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mazais-cilvk-ko-nu

Ievērojamais vācu rakstnieks Hanss Fallada (1893 - 1947) ar romānu "Mazais cilvēk - ko nu?" kļuva slavens visā pasaulē. Šis darbs tulkots daudzās valodās. Romāna autors iejūtīgi un saistoši stāsta par mazā cilvēka bezcerīgo cīņu par savu materiālo un garīgo eksistenci nežēlīgajos kapitālistiskās sabiedrības apstākļos....

Title : mazais cilvk ko nu
Author :
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ISBN : 15710822
Format Type : Hardcover
Number of Pages : 320 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

mazais cilvk ko nu Reviews

  • Το Άσχημο Ρύζι Καρολίνα
    2018-11-01 22:55

    Δεν υπάρχει έλεος. O Φάλλαντα ανήκει στο λεγόμενο ρεύμα της Νέας Αντικειμενικότητας (Neue Sachlichkeit), ένας είδος ρεαλισμού που υπερβαίνει σε σκληρότητα τον νατουραλισμό του 19ου αιώνα και με βρήκε απροετοίμαστη. Δεν είναι ωμός, δεν είναι ψυχρός, αντιθέτως είναι σοκαριστικά απλός ο τρόπος που εξιστορεί τα γεγονότα. Με τρόπο απλό, λιτό κατανοητό. Και καταλήγει να είναι μια μαχαιριά στην καρδιά. Όλη αυτή η αλήθεια. Τελικά η πραγματικότητα μπορεί να γίνει το αριστοτεχνικότερο μυθιστόρημα τρόμου. Και δεν υπάρχει τέλος σε αυτόν τον εφιάλτη. Γιατί πώς να ξυπνήσεις, όταν δεν κοιμάσαι; Ο Σόνυ Πίνεμπεργκ και η κοπέλα του η Λάμχεν περιμένουν παιδί. Παντρεύονται και αρχίζουν την κοινή τους ζωή, στην Γερμανία των αρχών του 1930, στην Γερμανίας της οικονομικής κρίσης, όπου μαστίζει η ανεργία, η ακρίβεια, η ανασφάλεια, η πολιτική αστάθεια και η άνοδος του ναζισμού. Και μέσα σε αυτόν τον χαοτικό κόσμο, αυτοί ελπίζουν, και κάνουν το παν για να μείνουν μαζί, δεμένοι και δυνατοί, για τους εαυτούς τους και το μωρό που έρχεται. Τόσα βιβλία έχω διαβάζει για την Δημοκρατία της Βαϊμάρης και την άνοδο του 3ου Ράιχ, αλλά μόνο τώρα, διαβάζοντας αυτό το μυθιστόρημα, κατάλαβα σε βάθος, τί συνέβαινε εκείνη την εποχή στην Γερμανία. Και με τρόμο διαπιστώνω πως αν τον Σόνυ τον έλεγαν Γιάννη και την Λάμχεν Μαρία, θα μπορούσε αυτή η ιστορία να εκτυλίσσεται στην Αθήνα του 2016 κι όχι στο Βερολίνο του 1932. Κι αυτό είναι που με κάνει να αισθάνομαι τον πιο πρωτόγνωρο και αυθεντικό τρόμο. Για όλους μας. Πρώτα από όλα ήταν τέτοια τα ποσοστά της ανεργίας, όπου αυτομάτως όλοι οι εργαζόμενοι, είτε εργάτες, είτε εργατοϋπάλλοι ήταν αναλώσιμοι και έρμαια του εργοδότη. Κανένας νόμος, κανένα σωματείο, κανένα κοινωνικό σύστημα πρόνοιας δεν μπορούσε να προστατέψει και να εγγυηθεί για το μέλλον εκατομμυρίων ανθρώπων. Με ένα φύσημα από απλός μικροαστός κατέληγες άστεγος στα παγκάκια, με τους μισούς να σε κοιτούν με οίκτο και τους υπόλοιπους να σε βρίζουν ως βάρος της κοινωνίας. Στο πάρκο Tiergarten του Βερολίνου μαζεύονται οι άνεργοι:“Πολυάριθμοι άνθρωποι ήταν συγκεντρωμένοι εκεί, ντυμένοι στα γκρίζα, με βαθουλωμένα πρόσωπα. Άνεργοι άνθρωποι, περιμένοντας για κάτι, χωρίς ούτε κι οι ίδιοι να ξέρουν τί ακριβώς, γιατί πλέον ποιος έβρισκε δουλειά; Απλώς κάθονταν ολόγυρα, χωρίς κάποιο σχέδιο. Τα ίδια χάλια θα ήταν κι αν έμεναν σπίτι, οπότε γιατί να μην στέκονταν εκεί πέρα; Δεν είχε νόημα να γυρίσουν σπίτι αφού πάντα εκεί κατέληγαν, άθελά τους, κι είχαν όλο το χρόνο στη διάθεσή τους.”Αλλά κι όσοι εργάζονται υπόκεινται σε τόσους εξευτελισμούς, εκβιασμούς και ταπεινώσεις, το δε βύσμα έπεφτε σύννεφο, και χωρίς αυτό, ελπίδα για μισθό και μεροκάματο ήταν εκτός συζήτησης, εκτός κι αν καποιος αποφάσιζε να ασχοληθεί με παρανομίες και κομπίνες:“Συστατικές επιστολές: Άχρηστες. Ικανότητα: Άχρηστη. Καλή εμφάνιση: Άχρηστη. Ταπεινότητα: Άχρηστη. Όλα ήταν άχρηστα εκτός από την μεσολάβηση ενός τύπου σαν τον Γιάχμαν” (σσ: που έχει το κονέ). Τα δε αφεντικά; Δε θέλω να σχολιάσω για να μη βρίσω θα αφήσω να μιλήσει το απόσπασμα:“- Σας παρακαλώ συγχωρέστε με κύριε Σπάνφους, το παιδί μου ήταν άρρωστο χτες το βράδυ και έτρεχα να βρω νοσοκόμα...Τους κοίταξε απελπισμένος.- Α, το παιδί σου, είπε ο Σπάνφους. Ώστε αυτή τη φορά ήταν το παιδί σου άρρωστο. Πριν τέσσερις βδομάδες, ή μήπως δέκα; έπαιρνες συνέχεια άδεια εξαιτίας της γυναίκας σου. Υποθέτω πως σε δύο εβδομάδες θα πεθαίνει η γιαγιά σου και σε κάνα μήνα θα σπάσει η θεία σου το πόδι της.Σώπασε για λίγο και ξαναπήρε φόρα:-Η επιχείρηση δεν ενδιαφέρεται για την προσωπική σου ζωή. Τα Μάντελς (σσ πολυκατάστημα ρούχων και αξεσουάρ) δεν ενδιαφέρονται για την ιδιωτική σου ζωή. Κανόνισε να ασχολείσαι με τα μικροπροβλήματά σου αφού σχολάσεις. Ακόμα μια παύση κι έπειτα:- Η επιχείρηση σου εξασφαλίζει την προσωπική σου ζωή, κύριε! Η επιχείρηση έρχεται πρώτη, δεύτερη και τρίτη. Μετά από αυτήν κάνε ό,τι θες. Αναλαμβάνουμε το βάρος να σου παρέχουμε το καθημερινό σου ψωμί. Κατάλαβέ το αυτό. Χάρη σε εμάς ζεις. Τον μισθό σου ξέρεις να τον τσεπώνεις πάντα στην ώρα του στο τέλος του μήνα”Τί να πω; Καθίκια. Ε καθίκια. Τελικά δεν κρατήθηκα κι έβρισα. Και πόσος ήταν αυτός ο μισθός; 200 μάρκα. Έψαξα να βω πόσο αντιστοιχεί αυτό το ποσό σε σημερινά ευρώ αλλά μπόρεσα να βρω μόνο μια αντιστοιχία του ράιχμαρκ του 1938 με το δολάριο του 1938 κι από εκεί βρήκα έναν μετατροπέα, όχι πολύ αξιόπιστο με τον οποίο έκανα την αντιστοιχία από δολάριο του 1938 σε σημερινό δολάριο κι από εκεί την μετατροπή σε σημερινά ευρώ. Τα υπολόγισα κάπου στα 900 ευρώ σημερινά. Στο περίπου και κατά προσέγγιση. Σε κάποιο σημείο η Λάμχεν κάνει μια λίστα με τα μηνιαία έξοδα και αναφέρει τα εξής:62 μαρκα το μηνα για τρόφημα = 250 ευρώασφάλιση και φόροι 31,75= 150 ευρώεισητήρια 9 =35 ευρώηλεκτρικό 3 = 11 ευρώρουχα - εσώρουχα 10 = 48 ευρώτσαγκάρης 4 =17 ευρώYπόλοιπα 73,25 (καθαριστικά τσιγάρα νοίκι κτλ) = 353 ευρώαπρόβλεπτα έξοδα 3 = 11σύνολο 196 = 875 ευρώκαι μένουν για αποταμίευση 4 μάρκα = 17 ευρώ200 μάρκα = 892 ευρώ. Και κάπου εδώ θα μπορούσε κάποιος να σχολιάσει το πόσο άδικο είναι όταν μια χώρα ξέρει πόσο δύσκολο είναι επιβιώσει μια οικογένεια με παιδί, με τέτοιο μισθό, σήμερα, να πρέπει να ζήσουν οικογένειες στην Ελλάδα με 800 ή 500 ή ακόμα και κάτω από 400 ευρώ. Αλλά δε θα σχολιάσω, θα κρατήσω επίπεδο και δεν θα βρίσω. Α στο διάλο. (Δεν μπόρεσα τελικά). Αυτό το βιβλίο θα το πρότεινα σε όλους. Όσοι μπορούν να βρουν μια αγγλική μετάφραση αν δεν ξέρουν γερμανικά. Λέει αλήθειες. Σε γεμίζει οργή. Ξεσκεπάζει την υποκρισία. Αλλά είναι γεμάτο και από τρυφερότητα. Ανθρωπιά. Δεν δίνει ελπίδα. Δεν προσφέρει λύσεις. Αλλά βάζει τα πράγματα στη θέση τους. Σε κανέναν λαό δεν αξίζει τόση δυστυχία. Κανένας λαός δεν θέλει αυτήν την εξαθλίωση. Τότε γιατί τα κάνουμε όλα αυτά ο ένας λαός στον άλλο; Γιατί η κοινωνίες να είναι δομημένες επάνω στην αρχή της ανισότητας; Γιατί οι δυνατοί να πρέπει να τσακίζουν πάντα τον αδύναμο; Πόση πίεση μπορεί να αντέξει ένας λαός πρίν τραβήξει στα ακρα κι αρχίσει να αναζητά αποδιοπομπαίους τράγους;Πάντως αυτό που κατάλαβα είναι πως πλέον όσοι διαρρηγνύουν τα ιμάτιά τους και κατηγορούν τους άλλους και υποκρίνονται τους σωστούς, από τους θώκους και τις θέσεις ισχύος που κατέχουν, θέλουν απλώς να κάνουν τον αδύναμο, τον φτωχό να νιώσει ένοχος ενώ δεν είναι για να συνεχίσουν να τον τσακίζουν. Κι όπως αναφέρει κι ο συγγραφέας στο βιβλίο:“Η φτώχεια δεν είναι απλώς εξαθλίωση. Η φτώχεια είναι αδίκημα, η φτώχεια είναι ρετσινιά, η φτώχεια είναι αιτία ενοχής”. Α σιχτίρ, πάω να μετρήσω την πίεσή μου, καθόλου καλά δεν είμαι...

  • Eirini Proikaki
    2018-10-17 21:53

    Γραμμένο σε μια εποχή μεγάλης οικονομικής κρίσης ,την περίοδο που η Δημοκρατία της Βαϊμαρης κατέρρεε και οι Ναζί κέρδιζαν δύναμη,αυτό το βιβλίο είναι τρομακτικά επίκαιρο.Μέσα στις σελίδες του δυστυχώς βλέπουμε καταστάσεις που όλοι λίγο πολύ βλέπουμε να συμβαίνουν γύρω μας ή και μέσα στα σπίτια μας.Δυο νεαρά ερωτευμένα παιδιά βρίσκονται μπροστά σε μια απροσμενη εγκυμοσύνη και αποφασίζουν να παντρευτούν και να παλέψουν μαζί για το καλύτερο.Οι καταστάσεις όμως δεν βοηθούν και το ζευγάρι αναγκάζεται να μετακομίσει στο Βερολίνο όταν ο Γιοχάνες χάνει τη δουλειά του.Κι εκεί όμως τα πράγματα είναι δύσκολα και το μόνο που καταφέρνουν είναι να φυτοζωούν,χωρίς ελπίδα και γεμάτοι φοβο για το αύριο.H γραφή του συγγραφέα,όπως και η ιστορία είναι απλή αλλά μέσα απο αυτή την απλότητα βγαίνει ένας σπαραγμός.Είναι συγκλονιστικός ο τρόπος με τον οποίο η φτώχεια και η έλλειψη ελπίδας τσακίζει την αθωότητα αυτών των παιδιών που ζουν μέσα σε έναν συνεχή τρόμο,που δεν ξέρουν αν θα έχουν να φάνε τον άλλο μήνα,που νιώθουν οτι αν δεν έχεις λεφτά δεν εισαι τίποτα.Είναι όμως και τόσο συγκινητική η αγάπη τους και ο τρόπος που η Εμα στηρίζει τον Γιοχάνες.

  • Bobby Underwood
    2018-10-21 01:55

    “They were standing right up to the shop window, well-dressed people, respectable people, people who earned money. But reflected in the window was another figure: a pale outline without a collar, in a shabby coat, with trousers besmirched with tar. And suddenly Pinneberg understood everything. Faced with the policeman, these respectable people, this bright shop window, he understood that he was on the outside now, that he didn’t belong any more…”Unemployment was at 42% in Weimar when Hans Fallada published this tender and often charming novel of Germany between the wars. In a country being devoured by hyperinflation, with more and more people falling into a nameless, faceless nothingness where they no longer mattered to any one, the newly installed Chancellor cut unemployment support. Nine days later, Little Man, What Now?, a book written in only sixteen weeks, was published, giving the downtrodden a voice. Fifty German newspapers serialized the book, and it became a worldwide sensation. It also brought Fallada disfavor when it was turned into a wonderful film in America, starring the luminous Margaret Sullavan as Lammchen, and the underrated Douglass Montgomery as Pinneberg. The film, you see, was made by Jews in Hollywood…Fallada’s focus in the novel is a young German couple with a child on the way. The reader only knows the unborn child by the affectionate term used by Sonny and Lammchen — Shrimp. Through Pinneberg and Lammchen’s struggles, and their slide downward, we see peripherally a people desperate to latch onto either the lofty ideals of Communism, or the promises of jobs proffered by the Nazi Party. In a novel nearly apolitical, because it’s focus is the little guy, we see the conditions that give birth to what happened, and get a glimpse — not from hindsight, because this was published in 1932 — at an ugliness that would only grow more fervent, until it threatened to engulf the world.There is a soft neorealism to Fallada’s narrative, which is tremendously intimate, and terribly charming. Yet interspersed with this realism is the kind of loveliness such as one might find in one of Remarque’s novels:“The white curtains moved gently against the windows in the wind. A soft light radiated through the room. An enchantment drew them towards the open window, arm in arm, and they leaned out. The countryside was bathed in moonlight. Far to the right there was a tiny flickering dot of light; the last gas-lamp on Feldstrasse. But before them lay the countryside, beautifully divided up into patches of friendly brightness, and deep soft shade where the trees stood. It was so quiet that even up here they could hear the Strela rippling over the stones. And the night wind blew very gently on their foreheads.”In essence, the entire novel is made up of realistic vignettes, the love story of a couple who marry upon discovering that Emma (Lammchen) is with child. Johannes Pinneberg (Sonny) very much loves his Lammchen, and has to work in a different town just to survive. Their struggles are not unlike any newly married couple’s problems, but poverty and the growing unrest and desperation in Germany between the wars begins closing in on them, inch by inch. Fallada shows in great detail how such times bring out the best in some people, but the worst in others. He also shows how employers, knowing how valuable having a job was, took advantage. All this is done with great charm, humor, and slice-of-life moments which are universal. Pinneberg must even play up to a girl and keep his marriage to Lammchen secret in order to keep one job. No job is safe, however, and no matter how hard Pinneberg tries, the couple slowly move toward the gutter. Pinngeberg’s pessimism, and his desperation to take care of his Lammchen, is perhaps best represented by this apolitical passage:“There was a wild, wide, noisy and hostile world out there, which knew nothing of them and cared less.”In many ways, Lammchen is the stronger of the two, and she knows it. Pinneberg knows that despite his job, they are one step from hopelessness, and joining his comrades. The slide is so gradual, their day-to-day struggle so consuming, it is the reader who sees it best, through Fallada’s remarkably intimate and charming vignettes. Even as they are relegated to a tiny loft above a cinema, and then Lammchen must spend hours darning socks for just a small amount to feed the Shrimp and themselves, because Pinneberg can no longer find work, there is charm, and some hope. But Pinneberg knows that it is only his friend Heilbut’s kindness that is keeping them from the gutter. Lammchen’s Sonny boy, is losing himself, and his dignity.Lammchen senses this, but knows that one day things will be better, if they can hang on. Her greatest fear is that her Sonny boy will do something before they are back on their feet which will stain him, and haunt him long after the tide has turned. She reveals this to the lovable scoundrel Jachman near the end of the book, while they are waiting for Pinneberg to arrive. But Sonny is very late, and her fear for him is growing. It brings about an open-ended conclusion that is terribly moving. It is also terribly lovely, one of the most beautifully written scenes you’ll ever come across in literature.Fallada, whose own life was fraught with adversity, both outward and inward, based Emma (Lammchen) on his wife Anna Issel, and it is easy to see that Pinneberg is much like Fallada himself. This novel had tremendous success, easing Fallada’s own financial problems for a time. Though it perhaps takes too long to get to its moving conclusion, few will be sorry they read it. One of the most remarkable things about the book is that it was penned during the events, as these things were happening to Fallada and others. Fallada lived this, and the intimacy of Sonny and Lammchen’s story affords readers a bird’s eye view of what was really happening. In doing so, it gives us a better understanding of history.For those interested, there is a good article about Fallada here: http://hansfallada.comSomeone was forced to take down the youtube link I had previously posted for the charming Hollywood film (there was one made in Germany also) based on the book. It stars Margaret Sullavan, who is luminous, and Douglass Montgomery, who is equally wonderful. It ends differently from the novel, however. For modern readers, it is a strange circumstance where I would almost recommend viewing the lovely 1934 film first — if possible — because it will help you get into the older style of Fallada’s intimate narrative of Little Man, What Now?

  • Maria Bikaki
    2018-11-13 00:32

    «Μόλις πριν λίγο βγήκε από του Λέμαν, προσωπάρχη των Καταστημάτων Μάντελ, ζήτησε μια θέση εκεί και την πήρε, μια επαγγελματική συναλλαγή πολύ απλή. Αλλά κάπου μέσα του ο Πίνεμπεργκ νιώθει ότι εξαιτίας αυτής της συναλλαγής, και παρόλο που βρίσκεται πάλι από την πλευρά εκείνων που βγάζουν τα προς το ζην, νιώθει πιο κοντά σ’ αυτούς που δεν κερδίζουν τίποτε παρά σ’ αυτούς που κερδίζουν πολλά. Είναι ένας απ’ αυτούς, μπορεί από τη μια μέρα στην άλλη να βρεθεί κι αυτός εδώ να περιμένει, δε μπορεί να κάνει τίποτε γι’ αυτό, τίποτε δεν τον προστατεύει. Αλληλεγγύη των υπαλλήλων, έκκληση στον γερμανικό λαό, η εθνική κοινότητα, υπάρχει μόνο μια κοινότητα, η μικροβιακή κοινότητα, δεν πα να ψοφήσεις, τι σημασία έχει, υπάρχουν εκατομμύρια σαν εσένα». Άντε τώρα να κάνεις κριτική γι αυτό το βιβλίο. Όπως θα λεγε και μια καλή μου φίλη «Πως τολμάς?» Πραγματικά δε θυμάμαι τι ώρα κοιμήθηκα χτες το βράδυ. Οι σελίδες γύριζαν και δε χόρταινα την ανάγνωση. Η απόλυτη χαρά του αναγνώστη. Θεέ μου αυτή η ευτυχία όταν βρεις ένα βιβλίο που σου μιλάει τόσο πολύ στην ψυχή!!! Πραγματικά ασύγκριτο συναίσθημα το ξέρετε πολύ καλά όλοι εσείς που είστε μέλη σε αυτήν την κοινότητα. Ένα από τα πιο συγκλονιστικά βιβλία που διάβασα αυτή τη χρονιά. Συγκλονιστικό γι αυτή την μοναδική του απλότητα μέσα από την οποία περιγράφει μια σκληρή κατά τ’ άλλα πραγματικότητα. Μέσα από τη σκληρότητα όμως των γεγονότων που περιγράφει ποτέ δε χάνεται η ελπίδα, η πίστη, η αισιοδοξία. Σε πείσμα μιας κοινωνίας που προσπαθεί με κάθε τρόπο να σε κάνει να χάσεις την ελπίδα σου, που σε γεμίζει αγωνία για το αύριο οι δυο πρωταγωνιστές μας με μπροστάρη την αγάπη που έχουν ο ένας στον άλλο παλεύουν για ένα καλύτερο αύριο. Πέφτουν, σηκώνονται ξανά, απελπίζονται, μας κάνουν να τους συμπονέσουμε με τις αγωνίες που αντιμετωπίζουν καθημερινά. Ένα βιβλίο γροθιά μαχαιριά στην καρδιά και την ίδια ώρα τόσο γλυκό και τρυφερό. Καμία ανεργία και καμία οικονομική κρίση δε μπορεί να γκρεμίσει τους δεσμούς αυτών των δυο παιδιών και του μικρού τους μπόμπιρα που ήρθε για να φωτίσει τις ζωές τους. Τόσο επίκαιρο, ένα απίθανο συγγραφικό κρεσέντο του Hans Fallada που πρέπει να βρίσκεται σε κάθε βιβλιοθήκη.

  • Evripidis Gousiaris
    2018-11-06 04:40

    Σκληρό αλλά ταυτόχρονα τόσο γλυκό.

  • Chris_P
    2018-11-04 23:32

    The young man looked at Pinneberg. Pinneberg looked at the young man. Both of them were smartly dressed. Pinneberg was obliged to look respectable in his job. Both of them had washed and shaved, both had clean nails and both of them were white-collar workers.But they were enemies, deadly enemies, because one of them was sitting behind the counter and the other was standing in front. The one wanted what he considered to be his rights; the other regarded it as an imposition.The above passage which describes the encounter between the protagonist and a public servant, takes place in early '30s Berlin. So does the next one, which takes place between a young employee and her boss.‘What I do outside work is my own business!’ exclaimed the girl. She seemed to have stopped crying.‘That’s where you’re wrong,’ said Mr Spannfuss earnestly. ‘Seriously wrong. Mandels feeds you and clothes you, Mandels provides the wherewithal of your very existence. It’s not unreasonable to expect that you should think of Mandels first in everything you do and don’t do.’And just to make the point clearer:‘The firm makes your private life possible, sir! The firm comes first, second and third. After that you do what you like. We take on the burden of providing you with your daily bread. You’ve got to understand that. You live off us. You’re punctual enough collecting your pay at the end of the month.’I could quote the whole book but I don't think it's necessary. I'm devastated to say that these passages could be straight out of an ordinary day in Greece of the 2010s. The book follows the struggles of a young couple and their newborn son to make ends meet in a bureaucratic system where jobs are hard to come by and which, when found, resemble slavery. Wages are a joke, expenses are absurdly high and people are left on the street with hardly any reason at all. I wish I could say Little Man, What Now is your typical dystopian but that's hardly the case. It's rather an extremely realistic novel published in 1932.What really makes Little Man, What Now painful to read is that Fallada makes no use of melodramatic elements and teardrenched descriptions. He tells his story as it would have occured in real life. He includes every little thing that makes up reality, like humor, silly blunders made by the inexperienced housewife, the naïve but also cute little romantic goings-on between the couple and the desperate optimism that youth inspires in people even when one's world crumbles to pieces. But that's not all. At the same time, Fallada perfectly captures the constant anxiety one feels when one has to desperately and unavailingly beg for a job, any job, the loss of dignity that comes when one is kicked out of one's job just because one didn't meet the monthly goal for example, and the ever-burning flame of "how will I feed my child when I can't even provide for myself" which slowly devours a person from inside out. When the Little Man grows even smaller by the day, any sense of dignity evaporates along with the joys he should be feeling but he's not. "How can I look anyone in the face?" asks Pinneberg (Sonny) after he's hit bottom. These are feelings that noone can understand unless they have experienced them themselves. From the immaculate depiction of the degenerate human relations under such circumstances to that of the bosses' cruelness towards their employees, Little Man, What Now is a journey into the darkest night. A night that has nothing to do with dystopic dictatorships and science fictions. A night that is sponsored and kept alive by a democracy created by the rich for the rich. A night haunted by the ever-present spirits of Sonny, Lammchen and their Shrimp, desperately yearning to celebrate the coming of the day.And suddenly the cold had gone, an immeasurably gentle green wave lifted her up and him with her. They glided up together; the stars glittered very near; she whispered: ‘But you can look at me! Always, always! You’re with me, we’re together …’

  • Annelies
    2018-11-13 21:31

    What a sad and gripping novel. The style in which it is written sometimes feels a bit naive but it underlines the humble position of the protagonists. They undergo life as a constant stream of fear for and struggle against poverty. Even when the boy has a job, there is the constant fear of losing it. You feel sorry, very sorry for the two main characters. The end is so sad that I wanted to cry. I couldn't get it out of my head, their fate. The book shows very good how people struggle to survive in the twenties in Germany with its financial crisis.

  • Ray
    2018-10-22 00:44

    Set in Germany in the great depression of the 1930s, this is a simple yet effective story. It involves the trials and tribulations of a couple setting up a life together and starting a family at a time of great hardship. It features the dreary monotony of the constant struggle to try and make ends meet, and the slow inexorable slide to penury. It all sounds very depressing, and yet at the same time there is a nobleness of spirit and a determination not to give up which I found very moving.The sheer hopelessness of the situation, with wages at very low levels and 42% unemployment, was daunting yet somehow the couple get by. We also see cameos by assorted relatives and colleagues that add colour and spice to the mix. The author uses these to provide light relief, showing us a cross section of Weimar society - a drunken carpenter, a naturalist menswear salesman "suits you sir", a Nazi work colleague and an accommodating mother in law who may just be a Madam.There is a role reversal through the course of the the book as the husband becomes progressively disillusioned whereas his wife shows her mettle as she slowly metamorphoses into the main breadwinner. By the end of the book the couple have reached a sort of precarious equilibrium, just about managing, and it even ends on a positive note as it looks as if the wife has worked out how to increase their meagre income a little.In the background there are ominous undertones as a certain monotesticular Austrian corporal is on the march.The tone of the book is light - even comic at times - despite its bleak subject matter, and it has a really contemporary feel for a book that was written eighty years ago. I enjoyed reading it and I can certainly see why it was a hit pre war.

  • Lubinka Dimitrova
    2018-11-15 23:33

    "Kleiner Mann, was nun?" is exactly what the title says - a small man, living his small life, with his small family, striving to survive day by day. This "smallness", while at times quite numbing with its ordinarity, lingers with the reader for a long time for a long time after finishing the book. I kept on thinking about my own small life and struggles which often make me forget that there must be more "life" in our lives...The story itself is fairly basic. I liked how Fallada wrapped the lessons about history and the economic/political situation around the simple tale of a young couple trying to raise a family and survive in the Depression. The characters were a little stereotypical and could have had a bit more depth, but in general they were quite interesting. The book was a bit long, but Fallada is a good enough writer so my interest remained undiminished. I intended to say that Alone in Berlin is a better book for me personally, but now, after a few days have passed since I finished this one, I really couldn't decide between them.

  • Nicole~
    2018-10-23 01:56

    3.5 starsThis tale is a sweetly naïve, charming description of a couple's relationship and survival through economic hard times in Berlin 1932. It is a response to social stories of the day, of bleak futures on the horizon as poverty, conflict and social disorder dominated everyday life. Fallada draws on his observations of many Berliners left jobless and despairing by the depression. In 1932 when Little Man What Now? was published, 42% of German workers were unemployed and further cast into desperation as unemployment support was cut. Realism dictates the themes of the novel as Fallada illuminates the essentially invisible day-to-day struggles of staying above the breadline, the terror of being on the thin edges of employment, and the fear of financial insecurity while trying to provide for a family. His fictional world of Berlin was praised as "no fiction at all," but rather an authentic report of life - a novel for 'the people.' The novel's strength is in the acute perspectives and observations of its characters, mainly through Johannes Pinneberg, a man of little means; and his wife, Lammchen, as they confront an unexpected pregnancy, the contentment and wonderment of the newly-wedded, the fulfillment of work regardless of its meagerness, the anxiety of unemployment and then utter despair. Pinneberg finds joy in the prospect of becoming a husband and father, but hopes of providing for a family turn dismally in a string of unfortunate events. "Down the slippery slope, sunk without trace, utterly destroyed. Order and cleanliness, gone; work, material security, gone; making progress and hope, gone. Poverty is not just misery, poverty is an offense, poverty is a stain, poverty is suspect.”Pinneberg's love for Lammchen, who rises above her proletarian parents; his confidence in her judgment; her courage and steadfastness when her husband becomes one of the 6 million unemployed, are validations for the novel. Lammchen, modeled after Fallada's wife, the levelheaded and stabilizing influence of his life , Anna Issel: shines as the novel's equally supportive and incorruptible heroine. “But you know, money isn’t the answer. We can get by, and money isn’t what’s needed. It’s work that would help Sonny, a bit of hope. Money? No.”Fallada deliberately restricts political tones, although the more astute reader might recognize, buried within the folds of the story, a clearly developed political context of the time. He concentrates more on the couple's romantic idylls, contrasting those with despair and hope, irony and humor, the ups and downs of daily life, never allowing their troubles to completely overwhelm them. Even in the moment of Pinneberg's dejected, lowest point, Lammchen's bright outlook won't allow it. And suddenly the cold had gone, an immeasurably gentle green wave lifted her up and him with her. They glided up together; the stars glittered very near; she whispered: 'But you can look at me! Always, always! You're with me, we're together..' It was the old joy, it was the old love. Higher and higher from the tarnished earth to the stars.Fallada suggests no resolution to the dismally urgent situation of unemployment, but as he often does in his novels, leaves the reader with a glimmer of hope; in this case to ponder the question: 'What Now?'

  • Hadrian
    2018-10-18 04:00

    George Grosz - Berlin Street, 1931Wandering, pitiful story of a poorer employed couple in the last years of Weimar Germany. Living constantly in the short-term, from pay-day to pay-day, desperate, shunned. Fallada wants so desperately to write about the triumph of the human spirit and love at the very end, but what would happen in Germany by 1933 only laughs at that.

  • Bjorn
    2018-11-08 00:47

    The book is written in Germany of 1932. One year before Hitler came to power.I first read this in Swedish a few years ago. The Swedish title, What'll Become Of The Pinnebergs? is a bit cheesy; it sounds a bit like a 30s comedy, which of course it is in a way, but it doesn't seem to have the weight of the original's Little Man, What Now? At the same time I can't help but like the title, as if it's setting us up less to see a warning (which it is) and more to see the people in it, as a (which it also is) nice, low-intensity but increasingly desperate story about a young family just trying to get along.Start from the beginning: Johannes Pinneberg marries Emma "Lämmchen" ("Little lamb") Mörschel. They hadn't really planned to get there this quickly, but they're young, they forget about contraception, and whoops. No big, these are modern times and it's not that much of a moral issue. They're well into their 20s, they already have jobs (though of course she'll have to quit hers), they were going to end up here anyway, now they just have just under 9 months to get their proper adult married lives in order before the little one arrives. They're in love, they're willing to work hard, they don't demand any luxury... What could possibly go wrong?Well, there's the bit about getting started. If you want to feed three mouths on one salary, you need to save money. To save money, you need to have money. If you can't afford to buy your own place, you need to rent expensive furnished rooms, and they don't want squalling newborns. You need a fixed income, but the economy is hurting and if you don't like the deal, there are thousands of others who want your job, and...(...and there's political unrest brewing in the background, communists and Nazis fighting in the streets, and say what you want about the Nazis, they may be violent thugs but at least they're OUR violent thugs, good German boys who are bound to grow up if we just show them some respect, and let's be honest, nobody likes the Jews, so we'll see after the election...)The book is written in Germany of 1932. One year before Hitler came to power.And Pinneberg works and toils but he can't get ahead, he clings to any job he can get by his fingernails, locked in competition with his co-workers. They're in a recession, and you know the business owners are hurting too, what with the taxes and all, and they'd love to offer better wages but &c. Don't cause any trouble, keep your head down, don't come across as political by demanding more than what we say is your share, you'll get pie in the sky when you die. Emma's class-conscious worker parents sneer at her for "marrying up", Johannes' aging madam of a mother can't understand why they're so hung up on something as hopelessly common as money. All Johannes and Emma ask is to love and earn their keep, but anything they can say or do is turned against them. Pride fucks with ya; nobody likes a beggar, but what to do when you're reduced to asking for mercy? The harder society becomes, the more we hate the weak, the weakness in ourselves. Down the slippery slope, sunk without trace, utterly destroyed. Order and cleanliness, gone; work, material security, gone; making progress and hope, gone. Poverty is not just misery, poverty is an offence, poverty is a stain, poverty is suspect.And yet Fallada describes them with such warmth and wide-eyed optimism, as if he can't bear the thought that it's hopeless even as he piles on the misfortune and they increasingly lose their grip on that steep, slippery slope. He describes their lives so simply, so matter-of-factly that he never lets us forget that this is happening NOW - in the 30s, sure, but that wasn't long ago, this isn't some weird mediaeval Dickens world, these are two young people in 20th century Europe. They're in love. They have no money. They're slipping, and they can't hold on. And they're not alone, and fear and paranoia is spreading, and SOMETHING is going to happen to society very soon. And it breaks my heart, and leaves me fucking furious that I know what'll become of the Pinnebergs. Whatever they ended up doing over the next 15 years, they became part of that thing that we've been so busy arguing that it can never happen again that we completely ignore any hint that it can, as if "Never Again" were some magical formula. Nobody saw it coming that time, so common wisdom states... Except for Fallada and other writers, obviously... So clearly we'll see it coming next time, right? Increasing inequality, rising unemployment, fear, xenophobia, more people running to extremist parties, that's all stuff that just kind of happens in 2014. Germany of 1932 was long ago.And yet I read this book and I love it, I can almost forget what I know, I can read it and see that question mark at the end of the title. The book is so now, and the Pinnebergs so multi-faceted and so trusting in each other and believing that somehow it has to work out, there's simply no other option, that I want to believe it. Fallada didn't know; he could suspect, but he could hope. He could be as naive as Johannes and Emma are at the start. Because really, what else is there? The book is written in Germany of 1932. It sold massively, was serialized all over Europe, became the 1930s version of Orange Is The New Black, was discussed everywhere. Then Hitler took over anyway. The pen didn't stand a chance against the sword.Little man... what now?

  • Dana
    2018-11-07 04:45

    Hans Fallada must have been a lover, because he hits every detail. The babytalk, the little spats and the guilt that follows, the waffling from boundless optimism to despondency over the course of the day, the overwhelming sense of well-being and accomplishment two people get from making dinner or the budget together - or from forgiving each other (the story of the dressing table!). Fallada wants to defend the lovers' right to their naivete, to their apolitical existence - to defend the "little man" from the Nazis' politicization of daily life. He is actually optimistic (of course he is, he doesn't know what's going to happen, who ever does?), which inspires a deep sadness and, if read late at night, sense of doom in the contemporary reader - especially one who has already read Every Man Dies Alone, Fallada's final & postwar novel, and who realizes that Fallada's faith in the lovers will give way to his faith in death.

  • Tijana
    2018-11-06 03:47

    Mali čoveče... je tako jedno prijatno-neprijatno iznenađenje: em je znatno bolja i modernija nego što sam očekivala em je nelagodno savremena - nema u osnovnoj priči o novopečenim mladencima koji se grče da prežive od jedne krajnje nesigurne plate i još čekaju bebu gotovo ničeg što ne bi bilo poznato današnjim podstanarskim parovima i mladim roditeljima. Čak ni užasi papirologije za dečji dodatak. Suvi realizam bez neke umetničke stilizacije.Ono što je zbilja zastrašujuće za današnjeg čitaoca i, mislim, glavni razlog za Faladin mini-rivajval poslednjih godina jeste koliko se iz ove knjige iz 1932. može iščitati sve što je došlo kasnije - iako su junaci Pinebergovi totalni duduci za politiku, i njima je jasno da su dve glavne opcije komunisti i nacisti (a što oni vole da se tuku!), na nekoliko mesta se pojave jevrejski likovi kojima je život već znatno otežan zbog sveprožimajućeg antisemitizma, gunđa se zbog ovog i onog, ali u dnu svega je, kao talog, očajanje malog čoveka što je beznačajni šraf i što mu nema spasa. Jeste da je Falada na kraju malo dao po violinama i patetici u prikazu supruge koja će sve izneti na svojim plećima, ali bez toga bi knjiga mogla da se završi samo duplim samoubistvom. :/

  • Luxor
    2018-11-13 21:50

    Años 30. Alemania vive una de las peores crisis de su historia (caldo de cultivo para el nazismo). Fallada describe una sociedad cruel y miserable en la que algunos de sus miembros, como Chico y Corderita, una joven pareja de recién casados, tratan de sobrevivir sin perder su dignidad. Un canto al amor como tabla de salvamento ante la marginación.Precioso, terrible y muy actual.

  • Petra
    2018-11-02 01:59

    A lovely story of a young couple trying to make ends meet. The hardships placed on this couple, through no fault of their own, are still valid and around us today. Poverty can strike anyone, jobs are scarce and insecure, one feels as if one is a cog in a giant wheel with no control. Pinneberg and Bunny work hard to find their way in this harsh reality. They do it with goodness, naivete, courage, love and faith that all will be well. They are the everyman of their time. Fallada tells this story with charm and humor. A wonderful read and timely despite it's historical setting.

  • Vassiliki Dass
    2018-11-14 20:46

    2.5* και αδυνατον να διαβασω τις τελευταιες 100 σελίδες. Η τεχνη του Φαλλαντα ηταν στα σπαργανα και αναπτυχθηκε, ωριμασε και εφτασε στο αποκορυφωμά της με τα μετεπειτα βιβλία του, εκ των οποιων ο Πότης ειναι για μενα αριστουργημα.

  • Kusaimamekirai
    2018-10-31 04:51

    1931, Berlin. The Weimar Republic is in its death throes, the Nazi’s inexorable rise to power creeps on, and Johannes and Emma Pinneberg are newly married with a baby on the way. While Emma, affectionately known as “Lammchen” by Johannes has some Communist sympathies, they are by and large apolitical. This novel more than anything is about survival in a harsh world where nobody really cares or even notices if you fall behind.Throughout the story they struggle to be employed, find decent housing, and have even the simplest trappings of a normal life. They are both on the whole however, extremely decent people, which makes their circumstances all the more tragic.Perhaps what struck me the most about them however is that whatever indignities the world threw at them (Johannes’ mom in particular is an awful human being), they always seemed to have their love to fall back on. Not love in a syrupy, idealistic way but an actual sense of when everything around them is crumbling, they know they always have each other to fall back on. In a world with so many heartless creatures, the Pinnebergs ferociously defend their dignity and never allow themselves to be compromised by the evil around them.They are in many ways the quintessential Fallada characters in that no matter how far they may fall, there is always something good about them. Yes, this story is sad and it’s easy to lose hope for the Pinnebergs with each new setback. But that they never lose hope or their love for each other makes this at heart a beautiful and wonderful read.

  • GiannisKlados
    2018-10-27 21:51

    Ένα αστέρι για τις δυσκολίες που ο Φάλαντα ξεπέρασε, ενώ βίωνε την ανεργία, την κατάθλιψη και κατάφερε να γράψει αυτό το εκπληκτικό βιβλίο: «Και τώρα, ανθρωπάκο;»Ένα αστέρι γιατί παρά τις αντιξοότητες, που ο ίδιος βίωνε, τις πέρασε στο χαρτί και τις μετέτρεψε σε αυτή την τόσο υπέροχη ιστορία, που δεν είναι τίποτα άλλο παρά η ρεαλιστική γραφή, η άμεση αναπαράσταση καθημερινών συνθηκών και γεγονότων που διαδραματίζονταν στη Γερμανία της κρίσης του 1930, στη Γερμανία όπου προλειαινόταν το έδαφος για την άνοδο του Χίτλερ στην εξουσίαΈνα αστέρι γιατί τόλμησε να γράψει κόντρα στο ορμητικό φασιστικό ρεύμα της εποχήςΈνα αστέρι για την τεχνική γραφής, την απλή ρεαλιστική καταγραφή της καθημερινότητας που μέσα της σιγοκαίει μια δύναμη, μια μικρή αναλαμπή που στο τέλος μετατρέπεται σε ζεστό φωτεινό κύμα που κατακλύζει όλο το βιβλίο, μαζί και τον αναγνώστηΤέλος, το πέμπτο αστέρι για τη σελίδα αποκάλυψη, τη σελίδα ποταμό, τη σελίδα σφραγίδα του Φαλάντα, την τελευταία. Τα λόγια της Έμα, όπου προκύπτει πως ένα είναι το ερώτημα, μία η απάντηση, ένας ο σκοπός, το ταξίδι και ο προορισμός, η Αρκαδία του Πουσέν, όλα από εκεί πηγάζουν και όλα εκεί καταλήγουν, η φωτιά που καίει στο κέντρο του σύμπαντος, η ουσία που λιώνει κάθε σκληρή επιφάνεια, σπάει το κουκούλι και μπαίνει στον πυρήνα, όπου τότε μόνο, ακόμα και ο διαλυμένος Πίνεμπεργκ μπορεί να καταλάβει, να δεί

  • Hermien
    2018-11-06 04:34

    A moving insight into the struggle of the working class people in Germany in the thirties.

  • Alan
    2018-10-16 23:52

    although at points I felt this was rushed, as though the author was just putting down what he felt like (eg naturism an answer to economic crisis! Although that did add to its charm), this was an absorbing, fascinating read. A couple on the poverty line face life in 1932 Germany, the Weimar republic on the brink of collapse, and Nazis on the rise. The counting of every pfennig, the absurdities of the hierarchies in the various shops and offices where the unfortunate Pinneburg (sorry that may be wrong - haven't got the book with me at the moment)works, the landladies and streets of Berlin where the couple go to live are all exquisitely done. There is humour too, and the characters, particularly the protagonist's mother, a kind of heavily made up and opinionated madam and her lover the kind but criminal Janneche(?), are all so well done you feel you've met them, had them round to dinner. Best of all was the wife Lammechen, who does things wrong (like a disastrous pea soup), is always in trouble, but keeps the family together. Maybe a mite sentimental in the end and at times a little wonky, it was hard not to love this book.

  • Ruth
    2018-10-17 04:45

    "La pobreza no es solamente miseria, la pobreza es también mácula, la pobreza equivale también a ser sospechoso."Un libro bonito, emotivo, entrañable y a veces un poco duro sobre la vida en la Alemania anterior a la Segunda Guerra Mundial. Una novela que habla de temas trascendentales narrados de manera sencilla pero elegante.

  • Gavin Armour
    2018-10-31 04:37

    Wird Fallada noch gelesen? Und wenn ja, warum? Einer der Gründe, warum wir lesen, so versichern wir uns selbst, sei die Durchdringung fremder Gefühle, fremden Denkens, fremder Welten und vor allem fremder Zeiten. Letzteres kann der einzelne mittels des sogenannten „Historischen Romans“ – oder, in dem er sich, will er die jüngere Vergangenheit bereisen, zeitgenössischer Literatur bedient. Wollen wir also ein wenig über das Lebensgefühl im Deutschland der ausgehenden Weimarer Republik erfahren, wäre ein Roman der sogenannten ‚Neuen Sachlichkeit‘ zu empfehlen und damit also Hans Falladas KLEINER MANN – WAS NUN?1932 erschienen, fängt Fallada in seinem für ihn so typischen Stil, dem sogenannten „Fallada-Sound“ – genau in der sozialen Beobachtung, voller Wärme und Mitgefühl für seine Figuren, ausgestattet mit einem phänomenalen Gespür für Zeitströmungen und Zeitläufte, mit dem häufigen Gebrauch des Diminutivs zu einer eher optimistischen, eher beruhigenden Gesamtlage beitragend – die sozialen Bedingungen der „kleinen Leute“ am Vorabend des 3. Reichs ein. Episodenhaft berichtet der Autor von der Erlebnissen des Buchhalters Johannes Pinneberg, der sich in den Jahren 1930 bis ca. Anfang 1932 müht, seine Frau Emma, genannt „Lämmchen“, und den gemeinsamen Sohn, den „Murkel“, durchzubringen. Zunächst in einer norddeutschen Kleinstadt, später im modernistisch wimmelnden, unruhig-nervösen Berlin. Während Emma dem Proletariat entstammt und sich dieses Erbes sehr bewusst ist, darin Halt und Selbstverständnis in schwierigen Momenten findet, steht Pinneberg für den typischen Kleinbürger jener prekären Zwischenkriegsjahre der Weimarer Republik. In Berlin trifft er auf seine Mutter, eine Lebedame und Edelprostituierte, deren Lebensgefährte Pinneberg gelegentlich finanziell zur Hilfe kommt. Pinneberg findet Anstellung bei einem jüdischen Bekleidungshaus, wo er Freundschaft mit einem bekennenden Nudisten und Libertären, Heilbutt, schließt, der ihm künftig öfters hilft. Pinneberg kommt in immer größere Geldschwierigkeiten, Lämmchen müht sich, das ihrige beizutragen, zugleich will sie dem Kind aber auch eine gute Mutter sein. Als Pinneberg aufgrund von Intrigen im Kaufhaus, wo die Verkaufsquoten gnadenlos angezogen werden, arbeitslos wird, bietet Heilbutt ihm seine Gartenlaube als Ausweichquartier an. Hier endet die Reise der Pinnebergs. Lämmchen sorgt dafür, daß ihr Johannes ehrlich bleibt, denn, so ihr Credo, was anderes habe man denn noch als „kleiner Mann“ als die ehrliche Haut, die man sei. Es werde schon weitergehen, es werden schon bessere Zeiten kommen. Und auch wenn Pinneberg fast verzweifelt, erkennt er in der Liebe zu Lämmchen den einzigen Wert, der zählt.Hans Falladas vierter Roman war ein für ihn bahnbrechender Erfolg, der den selbst in prekären Verhältnissen Lebenden finanziell etwas konsolidierte und ihm vorübergehend ein Leben in all seinen Ausschweifungen – Fallada war Morphinist – ermöglichte. Doch korrumpierte ihn der Erfolg nicht, sein Blick, wie der Nachfolgeband WER EINMAL AUS DEM BLECHNAPF FRISST bewies, in welchem er seine eigenen Gefängniserfahrungen verarbeitete. Aber ist Falladas Roman für den heutigen Leser noch lesbar? Ganz sicher. Der spezielle Fallada-Sound wirkt auch heute noch. Man lässt sich gern umfangen von dieser Erzählung, man lernt die Figuren schnell kennen und lieben, fürchtet und leidet mit ihnen, richtet sich gern und häufig an Lämmchens Stolz und proletarischem Glauben an die Kraft des Guten auf; ebenso teilt man Pinnebergs eher skeptische Sicht auf das große Ganze, das „die da oben“ anrichten und dem der „kleine Mann“, als den er sich selber sieht, ausgeliefert ist, komme was wolle. Eine tiefe Politikverdrossenheit ist dem Roman zu entnehmen, auch wenn sich Fallada - aus persönlicher Vorliebe oder schriftstellerischem Kalkül, konnte man die Erfolge der Nazis doch schon herannahen sehen, sei einmal dahin gestellt – eher zurückhaltend in politischer Be- oder gar Verurteilung gibt. Daß die Nazis kaum wählbar erscheinen für einen, dessen Verlobte aus einem kommunistisch geprägten Haushalt stammt, ist nicht sonders zu erwähnen, dennoch lässt Fallada den Leser auch an gelegentlichen Gedanken seines Johannes Pinneberg in diese Richtung teilhaben. Er scheut sich nicht, die Anfälligkeit gerade dieses Kleinbürgertums für die Parolen und Sprüche der als „Bewegung“ auftretenden Nationalsozialisten anzudeuten. Und entlastet dann auch den einzigen Nazi, der im Buch wirklich vorkommt, indem er auch diesen als einen in den gnadenlosen Mühlen jener Jahre der Weltwirtschaftskrise Zermahlenen, hilflos Strampelnden zeigt. Allerdings macht er die um sich greifende Paranoia auch spürbar, wenn Pinneberg im Kaufhaus nachgesagt wird, er sei ein Nazi und daraufhin eine Abmahnung erhält.Fallada erfasst wie sonst wenige seiner Zeit die Spezifik dieser Jahre. Und wiegt seinen Leser doch in einer gewissen Sicherheit. Sein Schreiben ist auch therapeutisch für den Leser, der hier ein permanentes Rezept des „es wird schon wieder werden“ mitgeliefert bekommt. Dies mag den ungeheuren Erfolg bei der Leserschaft erklären. Fallada lesen bedeutete eben nicht nur, Verständnis für die eigene Situation, sondern auch, in dieser Situation einen gewissen Trost zu erfahren. Der deskriptiv arbeitende Fallada, der einen Großteil seiner literarischen Wirkung auch aus den lebensnah wiedergegebenen Dialogen bezieht, dem es gelingt, einen gewissen großstädtischen Sound zu erzeugen, seine Protagonisten wie „echte“ Menschen reden zu lassen und damit seinen Lesern das Gefühl vermittelte, ihnen nah zu sein, was er zweifelsohne ja auch war, erschwert die Lektüre nie durch Entfremdung oder sprachlichen Hintersinn, gar Doppeldeutigkeiten. Darin seinen Kollegen Irmgard Keun, Erich Kästner oder auch Vicki Baum nicht unähnlich, maximal entfernt von dem Schreiben eines an Erkenntnis vermittelnden Effekten interessierten Autors wie Alfred Döblin, der die Lebensrealität der „kleinen Leute“ ebenso gut kannte wie Fallada, breitet der Autor seine Geschichten direkt und ohne Umschweife aus. Abfällig als „Gebrauchsliteratur“ tituliert, wurde Falladas literarisches Wirken allerdings lange unterschätzt, galt er doch als geradezu trivial neben seinen Zeitgenossen wie den Mann-Brüdern, eben Döblin oder aber auch Stefan Zweig, der allerdings zu Lebzeiten mit ähnlich herabwürdigenden Urteilen zu kämpfen hatte. Fallada bietet nicht die ironische Distanz eines Thomas Mann, obwohl sein Schreiben durchaus ironische Untertöne hat, die hier aber eher distanzmildernd wirken, dem Leser das Gelesene abmildernd; er bietet aber auch keine surrealen oder expressionistischen Ausschweifungen wie es Döblin tat, und Remarques tiefe Ernsthaftigkeit wird bei Fallada durch einen scheinbar lapidaren, manchmla leichten Alltagston ersetzt. Geplauder, wenn man ihm bös´ wollte. Doch sollte man die Strategie, die diesem Schreiben zugrunde liegt, nicht unterschätzen. Wir werden in Sicherheit gewogen, doch Fallada weiß zu gut um die Unbilden des Lebens, als daß er seinen Lesern diese vorenthielte. Sein Pärchen muß den ganzen Weg seiner Zeit gehen – Arbeitslosigkeit, Verlust der sozialen Sicherheit, Verlust des Zuhauses, Verlust von Freunden und Verlust der Familie, einem gnadenlosen „Alle gegen Alle“ ausgeliefert. Einzig Falladas Hang, dem Leser wenn schon kein Happy End, so doch zumindest eine Hoffnung in der Erkenntnis, daß die immaterielle Liebe all die materiellen Entbehrungen zu überstrahlen weiß, anzubieten, wäre wirklich zu kritisieren und wirkt auf uns Heutige dann auch eher kitschig. Das mag seine Konzession an den Massengeschmack, an die Unterhaltungsliteratur gewesen sein, die er sicherlich gern bereit war, zuzugestehen. Fallada machte Konzessionen, denn er wollte den Erfolg als Schriftsteller, daran ist nicht zu zweifeln.Hans Fallada heute zu lesen, ist ein manchmal etwas anstrengendes Unterfangen, doch wie erwähnt, wirkt dieser spezielle Sog, den sein Schreiben zu entfachen vermag, auch heute noch. Und wir lernen auch aus dieser Lektüre, daß Geschichte sich eben nicht wiederholt, daß die heutige Situation, die so oft mit der Weimarer Republik verglichen wird, eben durchaus eine andere ist, wir lernen, daß die deutsche Gesellschaft, die hier doch noch klar von Klassen, Ideologien und „Haltungen“ geprägt wurde, einen wirklich fundamentalen Wandel durchlaufen hat im späten 20. Und frühen 21. Jahrhundert. Allerdings – und da müssen wir dem genauen Hinschauer und Hinhörer Fallada dankbar sein – ist da ein Sprechen, manchmal mehr ein Raunen, immer wieder auf den Seiten des Romans deutet es sich an, bricht es sich Bahn, es ist ein Sprechen der Verachtung. Verachtung gegenüber anderen, Andersdenkenden, Andershandelnden, Verachtung gegenüber den herrschenden Politikern, den Parteien, aber auch, wenn auch nicht wirklich explizit, da dies explizit kein politischer Roman sein will, Verachtung gegenüber dem System. Und dieses Sprechen hören wir heute wieder. Es mag heute lächerlich anmuten, weil es sich in einer Situation wie 1932 wähnt, obwohl alle objektiven Tatsachen, Statistiken und Berichte darauf hinweisen, daß es diesem Land selten bis nie so gut ging wie heute. Die Situation ist eine komplett andere, aber die Wahrnehmung wird in bestimmten Bereichen der Gesellschaft wieder dahingehend geschürt, die Systemfrage zu stellen, früher oder später. Wir, mit der Kenntnis dessen, was dann kam, können die Katastrophe, die sich aus dem, was Fallada noch als sozialen Druck beschreibt, herauskristallisiert, lesen. Fallada scheint sie zumindest antizipiert zu haben. Und diese Erkenntnis schließlich lässt uns auch heute bei der Lektüre – vielleicht aus ganz anderen Gründen, als der Autor sie je sich ausmalte oder gar intendierte – schauern.

  • Myriam
    2018-11-10 03:42

    ‘En plotseling begrijpt Pinneberg alles, nu hij deze agent, al deze fatsoenlijke mensen, en deze blinkende spiegelruit ziet. Hij begrijpt dat hij hier niet meer bij hoort, dat men hem met recht wegjaagt. Hij is gestruikeld, uitgegeleden, aan lager wal geraakt, afgeschreven. Een keurig uiterlijk: vroeger, lang geleden. Arbeid en een zeker bestaan: vroeger, lang geleden. Verder komen in de wereld en hopen op de toekomst: alles vroeger, vroeger, vroeger. Armoede betekent niet alleen ellende. Armoede is ook strafbaar. Armoede is een schandvlek. Armoede maakt je verdacht.’‘Wat nu, kleine man?’ is aangrijpend en ontroerend, soms ook een beetje enerverend door het getuttel en de naïviteit van de hoofdpersonages, een liefdevolle roman over de ‘kleine man’ die in het Duitsland van de prille jaren 30 vecht voor een menswaardig bestaan. Armoede, vernedering en sociale neergang zijn het lot van de Pinnebergs die van het platteland naar Berlijn trekken om een beter leven te vinden, maar daar pas echt in de ellende komen. De crisis is immers onafwendbaar, en iedereen probeert op zijn manier, fatsoenlijk of niet, het hoofd boven water te houden. De bedrijfscultuur wordt alsmaar onmenselijker (‘”De firma maakt u uw privéleven mogelijk, meneer! Eerst komt de firma, dan nog eens de firma, dan voor de derde maal de firma en dan kunt u verder doen wat u wilt. U leeft van ons meneer, wij hebben de zorg voor uw levensonderhoud van u overgenomen, begrijp dat goed! (…) bij de volgende nalatigheid vliegt u er zonder pardon uit, begrepen? Dan kunt u eens zien hoe het stempelen u bevalt. Er zijn er genoeg…”’), en de angst en de onzekerheid die dat teweegbrengt bij de kleine man worden met veel empathie door Fallada beschreven. Pinneberg en zijn vrouw en zoontje komen almaar meer in de problemen en ook in de straten waar nu dagelijks gevechten tussen communisten en national-socialisten zijn, gaat het van kwaad naar erger. De grote liefde die beide hoofdpersonen voor elkaar voelen houdt hen overeind. Hans Fallada is helemaal herontdekt, en niet ten onrechte. Lange tijd daarvoor had Thomas Mann (en die kan het weten) al geschreven: ‘Pijnlijk realistisch en waar… Ik heb lang niet meer zo’n meeslepend boek gelezen als Wat nu, kleine man?’

  • Antje
    2018-11-09 04:42

    Man muss Lämmchen und Hannes Pinneberg einfach mögen! Unverdorben, ein wenig blauäuig, aber immer mit jeder Menge Herz meistern sie gemeinsam ihre ersten Ehejahre und die Ankunft ihres Murkels. Obwohl sie von der Weltwirtschaftskrise arg gebeutelt werden, verlieren sie nie den ehrlichen Weg und machen sich gegenseitig Mut. Vor allem Lämmchen durchläuft hierbei eine großartige Entwicklung und aus dem anfänglichen kleinen Dummchen wird bald eine reife Frau, deren Optimismus und Tatkraft unerschüttlich bleiben. - Fallada gelingt es seine beide Protagonisten derart lebensecht zu skizzieren, dass sie nach Auslesen des Buches wie lieb gewonnene Freunde fehlen werden.

  • Elisa
    2018-11-05 23:31

    Op aanraden van een kennis las ik Falladas roman "Alleen in Berlijn". Ik was meteen zo verslingerd dat ik de week nadien op zoek ging naar de rest van zijn oeuvre."Wat nu, kleine man" verscheen al in 1932, maar blijft - op enkele details na - ongelooflijk actueel.In eenvoudige taal beschrijft Fallada alledaagse situaties van doodgewone mensen, en dat zonder enige pretentie of sensatiezucht.Doorgaans heb ik een hartsgrondige hekel aan alles wat nog maar ruikt naar "reality". Maar Fallada schrijft zo meeslepend dat je letterlijk wordt meegezogen in het verhaal en steeds verder wil blijven lezen.Je leeft je helemaal in in de personages die zo herkenbaar zijn, dat je jezelf voortdurend tegen 't lijf loopt.Hoewel de situaties die hij beschrijft heel gewoon zijn, en door de stuntelige naïviteit van de personages soms zelfs grappig, zit je vaak op 't puntje van je stoel. Je voelt als het ware zelf de spanning in de lucht, het naderend onheil, de voortdurende onderhuidse angst waarop het boek drijft en die door het hoofdpersonage zelf zo sprekend wordt samengevat: "O, Engeltje," zegt Pinneberg, terwijl hij haar hand grijpt. "O, Engeltje," fluistert hij. "Ik word er zo bang van. En we staan zo alleen." En Engeltje knikt hem langzaam toe en zegt zachtjes: "Wij hebben toch elkaar, jongen."In feite is het boek een scherpe aanklacht tegen de sociale onrechtvaardigheid van die tijd, een onrechtvaardigheid die in wezen van alle tijden is. Volgend stukje zou ZO uit een lezersbrief anno 2013 kunnen komen, als reactie op één of ander sociaal bloedbad: " Hoe kun je lachen, echt lachen, in deze wereld van sanerende bedrijfsleiders, die duizenden fouten gemaakt hebben, en kleine, verdrukte, vertrapte mensjes, die altijd gedaan hebben wat ze konden?"Ik denk dat het boek me vooral aanspreekt omdat ik mezelf herken in de Fallada die verontwaardigd is over het onrecht om zich heen. De Fallada die zich machteloos voelt tegenover een falend systeem en geen ander wapen heeft dan zijn pen om ten strijde te trekken. De Fallada die mensen tracht wakker te schudden uit hun vooroordelen, hun egoïsme en hun onverschilligheid, door hen te tonen hoe makkelijk het is om aan de "andere kant" terecht te komen, want : "Armoede betekent niet alleen ellende. Armoede is ook strafbaar. Armoede is een schandvlek. Armoede maakt je verdacht."De Fallada tenslotte die in heel die rotte boel slechts één "eindeloos lichte, groene wolk" ziet, die kleine, onbeduidende mensen haast verheft tot onsterfelijke goden: "het is hun oude geluk, het is hun oude liefde." En die liefde voert hen "hoger en hoger, van de bevlekte aarde naar de sterren."Prachtig (,) gewoon!

  • Razvan Zamfirescu
    2018-11-05 21:57

    Spicuiri din recenzia finala care se gaseste pe blogul meu..........................................Hans Fallada nu este un povestitor. Fallada îngheață timpul și oameni după care le insuflă viață și le-o oferă cititorului. Fallada nu este scriitorul care să umble la cutia cu metafore, la scriitura stilizată care să te facă să trăiești melancolia, suferința, chinul personajelor. Fallada nu face apel la jonglerii care să te manipuleze subtil și să-ți înfigă pe sub piele povestea care va crește ca o tumoare în interiorul tău până când vei izbucni în lacrimi. Fallada creionează portrete ca un desenator ambulant din piețele centrale ale orașelor. Stă lângă oamenii despre care scrie și îi ascultă, îi urmărește, îi înțelege, îi iubește și fură bucăți din ei pentru a le așterne pe hârtie. La asta să te aștepți, cititorule, când vei lua cartea în mână. La descrierea vieții grele dintr-o țară înecată în criză economică, într-o țară în care luptele de stradă sunt extrem de violente și la ordinea zilei, într-o țară în care mai ai speranță că o să fie totul bine la un moment dat doar dacă ai pe cineva care te iubește lângă tine........................................

  • Kasa Cotugno
    2018-10-28 00:44

    Little Man, What Now? tells the story of a couple so ordinary they are immediately recognizeable to today's reader, even though the book was written in 1932, during the chaotic days of the Weimer Republic on the threshold of the Nazis' rise to power. Nazis are around, but are regarding and portrayed as thugs with the overriding concerns for the newly married couple in the center of the story being mere survival. As with Every Man Dies Alone,many minor characters are so well fleshed out rendering an epic quality to the book. This is one of those books that carries with it a history as intriguing as the storyline it contains. Hans Fallada's own biography reads like a fiction, and it is difficult to believe it wasn't made up. Each of his newly translated books has a subtext. this one being particularly poignant. Its success led to its being filmed in Hollywood by Jewish producers, which provoked the Nazis to closely scrutinize Fallada, causing him to give in to alcoholism and interment in an asylum during the course of the war.

  • Amy Neftzger
    2018-10-26 01:33

    An interesting read that gives insight into what it was like to be a white collar worker in Berlin just prior to WWII. This is a fictional account of two newlyweds, but it should be noted that the author did extensive research on the subject and managed to portray an accurate picture of the struggles at the time. What makes the book so engaging is the humorous aspect that pervades the story - some critics have compared the main character to Charlie Chaplin's Little Tramp. A series of unfortunate events are consistently cushioned by the humor in the characters and plot line. What struck me the most about this volume is how much of the occurrences taking place in this book are similar to what goes on in modern times - note the manner in which employees are told to be grateful that they have a job by employers who abuse them and create unreasonable performance standards for the current economy. Some aspects of the human experience are universal and transcend time and culture.

  • Neal Adolph
    2018-11-02 00:42

    I read this book years ago, but I'm thinking on it now. I would love to read it again, though another of his works is awaiting my attention on my book shelf. But there are few pieces of literature that I have read that really get to the entrapment of poverty without feeling preachy. The Jungle, by Sinclair, doesn't quite succeed in this respect, though I think that it too is incredible in its story telling to be entirely believable to most readers. And Hunger, by Hamsun, isn't about entrapment so much as the psychological horror of poverty. I don't think I've read many others though - not that hope to discuss poverty rather than simply have it as an aspect of character and setting. Fallada not only asks for your empathy, but demands that you understand the real, lived experience of poverty. That's rare, and important.