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Extracts

The Tin Drum by Günter Grass

The Tin Drum

On his third birthday Oskar decides to stop growing. While beating his tin drum he recounts his extraordinary life in this classic and essential German novel.

This is a big book in every sense, full of extraordinary scenes and characters: even on a single reading it seems prodigally rich in comic invention, and demands to be worried at time and again

Grass wrote with fury, love, derision, slapstick, pathos - all with an unforgiving conscience

Grass is one of the master fabulists of our age

The novel is as monstrous as its hero, pullalating with a kind of anti-life... Gunter Grass may have written the nearest thing to a literary masterpiece his generation is capable of producing

Funny, macabre, disgusting, blasphemous, pathetic, horrifying, erotic, it is an endless delirium, an outrageous phantasmagoria in which dust from Goethe, Hans Andersen, Swift, Rabelais, Joyce, Aristophanes and Rochester dances on the point of a needle in the flame of a candle that was not worth the game

Günter Grass (1927–2015) was Germany’s most celebrated post-war writer. He was a creative artist of remarkable versatility: novelist, poet, playwright, essayist, graphic artist. Grass’s first novel, The Tin Drum, is widely regarded as one of the finest novels of the twentieth century, and he was awarded the Nobel Prize for Literature in 1999.

The publication of The Tin Drum in 1959 launched Günter Grass as an author of international repute. Bitter and impassioned, it delivers a scathing dissection of the years from 1925 to 1955 through the eyes of Oskar Matzerath, the dwarf whose manic beating on the toy of his retarded childhood fantastically counterpoints the accumulating horrors of Germany and Poland under the Nazis.

The Plebeians Rehearse the Uprising

In his first full-length play, Günter Grass takes Bertolt Brecht, the foremost modern German dramatist, as his key figure. On 17 June, 1953, the workers in East Germany rise in rebellion against oppressive measures, but their revolt lacks a voice and a leader. In the East German theatre of which he is the director, the famed Communist poet and playwright, Bertolt Brecht (named 'the boss' in the play), is shown rehearsing his adaption of Shakespeare's Coriolanus. The revolution spills over into the stage happenings as a workers' delegation requests that 'the Boss' lend the authority of his voice and fame to their demands for justice and freedom. The intellectual is shown in a tragic dilemma: reasoning keeps him from active commitment until it is too late. He becomes guilty of betraying the workers and his own self.

Local Anaesthetic

Juggling mockingly with lost and found illusions, with the tensions between reformists and revolutionaries, middle age and youth, Grass has created a satirical portrait of social confusions that adds to his customary exuberance a new mastery of subtle control.

Starusch, a bachelor aged forty teaching 'German and history (two inseparable subjects), undergoes protracted treatment by a dentist who uses TV to distract his patients. Gagged in his chair, the patient projects onto the screen his past and present with the fluidity and visual quality of the movies. Reality and fantasy, the actual and the repressed, overrun the screen in a mirror image of German history. Thus among other episodes we see Krings, one of Hitler's most ferocious 'fight-to-the-finish' generals, return from Russian captivity and engage in sandbox reconstructions of Germany's battles, determined to win them this time. In a casual throwaway, the author reveals his true identity -- Field Marshal Schoerner. 
 
Under the influence of local anesthesia, Starusch's imagination releases h erotic fantasies and the very violence he tries to combat in his pupils, one of them a militant Maoist. The dentist, dispensing humdrum wisdom and painkillers with godlike aloofness, objects to violence, real or imagined, advocating universal Sickcare and a diet preventive of caries as a cure-all. Meanwhile, Scherbaum, Starusch's favorite pupil, grimly prepares to burn his dachshund Max to stir u the conscience of dog- and cat-loving Berliners. 
 
Juggling mockingly with lost and found illusions, with the tensions between reformists and revolutionaries, middle age and youth, Grass has created a satirical portrait of social confusions that adds to his customary exuberance a new mastery of subtle control.

Diary 1990

From Germany to Germany

A fascinating account of one of the defining moments of modern European history by Europe's greatest living writer.

From Germany to Germany contains delightful insights into the process of crafting a novel…the most compelling and enduring evaluation of the complexities of reunification is likely to have come from the pen of Günter Grass the novelist

Though Grass spent much of the year engaged in political argument – with others and with himself – there is much else in the book. It is first the record of a man possessed of extraordinary energy, both physical and mental…One cannot but admire his zest for life

From Germany to Germany is as earthy and real as The Tin Drum

This diary does capture a great moment in time

In 1990, Günter Grass - a reluctant diarist - felt compelled to make a record of the interesting times through which he was living. 
 
Following the fall of the Berlin Wall in November 1989 and the collapse of Communism, Germany and Europe were enduring a period of immense upheaval. Grass resolved to immerse himself in these political debates: he travelled widely throughout both Germanys, the former East and the former West, conducting a lively exchange with political enemies, friends and his own children about all the questions posed by reunification. 
 
His account gives the reader an unparalleled insight into a key moment in the life of modern Europe, seen through the eyes of one of its most acclaimed writers. It also provides a startling insight into the creative process as the reader witnesses ideas for novels occurring and then taking shape. 
 
From Germany to Germany is both a personal journal by a great creative artist and a penetrating commentary on recent European history by someone who was simultaneously an acute observer and a highly engaged participant.

Tales from the Darkroom

The Box

The sequel to Grass's controversial and successful book Peeling the Onion.

With his magical story of Marie's all-seeing camera, he transforms the facts of his headlong but loving life into something far more potent than reportage

A short, often charming book...richly comic

Short and beautifully written sequel to Peeling the Onion

In this delightful sequel to Peeling the Onion, Günter Grass writes in the voices of his eight children as they record memories of their childhoods, of growing up, of their father, who was always at work on a new book, always at the margins of their lives. Memories contradictory, critical, loving, accusatory - they piece together an intimate picture of this most public of men. 
 
To say nothing of Marie, Grass's assistant, a family friend of many years, perhaps even a lover, whose snapshots taken with an old-fashioned Agfa box camera provide the author with ideas for his work. But her images offer much more. They reveal a truth beyond the ordinary detail of life, depict the future, tell what might have been, grant the wishes in visual form of those photographed. The children speculate on the nature of this magic: was the enchanted camera a source of inspiration for their father? Did it represent the power of art itself? Was it the eye of God? 
 
Winner of the Nobel Prize for Literature.

Grass's landmark novel in a stunning new translation and with a new foreword by the author

Given Grass's close involvement with this new translation, it is fair to call this the definitive version of arguably the most important German novel of the post-war era.

Grass published his milestone of postwar literature 50 years ago, and the event is being celebrated with new translations...Mitchell's excellent translation reveals the novel as a timeless masterpiece.

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 Günter Grass who demonstrated that it was possible to be a living writer who wrote with Dickens' full range of emotion and relentless outpouring of language. Grass wrote with fury, love, derision, slapstick, pathos - all with an unforgiving conscience.

Encountering The Tin Drum in the early sixties was like discovering a new planet, a reinvention of literature. It brings the exhilaration of discovery, linked with an enormous gratitude for the way in which Günter Grass makes the world a worthwhile place to be in, and living a worthwhile thing to do. He has forever pushed back - and opened up - our concept and awareness of what is real, and what is possible, and what we dare to dream about.

The Tin Drum has had an enduring impact on international fiction, and to read this new translation is to experience a novel you may or may not already know and discover a living, talking, shouting work of art

The new translation by Breon Mitchell sticks much more closely to the original text than Manheim's and emulates some of the German linguistic traits that Grass uses....this new translation of Die Blechtrommel reminds us, Grass retains his huge stature as a novelist

Mitchell has captured the novel's syncopated, driving rhythms with an extra brio and brilliance

WITH A NEW FOREWORD BY THE AUTHOR 
 
On his third birthday Oskar decides to stop growing. Haunted by the deaths of his parents and wielding his tin drum Oskar recounts the events of his extraordinary life; from the long nightmare of the Nazi era to his anarchic adventures is post-war Germany.

Günter Grass

Breon Mitchell

The final work of Nobel Prize-winning writer Günter Grass – a witty and elegiac series of meditations on writing, growing old, and the world. 
 
Suddenly, in spite of the trials of old age, and with the end in sight, everything seems possible again: love letters, soliloquies, scenes of jealousy, swan songs, social satire, and moments of happiness. 
 
Only an ageing artist who had once more cheated death could get to work with such wisdom, defiance and wit. A wealth of touching stories is condensed into artful miniatures. In a striking interplay of poetry, lyric prose and drawings, Grass creates his final, major work of art. 
 
A moving farewell gift, a sensual, melancholy summation of a life fully lived.

Günter Grass

Of All That Ends

Summary

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