In case you missed it, I did a redraft of the first round of the 2002 Rule 4 draft for ESPN.com yesterday.
Günter Grass’ novel The Tin Drum stands for critics as one of the greatest novels in German literature, ranking 39th on The Novel 100, 70th on the Guardian‘s list of the 100 greatest novels ever written, and ranking fifth on this list of the best German novels of last century. Reading it for leisure doesn’t quite measure up to reading it as literature, and I believe a good number of allusions flew over my head due to my unfamiliarity with German (and Polish) history, but I hope I can recognize a novel’s greatness even if I wouldn’t say I loved reading it.
The drum of the title refers to a toy drum received by the narrator and main character, Oskar, for his third birthday. Oskar, precocious, cynical, and perhaps delusional, claims his personality was fully developed at birth, and at the age of three he stages an accident to prevent himself from growing physically, giving him an unusual vantage point for seeing and fooling the world, as he can play the innocent child to escape from mortal danger (even as he sends others, including both of the men he suspects of being his biological father, to their deaths), and uses that ruse to survive the German invasion of his hometown of Danzig/Gdansk, the assault on the Polish Post Office, Kristallnacht, World War II, and its immediate aftermath.
Oskar is mischievous, often devious, and has a strong instinct for self-preservation that he executes with one of his two great skills, using his voice to shatter glass, often to get what he wants but sometimes merely for the pleasure of destroying (although he might actually view it as creating, as a form of art). His other skill is to communicate via his drum: By playing the instrument, he can tell extensive stories and communicate his desires even before he’s able to speak – and he can pretend that he’s unable to speak for years beyond the point when he’s learned to do so.
Aside from the rampant symbolism – the drum, art, glass, aromas (Oskar has a hypersensitive sense of smell), Oskar’s obsession with his heritage despite its lack of clarity, and more – the brilliance of The Tin Drum is its use of humor and picaresque elements to lampoon Naziism, the church (and its complicity with the regime), and the willingness of so many Germans to go along with the regime. The book is sometimes crude and bawdy, but it’s in the service of dark, biting humor that tears apart Grass’s targets, such as the Nazi soldiers rotely building a wall and entombing small animals in it. You may often wish to avert your eyes (the horse’s head scene comes to mind), but these passages tend to be the book’s most powerful both on initial reading and after the book is done.
That said, it’s a tough read for two major reasons. One is simply that German syntax, even in this new, improved translation, doesn’t read that well to my English-reared mind. The other is that Oskar rambles, leading me to question whether he’s all there mentally or might even be unreliable as a narrator, producing long passages where nothing happens and I felt like I was reading in circles. The lengthy gaps between passages of action, or humor, or even dialogue, made it a tough slog, especially the final 100-150 pages – ordinarily a time of acceleration as the plot nears its conclusion. With The Tin Drum more of a history of a fictional character than a traditional linear narrative, there are no major plot points to resolve, and Oskar only undergoes one significant (albeit very significant) transformation in the book. It’s a cerebral novel where Oskar has some realizations but generally refuses to grow up, drawing not just from the picaresque tradition but from coming-of-age novels as well.
Next up: Alan Bradley’s second Flavia de Luce novel, The Weed That Strings the Hangman’s Bag.