇蟿慰喂渭畏 谓伪 纬蠀蟻委蟽蔚喂 蟿畏谓 蟺位维蟿畏 蟽蔚 12 蠂蟻蠈谓喂伪 蠁蟻委魏畏蟼, 蟿蟻蠈渭慰蠀, 胃伪谓维蟿慰蠀 魏伪喂 伪蟺伪尉委蠅蟽畏蟼 魏维胃蔚 伪谓胃蟻蠋蟺喂谓慰蠀 喂未伪谓喂魏慰蠉.
违蟺慰胃苇蟿蠅, 魏伪位蠈 胃伪 萎蟿伪谓 谓伪 未喂未维蟽魏蔚蟿伪喂 蟽蟿伪 蟽蠂慰位蔚委伪 魏伪喂 未蔚谓 蔚谓谓慰蠋 渭蠈谓慰 蟿伪 纬蔚蟻渭伪谓喂魏维...
违.螕. 螘委谓伪喂 蔚谓蟿蠀蟺蠅蟽喂伪魏蠈 蠈蟿喂 蠀蟺维蟻蠂慰蠀谓 伪魏蠈渭畏 伪谓蔚纬魏苇蠁伪位慰喂 (未蠀蟽位蔚喂蟿慰蠀蟻纬喂魏慰委 渭喂魏蟻蠈蠁伪位位慰喂;) 蟺慰蠀 苇蠂慰蠀谓 慰谓蔚喂蟻蠋尉蔚喂蟼 蔚蟺伪谓伪蠁慰蟻维蟼 蟿苇蟿慰喂蠅谓 魏伪胃蔚蟽蟿蠋蟿蠅谓 魏伪喂 蠀渭谓慰蠉谓 蟿慰蠀蟼 喂胃蠉谓慰谓蟿苇蟼 蟿慰蠀蟼. 危蟿慰 谓蟿慰蠀位维蟺喂 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 魏伪喂 蟽蟿伪 蟿蟽伪魏委未喂伪 慰喂 伪蟺伪谓蟿伪蠂慰蠉 "蔚胃谓喂魏喂蟽蟿苇蟼-未萎胃蔚谓-蟺伪蟿蟻喂蠋蟿蔚蟼" 蔚蟺委未慰尉慰喂 渭喂渭畏蟿苇蟼 蟿慰蠀蟼. 螠喂伪 蠁慰蟻维 蔚委谓伪喂 伪蟻魏蔚蟿萎 纬喂伪 蠈位畏 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪.
February 18, 2018
Agghiacciante. Allucinante.
E' un romanzo.
Ma 猫 stato scritto quasi "in diretta" (猫 uscito nel 1947).
Quindi qualcuno che si opponeva c'era.
Quindi era possibile opporsi.
Quindi era possibile essere contro e non accettare acriticamente tutto quello che imponeva il regime nazista, per paura.
Quindi 猫 ancora pi霉 orribile quello che 猫 successo.
(lo so che questo discorso 猫 da anime candide, e non tiene conto di tutte le variabile dell'hic et nunc. ma rimane il fatto che opporsi era possibile)
E' un romanzo.
Ma 猫 stato scritto quasi "in diretta" (猫 uscito nel 1947).
Quindi qualcuno che si opponeva c'era.
Quindi era possibile opporsi.
Quindi era possibile essere contro e non accettare acriticamente tutto quello che imponeva il regime nazista, per paura.
Quindi 猫 ancora pi霉 orribile quello che 猫 successo.
(lo so che questo discorso 猫 da anime candide, e non tiene conto di tutte le variabile dell'hic et nunc. ma rimane il fatto che opporsi era possibile)
August 11, 2017
螛伪 蟽蠀渭蠁蠅谓萎蟽蠅 伪蟺慰位蠉蟿蠅蟼 渭蔚 渭委伪 魏蟻喂蟿喂魏萎 蟺慰蠀 未喂维尾伪蟽伪 蔚未蠋 渭苇蟽伪. 螒蠀蟿维 蟿伪 尾喂尾位委伪 胃伪 苇蟺蟻蔚蟺蔚 谓伪 未喂未维蟽魏慰谓蟿伪喂 蟽蟿慰 蟽蠂慰位蔚委慰. 螒谓维纬谓蠅蟽渭伪 纬喂伪 纬蔚蟻维 蟽蟿慰渭维蠂喂伪......
October 2, 2023
讴鬲丕亘 丿乇 賲賵乇丿 倬蹖乇賲乇丿蹖 亘賴 賳丕賲 丕賵鬲賵 賵 賴賲爻乇卮 丕爻鬲 讴賴 賮乇夭賳丿卮丕賳 乇丕 丿乇 噩賳诏 丕夭 丿爻鬲 丿丕丿賴鈥屫з嗀�. 丌賳鈥屬囏� 爻丕讴賳 亘乇賱蹖賳 賴爻鬲賳丿貙 丨丕賱丕 丌賳鈥屬囏� 毓賱蹖賴 賯丕鬲賱丕賳 讴丕乇鬲 倬爻鬲丕賱 賲蹖鈥屬嗁堐屫迟嗀� 賵 亘賴 丕蹖賳 鬲乇鬲蹖亘 賮氐賱 噩丿蹖丿蹖 丕夭 夭賳丿诏蹖鈥屫簇з� 丌睾丕夭 賲蹖鈥屫促堌�. 賮氐賱蹖 丕夭 丌睾丕夭 賲亘丕乇夭賴 丿乇 夭賲丕賳 賴蹖鬲賱乇. 夭賵噩蹖 讴賴 丌睾丕夭诏乇 蹖讴 卮賵乇卮 讴賵趩讴 毓賱蹖 倬蹖卮賵丕 賴爻鬲賳丿... 丿丕爻鬲丕賳 賳賲丕蹖丕賳诏乇 丕賵囟丕毓 亘乇賱蹖賳 丕爻鬲貙 丿乇 胤賵賱 噩賳诏 噩賴丕賳蹖 丿賵賲貙 爻丕賱鈥屬囏й� 郾酃鄞郯 鬲丕 郾酃鄞鄢...
賲亘丕乇夭賴 丿乇 讴賳丕乇 爻賵诏賵丕乇蹖 賯胤毓丕 亘乇丕蹖 丕夭 丿爻鬲 丿丕丿賳 賮乇夭賳丿 亘乇丕蹖 倬丿乇 賵 賲丕丿乇 賵丕賯毓丕 讴丕乇 爻禺鬲蹖 丕爻鬲貙 讴賴 亘賴 賵囟賵丨 丿乇 亘蹖賳 禺胤賵胤 讴鬲丕亘 丨爻 賲蹖卮賴.
讴鬲丕亘 丿丕爻鬲丕賳 蹖讴 丕賳鬲賯丕賲 丕爻鬲貙 丕賲丕 丕賳鬲賯丕賲蹖 卮蹖乇蹖賳....
丕賲丕 賯乇丕乇 賳蹖爻鬲 丕蹖賳 讴鬲丕亘 亘丕 賲乇诏 鬲賲丕賲 卮賵丿貙 丕蹖賳 讴鬲丕亘 亘賴 夭賳丿诏蹖 鬲賯丿蹖賲 卮丿賴 丕爻鬲貙 夭賳丿诏蹖 卮讴爻鬲鈥屬嗀з矩佰屫臂� 讴賴 賴賲蹖卮賴 丕夭 賳賵 亘乇 賳賳诏 賵 丕卮讴貙 亘乇 爻蹖賴鈥屫辟堌槽� 賵 賲乇诏 倬蹖乇賵夭 賲蹖鈥屫促堌�.
賲亘丕乇夭賴 丿乇 讴賳丕乇 爻賵诏賵丕乇蹖 賯胤毓丕 亘乇丕蹖 丕夭 丿爻鬲 丿丕丿賳 賮乇夭賳丿 亘乇丕蹖 倬丿乇 賵 賲丕丿乇 賵丕賯毓丕 讴丕乇 爻禺鬲蹖 丕爻鬲貙 讴賴 亘賴 賵囟賵丨 丿乇 亘蹖賳 禺胤賵胤 讴鬲丕亘 丨爻 賲蹖卮賴.
讴鬲丕亘 丿丕爻鬲丕賳 蹖讴 丕賳鬲賯丕賲 丕爻鬲貙 丕賲丕 丕賳鬲賯丕賲蹖 卮蹖乇蹖賳....
丕賲丕 賯乇丕乇 賳蹖爻鬲 丕蹖賳 讴鬲丕亘 亘丕 賲乇诏 鬲賲丕賲 卮賵丿貙 丕蹖賳 讴鬲丕亘 亘賴 夭賳丿诏蹖 鬲賯丿蹖賲 卮丿賴 丕爻鬲貙 夭賳丿诏蹖 卮讴爻鬲鈥屬嗀з矩佰屫臂� 讴賴 賴賲蹖卮賴 丕夭 賳賵 亘乇 賳賳诏 賵 丕卮讴貙 亘乇 爻蹖賴鈥屫辟堌槽� 賵 賲乇诏 倬蹖乇賵夭 賲蹖鈥屫促堌�.
January 18, 2023
"Suddenly sober, he says, 'Perhaps there are already many thinking as we do. Thousands of men must have fallen. Maybe there are already writers like us. But that doesn't matter, Anna! What do we care? It's we who must do it!'"
This novel, written in 1946, just before Fallada鈥檚 death is based on a true story. Elise and Otto Hampel were a working class couple in Berlin. Early in the war Elise鈥檚 brother was killed in action. They began a silent protest against the Nazis and the war: by writing postcards. For over two years they secretly distributed hundreds of postcards, on which they wrote criticisms of the regime. They put them in all sorts of places and for two years they baffled the Berlin Police. The case was eventually handed over to the Gestapo, who assumed they were dealing with a group of people. They were eventually caught and executed (by beheading) in March 1943.
Fallada takes this story and turns it into this novel. He adds a number of secondary characters. The main characters are Anna and Otto Quangel. They live in an apartment block and we follow the lives of the residents as well. Fallada also follows the police/Gestapo investigation as well. It is the Quangel鈥檚 son Otto who dies in action in the novel and triggers the postcard writing. It鈥檚 a long novel, almost 600 pages, and despite what Penguin say, it鈥檚 not a thriller.
Fallada wrote this over a period of two months, he was dying at the time. He had been addicted to alcohol and morphine and spent a significant amount of time in psychiatric institutions. His relationship to the authorities was always ambivalent.
鈥淭hen he [Otto] picked up the pen, and said softly but clearly, 鈥楾he first sentence of our first card will read: 鈥楳other! The F眉hrer has murdered my son.鈥欌€�
Once again, she [Anna] shivered. There was something so bleak, so gloomy, so determined in the words Otto had just spoken. At that instant she grasped that this very first sentence was Otto鈥檚 absolute and irrevocable declaration of war, and also what that meant: war between, on the one side, the two of them, poor, small, insignificant workers who could be extinguished for just a word or two, and on the other, the F眉hrer, the Party, the whole apparatus in all its power and glory, with three-fourths or even four-fifths of the German people behind it. And the two of them in this little room in Jablonski Strasse!鈥�
This is bleak, with a few shafts of light and portrays a futile, yet principled resistance against a totalitarian regime. It鈥檚 a story still relevant. It鈥檚 probably a bit too long, but it鈥檚 a great study of human reaction to an oppressive regime.
鈥淲ell, it will have helped us to feel that we behaved decently till the end. [鈥 Of course, Quangel, it would have been a hundred times better if we鈥檇 had someone who could have told us, such and such is what you have to do; our plan is this and this. But if there had been such a man in Germany, then Hitler would never have come to power in 1933. As it was, we all acted alone, we were caught alone, and every one of us will have to die alone. But that doesn鈥檛 mean that we ARE alone, or that our deaths will be in vain. Nothing in this world is done in vain, and since we are fighting for justice against brutality, we are bound to prevail in the end.鈥�
This novel, written in 1946, just before Fallada鈥檚 death is based on a true story. Elise and Otto Hampel were a working class couple in Berlin. Early in the war Elise鈥檚 brother was killed in action. They began a silent protest against the Nazis and the war: by writing postcards. For over two years they secretly distributed hundreds of postcards, on which they wrote criticisms of the regime. They put them in all sorts of places and for two years they baffled the Berlin Police. The case was eventually handed over to the Gestapo, who assumed they were dealing with a group of people. They were eventually caught and executed (by beheading) in March 1943.
Fallada takes this story and turns it into this novel. He adds a number of secondary characters. The main characters are Anna and Otto Quangel. They live in an apartment block and we follow the lives of the residents as well. Fallada also follows the police/Gestapo investigation as well. It is the Quangel鈥檚 son Otto who dies in action in the novel and triggers the postcard writing. It鈥檚 a long novel, almost 600 pages, and despite what Penguin say, it鈥檚 not a thriller.
Fallada wrote this over a period of two months, he was dying at the time. He had been addicted to alcohol and morphine and spent a significant amount of time in psychiatric institutions. His relationship to the authorities was always ambivalent.
鈥淭hen he [Otto] picked up the pen, and said softly but clearly, 鈥楾he first sentence of our first card will read: 鈥楳other! The F眉hrer has murdered my son.鈥欌€�
Once again, she [Anna] shivered. There was something so bleak, so gloomy, so determined in the words Otto had just spoken. At that instant she grasped that this very first sentence was Otto鈥檚 absolute and irrevocable declaration of war, and also what that meant: war between, on the one side, the two of them, poor, small, insignificant workers who could be extinguished for just a word or two, and on the other, the F眉hrer, the Party, the whole apparatus in all its power and glory, with three-fourths or even four-fifths of the German people behind it. And the two of them in this little room in Jablonski Strasse!鈥�
This is bleak, with a few shafts of light and portrays a futile, yet principled resistance against a totalitarian regime. It鈥檚 a story still relevant. It鈥檚 probably a bit too long, but it鈥檚 a great study of human reaction to an oppressive regime.
鈥淲ell, it will have helped us to feel that we behaved decently till the end. [鈥 Of course, Quangel, it would have been a hundred times better if we鈥檇 had someone who could have told us, such and such is what you have to do; our plan is this and this. But if there had been such a man in Germany, then Hitler would never have come to power in 1933. As it was, we all acted alone, we were caught alone, and every one of us will have to die alone. But that doesn鈥檛 mean that we ARE alone, or that our deaths will be in vain. Nothing in this world is done in vain, and since we are fighting for justice against brutality, we are bound to prevail in the end.鈥�
May 29, 2020
螣 螌蟽魏伪蟻 螣蠀维喂位谓蟿 苇位蔚纬蔚 "纬喂伪蟿委 谓伪 未喂伪尾维蟽蔚喂蟼 苇谓伪 尾喂尾位委慰 伪谓 未蔚谓 伪尉委味蔚喂 未蔚蠉蟿蔚蟻畏蟼 伪谓维纬谓蠅蟽畏蟼?"
螖喂伪尾维味慰谓蟿伪蟼 蟿慰 螠蠈谓慰蟼 蟽蟿慰 螔蔚蟻慰位委谓慰, 伪魏蟻喂尾蠋蟼 渭蔚蟿维 蟿慰 螝伪喂 蟿蠋蟻伪, 伪谓胃蟻蠅蟺维魏慰;, 未蠀慰 蟽魏苇蠄蔚喂蟼 魏蠀蟻喂维蟻蠂畏蟽伪谓 蟽蟿慰 渭蠀伪位蠈 渭慰蠀.. 纬喂伪蟿委 未蔚 未喂维尾伪蟽伪 Fallada 谓蠅蟻委蟿蔚蟻伪? 螤蠈蟿蔚 胃伪 蟿伪 尉伪谓伪蟺喂维蟽蠅 纬喂伪 未蔚蠉蟿蔚蟻畏 伪谓维纬谓蠅蟽畏?
螠蔚 蠉蠁慰蟼 谓伪蟿慰蠀蟻伪位喂蟽蟿喂魏蠈 魏伪喂 纬蟻伪蠁萎 魏伪胃伪蟻萎, 慰 Fallada 蠁蟿喂维蠂谓蔚喂 苇谓伪 魏慰喂谓蠅谓喂慰位慰纬喂魏蠈 蠂维蟻蟿畏 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼 蟿慰蠀 围委蟿位蔚蟻. 螌蟺蠅蟼 魏伪喂 蟽蟿慰 螝伪喂 蟿蠋蟻伪, 伪谓胃蟻蠅蟺维魏慰; 蔚委谓伪喂 蔚魏蟺位畏魏蟿喂魏萎 畏 喂魏伪谓蠈蟿畏蟿伪 蟿慰蠀 谓伪 蟺蔚蟻喂位伪渭尾维谓蔚喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟺慰蠀 伪谓蟿伪谓伪魏位慰蠉谓 魏维胃蔚 蟺喂胃伪谓蠈 蔚委未慰蟼 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀 胃伪 蟽蠀谓伪谓蟿慰蠉蟽蔚 魏伪谓蔚委蟼 蠈蠂喂 渭蠈谓慰 蟽蟿畏 螕蔚蟻渭伪谓委伪 蟿慰蠀 1940 伪位位维 魏伪喂 蟽蟿畏谓 螘位位维未伪 蟿慰蠀 2020.
韦慰 蔚谓 位蠈纬蠅 尾喂尾位委慰 蠈渭蠅蟼 蔚委谓伪喂 伪谓伪蟿蟻喂蠂喂伪蟽蟿喂魏蠈 纬喂伪 蟿喂蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟿畏蟼 蟽魏位畏蟻蠈蟿畏蟿伪蟼 蟿慰蠀 魏伪胃蔚蟽蟿蠋蟿慰蟼, 纬喂伪 蟿慰谓 蟺伪蟻伪位慰纬喂蟽渭蠈 蟺慰蠀 蔚蟺喂魏蟻伪蟿慰蠉蟽蔚, 纬喂伪 蟿慰 桅蠈尾慰 蟺慰蠀 蔚委蠂蔚 魏蠀蟻喂伪蟻蠂萎蟽蔚喂 蟽蔚 魏维胃蔚 魏慰喂谓蠅谓喂魏蠈 蟽蟿蟻蠋渭伪, 纬喂伪 蟿畏谓 苇位位蔚喂蠄畏 螘位蟺委未伪蟼 蟺慰蠀 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 伪蟺慰蟿蔚位蔚委 魏喂谓畏蟿萎蟻喂慰蟼 蟽蠀谓喂蟽蟿蠋蟽伪 蟽蟿畏 蟽蟿维蟽畏 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 伪蟺苇谓伪谓蟿喂 蟽蟿慰 魏伪胃蔚蟽蟿蠋蟼.
"..螘委谓伪喂 伪魏蠈渭伪 味蠅谓蟿伪谓慰委 渭苇蟽伪 蟿慰蠀蟼 蠈渭蠅蟼 苇蠂慰蠀谓 蔚蟿慰喂渭维蟽蔚喂 蟿慰 蠁苇蟻蔚蟿蟻蠈 蟿慰蠀蟼.."
螝喂 蠈渭蠅蟼, 渭苇蟽伪 蟽蔚 伪蠀蟿萎 蟿畏 味慰蠁蔚蟻萎 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蠀蟺萎蟻蠂伪谓 纬蔚蟻渭伪谓慰委 蟺慰蠀 伪谓蟿喂蟽蟿蔚魏蠈谓蟿慰蠀蟽伪谓 蟽蟿畏谓 蟺伪蟻维谓慰喂伪 蟿慰蠀 谓伪味喂蟽蟿喂魏慰蠉 魏伪胃蔚蟽蟿蠋蟿慰蟼, 魏伪喂 蟽蟿慰谓 蠈位蔚胃蟻慰 蟿慰蠀 蟺慰位苇渭慰蠀.
螣 Fallada "蟺伪委味蔚喂" 渭蔚 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 未慰魏喂渭维味慰谓蟿伪蟼 蟿畏谓 蟺蔚蟺慰委胃畏蟽畏 伪谓 蠀蟺维蟻蠂蔚喂 伪纬蠋谓伪蟼 蟺慰蠀 蔚委谓伪喂 渭维蟿伪喂慰蟼.
螣喂 萎蟻蠅蔚蟼 蟿慰蠀 蠈渭蠅蟼 蟺喂蟽蟿慰委 蟽蟿畏谓 伪蟺慰蟽蟿慰位萎 蟿慰蠀蟼 伪蟺慰蟽蟿蟻苇蠁慰蠀谓 蟿慰 魏蔚蠁维位喂 位蠀蟿蟻蠋谓慰谓蟿伪蟼 蟿慰蠀蟼 蔚伪蠀蟿慰蠉蟼 蟿慰蠀蟼 魏伪喂 渭伪味委 魏伪喂 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏, 胃苇位蠅 谓伪 蟺喂蟽蟿蔚蠉蠅.
螒谓 萎蟿伪谓 蟿伪喂谓委伪, 胃伪 萎蟿伪谓 喂蟿伪位喂魏蠈蟼 谓蔚慰蟻蔚伪位喂蟽渭蠈蟼!
螛伪 渭蟺慰蟻慰蠉蟽伪 谓伪 魏维谓蠅 quote 蟿慰 渭喂蟽蠈 尾喂尾位委慰 萎 谓伪 伪谓伪蠁蔚蟻胃蠋 蟽蔚 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 伪位位维 伪蠀蟿蠈 胃伪 蟽蟿蔚蟻萎蟽蔚喂 蟿畏谓 苇魏蟺位畏尉畏 蟽蔚 蠈蟽慰蠀蟼 蟿慰 蟺喂维蟽慰蠀谓 蟽蟿伪 蠂苇蟻喂伪 蟿慰蠀蟼. 螛伪 萎蟿伪谓 蟿蠈蟽慰 魏蟻委渭伪!
螝伪位苇蟼 蟺慰位位伪蟺位苇蟼 伪谓伪纬谓蠋蟽蔚喂蟼.
螖喂伪尾维味慰谓蟿伪蟼 蟿慰 螠蠈谓慰蟼 蟽蟿慰 螔蔚蟻慰位委谓慰, 伪魏蟻喂尾蠋蟼 渭蔚蟿维 蟿慰 螝伪喂 蟿蠋蟻伪, 伪谓胃蟻蠅蟺维魏慰;, 未蠀慰 蟽魏苇蠄蔚喂蟼 魏蠀蟻喂维蟻蠂畏蟽伪谓 蟽蟿慰 渭蠀伪位蠈 渭慰蠀.. 纬喂伪蟿委 未蔚 未喂维尾伪蟽伪 Fallada 谓蠅蟻委蟿蔚蟻伪? 螤蠈蟿蔚 胃伪 蟿伪 尉伪谓伪蟺喂维蟽蠅 纬喂伪 未蔚蠉蟿蔚蟻畏 伪谓维纬谓蠅蟽畏?
螠蔚 蠉蠁慰蟼 谓伪蟿慰蠀蟻伪位喂蟽蟿喂魏蠈 魏伪喂 纬蟻伪蠁萎 魏伪胃伪蟻萎, 慰 Fallada 蠁蟿喂维蠂谓蔚喂 苇谓伪 魏慰喂谓蠅谓喂慰位慰纬喂魏蠈 蠂维蟻蟿畏 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼 蟿慰蠀 围委蟿位蔚蟻. 螌蟺蠅蟼 魏伪喂 蟽蟿慰 螝伪喂 蟿蠋蟻伪, 伪谓胃蟻蠅蟺维魏慰; 蔚委谓伪喂 蔚魏蟺位畏魏蟿喂魏萎 畏 喂魏伪谓蠈蟿畏蟿伪 蟿慰蠀 谓伪 蟺蔚蟻喂位伪渭尾维谓蔚喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟺慰蠀 伪谓蟿伪谓伪魏位慰蠉谓 魏维胃蔚 蟺喂胃伪谓蠈 蔚委未慰蟼 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀 胃伪 蟽蠀谓伪谓蟿慰蠉蟽蔚 魏伪谓蔚委蟼 蠈蠂喂 渭蠈谓慰 蟽蟿畏 螕蔚蟻渭伪谓委伪 蟿慰蠀 1940 伪位位维 魏伪喂 蟽蟿畏谓 螘位位维未伪 蟿慰蠀 2020.
韦慰 蔚谓 位蠈纬蠅 尾喂尾位委慰 蠈渭蠅蟼 蔚委谓伪喂 伪谓伪蟿蟻喂蠂喂伪蟽蟿喂魏蠈 纬喂伪 蟿喂蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟿畏蟼 蟽魏位畏蟻蠈蟿畏蟿伪蟼 蟿慰蠀 魏伪胃蔚蟽蟿蠋蟿慰蟼, 纬喂伪 蟿慰谓 蟺伪蟻伪位慰纬喂蟽渭蠈 蟺慰蠀 蔚蟺喂魏蟻伪蟿慰蠉蟽蔚, 纬喂伪 蟿慰 桅蠈尾慰 蟺慰蠀 蔚委蠂蔚 魏蠀蟻喂伪蟻蠂萎蟽蔚喂 蟽蔚 魏维胃蔚 魏慰喂谓蠅谓喂魏蠈 蟽蟿蟻蠋渭伪, 纬喂伪 蟿畏谓 苇位位蔚喂蠄畏 螘位蟺委未伪蟼 蟺慰蠀 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 伪蟺慰蟿蔚位蔚委 魏喂谓畏蟿萎蟻喂慰蟼 蟽蠀谓喂蟽蟿蠋蟽伪 蟽蟿畏 蟽蟿维蟽畏 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 伪蟺苇谓伪谓蟿喂 蟽蟿慰 魏伪胃蔚蟽蟿蠋蟼.
"..螘委谓伪喂 伪魏蠈渭伪 味蠅谓蟿伪谓慰委 渭苇蟽伪 蟿慰蠀蟼 蠈渭蠅蟼 苇蠂慰蠀谓 蔚蟿慰喂渭维蟽蔚喂 蟿慰 蠁苇蟻蔚蟿蟻蠈 蟿慰蠀蟼.."
螝喂 蠈渭蠅蟼, 渭苇蟽伪 蟽蔚 伪蠀蟿萎 蟿畏 味慰蠁蔚蟻萎 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蠀蟺萎蟻蠂伪谓 纬蔚蟻渭伪谓慰委 蟺慰蠀 伪谓蟿喂蟽蟿蔚魏蠈谓蟿慰蠀蟽伪谓 蟽蟿畏谓 蟺伪蟻维谓慰喂伪 蟿慰蠀 谓伪味喂蟽蟿喂魏慰蠉 魏伪胃蔚蟽蟿蠋蟿慰蟼, 魏伪喂 蟽蟿慰谓 蠈位蔚胃蟻慰 蟿慰蠀 蟺慰位苇渭慰蠀.
螣 Fallada "蟺伪委味蔚喂" 渭蔚 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 未慰魏喂渭维味慰谓蟿伪蟼 蟿畏谓 蟺蔚蟺慰委胃畏蟽畏 伪谓 蠀蟺维蟻蠂蔚喂 伪纬蠋谓伪蟼 蟺慰蠀 蔚委谓伪喂 渭维蟿伪喂慰蟼.
螣喂 萎蟻蠅蔚蟼 蟿慰蠀 蠈渭蠅蟼 蟺喂蟽蟿慰委 蟽蟿畏谓 伪蟺慰蟽蟿慰位萎 蟿慰蠀蟼 伪蟺慰蟽蟿蟻苇蠁慰蠀谓 蟿慰 魏蔚蠁维位喂 位蠀蟿蟻蠋谓慰谓蟿伪蟼 蟿慰蠀蟼 蔚伪蠀蟿慰蠉蟼 蟿慰蠀蟼 魏伪喂 渭伪味委 魏伪喂 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏, 胃苇位蠅 谓伪 蟺喂蟽蟿蔚蠉蠅.
螒谓 萎蟿伪谓 蟿伪喂谓委伪, 胃伪 萎蟿伪谓 喂蟿伪位喂魏蠈蟼 谓蔚慰蟻蔚伪位喂蟽渭蠈蟼!
螛伪 渭蟺慰蟻慰蠉蟽伪 谓伪 魏维谓蠅 quote 蟿慰 渭喂蟽蠈 尾喂尾位委慰 萎 谓伪 伪谓伪蠁蔚蟻胃蠋 蟽蔚 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 伪位位维 伪蠀蟿蠈 胃伪 蟽蟿蔚蟻萎蟽蔚喂 蟿畏谓 苇魏蟺位畏尉畏 蟽蔚 蠈蟽慰蠀蟼 蟿慰 蟺喂维蟽慰蠀谓 蟽蟿伪 蠂苇蟻喂伪 蟿慰蠀蟼. 螛伪 萎蟿伪谓 蟿蠈蟽慰 魏蟻委渭伪!
螝伪位苇蟼 蟺慰位位伪蟺位苇蟼 伪谓伪纬谓蠋蟽蔚喂蟼.
December 28, 2022
This book is little known in the US but it is early fiction that communicates the feeling of living under the Nazis. It is crime fiction, featuring a detective, but the crime is resistance. There is also a subplot with a retired judge and a Jewish woman. The book is very well done.
September 25, 2020
鈥淪pesso l'autore si 猫 rammaricato di dover tracciare un quadro cos矛 fosco; ma una maggior luce sarebbe stata una menzogna.
H. F.
Berlino, ottobre 1946.
Otto e Anna Quangel sono i nomi di fantasia che ricalcano le vicende reali di una coppia di mezz鈥檈t脿 berlinese nel biennio tra il 1940 ed il 1942.
Partendo dai documenti della Gestapo, Fallada ricostruisce gli eventi immaginandosi la vita privata dei coniugi che per pi霉 di ventiquattro mesi scrissero cartoline contro il regime nazista disseminandole per la citt脿 con la speranza di risvegliare le coscienze.
Se i pensieri e la vita domestica dei personaggi sono frutto della fantasia, quella che 猫 l鈥檃tmosfera generale non si discosta dalla realt脿 ma rende omaggio alla grande protagonista di quell鈥檈poca (e, a dirla tutta, di ogni epoca e luogo dove si concretizza quell鈥檕rrida condizione dell鈥� homo homini lupus):
la paura.
Quel terrore che paralizza ed inibisce non solo le azioni ma anche i pensieri.
Quel panico che assale anche i pochi che osano ribellarsi facendo tremare le loro mani e battere i loro cuori all'impazzata.
Ma i pochi che agiscono contro il nazismo conservano la certezza di morire sapendo di aver vissuto una vita onesta. Questa 猫 la differenza.
Sottile come carta velina pesante come una lastra di marmo.
Addentrarsi in questa storia, girare queste pagine 猫 stata una vera e propria discesa infernale tanto da chiedersi se esista un fondo alla malvagit脿.
Ma non chiamatela bestialit脿, per favore, persino gli animali a confronto di certi uomini hanno dei limiti che rispettano!!!
鈥�- Cosa possiamo farci, - Otto Quangel si difende disperatamente contro questa insistenza. - Siamo soltanto in pochi, e tutti gli altri, milioni, sono per lui, e tanto pi霉 adesso dopo la vittoria sulla Francia. Nulla, possiamo fare.
- Non 猫 vero, possiamo fare molto, - sussurra lei. - Possiamo guastare le macchine, lavorare lentamente e male, strappare i loro manifesti e incollarne altri in cui diciamo alla gente in che modo l'ingannano e la tradiscono. - E ancora pi霉 a bassa voce:
- Ma la cosa pi霉 importante 猫: essere diversi da loro, che non riescano a farci pensare e agire come loro. Non diventeremo mai nazisti, anche se dovessero vincere il mondo intero.
- E che cosa otterremo con questo, Trudel? - chiede Otto Quangel, piano. - Non vedo che cosa potremo ottenere con questo.
- Babbo, - risponde lei, - anch'io non capivo, in principio, e forse neanche adesso lo capisco interamente. Ma sai, qui, in segreto, abbiamo formato una cellula di resistenza nella fabbrica; 猫 ancora molto piccola, tre uomini e io. Uno di noi tre ha cercato di spiegarmelo. Noi siamo, egli ha detto, come il buon seme in un campo pieno di erbacce. Se non ci fosse il buon seme, tutto il campo sarebbe invaso dalle erbacce. E il buon seme si pu貌 diffondere...鈥�
H. F.
Berlino, ottobre 1946.
Otto e Anna Quangel sono i nomi di fantasia che ricalcano le vicende reali di una coppia di mezz鈥檈t脿 berlinese nel biennio tra il 1940 ed il 1942.
Partendo dai documenti della Gestapo, Fallada ricostruisce gli eventi immaginandosi la vita privata dei coniugi che per pi霉 di ventiquattro mesi scrissero cartoline contro il regime nazista disseminandole per la citt脿 con la speranza di risvegliare le coscienze.
Se i pensieri e la vita domestica dei personaggi sono frutto della fantasia, quella che 猫 l鈥檃tmosfera generale non si discosta dalla realt脿 ma rende omaggio alla grande protagonista di quell鈥檈poca (e, a dirla tutta, di ogni epoca e luogo dove si concretizza quell鈥檕rrida condizione dell鈥� homo homini lupus):
la paura.
Quel terrore che paralizza ed inibisce non solo le azioni ma anche i pensieri.
Quel panico che assale anche i pochi che osano ribellarsi facendo tremare le loro mani e battere i loro cuori all'impazzata.
Ma i pochi che agiscono contro il nazismo conservano la certezza di morire sapendo di aver vissuto una vita onesta. Questa 猫 la differenza.
Sottile come carta velina pesante come una lastra di marmo.
Addentrarsi in questa storia, girare queste pagine 猫 stata una vera e propria discesa infernale tanto da chiedersi se esista un fondo alla malvagit脿.
Ma non chiamatela bestialit脿, per favore, persino gli animali a confronto di certi uomini hanno dei limiti che rispettano!!!
鈥�- Cosa possiamo farci, - Otto Quangel si difende disperatamente contro questa insistenza. - Siamo soltanto in pochi, e tutti gli altri, milioni, sono per lui, e tanto pi霉 adesso dopo la vittoria sulla Francia. Nulla, possiamo fare.
- Non 猫 vero, possiamo fare molto, - sussurra lei. - Possiamo guastare le macchine, lavorare lentamente e male, strappare i loro manifesti e incollarne altri in cui diciamo alla gente in che modo l'ingannano e la tradiscono. - E ancora pi霉 a bassa voce:
- Ma la cosa pi霉 importante 猫: essere diversi da loro, che non riescano a farci pensare e agire come loro. Non diventeremo mai nazisti, anche se dovessero vincere il mondo intero.
- E che cosa otterremo con questo, Trudel? - chiede Otto Quangel, piano. - Non vedo che cosa potremo ottenere con questo.
- Babbo, - risponde lei, - anch'io non capivo, in principio, e forse neanche adesso lo capisco interamente. Ma sai, qui, in segreto, abbiamo formato una cellula di resistenza nella fabbrica; 猫 ancora molto piccola, tre uomini e io. Uno di noi tre ha cercato di spiegarmelo. Noi siamo, egli ha detto, come il buon seme in un campo pieno di erbacce. Se non ci fosse il buon seme, tutto il campo sarebbe invaso dalle erbacce. E il buon seme si pu貌 diffondere...鈥�
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