Alfred Döblin (1878–1957)
Author of Berlin Alexanderplatz
About the Author
Novelist, playwright, poet, essayist, Alfred Doblin was one of the most prolific writers of his time. He was also a practicing physician in Berlin's working-class district of Alexanderplatz. His novel of this name (1930) is considered his best work, and represents, in its montage technique, show more Doblin's experimental attitude toward prose writing. Doblin fled the Nazi regime in 1933 and lived for a while in the United States. Later, he became a French citizen and a convert to the Roman Catholic Church. (Bowker Author Biography) show less
Image credit: Döblin, Alfred in 1928
Series
Works by Alfred Döblin
Der Oberst und der Dichter oder Das menschliche Herz. Die Pilgerin Aetheria: Zwei Erzählungen (1987) 7 copies
Ausgewählte Werke in Einzelbänden: Der deutsche Maskenball von Linke Poot. Wissen und Verändern. ( Ausgewählte Werke in Einzelausgaben.) (1972) 4 copies
Nocturno 2 copies
Erzählungen 2 copies
Die literarische Situation 2 copies
Das Land ohne Tod Roman 1 copy
Monts Mers et Géants 1 copy
Doblin Alfred 1 copy
Bajka o materijalizmu 1 copy
Jüdische Erneuerung 1 copy
El tigre azul 1 copy
Berlin Alexanderplatz 1 copy
Die Stücke 1 copy
dialog: Die Stücke 1 copy
Ölümsüz Ülkeye Doğru 1 copy
Associated Works
Spells of Enchantment: The Wondrous Fairy Tales of Western Culture (1991) — Contributor — 605 copies, 5 reviews
August Sander: Face of Our Time (Schirmer Visual Library) (1977) — Introduction — 126 copies, 2 reviews
Never-Ending Tales: Stories from the Golden Age of Jewish Literature (2025) — Contributor — 9 copies
Die Sammlung der Nationalgalerie : 1900-1945 : Moderne Zeiten : die Dokumentation einer Ausstellung (2014) — Contributor — 7 copies
The intellectual tradition of modern Germany : A collection of writings from the eighteenth to the twentieth century (1973) — Contributor — 3 copies
Halt auf freiem Felde : Eisenbahnabenteuer von Agatha Christie bis Tucholsky (1975) — Author — 2 copies
The intellectual tradition of modern Germany : A collection of writings from the eighteenth to the twentieth century : Volume 1 : Philosophy, religion and the arts (1973) — Contributor — 2 copies
50 seltsame Geschichten — Contributor — 1 copy
Tagged
Common Knowledge
- Canonical name
- Döblin, Alfred
- Legal name
- Döblin, Bruno Alfred
- Other names
- Döblin, Alfred Bruno
Linke Poot (Pseudonyme)
Linke-Poot (Pseudonyme)
Fiedeler, Hans (Pseudonyme)
Poot, Linke (Pseudonyme)
Piethe, Knaas (Pseudonyme) (show all 7)
Ntemplin, Alphrent (Pseudonyme) - Birthdate
- 1878-08-10
- Date of death
- 1957-06-26
- Gender
- male
- Education
- Friedrich Wilhelm University (medicine)
Freiburg Psychiatric Clinic (Ph.D. | 1905 | neurology) - Occupations
- psychiatrist
writer - Organizations
- Ministère français de l'Information (Collaborateur, 1939 | 1940, Inspecteur littéraire, 1945)
Hôpitaux de Berlin (Médecin, 1906 | 1933)
Das goldene Tor, Revue littéraire (Rédacteur en chef, 1946 | 1951)
Prager Tagblatt, Journal (Collaborateur, 1921 | 1924)
Der Sturm, Magazine (Rédacteur, 1912)
Académie prussienne des arts, Berlin (Membre expulsé, 19 28 | 19 33) (show all 9)
Académie des Arts de Berlin Est (Membre correspondant, 19 55 | 19 57)
Association de protection des écrivains allemands (Président, 19 24)
Académie des sciences et des lettres de Mayence (Cofondateur et vice-président, 19 49) - Awards and honors
- Theodor-Fontane-Preis für Kunst und Literatur (1916)
- Relationships
- Döblin, Wolfgang (Fils)
- Short biography
- Alfred Döblin was born to an assimilated Jewish family in Stettin, Germany (present-day Szczecin, Poland). He graduated from medical school and became a psychiatrist, with a private practice in the working-class Alexanderplatz district in Berlin. After the rise of the Nazi regime in 1933, he had to flee Germany for France; in 1940, at the outbreak of World War II, he escaped to the USA, where he converted to the Roman Catholic faith. He returned to Germany at the end of the war to work for the Allies, but settled in Paris in the early 1950s. He began writing while still in medical school, and his third novel Die drei Sprünge des Wang-lun (The Three Leaps of Wang Lun, 1915), the first to be published, won him the Theodor Fontane Prize. His best-known work, Berlin Alexanderplatz (1929) is considered an Expressionist masterpiece and an iconic work of the Weimar era. He also wrote other novels, including two trilogies of historical novels, a science fiction novel, as well as essays on political and literary topics, and a travelogue. He recounted his flight from France in 1940 and his observations of postwar Germany in the book Schicksalsreise (Destiny’s Journey, 1949).
Although Döblin's work was critically acclaimed in his lifetime, he is much less famous than his contemporaries such as Thomas Mann, Robert Musil, and Bertolt Brecht. His reputation today rests solely on Berlin Alexanderplatz. - Nationality
- Germany (birth)
France (naturalized) - Birthplace
- Stettin, Germany (now Szczecin, Poland)
- Places of residence
- Regensburg, Germany
Freiburg, Germany
Berlin, Germany
Zürich, Switzerland
Paris, Île-de-France, France
Lisbon, Portugal (show all 10)
Hollywood, California, USA
Mainz, Germany
France
Emmendingen, West Germany - Place of death
- Emmendingen, Germany
- Burial location
- Housseras, France
- Map Location
- Germany
Members
Reviews
Berlin Alexanderplatz is narrated by a character who, while occasionally attempting to put the pieces together for the reader, is usually more satisfied to drop a metaphorical bomb on us and then spend a dozen or so pages explaining the action. It is a literary montage, a vicious collage, an explosion of colors, a carnival of noise, chaos, and entropy. The book's disorderly structure reflects the actual world that informs the story. When it comes to portraying the modern era, Doblin is on show more par with writers like Joyce and Dos Passos. show less
I came across [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] while browsing the library sci-fi section and was immediately intrigued by the idea of an epic Weimar Republic-era future history. From the blurb I learned it had only just been translated into English, almost exactly a hundred years after publication, and that 'it can be seen as a literary show more counterpart to the painted dreams and nightmares of Hieronymous Bosch.' Who could resist that? The future history concept is akin to H. G. Wells' [b:The Shape of Things to Come|29966|The Shape of Things to Come|H.G. Wells|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1611101404l/29966._SY75_.jpg|1011738] or Olaf Stapledon's [b:The Last and First Men|25520137|The Last and First Men|Olaf Stapledon|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1431332788l/25520137._SY75_.jpg|1631490]. The style and content, however, are entirely distinct and reminded me of much later works (including but not limited to Neon Genesis Evangelion). The pervasive apocalyptic gloom was akin to [b:The Purple Cloud|209525|The Purple Cloud|M.P. Shiel|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1328817985l/209525._SY75_.jpg|923941] of twenty years earlier, but that is a much more of an individual Last Man narrative.
The tone of [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] is best described as delirious; there is a meandering narrative but little sustained attention to plot or characterisation. The most powerful passages are descriptions of nature, particularly geology. As the translator's note mentions, Döblin was heavily preoccupied with elemental forces. He was also prescient enough to foresee the environmental disasters that might result from humanity's attempts to control them. The style of writing and translation is more lyrical than I'm used to from the little 20th century German literature I've read. I enjoyed this, indeed it was the beauty of the writing that kept me going at times when actual events become turgid. For instance, this is perhaps the most poetic description of online advertising that I've come across:
This translation trick of listing multiple synonyms was also used in [b:Deep Wheel Orcadia|58320923|Deep Wheel Orcadia|Harry Josephine Giles|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1634398669l/58320923._SX50_.jpg|91441976]; I liked the effect there and it worked well here too. The first half of [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] plays out concerns that were in the air during the 1920s: nationalism, eugenics, increasingly deadly weapons, industrialisation, racism, women's liberation, sexuality, self-destruction, and 'degeneration'. Where characters are evoked to lead and personify struggles around these issues, their interactions are so melodramatic and overwrought that it's hard to see them as more than mythic ciphers. This isn't really a novel about people as individuals, it's about people in aggregate and their interactions with the environment. I think the comparison with Bosch is apt, given the vivid and often horrible imagery that dominates the narrative. I have to wonder whether substances had any role in its composition, or perhaps Döblin was merely having a weird time.
I recently read [b:Regenesis: Feeding the World Without Devouring the Planet|58838928|Regenesis Feeding the World Without Devouring the Planet|George Monbiot|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1647260230l/58838928._SY75_.jpg|93035508], in which George Monbiot argues that agriculture is destroying Earth's ecosystem and we need lab-based food production (among other measures) to save it. [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] includes just such a development, including this lovely passage:
However, in this vision of the future artificial food physically weakens the human race and ultimately there is a violent reaction against it. A movement of 'settlers' return to agriculture and destroy food factories. The legacy of the First World War hangs heavily over the book from the opening sentence: 'None were still living of those who came through the war they called the World War'. The accounts of subsequent pointless and confused wars could equally apply to WWI:
The apex of the book is a hubristic and disastrous act of terraforming: Iceland is destroyed in order to melt Greenland. This unleashes chaos and monsters. Döblin uses natural processes as extended similes for people, but also uses people as extended similes for nature. In this case, for the mountains of Iceland:
That epic analogy isn't entirely coherent, but it's certainly vivid and arresting. The descriptions of Greenland's glaciers formed my favourite passages in the whole book:
'As the motes sintered and froze...' is simply beguiling. Then some hubristic fools pick a fight with these glaciers and the whole world suffers. I appreciated such ecological fable aspects very much, but will not pretend that [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] is an easy book to read. It's long, despite being abridged by the translator, and took me a while to get into. The hectic power struggles of human beings are simply not as compelling as the environmental sequences. The latter half is focused on terraforming and its consequences, which I found much more involving. It's hard for me to say what the whole novel adds up to, though. The episodic structure weaves together anxieties of Weimar Germany and deeper conflicts between human industry and nature. While I came to appreciate the poetic writing and translation style, it takes some getting used to and occludes as much as it elucidates. I'm glad that I persisted with reading [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] as it was a unique experience, however I can only recommend it with cautions. After a fair bit of effort, it leaves you feeling rather befuddled. show less
The tone of [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] is best described as delirious; there is a meandering narrative but little sustained attention to plot or characterisation. The most powerful passages are descriptions of nature, particularly geology. As the translator's note mentions, Döblin was heavily preoccupied with elemental forces. He was also prescient enough to foresee the environmental disasters that might result from humanity's attempts to control them. The style of writing and translation is more lyrical than I'm used to from the little 20th century German literature I've read. I enjoyed this, indeed it was the beauty of the writing that kept me going at times when actual events become turgid. For instance, this is perhaps the most poetic description of online advertising that I've come across:
Messages were spread. In the townzones they had manmade magical devices that broadcast to every other place what people were up to, what they were talking about, how they were modifying their surroundings, what distinctive changes were in progress. Tele-pictures sent out images of people and objects. Any stimulus that stood out was a firestorm that grew from a spark to a flame to engulf a whole neighbourhood, a town. In distant lands, on mountainsides, along wide rushing rivers, on sultry tropical animal-teeming plains dwelled people who kept themselves to themselves. Stimuli words images reached them. Images were there before their eyes, appeared again and again, tugged at them. Told them to leave the river behind, come away from the cradling heat. Like a shovel under a pile of stones lying mossy on the ground, the blandishments scraped at the people, lifted them, scattered them.
This translation trick of listing multiple synonyms was also used in [b:Deep Wheel Orcadia|58320923|Deep Wheel Orcadia|Harry Josephine Giles|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1634398669l/58320923._SX50_.jpg|91441976]; I liked the effect there and it worked well here too. The first half of [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] plays out concerns that were in the air during the 1920s: nationalism, eugenics, increasingly deadly weapons, industrialisation, racism, women's liberation, sexuality, self-destruction, and 'degeneration'. Where characters are evoked to lead and personify struggles around these issues, their interactions are so melodramatic and overwrought that it's hard to see them as more than mythic ciphers. This isn't really a novel about people as individuals, it's about people in aggregate and their interactions with the environment. I think the comparison with Bosch is apt, given the vivid and often horrible imagery that dominates the narrative. I have to wonder whether substances had any role in its composition, or perhaps Döblin was merely having a weird time.
I recently read [b:Regenesis: Feeding the World Without Devouring the Planet|58838928|Regenesis Feeding the World Without Devouring the Planet|George Monbiot|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1647260230l/58838928._SY75_.jpg|93035508], in which George Monbiot argues that agriculture is destroying Earth's ecosystem and we need lab-based food production (among other measures) to save it. [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] includes just such a development, including this lovely passage:
Wild beasts had been shot, tawny lion panther. Termites had been expelled, streams diverted, huts built, solid houses, villages with dogs, sheds for hens geese cows. In southern zones were regions that had been cleared deforested only a century or two earlier. Northmen in their iron glory had come, had torn ripped throttled the land, devoured mangled chewed plants and roots. Stones buried in the soil had been lifted and dumped in rubble heaps. In the black bed left behind by the corpses of trees and plants, they had sown pale delicate seeds by the million. The ground welcomed these, the seeds pushed green tips above the surface. Wide green fields, dense forests of stalks, ears of grain waving gently in the breeze. There they lay, beside the barns sheds living quarters that now were emptying. People returned to the vast cities. They encysted themselves in the cities. Left most of the Earth to itself. The soil rested.
However, in this vision of the future artificial food physically weakens the human race and ultimately there is a violent reaction against it. A movement of 'settlers' return to agriculture and destroy food factories. The legacy of the First World War hangs heavily over the book from the opening sentence: 'None were still living of those who came through the war they called the World War'. The accounts of subsequent pointless and confused wars could equally apply to WWI:
Images of dead landscapes appeared in every waiting clamorous town. There was no attempt at concealment. No defeat was declared. Only: nothing had changed. Youngsters, men and women, the leaders, flags held high, had cried their power. Fire from the Earth, in human hands, blazing up to the stars: there it is on the Russian Plain, from the Urals to the Valdai hills. Ground torn up, rivers drained, people trees animals devoured. Horrible dead land. This was the work of the youngsters with their flags. Their achievement. This was the secret of the devices, the marvellous powers of Nature harnessed to their retorts. Those returning from the fleet told that these were no mere fables, what the technologists and experts said about the air-squalls water-squalls long-wave and short-wave radiation fiery explosions. But nothing could be done with it. People in the cities went about as before, grew flowers in greenhouses, enjoyed sport and circuses. What were you supposed to do? The young ruling men and women had failed. Their ridiculous flags. Let them tear up the earth, poison cities. If they want, they can destroy our western lands as well.
The apex of the book is a hubristic and disastrous act of terraforming: Iceland is destroyed in order to melt Greenland. This unleashes chaos and monsters. Döblin uses natural processes as extended similes for people, but also uses people as extended similes for nature. In this case, for the mountains of Iceland:
Like a people defeated and subjugated centuries before, its men and women scattered, their language banned, their tribe scorned, their customs held to ridicule; the men went as slaves into foreign service, let themselves be taken off to foreign wars. And some defected, shone among the foreigners who despised them. Like when young men and women, half-children, emerge covertly among such a people; angrily in private they confront the elders of their people and in secret rooms they say: we've had enough of cowardice, the appeasement that's fed to us, of being insulted and demeaned. They'd give their lives to wipe away the shame. And they go about, distribute leaflets, hold furtive meetings. A stir goes through the people, through every little family, through the young girls who must clean house for foreigners and fall prey to foreign men. And one day it's war. And one day the streets are empty. And one day a flag flies from the rooftops, a new flag. And processions fill the streets, rejoicing in a language - what language - the despised and now victorious language! Everyone weeps behind windows and in the streets. In this hour the dead of lost centuries stir in their graves, flutter in huge swarms to the living from their bare unmarked resting places, to join the jubilant procession. Thousands, thousands sing along, run ahead of the flags and hold the battle-streamers and kiss the muddy boots and caps of the young marchers.
Like these men and women and people, the rocks the mountain ranges the craters ridges the deathly silent ice-covered giant peaks were seized, gripped like a lock by the key, and had to yield. Followed thrumming, and around them everything exploded into light.
Loosened, great Dyngja Herðubreið Tögl Skjald-breiður.
That epic analogy isn't entirely coherent, but it's certainly vivid and arresting. The descriptions of Greenland's glaciers formed my favourite passages in the whole book:
Water had wedded itself to this swelling of the Earth at the North Pole; unlike the other continents water had not abandoned the land and withdrawn to the seas. It scrabbled hammered tore at primordial rock. Dropped swirling unceasing from dark and daylit air, snow, myriads of shimmering six-branched crystals stars motes, sprinkled pressed softly silently down on giant stolid domes peaks hollows. And as the motes sintered and froze they congealed, cemented together into greenish glacier ice that laid itself over the older ice sheet. And through its gaps new water flowed, froze again in the depths. The mountain of ice grew.
'As the motes sintered and froze...' is simply beguiling. Then some hubristic fools pick a fight with these glaciers and the whole world suffers. I appreciated such ecological fable aspects very much, but will not pretend that [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] is an easy book to read. It's long, despite being abridged by the translator, and took me a while to get into. The hectic power struggles of human beings are simply not as compelling as the environmental sequences. The latter half is focused on terraforming and its consequences, which I found much more involving. It's hard for me to say what the whole novel adds up to, though. The episodic structure weaves together anxieties of Weimar Germany and deeper conflicts between human industry and nature. While I came to appreciate the poetic writing and translation style, it takes some getting used to and occludes as much as it elucidates. I'm glad that I persisted with reading [b:Mountains Oceans Giants|74452822|Mountains Oceans Giants|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677902525l/74452822._SY75_.jpg|2004104] as it was a unique experience, however I can only recommend it with cautions. After a fair bit of effort, it leaves you feeling rather befuddled. show less
Franz Biberkopf is a weak man. He tries to make good in his life and to make the right choices, but he can’t succeed. Everything seems to work against him. Certainly, he makes some bad decisions, but in working-class Berlin in the 1920s his options are limited. I don’t want to make excuses for a man who, before the story begins, has drunkenly killed his girlfriend, and who trades girlfriends around like objects. He tries to make a living peddling, but he is ripped off by his friends. He show more commits thefts, although only from profitable businesses. And he pimps his girlfriend, although she is happy enough to make money for him. And yet in this story, Franz’s struggle to get by becomes a comic epic.
Döblin sets the story within the chaos of life, bringing in a wonderfully rich background of the sounds, sights and especially the texts of Franz’s time. Franz’s story would be quite pathetic without the rich background. He would be a sad-sack loser who stumbles along until he somehow has a miraculous conversion. By capturing the whole scene, Döblin makes Franz a kind of Everyman who has to face everything that the Fates choose to throw at him. He struggles doggedly, often making mistakes or falling prey to his own weakness, but coming back time and again to his effort to get things right. Ironically, his most epic and successful struggle occurs when he is motionless in a hospital bed after Death has written him off saying you only think about yourself and you don’t even deserve to die.
Although highly specific to one small area of Berlin in the 1920s, the complex literary references also shift it into a universal theme. While Franz struggles in his life, the narrator compares him to the biblical Job (I didn’t realize how terrible Job’s afflictions were until I read Döblin’s paraphrase) and comments on the contemporary political slogans and advertisements that Franz spouts.
The narrator is a key part of the book. He (a male in my mind – I wonder how it would sound in a female voice) tells us what a loser Franz is, and tells Franz to smarten up. In fact, he tells us the whole story in half a page at the beginning of the book, and again at the start of each section, so there is no mystery to the plot. The only question is what Franz will go through to get to the end. But while the narrator comments acidly on Franz and Berlin, he also has some remarkable lyrical passages. He is poetic about the thoughts of a calf waiting in the slaughterhouse. Other parts are like rants against the failings of the German republic: “parliamentary democracy merely prolongs the agony of the proletariat,” the narrator says. It is corrupt and preserves the bureaucratic state. “We aim to destroy all the institutions of state by direct action.” Although this is in quotes, it’s not clear who is saying this – the narrator seems to be voicing a sentiment that is in the air.
There is much about Franz and his friends that is ugly, not merely a question of bad choices. Women are secondary objects in this world of men, and most relationships with them are transactional. Although Franz and Mitzi develop a caring relationship for each other, he beats her badly when she embarrasses him. His friend Reinhold is a psychopath, who turns on him, as well as on the women in his own life. Their lives are shaped by a toxic masculinity that we would recognize today, 100 years after the book was written. They often turn to violence to resolve issues, and they are drunks and criminals. They are anti-Semitic, although the first generous exchange Franz has after getting out of prison is with a Jewish shopkeeper. They are nationalistic, although they don’t take Nazis, socialists or anarchists very seriously.
While showing the details of their behaviours and relationships, Döblin’s style places them in a holistic web of social influences. Their poverty and inability to see any alternatives come from the disintegrating society after World War I. It is specific to Germany but seems universal in the wild cultural soup that Döblin creates. It appears extreme, but in many ways it describes the confusion and futility that lead people today to authoritarian figures offering clarity. Somehow, in the end, Franz escapes this and finds a way out, but this is more like the satisfying conclusion of an epic story than a likely resolution. show less
Döblin sets the story within the chaos of life, bringing in a wonderfully rich background of the sounds, sights and especially the texts of Franz’s time. Franz’s story would be quite pathetic without the rich background. He would be a sad-sack loser who stumbles along until he somehow has a miraculous conversion. By capturing the whole scene, Döblin makes Franz a kind of Everyman who has to face everything that the Fates choose to throw at him. He struggles doggedly, often making mistakes or falling prey to his own weakness, but coming back time and again to his effort to get things right. Ironically, his most epic and successful struggle occurs when he is motionless in a hospital bed after Death has written him off saying you only think about yourself and you don’t even deserve to die.
Although highly specific to one small area of Berlin in the 1920s, the complex literary references also shift it into a universal theme. While Franz struggles in his life, the narrator compares him to the biblical Job (I didn’t realize how terrible Job’s afflictions were until I read Döblin’s paraphrase) and comments on the contemporary political slogans and advertisements that Franz spouts.
The narrator is a key part of the book. He (a male in my mind – I wonder how it would sound in a female voice) tells us what a loser Franz is, and tells Franz to smarten up. In fact, he tells us the whole story in half a page at the beginning of the book, and again at the start of each section, so there is no mystery to the plot. The only question is what Franz will go through to get to the end. But while the narrator comments acidly on Franz and Berlin, he also has some remarkable lyrical passages. He is poetic about the thoughts of a calf waiting in the slaughterhouse. Other parts are like rants against the failings of the German republic: “parliamentary democracy merely prolongs the agony of the proletariat,” the narrator says. It is corrupt and preserves the bureaucratic state. “We aim to destroy all the institutions of state by direct action.” Although this is in quotes, it’s not clear who is saying this – the narrator seems to be voicing a sentiment that is in the air.
There is much about Franz and his friends that is ugly, not merely a question of bad choices. Women are secondary objects in this world of men, and most relationships with them are transactional. Although Franz and Mitzi develop a caring relationship for each other, he beats her badly when she embarrasses him. His friend Reinhold is a psychopath, who turns on him, as well as on the women in his own life. Their lives are shaped by a toxic masculinity that we would recognize today, 100 years after the book was written. They often turn to violence to resolve issues, and they are drunks and criminals. They are anti-Semitic, although the first generous exchange Franz has after getting out of prison is with a Jewish shopkeeper. They are nationalistic, although they don’t take Nazis, socialists or anarchists very seriously.
While showing the details of their behaviours and relationships, Döblin’s style places them in a holistic web of social influences. Their poverty and inability to see any alternatives come from the disintegrating society after World War I. It is specific to Germany but seems universal in the wild cultural soup that Döblin creates. It appears extreme, but in many ways it describes the confusion and futility that lead people today to authoritarian figures offering clarity. Somehow, in the end, Franz escapes this and finds a way out, but this is more like the satisfying conclusion of an epic story than a likely resolution. show less
There's not much to like about Franz Biberkopf: former transport worker, housebreaker, pimp, manslaughterer. However, rather than evil personified our protagonist is a kind of Everyman after the Fall.
Berlin in 1928 was not an easy place for such as he. Fresh out of prison when first we meet him, Franz was faced with making his way in a city where no one cared about him or for him. Berlin itself is such an overpowering force in the novel that it becomes a character in its own right: seedy, show more pushy, never sleeping, always on edge. That's not far from what Franz must become to make his way in such an environment. Initially full of resolve to go straight, bit by bit he slipped further into the quagmire. He knew this was the fate of people like him, just not how that fate would be dealt:
We can predict what a pig will do when it reaches the sty. Only, a pig is better off than a human being, because it's put together from meat and lard and not much more can happen to it as long as it gets enough to eat: at most it might throw another litter, and at the end of its life there's the knife, which isn't particularly bad or upsetting either: before it notices anything - and what does a pig notice anyway - it's already kaput. Whereas a man, he's got eyes, and there's a lot going on inside him, and all of it mixed together: he's capable of thinking God knows what and he will think (his head is terrible) about what will happen to him.
This is an unusual novel, jumping from place to place, thought to thought, much like life itself. In his Afterword, the translator Michael Hofmann calls it jazz, "... the real thing: weather reports, articles on nutrition, local news items, personal interest stories, letters from patients, all incorporated into the novel....The work-in-progress of the book matched the work- in- progress of the city... with its own duckboards and drillings and tunnellings and detours and demolitions and temporary closures and promised improvements.
Doblin was a psychiatrist with a working class caseload who knew Berliners well. His Berlin backdrop and its downtrodden citizens make it apparent that something must happen, that the city and by extension the country couldn't continue grinding its citizens up in the way his occasional abattoir reports reflected the fate of its four-legged animals. Franz and his friends may not have been able to articulate the political theories circulating at the time, but they knew each promised a better life. Where was it?
Berlin has another incarnation in this novel: the temptress, the great Whore of Babylon, deceiving people again and again. It would take much stronger characters than Franz's crew to resist and go straight. Yet in the end, Franz offers hope for redemption, something so many would be denied. Doblin himself knew better that to trust her, and left Berlin after the 1933 Reichstag fire.
_______________
A note on translation: Althought the back cover of this 2018 nyrb classics edition suggests this is the first translation into English ("In Michael Hofmann's extraordinary new translation, Alfred Doblin's masterpiece lives in English for the first time") there was in fact a 1931 translation by Eugene Jolas which Hofmann praises in his Afterword. show less
Berlin in 1928 was not an easy place for such as he. Fresh out of prison when first we meet him, Franz was faced with making his way in a city where no one cared about him or for him. Berlin itself is such an overpowering force in the novel that it becomes a character in its own right: seedy, show more pushy, never sleeping, always on edge. That's not far from what Franz must become to make his way in such an environment. Initially full of resolve to go straight, bit by bit he slipped further into the quagmire. He knew this was the fate of people like him, just not how that fate would be dealt:
We can predict what a pig will do when it reaches the sty. Only, a pig is better off than a human being, because it's put together from meat and lard and not much more can happen to it as long as it gets enough to eat: at most it might throw another litter, and at the end of its life there's the knife, which isn't particularly bad or upsetting either: before it notices anything - and what does a pig notice anyway - it's already kaput. Whereas a man, he's got eyes, and there's a lot going on inside him, and all of it mixed together: he's capable of thinking God knows what and he will think (his head is terrible) about what will happen to him.
This is an unusual novel, jumping from place to place, thought to thought, much like life itself. In his Afterword, the translator Michael Hofmann calls it jazz, "... the real thing: weather reports, articles on nutrition, local news items, personal interest stories, letters from patients, all incorporated into the novel....The work-in-progress of the book matched the work- in- progress of the city... with its own duckboards and drillings and tunnellings and detours and demolitions and temporary closures and promised improvements.
Doblin was a psychiatrist with a working class caseload who knew Berliners well. His Berlin backdrop and its downtrodden citizens make it apparent that something must happen, that the city and by extension the country couldn't continue grinding its citizens up in the way his occasional abattoir reports reflected the fate of its four-legged animals. Franz and his friends may not have been able to articulate the political theories circulating at the time, but they knew each promised a better life. Where was it?
Berlin has another incarnation in this novel: the temptress, the great Whore of Babylon, deceiving people again and again. It would take much stronger characters than Franz's crew to resist and go straight. Yet in the end, Franz offers hope for redemption, something so many would be denied. Doblin himself knew better that to trust her, and left Berlin after the 1933 Reichstag fire.
_______________
A note on translation: Althought the back cover of this 2018 nyrb classics edition suggests this is the first translation into English ("In Michael Hofmann's extraordinary new translation, Alfred Doblin's masterpiece lives in English for the first time") there was in fact a 1931 translation by Eugene Jolas which Hofmann praises in his Afterword. show less
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