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"The inspiration for Rainer Werner Fassbinder's epic film and that The Guardian named one of the "Top 100 Books of All Time," Berlin Alexanderplatz is considered one of the most important works of the Weimar Republic and twentieth century literature. Franz Biberkopf, pimp and petty thief, has just finished serving a term in prison for murdering his girlfriend. He's on his own in Weimar Berlin with its lousy economy and frontier morality, but Franz is determined to turn over new leaf, get ahead, make an honest man of himself, and so on and so forth. He hawks papers, chases girls, needs and bleeds money, gets mixed up in spite of himself in various criminal and political schemes, and when he tries to back out of them, it's at the cost of an arm. This is only the beginning of our modern everyman's multiplying misfortunes, but though Franz is more dupe than hustler, in the end, well, persistence is rewarded and things might be said to work out. Just like in a novel. Lucky Franz.Berlin, Alexanderplatz is one of great twentieth-century novels. Taking off from the work of Dos Passos and Joyce, Doblin depicts modern life in all its shocking violence, corruption, splendor, and horror. Michael Hofmann, celebrated for his translations of Joseph Roth and Franz Kafka, has prepared a new version, the first in over 75 years, in which Doblin's sublime and scurrilous masterpiece comes alive in English as never before"-- "Franz Biberkopf, pimp and petty thief, has just finished serving a term in prison for murdering his girlfriend. He's on his own in Weimar Berlin with its lousy economy and frontier morality, but Franz is determined to turn over new leaf, get ahead, make an honest man of himself, and so on and so forth. He hawks papers, chases girls, needs and bleeds money, gets mixed up in various criminal and political schemes in spite of himself, and when he tries to back out of them, it's at the cost of an arm. This is only the beginning of our modern everyman's multiplying misfortunes, but though Franz is more dupe than hustler, in the end, well, persistence is rewarded and things might be said to work out. Just like in a novel. Lucky Franz. Berlin Alexanderplatz is one of great twentieth-century novels. Taking off from the work of John Dos Passos and James Joyce, Alfred D.… (more)
User reviews
The other unexpected thing, which should have been trivially obvious, but only really registered for me when I was about halfway through the book, is that this is different from practically everything you've read about Weimar Germany (with the possible exception of Emil and the detectives) because it's written without a drop of hindsight. Döblin didn't know if it would be the Sozis or the Nazis or the Anarchists who would end up on top. We do, of course, but that's different. When Franz is selling the Völkische Beobachter, we are the ones who have to supply all the irony...
And that’s how my adventure with this book started. Honestly, I had a hard time during reading it! The story itself – the story of Frank Biberkopf – is compelling. We’re meeting him in the gate of the Tegel prison, from where (after spending there a few years for the murder) he is right now starting a new chapter of his life. Frank promises himself to live and to work honestly, avoid troubles and old companions. How will he manage? How the whole story will finish? What will the life bring to Frank during Just one year since this moment? I don’t want to tell much about the story line, but I will just mention that he will open and close a few more chapters of his life. Frank will be surrounded by more or less interesting characters, friends and enemies – how it’s usually in life. He will have a great deal of bad luck and quite much luck as well. But, at the end he will find out still that it’s better to live with other people, together, for each other. Then we know better what is good and what is bad. Will it be like that? I don’t know, but I’m willing to believe to Frank. That’s about the plot.
I had a hard time during reading because of the language and the style used in this book. In the foreword we are warned that this author like to “destroy the forms of the novels”. But I did not expect what I’ve got ;) Many times (especially during first 200 pages) I felt as I’m reading 10 different books in one + the newspaper with announcements. The plot is interrupted many times with small fragments, which doesn’t have any logical background and relation with the whole story. For example during one walk of Frank we’re getting to know how different plants are reacting for a cold weather. I need to admit that those fragments dishearten me often.
Berlin is very much settled in the plot of this book. We’re getting to know quite well many streets, squares, districts; we know how they looked like in the twenties of the last century. We get to know as well different information about architecture, transportation, economy, social relations etc. For me those descriptions of Berlin were an “added value”, because I could compare the look of the places which I know :)
To sum up – the story itself it’s interesting, but because of the style used I could not relish those 600 pages of reading.
I returned to the novel a few years ago after viewing the Fassbinder film. Doblin's novel remains a formidable feat. A few of my friends have recently made mediocre efforts. Looking aghast, I shook my head with the resignation of Arsene Wenger: even while Nietzsche was taking swings at folks at the asylum, he still valued a mazurka.
The story opens as Franz Biberkopf is released from Tegel prison, where he served four years for killing his girlfriend in a drunken rage. Returning to Berlin, he decides to go straight. He begins to peddle bow ties on a street corner and drifts into selling other merchandise. At the same time, he starts an affair with Polish Lina and gets involved fleetingly with a bewildering series of political movements, ranging from homosexual rights to the Nazi Party. His wearing of the Nazi armband angers his worker friends, who expel him from his favorite pub. However, his real troubles begin after he enters into a partnership with Otto Lüders. After Lüders robs and assaults one of his customers, to whose apartment he gained access by using Franz’s name, Biberkopf is forced to flee to an obscure part of the city to avoid complications.
Much like a musical theme with variations, a few weeks later, Franz returns to his usual haunts taking a job as a newspaper vendor. He also begins to consort with a flashy miscreant named Reinhold who is adept at attracting women but cannot hold on to them. Each time Reinhold tires of a girlfriend, Franz throws off his current mistress and takes Reinhold’s latest castoff. When Franz becomes sincerely attached to Cissy, one of Reinhold’s rejects, he refuses to comply further. Indeed, he tells Reinhold’s girlfriend how things stand. This infuriates Reinhold, though he pretends to acquiesce in Franz’s attempt to reform him.
Yet another misadventure has Franz recruited by Fatty Pums, head of a criminal gang, which includes Reinhold. The gang is closely pursued as they drive away from a robbery, and Reinhold, given to psychotic rages and remembering Franz’s interference with his social life, pushes him from the speeding automobile. Franz is run over by the chasing car.
He awakens in a hospital, missing one arm. Bedridden, he is taken in by friends from his criminal days. Once Franz feels better further adventures ensue involving prostitutes and the usual suspect criminal element (you get the idea). At one point Franz ends up abetting his old friend Reinhold in a murder. Franz manages to continue his criminal enterprise alone, but is caught by the police. All of these events are told in a realistic and sometimes comic style.
Franz learns of Meize’s death and the hunt for him through the newspapers. Disguised with a false arm, he sets off to track down Reinhold. Eventually, tired and confused, Franz wanders into a nightclub that is in the process of being raided by the police. He is arrested. Reinhold, who got himself jailed under an assumed name, thinking prison is an ideal hiding place, is betrayed by a young man he befriended.
Above all else, the work’s narrative evokes the crowded and chaotic nature of Berlin in the Jazz age. Something of the rhythm and melodies of jazz music is conveyed through the frequent interspersing of the narrative with newspaper clippings, weather reports and political slogans, not to mention through its various diversions on topics as varied as astronomy, theology, and cooking. Döblin’s inclusion of the work’s principle setting as part of its title necessitates that the setting adopt a central role. There are a few fantastic episodes, meetings with angels and ultimately, after Frans has been confined in a mental asylum, a confrontation with Death, who recalls to Franz his misdeeds and charges him to start a new life. When he comes out of his stupor, he is changed. After he is released, he quietly becomes a gatekeeper, refuses to incriminate Reinhold at the killer’s trial, and avoids any bad associations. From then on, he is known by the new name Franz Karl Biberkopf, for he is a remade man.