My second review of a book titled “August” for Women In Translation month, this one from Germany and Christa Wolf, beautifully and eloquently translated by Katy Derbyshire, whose translation work I have come across before when reading the 2017 Man Booker International Prize longlisted “Bricks and Mortar” by Clemens Meyer.
As the publisher, Seagull Books tells us:
August is Christa Wolf’s last piece of fiction, written in a single sitting as an anniversary gift to her husband. In it, she revisits her stay at a tuberculosis hospital in the winter of 1946, a real life event that was the inspiration for the closing scenes of her 1976 novel Patterns of Childhood. This time, however, her fictional perspective is very different. The story unfolds through the eyes of August, a young patient who has lost both his parents to the war. He adores an older girl, Lilo, a rebellious teenager who controls the wards. Sixty years later, August reflects on his life and the things that she taught him.
This is a beautifully presented book, as are all of the Seagull Books titles, as Tristan Foster pointed out in a recent review of Georg Trakl’s “Sebastian Dreaming” at Asymptote Journal.
It is not possible to discuss a Seagull book without discussing Seagull Books. Since 1982, this Kolkata publishing house has been salvaging literature which time may have otherwise cast aside. Not only do they pluck from obscurity, they also present literature with a seriousness and gravitas befitting an era preceding our sales-obsessed one. Their books are less consumer goods than they are artefacts: house designer Sunandini Banerjee’s sensitivity and skill result in hardbacks with covers that bloom like rainforest flowers.
“August” is no exception to this observation. The only criticism I have is that it is a very (very) short book, a short story of 74 pages, and the text populating only half of each page, and once you are immersed in Christa Wolf’s work you feel like reading more. Maybe the book could have contained a few short stories.
Stunningly stark, the haunting loneliness of being hospitalised and ostracised from such a young age, is conveyed through the simple prose, you feel as though each word was perfectly chosen;
August doesn’t like the outskirts of cities. The huge, ugly shopping centres with their oversized carparks. The car showrooms outbidding each other’s advertising claims. The fast-food restaurants that August never sets foot inside. He usually brings his own sandwiches along, although they’re not as lovingly made when Trude was alive. He’s not hungry yet. He has to concentrate on the motorway near the city, which gets more and more crowded with every year, on the building sites that never end, only change position. On the traffic jams they cause, which makes the journey longer. August keeps his cool. He never gets impatient. You have the patience of an angel, Trude used to tell him. He never loses his temper. His workmates appreciate that. Sometimes, he knows, they think he’s a bit boring. Come on, say something for a change, they used to nudge him in the beginning when they sat together in their lunch break. But what did he have to say? He had no reason to complain about his wife. No separation to report on. No arguments with the children to moan about. They didn’t have any children. It has simply turned out that way. There’s been no need to talk to Trude about it first. They wanted for nothing. And when Trude died two years ago he certainly couldn’t talk to anyone about it.
A simple life told through a simple tale, I am (yet again) reminded of the 2016 Man Booker International Prize Shortlisted “A Whole Life” by Robert Seethaler (translated by Charlotte Collins), however in this case the simplicity of a simple life is barer.
Dipping into familiar territory of an unreliable memory, the ageing process and the march of time, the simplicity of August’s life still shows through as emotionally complex, and fraught with ignorance:
…there was a good reason why God gave us the power to forget.
Simple, a work that can be read in a single sitting, and given it was written in a single sitting it is probably the preferred way to approach this book, but also very moving and touching, it makes a great introductory work into Christa Wolf’s oeuvre, even if it contains her only male protagonist, and it is her last written piece!!!
Kudos to Seagull Books for bringing this work to the attention of English language readers, a “women in translation” writer we should be discussing more often.