THE TIN DRUM BY GUNTER GRASS

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THE TIN DRUM BY GUNTER GRASS

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Review

''At the ages of fourteen and fifteen, I had read Great Expectations twice. Dickens made me want to be a writer but it was reading The Tin Drum at nineteen and twenty that showed me how. It was Gunter Grass who demonstrated that it was possible to be a living writer who wrote with Dicken's full range of emotion and relentless outpouring of language. Grass wrote with fury, love, derision, slapstick, pathos - all with an unforgiving conscience. --John Irving, New York Times Book Review

''Grass is one of the master fabulists of our age.'' --Times

''The Tin Drum will become one of the enduring literary works of the twentieth century. --Swedish Academy, awarding Gunter Grass the Nobel Prize for Literature, 1999

''In 2005, Mitchell and nine other translators accompanied Grass on a week-long retreat in Germany, asking questions about the book and touring the locations featured in The Tin Drum...If you haven't read this modern classic, now's the time.'' --BookPage

''The story…flows smoothly, carried along by the prose and (audiobook narrator) Garcia's captivating performance. He reads with a dramatic intensity, giving Oskar (the narrator of the book) the voice of a man who seems to be talking to himself, listening, analyzing, and checking his words…Garcia's masterful performance brings unreliable, unforgettable Oskar vividly to life.'' --Booklist, audiobook review

''Together, Garcia, Grass, and Mitchell take listeners on a tour of love, war, and madness.'' --AudioFile

Grass is one of the master fabulists of our age. --Times

About the Author

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Breon Mitchell is Professor of Germanic Studies and Comparative Literature at Indiana University, where he is also Director of the Lilly Library. A Rhodes Scholar, he received his Ph.D. in Comparative Literature from Oxford University. His areas of specialization include literary translation, Anglo-German literary relations, literature and the visual arts, James Joyce, Franz Kafka, and Samuel Beckett.

From The Washington Post

From The Washington Post's Book World/washingtonpost.com

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events as distant, almost minor matters in the family's ongoing dramas: "In January of forty-three there was a good deal of talk about the city of Stalingrad." While little Oskar rejects formal schooling, he nonetheless teaches himself to read, choosing as his personal role models Rasputin with "his world of naked women in black stockings" and "the know-it-all" Goethe, in other words, "the dark and gloomy figure who cast a spell on women and the luminous poet-prince who so happily allowed women to cast a spell on him." Oskar himself periodically uses the power of his drumming or his laser-like, glass-cutting voice to mock the pieties of those around him. For a while, he takes to waiting in the shadows until an upright citizen pauses at a jewelry store, where--amazingly--a round hole suddenly appears in the window, just big enough for a gloved hand to reach through and unobtrusively seize a ruby necklace. At another point, Oskar convinces a gang of teenage hooligans that he is, in fact, Jesus, and that they must obey his commands. In perhaps the most famous scene in the novel, the Matzeraths and Bronski take a walk along the seashore, where they see a hideous old man, fishing with a long rope. They pause for a moment, as he hauls up the line to reveal that it is attached to a horse's severed head. He dumps the pulpy, disgusting mass on the dock and begins to pull out long black eels, which he tosses into a canvas bag of salt. Oskar writes that his mother at first wishes to look away, then finds that she cannot turn away, and finally that she vomits up her breakfast, which is soon devoured by swooping seagulls. To cap things off, the hearty Herr Matzerath buys several of the eels to take home for supper. The repercussions from this incident change everyone's life. In the 1930s Oskar meets another midget named Bebra, and this cosmopolitan traveler (and circus clown) ominously warns his youthful admirer: "They're coming! They will take over the festival grounds. They will stage torchlight parades. They will build grandstands, they will fill grandstands, they will preach our destruction from grandstands. Watch closely, my young friend, what happens on those grandstands." As Oskar notes in the bitterly satirical chapter "Faith Hope Love," "An entire gullible nation believed faithfully in Santa Claus. But Santa Claus was really the Gasman." The war years themselves are replete with nightmarish and absurdist scenes: While the Germans lay siege to the Danzig Post Office, a coward, driven mad by fear, compels Oskar and a dying man to play game after game of cards. The afternoon before D-Day, a group of dwarves chats with a German gunner in his pillbox on the beach at Normandy, while five nuns with black umbrellas frolic at the water's edge and a gramophone plays "Sleigh Bells in St. Petersburg." In the postwar era, a desperate Oskar first becomes an assistant to a funerary stonecutter, then an artist's model and eventually a jazz percussionist at the Onion Cellar, where people pay vast sums of money so they can peel onions--and openly weep. In due course, Oskar's drumming--it possesses an Orpheus-like power to affect people's souls--brings him a great fortune, but it also leads to his incarceration in an asylum, where he gloomily celebrates his 30th birthday. The Tin Drum has now been studied and interpreted in classrooms for half a century. Grass himself has emerged during that time not only as a major novelist but also as a cultural and political gadfly. Recently, he disclosed that at the age of 17 he was briefly a tank gunner for the Waffen-SS, an admission that adds a probably unwanted resonance to Oskar's occasional observations about wartime guilt, e.g., "I tend, like everyone else, to make allowances for my ignorance, an ignorance that was just then coming into fashion and, like a jaunty hat, still looks oh so good on many a person today." Still, however one feels about Grass's 60-year silence, The Tin Drum itself remains a very great novel, as daring and imaginative as Gabriel García Márquez's One Hundred Years of Solitude or Toni Morrison's Beloved.

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THE TIN DRUM BY GUNTER GRASS PDF

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THE TIN DRUM BY GUNTER GRASS PDF

The Tin Drum, one of the great novels of the twentieth century, was published in Ralph Manheim's outstanding translation in 1959. It became a runaway bestseller and catapulted its young author to the forefront of world literature.

To mark the fiftieth anniversary of the original publication, Houghton Mifflin Harcourt, along with Grass’s publishers all over the world, is bringing out a new translation of this classic novel. Breon Mitchell, acclaimed translator and scholar, has drawn from many sources: from a wealth of detailed scholarship; from a wide range of newly-available reference works; and from the author himself. The result is a translation that is more faithful to Grass’s style and rhythm, restores omissions, and reflects more fully the complexity of the original work.

After fifty years, THE TIN DRUM has, if anything, gained in power and relevance. All of Grass’s amazing evocations are still there, and still amazing: Oskar Matzerath, the indomitable drummer; his grandmother, Anna Koljaiczek; his mother, Agnes; Alfred Matzerath and Jan Bronski, his presumptive fathers; Oskar’s midget friends—Bebra, the great circus master and Roswitha Raguna, the famous somnambulist; Sister Scholastica and Sister Agatha, the Right Reverend Father Wiehnke; the Greffs, the Schefflers, Herr Fajngold, all Kashubians, Poles, Germans, and Jews—waiting to be discovered and re-discovered.

Sales Rank: #164302 in eBooks

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Published on: 2009-10-08

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Released on: 2009-10-08

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Format: Kindle eBook

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Review

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Academy, awarding Gunter Grass the Nobel Prize for Literature, 1999

About the Author

GÜNTER GRASS was born in Danzig, Germany, in 1927. He is the widely acclaimed author of numerous books, including The Tin Drum, My Century, Crabwalk, and Peeling the Onion. He was awarded the Nobel Prize for Literature in 1999.

Breon Mitchell is Professor of Germanic Studies and Comparative Literature at Indiana University, where he is also Director of the Lilly Library. A Rhodes Scholar, he received his Ph.D. in Comparative Literature from Oxford University. His areas of specialization include literary translation, Anglo-German literary relations, literature and the visual arts, James Joyce, Franz Kafka, and Samuel Beckett.

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with a German gunner in his pillbox on the beach at Normandy, while five nuns with black umbrellas frolic at the water's edge and a gramophone plays "Sleigh Bells in St. Petersburg." In the postwar era, a desperate Oskar first becomes an assistant to a funerary stonecutter, then an artist's model and eventually a jazz percussionist at the Onion Cellar, where people pay vast sums of money so they can peel onions--and openly weep. In due course, Oskar's drumming--it possesses an Orpheus-like power to affect people's souls--brings him a great fortune, but it also leads to his incarceration in an asylum, where he gloomily celebrates his 30th birthday. The Tin Drum has now been studied and interpreted in classrooms for half a century. Grass himself has emerged during that time not only as a major novelist but also as a cultural and political gadfly. Recently, he disclosed that at the age of 17 he was briefly a tank gunner for the Waffen-SS, an admission that adds a probably unwanted resonance to Oskar's occasional observations about wartime guilt, e.g., "I tend, like everyone else, to make allowances for my ignorance, an ignorance that was just then coming into fashion and, like a jaunty hat, still looks oh so good on many a person today." Still, however one feels about Grass's 60-year silence, The Tin Drum itself remains a very great novel, as daring and imaginative as Gabriel García Márquez's One Hundred Years of Solitude or Toni Morrison's Beloved.

Most helpful customer reviews

108 of 119 people found the following review helpful. Brave New Translation

By Richard J. Rundell

Following the generally accepted premise that great novels deserve to be re-translated every generation or so, Breon Mitchell has tackled the most important postwar German novel, and one which had already been translated by Ralph Manheim brilliantly into English not long after it appeared in German in 1959.

But now a half-century has passed, and Mitchell's skills are awesome, indeed. He has leapt courageously into the deep end of Guenter Grass' linguistic inventiveness, some of which looks at first as if it will defy translation at all. But Mitchell has succeeded beyond any bilingual reader's expectations. THE TIN DRUM is still far richer in its original German, but Mitchell has rendered its wealth anew, and those readers who have yet to discover this masterpiece in English will be rewarded.

Dr. Richard J. Rundell Professor of German

New Mexico State University

77 of 88 people found the following review helpful. The strangest coming-of-age novel

By Guillermo Maynez

Western literature is full of what Germans call "bildungsroman", that is, the story of a young man's (or woman's)intellectual and emotional growth, often told from the main character's own voice. This kind of novel has adopted innumerable shapes and styles through history, and certainly this one is, so far for me, the strangest and one of the best.

It is hard to summarize the plot, as it is mainly the diverse and extreme experiences of Oskar Matzerath's life. Born in 1924 in Danzig, itself a unique and troubled city, Oskar decides at age three not to grow up anymore. Or does he simply has an illness of the tyroid gland, as he hints at some point? It doesn't matter, precisely because that moment starts the style of the whole book: all the time, terrible things are happening to Oskar, to his family, to his city, to his nation and to his century, but we see everything only through the distorted glass of this unique character's view.

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to fall apart as the Nazis rise to power. Then the Nazis come and destroy the city, phisically and spiritually. Oskar spends the whole war in Danzig as well as wandering through France and Belgium as part of a grotesque midget-troupée. After the war, they flee Poland for Düsseldorf, where he is employed in very different jobs: as a tomb engraver, painters' model, jazz drum player. The chapter which describes the journey by train is simply horrible and scaring, as the chapter on his emotional disappointing is sad. The end is strange, confusing but full of hope.

There is abundant abnormal sex, vomit, dirt, misery, but also struggle, success, and much love. Oskar is not always nice, but he remains loyal to those he loves, and that is a great strength of a character you sometimes hate, but in the end you come to love. The book is full of metaphors, obscure symbolisms, grotesque and sordid events, and, above all, the human misery of our century, especially in Europe. It is a bittersweet book, often repulsive, just because that is how life is. It has moments of joy, of glorious triumph, of utter defeat. It is very very sad, because it is the story of a distorted but extremely sane person in an equally destorted but horribly insane world, but it is also a book about the joy of life, about how we have to keep going on even in the midst of tragedy and misery. If it has a message, it should be: fight on.

It is said that great works of literature depend on character development, not so much on the plot and the story itself. Well, this is a case in point. The whole book is sustained by the central character of Oskar, a wicked, depressed, desperate man seeing how his world crumbles apart and he has to build a life for himslef. As another reviewer aptly put it, he is the lonely voice crying in the wilderness. Oskar is a very solitary man with a great disadvantage, one that by sheer willpower he turns every time into an advantage, a means for surviving in a careless, cold world. Oskar never gives up, never surrenders, he finds a way to survive after every setback, and terrifying setbacks he experiences.

I think this book had to be written in the form of magical realism, because the pure realism would have been insufferable: the tragedies that occur are beyond telling them.

Not an easy read, it is most rewarding, for it paints a wide picture of the human experience, precisely what great literature is about.

98 of 114 people found the following review helpful. The Banality of Evil and Its Consequences

By Donald Mitchell

I have been meaning to read this book since it came out in 1959, but only did so now. My reason for delaying was that the reviews I had read of the book made it sound unappealing to me. Why did I want to read the unrealistic ramblings of an insane dwarf?

Having been impressed with Mr. Grass's recent work, Crabwalk, I finally decided to give The Tin Drum a try. I'm glad I did. Let me explain why.

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What made the book special for me was Mr. Grass's ability to continually show how our connections to one another are the potential for goodness, while our instincts to take advantage of one another are the evil we must overcome. Oskar Matzareth, the narrator, is a thinker . . . yet ultimately his point is that we must carefully examine what we think about. Otherwise, false ideas will lead to fatal consequences.

I was very impressed by the way that the plot was constructed so that each time society acted in divided ways Oskar himself or someone close to him was harmed.

What will stay with me the longest are the amazing descriptions of fictional people and events: His grandmother's skirts, the horse's head with the eels emerging from it, his "father's" death during the Soviet invasion, Jan Bronski's obsessive search for skat cards during the attack on the Polish post office and Oskar's reaction to the statue of Jesus coming to life will always be with me.

I found myself wishing that I could read German like a native. The satirical humor is usually savage and quick to kill its object. I fully absorbed the lesson before the blood could even begin to emerge from the butt of the satire. As I read the book, I wondered how many times I missed compelling humor because it didn't translate well into English.

At the end of the book, I found myself searching for a novel to compare The Tin Drum to . . . in order to help other readers decide if this book is for them. In the end I could find no one book. Instead, The Tin Drum can best be described as a combination of reverse sort of Gulliver's Travels, Candide and Don Quixote set in the context of German/Polish Danzig through the end of World War II and in West Germany thereafter. So there's a fundamental darkness to the book that is missing from the other three.

I came away wondering how I can stay connected with others now while retaining the ability to see and act on the events around me as a detached, objective observer. Mr. Grass has raised quite a challenge for us all.

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Review

''The Tin Drum will become one of the enduring literary works of the twentieth century. --Swedish Academy, awarding Gunter Grass the Nobel Prize for Literature, 1999

About the Author

GÜNTER GRASS was born in Danzig, Germany, in 1927. He is the widely acclaimed author of numerous books, including The Tin Drum, My Century, Crabwalk, and Peeling the Onion. He was awarded the Nobel Prize for Literature in 1999.

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Oxford University. His areas of specialization include literary translation, Anglo-German literary relations, literature and the visual arts, James Joyce, Franz Kafka, and Samuel Beckett.

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teaches himself to read, choosing as his personal role models Rasputin with "his world of naked women in black stockings" and "the know-it-all" Goethe, in other words, "the dark and gloomy figure who cast a spell on women and the luminous poet-prince who so happily allowed women to cast a spell on him." Oskar himself periodically uses the power of his drumming or his laser-like, glass-cutting voice to mock the pieties of those around him. For a while, he takes to waiting in the shadows until an upright citizen pauses at a jewelry store, where--amazingly--a round hole suddenly appears in the window, just big enough for a gloved hand to reach through and unobtrusively seize a ruby necklace. At another point, Oskar convinces a gang of teenage hooligans that he is, in fact, Jesus, and that they must obey his commands. In perhaps the most famous scene in the novel, the Matzeraths and Bronski take a walk along the seashore, where they see a hideous old man, fishing with a long rope. They pause for a moment, as he hauls up the line to reveal that it is attached to a horse's severed head. He dumps the pulpy, disgusting mass on the dock and begins to pull out long black eels, which he tosses into a canvas bag of salt. Oskar writes that his mother at first wishes to look away, then finds that she cannot turn away, and finally that she vomits up her breakfast, which is soon devoured by swooping seagulls. To cap things off, the hearty Herr Matzerath buys several of the eels to take home for supper. The repercussions from this incident change everyone's life. In the 1930s Oskar meets another midget named Bebra, and this cosmopolitan traveler (and circus clown) ominously warns his youthful admirer: "They're coming! They will take over the festival grounds. They will stage torchlight parades. They will build grandstands, they will fill grandstands, they will preach our destruction from grandstands. Watch closely, my young friend, what happens on those grandstands." As Oskar notes in the bitterly satirical chapter "Faith Hope Love," "An entire gullible nation believed faithfully in Santa Claus. But Santa Claus was really the Gasman." The war years themselves are replete with nightmarish and absurdist scenes: While the Germans lay siege to the Danzig Post Office, a coward, driven mad by fear, compels Oskar and a dying man to play game after game of cards. The afternoon before D-Day, a group of dwarves chats with a German gunner in his pillbox on the beach at Normandy, while five nuns with black umbrellas frolic at the water's edge and a gramophone plays "Sleigh Bells in St. Petersburg." In the postwar era, a desperate Oskar first becomes an assistant to a funerary stonecutter, then an artist's model and eventually a jazz percussionist at the Onion Cellar, where people pay vast sums of money so they can peel onions--and openly weep. In due course, Oskar's drumming--it possesses an Orpheus-like power to affect people's souls--brings him a great fortune, but it also leads to his incarceration in an asylum, where he gloomily celebrates his 30th birthday. The Tin Drum has now been studied and interpreted in classrooms for half a century. Grass himself has emerged during that time not only as a major novelist but also as a cultural and political gadfly. Recently, he disclosed that at the age of 17 he was briefly a tank gunner for the Waffen-SS, an admission that adds a probably unwanted resonance to Oskar's occasional observations about wartime guilt, e.g., "I tend, like everyone else, to make allowances for my ignorance, an ignorance that was just then coming into fashion and, like a jaunty hat, still looks oh so good on many a person today." Still, however one feels about Grass's 60-year silence, The Tin Drum itself remains a very great novel, as daring and imaginative as Gabriel García Márquez's One Hundred Years of Solitude or Toni Morrison's Beloved.