Many friends of mine are into the comedy of the absurd. They often break into rants quoting and mimicking characters such as those from 'The Mighty Boosh.' It really is crazy to watch (and sometimes embarrassing). But, after reading 'The Tin Drum,' the first novel by German writer Gunter Grass and critically acclaimed as the best German novel written after WWII, I have a new take on the absurd… a dark, satirical and hysterical take.
The novel itself seemed to go a bit slow until the end of the second of the three sections. This is partly to do with the format of the novel where each chapter is titled and reads like a short story in itself. This structuring created a segmented feel to the narration rather than a fluid linear plot. The novel however is not episodic and towards the end of the second section strong thematic connections as well as reoccurring characters begin to arise and make the flow more cohesive. Unfortunately, I read the Ralph Manheim translation. Grass himself has said that the Breon Mitchell translation has better captured his linguistic style, freed his sentences from the short sentence structure of English (whereas Manheim shortened and constricted Grass’ sentences for his translation), and resolved problems in communicating the often subtle tone of Oskar differentiating between sad, satirical, sarcastic and so forth. Truly, the prose is supposed to mimic drum patterns, as Oskar himself refers to drumming his story rather than writing it, and this is only occasionally communicated in the Manheim translation.
The story is the autobiography of Oskar Matzareth, about to turn 3o years old and living as an inpatient at a mental hospital. Having willfully stunted his growth at three feet for many years of his life, Oskar is able to navigate his building and community as an un-judgmental infant although his consciousness matures normally. He knows the intricate secrets of those around him and is therefore able to construct a picture of the German societal consciousness during the pre-Nazi era, the rise of the Nazi party and German imperialism, and the immediate post-war years.
When Oskar is born, his mother promises him a tin drum for his third birthday. He becomes an expert drummer and, as his talent matures, he has increasing ability to use his art to influence the thought and emotion of those around him. Thematically this is the cornerstone of the book— the ability of art to transform society. Oskar also has the ability to scream at so high a pitch that he can break any glass he aims at. In one of my favorite chapters ‘The Schedule,’ young Oskar’s mother attempts to enroll him in school. Oskar sees the institution for what it is, a tool for indoctrinating young minds (a very Stirnerian approach indeed!), and furthermore, they won’t let him play his drum in class! Oskar proceeds to scream so loud all the glass in the classroom is broken. . . This was his last day in school. In another favorite, Oskar, claiming to be Jesus, becomes the leader of a young band of anarchistic rebels called “The Dusters.” The Dusters harass SS officers and steal. Oskar uses his talent to break glass through which the Dusters are able to steal luxury goods. When they are caught robbing a church the police find the Dusters worshiping Oskar having cut baby Jesus out of a sculpture and installing Oskar in his place!
Grass himself has been criticized because he waited until after receiving the Nobel prize and only recently disclosed his involvement in the SS during his youth. Although only 17, and drafted into the Waffen SS perhaps Grass complicity is reflected in Oskar. Perhaps, the funerals that haunt Oskar, the feeling that Oskar himself is implicated in the deaths of those around him is a reflection of this conviction in Grass himself.
Overall, the book is good and I would recommend it to anyone although with the caveat that the Mitchell translation is probably a better choice. Can't wait to see the film which won the Academy Award (coincidentally called an Oskar!)for Best Foreign Film in 1980.
