Two Words, One Answer.
Ralph Manheim
 Grimms' Tales for Young and Old: The Complete Stories $20.00 I am very pleased with the condition of the book and also the prompt service. I am very happy to highly recommend this seller to everyone.  North $13.95 Written long after *Journey to the End of Night* and *Death on the Installment Plan* made him famous, and his alleged activities during World War II turned him into something of a pariah, *North* is a lesser known and less widely read novel, but, to my mind, in many respects, a vastly superior work to both *Journey* and *Death.* What makes it so? Precisely Celine's recounting of the questionable wartime `activities' that have turned him into one of the true black sheep of 20th century literature. What Celine has to say about the inferno of WW2 wasn't politically correct long before that term was invented to describe a particular form of lying. Is it possible that the seeds of political correctness were sown in the ashes of postwar Europe? Maybe. In any event, Celine stands firmly opposed to any form of lying or hypocrisy and he found plenty of both to rage against in the chaos of war. The problem is that Celine finds the hypocrisy, the lying, the betrayal and rot on *both* sides, in human nature itself, and this is an unacceptable position to take in the last--if not only--war that is still considered to have had a clear Good Guy and an indisputable Bad Guy. *North* chronicles a stage in Celine's flight `north' during the last days of an imploding Third Reich. As Berlin is bombed into pebbles, and then re-bombed into dust, Celine, his wife Lili, a temperamental actor friend, and his cat, take refuge in a village along with other refugees--prisoners, traitors, SS officers, gypsies, German nobility, and assorted riff-raff on the move--and all of them scheming and jockeying for the best position to ensure their own survival. Hunger and fear bring out the worst in all of them, except, perhaps, the cat. What Celine has the effrontery to point out is that human evil is pervasive--the rottenness is at the core, and extends from the bottom up. The guys at the top are only the biggest stinkers, the Chief Thugs, different only in their capacity to commit atrocities of all sorts, but, otherwise, identical to the rest of us in the latent human potential for unbounded cruelty. Celine take on WW2 is one where principled stands were virtually without exception conditional on one's place in the raging chaos. Can the Nazis keep me fed, alive, relatively safe? Okay, then, "Heil Hitler!" Can the Russians? "Welcome Comrade!" Maybe the English? Then "God Save the Queen!" Celine fought with the "Good Guys" during WW1 and so the edge of his ultra-cynicism was somewhat blunted, his political amorality obscured, his misanthropy still a bit of a joke, fogged over and softened by the fact that, after all, he fought on the `right' side. But his essential attitude is there even in *Journey to the End of Night.* Celine doesn't believe in *anything*--nothing, at least, larger than the survival of himself and his immediate friends. His is an ant's-eye view of the world and like all the rest of us little guys, he's just trying to keep from getting stamped on by the big boots from above. And if you think of the war itself as the shadow cast by a great big boot coming down, you can understand better the mindless, unprincipled scramble for survival that Celine dares to record in the pages of *North.* Are there no atheists in a foxhole? Well, Celine argues, there are no idealists there, either. When the bombs are screaming down, there's just a lot of desperate and terrified people looking for a rock to hide under. Justification comes later; survival is first. After all, there's nothing without survival. And wherever the Wheel of Fortune stops, that's where you stand, Nazi or Allied, collaborative or Resistance. You place your best bet: to survive is to win. Well, you might say, that Celine agrees wholeheartedly with Ecclesiastes: "A living dog is better than a dead lion." It's this kind of radical moral complexity that I think makes *North* richer and ultimately superior to Celine's earlier work--it also fuels an even more virulent disgust with "humanity," so called, and amps up his characteristic misanthropy to the max. Everyone gets it in the neck. The black comedy is here, the antic absurdity, this is Celine after all, cracking jokes even up to his eyeballs in blood and worms. That he can turn the experiences recounted in *North* into a picaresque romp through the Apocalypse is amazing in itself--in many another author's hand, the events of *North* would be the material for a gloomy tragedy of the epic sort well-known by now among chroniclers of the WW2 horror. That Celine is able to turn this uncompromising tale of war, famine, and exile into a loony brimstone romp is a backhand tribute to the human spirit. Well, a tribute to Celine's spirit, in any event--a spirit more fully and honestly "human" than most.  The Tin Drum (Translated From the German by Ralph Manheim) $5.00 1962 Pantheon Books. Hardcover, 591 pages. Granted: i am a inmate of a mental hospital; my keeper is watching me, he never lets meout of his sight; there's a peep hole in the door, and my keeper's eye is the shade of brown that can never see through a blue-eyed type like me. .... |
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