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The Radetzky March (1932)

by Joseph Roth

Other authors: See the other authors section.

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2,351624,652 (4.15)296
Strauss's Radetzky March,signature tune of one of Europe's most powerful regimes, presides over Joseph Roth's account of three generations of the Trotta family in the years preceding the Austro-Hungarian collapse in 1918. Grandfather, son and grandson are equally dependent on the empire- the first for his ennoblement; the second for the civil virtues that make him a meticulous servant of an administration whose failure he can neither comprehend nor survive; the third for the standards of family conduct which he cannot attain but against which he is too enfeebled to rebel… (more)

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Showing 1-5 of 43 (next | show all)
Over and over again in reading this book, I was reminded of one of my father's favorite films - "La Grande Illusion" - especially towards the end of the book. Both this novel and that film show, as the blurb puts it, the crumbling of a way of life (really they both show the same loss of a code of behaviour for various classes, particularly that held in military circles). But there is an important distinction between these 2 works: Roth's novel deals with what we would now describe as the middle class while Renoir's film looks at the aristocracy. The Trotta family begin as Slovenian peasants who rise to military officers then a title & advancement in the Empire's bureaucracy only to start descending again. The men of the Trotta family have formal & chilly relationships with each other, which I could speculate about but won't take the time to do now. I felt most sorry for the middle generation Trotta...

This 1995 translation of the novel was very readable. ( )
  leslie.98 | Nov 13, 2020 |
A view of the collapse of the Austro-Hungarian Empire, told through the life of a citizen - privileged, but not wealthy - whose family is part of the Old Order. The Radezsky March by Johann Strauss, the Father, is used throughout as a motif indicating the loyalty to Empire. The destruction of the Empire was sad for Roth but a pivotal period in his life.

Roth writes with satirical wit about the military:
-- The Kaiser's soldiers are taken care of by the Kaiser. They have privileges - sabers, women. But a military code of honor dictates that if one insults another they must settle it with blood!
-- The announcement of the assassination of the Archduke comes amid an approaching thunderstorm as the garrison is partying.

The writing is wonderfully descriptive of the coming revolution. As the Empire disintegrates Carl Joseph Von Trotta awaits and hears the cawing of hundreds of ravens. They "sat rigid on the branches - like sinister fruit fallen from the air." And "they are the prophets among the birds."

The first part of the novel sets the tone of familial loyalty to the Empire and can be a little slow. Parts two and three move much quicker. ( )
1 vote steller0707 | Aug 25, 2019 |
Joseph Roth was an Austrian writer in the 1900s and The Radetzky March is his best-known novel. The novel follows 3 generations of the newly ennobled Trotta family. As a young man, the grandfather saves Emperor Franz Joseph in a battle and in gratitude, the Kaiser makes him a Baron and he becomes known as "the Hero of Solferino" (the site of the battle). The novel follows his son and his grandchild and their lives parallel the fall of the Austro-Hungarian empire. At the end of the novel, the characters learn of the assassination of Archduke Ferdinand, the nephew and potential heir of Franz Joseph. This assassination will set off the events of WWI.

Overall I really enjoyed this novel. I've not read much German/Austrian literature so it did feel a little unfamiliar, but I thought the writing was interesting and the characters well-drawn and explored. I will say that the lack of absolutely any important female characters was a major drawback for me. I did like the historical setting and use of a real person (Emperor Franz Joseph) as a character in the novel. I think this is well worth reading, but won't end up a personal favorite. ( )
  japaul22 | Jul 5, 2019 |
There's a moment in The Radetzky March when a soirée at a country estate is being broken up in the early hours of the morning. Word has just arrived of the shooting of Archduke Franz Ferdinand, and the host tells his staff to silence the band and usher his guests off the property. But the musicians are so drunk that they won't stop playing even when their instruments are plucked from their hands by footmen: violinists keep drawing their bows ‘over the unresponsive material of their sleeves’, and a drummer continues ‘to beat and swish his various sticks about in the empty air’.

It's an exquisite little metaphor of life during the late Austro-Hungarian empire, where armies of civil servants, aristocrats and, indeed, soldiers continued to go through the motions, not realising that their world was already functionally dead, and they had long stopped making any ‘music’ at all. Not the least striking example of this is Joseph Roth himself, who simply could not come to terms with what had happened. Year after year, from exile in Berlin and then in Paris, he went back over the same ground in his fiction and journalism. And, for that matter, in his non-writing life, too: as late as March 1938, he was heading to Vienna on some insane scheme to convince the Chancellor to cede power back to a coterie of Habsburg ‘Legitimists’. He was turned away at the border – and three days later came the Anschluss.

The fact that what followed was so much worse has, perhaps, made it difficult for us to feel how baffling Roth's love of the empire was. At least, I find it rather baffling. This novel's primary mode is one of ironic but heartfelt nostalgia; it's presented as an elegy to a lost mitteleuropäisch paradise; and yet, reading between the lines, it's clear that Roth's Austria-Hungary was a dreary, hidebound, odorously masculine place, hamstrung by outdated codes of behaviour, paralysed by bureaucracy, and riven by inter-ethnic hatreds. It would be easy enough to claim that he understood all this and that he is simply ‘problematising’ it, but I don't know – it really feels like he wants to view the empire with undiluted approbation and simply can't make it work. As a consequence, the politics of the book are all over the place: he has liberal instincts, but he is forced into a position of essential conservatism (Roth referred to Strauss's ‘Radetzky March’ as ‘the “Marseilleise” of conservatism’).

Perhaps what mattered was that in the end, the Empire was his home – and after its dissolution his home just didn't exist any more, however much the towns themselves still showed up on maps. Reading Roth talking about Austria-Hungary reminds me of reading certain Pakistani writers talking about the Delhi of their childhood, pre-Partition, which cannot be returned to because it's a civilisation that no longer exists. The point was its multiculturalism, and Roth deliberately ranges around the full extent of imperial geography and linguistics in The Radetzky March. The central family, the Trottas, are from the south of the empire: the original patriarch spoke Slovenian, but his grandson, a district commissioner, speaks only ‘the nasal Austrian of upper officialdom’; his housekeeper speaks High German, and his son is stationed off in the boondocks surrounded by peasants speaking ‘Ruthenian’ (i.e. Ukrainian) and overseen by a Polish-speaking landowner.

All this is offered up as a kind of flawed Eden, with nationalism as the lurking serpent. Roth seems to sympathise with the feelings of District Commissioner von Trotta, who opines that, in imperial terms, there are ‘plenty of peoples, but no nations’. This may indeed be a utopian outlook, but it's striking that the novel makes it only too clear why the various constituent peoples wanted some autonomy. The dissolute Count Chojnicki, who is presented sympathetically and who pops up now and then to make gloomy, accurate predictions about the future, talks at some length about how abhorrent Czechs, Hungarians and Slavs are, how the state should take an iron grip over their lives, and how local peasants ought regularly to be shot. Nationalism might well seem promising in that context, which Roth nevertheless seems determined to extol.

Of course Roth was Jewish, and when nationalism finally blew the empire into a constellation of nation-states, the Slovenians, Hungarians, Slovaks et al. at least had patches of Europe to which they could stake their Tolkienesque claims of historical ownership. The Jews did not. In that sense they gained more from Austria-Hungary's existence, and suffered proportionately from its break-up. Maybe that is why he writes in such rosy tones about the otherwise soulless Silesian border towns that loom so large in his work.

The unnamed burg in which Carl Joseph, the youngest von Trotta, is stationed in The Radetzky March is a perfect example, but variants on the theme recur in many of his books (at least according to summaries and synopses – I haven't actually read any others). A tiny town near the Russian border; a Polish count in his castle; a bored military garrison whose officers are drunk on the local schnapps; a large Jewish population; and all of it surrounded by swamps full of croaking frogs. It's a perfect description of – surprise, surprise – Roth's home town of Brody. After the war and the break-up of the empire, Brody became part of interwar Poland (it's now in Ukraine), and Roth, engaged in a slow suicide-by-alcoholism in Paris, applied himself to recreating it over and over again in fictional form.

I find that riveting – more riveting, frankly, than the novel itself, which is shot through with extraordinary moments but which I can't help feeling could have benefited from a smidgen more in the way of actual plot or incident. Perhaps its main flaw though seems to me to be a slight heavy-handedness when it comes to dramatic irony. At the end of something like – oh, I don't know – Siegfried Sassoon's Memoirs of a Fox-Hunting Man, when the heroes head off cheerfully to the war, that feels properly ironic because we know so much better than they do what they have in store for them. Roth, by contrast, rather overdoes it by having characters simply come right out and explain what's going to happen: ‘The age doesn't want us any more! This age wants to establish autonomous nation states!’ as the Count says in one of his many infeasible outbursts. The pinnacle of this comes when a man looks at his sleeping children and somehow predicts the terrors of the 1930s:

‘They're still so young, my children! One of them is eight, the other ten, and when they're asleep, they have round rosy faces. And yet there's cruelty in those sleeping faces. Sometimes I think it's the cruelty of their time, the future, that comes over them. I don't want to live to see that time!’

Dun-dun-dunnnn! Now come on, that is cheating. But again, it comes back to Roth's conflicted feelings about how shitty the world around him was, and how all of it could (he felt) be traced back to the end of this multiethnic superstate, which even he can't portray as anything but fucked-up in the first place. From this point of view, The Radetzky March takes the form of a bleak joke: ‘It was awful, and then it was replaced by something worse.’ Roth was astute enough to see that disaster was inevitable one way or another – the only choice, as one character here puts it, ‘was between a sudden catastrophe and a more gradual one’. The catastrophe had already overtaken Roth, but he kept playing all the same. ( )
7 vote Widsith | Feb 13, 2019 |
Showing 1-5 of 43 (next | show all)
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» Add other authors (44 possible)

Author nameRoleType of authorWork?Status
Roth, Josephprimary authorall editionsconfirmed
Brodersen, KarlMedarb.secondary authorsome editionsconfirmed
Charles, KentTranslatorsecondary authorsome editionsconfirmed
Cortesia, SaraTranslatorsecondary authorsome editionsconfirmed
Dunlop, GeoffreyTranslatorsecondary authorsome editionsconfirmed
Dyer, PeterCover designersecondary authorsome editionsconfirmed
Foà, LucianoTranslatorsecondary authorsome editionsconfirmed
Fučíková, JitkaTranslatorsecondary authorsome editionsconfirmed
Hofmann, MichaelTranslatorsecondary authorsome editionsconfirmed
Manacorda, GiorgioIntroductionsecondary authorsome editionsconfirmed
Neugroschel, JoachimTranslatorsecondary authorsome editionsconfirmed
Salter, GeorgCover designersecondary authorsome editionsconfirmed
Terreni, LauraTranslatorsecondary authorsome editionsconfirmed
Tucker, EvaTranslatorsecondary authorsome editionsconfirmed
Wielek-Berg, W.Translatorsecondary authorsome editionsconfirmed
Winkler, JohanTranslatorsecondary authorsome editionsconfirmed
Winkler-Vonk, AnnieTranslatorsecondary authorsome editionsconfirmed
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The Trottas were not an old family.
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Strauss's Radetzky March,signature tune of one of Europe's most powerful regimes, presides over Joseph Roth's account of three generations of the Trotta family in the years preceding the Austro-Hungarian collapse in 1918. Grandfather, son and grandson are equally dependent on the empire- the first for his ennoblement; the second for the civil virtues that make him a meticulous servant of an administration whose failure he can neither comprehend nor survive; the third for the standards of family conduct which he cannot attain but against which he is too enfeebled to rebel

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