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The story quickly circles back to Helene's childhood with her sister Martha in rural Germany, which came to an abrupt end with the outbreak of the First World War. Their father is sent to the eastern front, and their Jewish mother withdraws from the hostility of her surroundings into a state of mental confusion. As we follow Helene into adulthood, we watch riveted as the costs of survival and ill-fated love turn her into a woman capable of the unforgiveable.
Julia Franck's unforgettable English language debut throws new light on life in early-twentieth-century Germany, revealing the breathtaking scope of its citizens' denial—the "blindness of the heart" that survival often demanded.
"Spellbinding . . . The young woman at the center of Julia Franck’s acclaimed novel The Blindness of the Heart ranks among the most haunting characters to be found in European fiction about twentieth-century horrors. . . . At times, the novel feels more like an eyewitness account than historical fiction.”—Vogue
“A devastating novel about war, love, and the art of survival.”—Marie Claire
"A psychologically acute addition to the literature of Germany’s downfall . . . Fine, disturbing, memorable work.”—Kirkus Reviews (starred review)
“In her powerful first novel to be translated into English . . . Franck wrestles with [the] question, why did so many Germans appear blind to the horrors on their horizon [at the start of WWII]? . . . Franck’s insights are profound and alarming, and her storytelling makes the familiar material read fresh.”—Publishers Weekly (starred review)
“Franck’s description of Helene’s desperate loneliness cuts to the bone with devastating effect. . . . Helene’s heart is not blind; it’s numb. The novel is not a justification of her actions, but something more complex—a portrait of the unheroic but human need for escape.”—Barnes & Noble Review
“Winner of the German Book Prize . . . this is a great, big silence-breaker of a novel, a laser beam into the German darkness from a writer, one feels, has a great deal more to say.”—Evening Standard (UK)
“Disturbing, original and brilliant.”—A. S. Byatt, The Guardian (Best Books of 2009)
“An excellent evocation of life among ‘ordinary’ Germans during the first half of the 20th century . . . Beautiful . . . Devastating.”—The Washington Times
“One of the most haunting works I have ever read about twentieth-century Germany . . . The book’s moral perspective is faultless, as is Franck’s sensitivity to character, sexuality and the struggle to be a free woman in a fascist society. . . . The Blind Side of the Heart is a masterpiece.”—The Independent
“Although squarely within the venerable genre of the German multigenerational novel, this selection is both more astute and more subtle than most realist works addressing Germany’s twentieth-century ‘blindness of the heart.’ [The Blindness of the Heart] will show U.S. audiences why Franck deserves all of the praise she is getting abroad.”—Booklist (starred review)
“A rich, moving, and complex novel . . . A brief summary cannot do justice to the penetrating imagination of this book, to the author’s certainty of tone and to the wealth of significant detail she provides. [Julia Franck] offers a panorama of a society stumbling blindfolded towards disaster.”—The Scotsman
“Powerful . . . Gripping . . . A compelling narrative and solid writing.”—Library Journal
“The most astounding piece of storytelling of the season . . . The way Julia Franck weaves together stories from the emotional depths and interactions and unpacks them again with an almost joyful thoroughness is exhilarating.”—Der Spiegel (Germany)
“Winner of the major German literary award . . . Franck’s bold, often shocking family saga is fearless. . . . There is a relentless sense of purpose about the complex, ever-shifting narrative that continually tests the reader.”—The Irish Times
“The Blindness of the Heart is nothing short of a masterpiece. The novel is epic in it proportions and tells the story of two World Wars and the consequences, loneliness and despair that result from a series of hardships.”—Aesthetica Magazine (UK)
“This novel has everything it needs: talent and skill and something to say. It is hot and cold, cruel and idyllic, sensual and sober.”—Die Zeit (Germany)
Darkness engulfs a family and a nation, in a psychologically acute addition to the literature of Germany's downfall; the book was an international bestseller and won the German Book Prize.
In her first work of fiction to be translated into English, Franck combines an intense female perspective with the ability to spotlight scenes of domestic unhappiness and hectic urban decadence in memorable detail. Her central character, Helene Würsich, is the daughter of a printer who returns maimed and ruined from the battlefields of World War I, leaving Helene and her older sister Martha in the power of their mentally unstable mother Selma, "the foreign woman"—meaning Jewish, in the disapproving view of the local community. Martha, a nurse, develops a taste for drugs while clever but introverted Helen, unsympathetically treated by Selma, never fulfills her potential. A legacy saves the family's fortunes, the girls move to Berlin to live with a racy aunt and Helene falls in love with a student, only to lose him. As the political mood darkens and Selma is incarcerated for possible hereditary disorders, Helene's future is shaped by another man, Wilhelm, a keen supporter of the new regime who nevertheless agrees to risk "racial disgrace" and arrange false papers certifying her Aryan descent. But their marriage brings no happiness and a prologue and epilogue expose the emotional damage arising from a long sequence of disasters.
Franck's impressionistic style and empathy encourage fresh responses to familiar subject matter—fine, disturbing, memorable work.
In its original German, the title for The Blindness of the Heart is Die Mittagsfrau, or "The Noonday Witch," invoking a folktale about a witch who appears in the heat of the afternoon to steal children from their distracted parents. In the prologue of Julia Franck's book, a child is not stolen but abandoned by his mother in a train station. Dramatizing a decidedly German civilian experience of World War II, the novel tells us of the mother's life before and during the war, in hopes of explaining her act of abandonment.
The mother's name is Helene, and in the first chapter we're taken back in time to her childhood during World War I. Franck's heroine lives under the watch of her older sister, Martha, who sexually molests her in the bed they share at night. Themes of victimization course through the novel, progressing from subtle to aggressive after the sisters move to Berlin. Emotionally abandoned by Martha, Helene falls in love with a good man named Carl, but he is quickly dispatched by a tragic accident. Excellently rendered into English by Anthea Bell, Franck's description of Helene's desperate loneliness cuts to the bone with devastating effect. Men, in particular, are dangerous predators, taking advantage of her isolation; when an older man tries to rape her, Helene imagines her body as an anatomical model, "a torso where the heart beat without any head, without the capacity to think. Limbs had lost their meaning with their function."
Helene's inability to protect herself reflects the impotency of the German nation, victim to Hitler and his evil regime. In a powerful scene after Helene has been abandoned by her eventual husband because she is half-Jewish, she and her son Peter go foraging for mushrooms in the woods and come upon an escaped prisoner. Unraveled by his wild-eyed stare, Helene stumbles off, watching Peter look for her from afar. "Helene stuffed mushroom after mushroom into her mouth. How nice it was to be alone, chewing in peace." She must remove herself from the glare of the prisoner -- his face is a mirror in which she sees herself. This encounter is the straw that breaks the camel's back: a few days later Helene will take Peter to the train stain and abandon him there -- bringing us back to the events of the prologue.
Though Helene is closer to us than any other character, the novel is written in the third person, and Helene grows more and more detached as the war rages on. Her observations become eerily similar to ours, like a reader looking into a narrative he or she cannot control. Helene's heart is not blind; it's numb. The novel is not a justification of her actions, but something more complex -- a portrait of the unheroic but human need for escape.
Even after the Russians had taken Stettin in the spring - some of the soldiers had been sleeping in Frau Kozinska's apartment ever since - their neighbour could be heard singing early in the morning. Once last week his mother had sat down at the table to mend one of her aprons while Peter read aloud, because Herr Fuchs the teacher had told him to practise that. Peter hated reading aloud and he had sometimes noticed how little attention his mother paid when he did. Presumably she didn't like to have the silence broken. She was usually so deep in thought that she didn't seem to notice at all if, in mid-sentence, Peter suddenly read on to himself instead of aloud. He'd been listening to Frau Kozinska at the same time as he was reading to himself. I wish someone would wring her neck, he heard his mother say abruptly. Startled, Peter looked at her, but she just smiled and put her needle through the linen.
The fires last August had completely destroyed the school and since then the children had met Herr Fuchs the teacher in his sister's dairy, where there was hardly ever anything for sale now. Fräulein Fuchs stood behind the empty counter with her arms crossed, waiting. Although she had gone deaf, she often put her hands over her ears. The big shop window had been broken out of its frame, the children sat on the windowsill, and Herr Fuchs the teacher showed them numbers on the board: three times ten, five times three. The children asked him to show them the places where Germany had lost battles, but he didn't want to. We're not going to belong to Germany any more, he said, adding that he was glad of it. Where, then, asked the children, where will we belong? Herr Fuchs the teacher shrugged his shoulders. Today Peter planned to ask him why he was glad of it.
Peter stood at the washbasin and dried himself with the towel: his shoulders, his stomach, his willy, his feet. If he did it in a different order, and he hadn't done that for a long time, his mother lost patience. She had put out a clean pair of trousers and his best shirt for him. Peter went to the window, tapped the pane and the seagull flew up. Now that the row of houses opposite was gone, along with the backs of the buildings and the next row of houses too, he had a clear view of Königsplatz, where the ruins of the theatre stood.
Don't be too late home, said his mother, as he was about to leave the apartment. Last night, she said, a nurse at the hospital had told her there were going to be special trains laid on today and tomorrow. We're leaving. Peter nodded, he had been looking forward for weeks to travelling by train at last. He had only ever been on a train once, two years ago, when he was starting school and his father had visited them. His father and he had gone by train to visit a colleague of his father's in Velten. Now the war had been over for eight weeks and his father still didn't come home. Peter wished he could have asked his mother why she wasn't waiting for his father any longer, he'd have liked her to confide in him.
Last summer, on the night between the sixteenth and seventeenth of August, Peter had been alone in the apartment. His mother often worked two shifts back to back during those months, and she had stayed on at the hospital after the late shift to work the night shift as well. When she wasn't there Peter felt afraid of the hand that would come out from under the bed in the dark, reaching up through the gap between the wall and the sheet. He felt the metal of his clasp knife against his leg, he kept thinking how fast he would have to whip it out when the hand appeared. That night Peter had lain face down on his mother's bed and listened, as he did every night. It was better to lie in the very middle of the bed; that way there was plenty of room on both sides for him to see the hand appear in good time. He'd have to thrust the knife in fast and firmly. Peter sweated when he imagined the hand coming up; he saw himself so paralysed by fear that he wouldn't be able to raise the clasp knife to strike it.
He remembered exactly how he had taken the velvet of the heavy bedspread in both hands, one of those hands also clutching the knife, and rubbed his cheek against it. Faintly, almost gently, the first siren sounded, then it howled, rising high to a long, penetrating screech. Peter shut his eyes. The sound stung his ears. Peter didn't like the cellar. He kept thinking up new ways of avoiding going down to the shelter there. The siren sounded again. His heart was beating fast, his throat felt tight. Everything about him was stiff, rigid. He had to breathe deeply. Goose down - Peter pressed his nose into his mother's pillow and drew in the smell of her as if it could satisfy his hunger. Then all was still. Terribly still. Peter raised his head and heard his teeth chattering; he tried to keep his jaws together, he clenched his teeth with all his might, lowered his head again and pressed his face into the goose down. As he rubbed his face against the pillow, which meant that he had to move his head back and forth, something underneath it crackled. Carefully, he put his hand under the pillow and his fingertips touched paper. At the same moment a sinister roaring sound filled his ears, the sound of the first bombs dropping. Peter's breath came faster, there was crashing and splintering, glass couldn't withstand the pressure and the windowpanes broke, the bed where he was lying shook and Peter suddenly felt that everything around him was more alive than he was. Silence followed. In defiance of the events outside, he drew out a letter with his free hand. Peter recognized the writing. He laughed wildly, he couldn't help it, oh, his father had entirely slipped his mind although he would always protect him. That was his writing, look, his M for My, A for Alice. The letters stood firmly side by side, nothing could touch them, no siren, no bomb, no fire. Peter smiled lovingly at them. His eyes stung and the writing threatened to blur. His father was sorry about something. Peter had to read the letter from his protector, he had to read what it said, as long as he was reading nothing would harm him. Fate was putting all Germany severely to the test. The sheet of paper trembled in Peter's hands; that must be the shaking of the bed. As for Germany, Peter's father was doing his best. She asks if he couldn't work in one of the shipyards. Shipyards, of course, sirens were howling but not ships' sirens, the other kind. Peter's eyes streamed. Civil engineers like him, said the letter, were urgently needed. There was a hissing very close, as if it were right outside the window, a crash, a second and even louder crash. They were finishing work on the Reich Autobahn, there wasn't much to do in the east. Not much to do? Once again Peter heard the roaring, the smell of burning tickled his nose at first, then it became acrid and sharp, but Peter was still smiling, he felt as if nothing bad could happen to him with his father's letter in his hands. Alice. Peter's mother. She reproached him, said the letter, for writing so seldom. There was smoke in the air but it didn't smell of smoke; was that a fire crackling? It had nothing to do with her origins. It, what was it? And what origins, what was his father writing about? A remittance? Did that say remittance? Things were happening, wrote his father, that changed matters between them.
It had been such hard work, deciphering that letter. If only he'd been able to read better, as well as he could now almost a year later, at the age of nearly eight, perhaps he could have believed in the power of the letter to protect him, but the letter had failed, Peter hadn't been able to finish reading it.
When he set off for the dairy and Herr Fuchs the teacher that morning, everything was all right and he didn't need a letter from any father to help him through the night now, not ever. The war was over and today they were leaving, Peter and his mother. Peter saw a tin can in the gutter and kicked it. It made a wonderful clattering sound as it scudded along. The horror would be over, it would be left behind, not a single dream would ever remind them of it. Peter remembered the first air raids in winter, and once again he felt his friend Robert's hand as they scrambled over the low, white-painted fence at the roadside. They were about to cross the street near the Berlin Gate and jump down into the ditch by the newspaper stand. Their shoes had slipped on the ice, they had skidded. Something must have hit his friend, severing his hand from his body. But Peter had run on alone over the distance they had yet to go, as if he had been speeded up when his friend was torn away from him. He had felt the firm, warm hand, and it was a long time before he let go of it. When he realized, later, that he was still holding Robert's hand he couldn't just drop it in the ditch, he had taken it home with him. His mother had opened the door to him. She had made him sit on a chair and encouraged him to unclench his fingers. Then she crouched down on the floor in front of him, holding one of the white fabric napkins with her initials on it, and waited; she had stroked and kneaded his hands until he let go.
To this day Peter wondered what she had done with it. He gave the tin can a hefty kick, sending it rolling over to the other side of the street, almost all the way to the dairy. It still felt as if he were holding Robert's hand - then, next moment, as if the hand were holding him, and as if his father referred solely to that incident in the letter. Yet he hadn't seen his father for two years; he had never had a chance to tell him about the hand.
Last summer, that August night when the bombs dropped, when Peter had read his father's letter, he'd been able to decipher only every third or fourth sentence. The letter had been no help. His hands had been shaking. His father wanted to do what was right by the mother of his son, he wrote, he would be frank, he had met another woman. There were steps to be heard on the staircase and another little sound so close that, for the fraction of a second, it stopped your ears; then came a crash and screaming. Hastily, Peter skimmed the remaining lines. They were to be brave, he was sure the war would soon be won. He, Peter's father, would probably not be able to come and see them any more, a man's life called for decisive action, but he would soon send more money. Peter had heard a noise at the door of the apartment, hard to say if it was a shell howling, or a siren, or a human being. He had folded up the letter and put it back under the pillow. He was trembling. The smoke stung his eyes, making them stream, and waves of heat from the burning city were coming closer.
Someone took hold of him and carried him downstairs to the cellar on his shoulders. When he and the others crawled out into the open air, hours later, it was light outside. The stairs up to their apartment were still there, only the banisters had come away and were lying on the steps. There was smoke in the air. Peter climbed the stairs on all fours, had to clamber over something black, then he pushed open the door of the apartment and sat down at the kitchen table. The sun was shining right on the table, shining so brightly that he had to close his eyes. He was thirsty. For some time he felt too weak to stand up and go over to the sink. When he did turn on the tap he heard only a gurgling and no water came out. It could be hours before his mother was home. Peter waited. He fell asleep with his head on the table. His mother woke him. She took his head in both hands and pressed it against her, and only when he put his arms round her did she let go. The door of the apartment was open. Peter saw the black thing in the stairwell. He thought of the screaming last night. His mother opened a cupboard, threw sheets and towels over her shoulder, took candles out of a drawer and said she had to go straight out again. She told Peter to help her carry things; they needed bandages and alcohol for use as a disinfectant. They climbed over the charred body outside the door of their apartment. It was the shoes more than anything that told Peter this had been a human being, the body was so shrivelled, and he saw a large gold pocket watch. Something that was almost a feeling of happiness flooded through him that morning, for the watch couldn't possibly have belonged to Frau Kozinska.
The photograph of the handsome man in the fine suit, leaning on the shiny black bodywork of the car with one arm elegantly crooked and glancing up at the sky, clear-eyed, as if he were looking at the future or at least at birds in the air, still stood in its frame on the glass-fronted kitchen cabinet. Peter's mother said that now the war was over his father would come and take them to Frankfurt, where he was building a big bridge over the river Main. Then Peter would be able to go to a proper school, said his mother, and it made him uncomfortable to hear her telling these lies. Why doesn't he write, asked Peter in a moment of rebellion. The post isn't working any more, replied his mother, not since the Russians came. Peter looked down, feeling ashamed of himself for his question. From now on he waited, with his mother, day after day. After all, it was possible that his father might change his mind.
One evening, when Peter's mother was at work in the hospital, he had looked under her pillow. He wanted to make sure. The letter had disappeared. Peter had opened his mother's desk with a sharp knife, but he found only paper and envelopes and a few Reichsmarks that she kept in a small box. He had searched his mother's wardrobe, he had lifted her ironed, neatly folded aprons and her underwear. There were two letters from her sister Elsa there, sent from Bautzen. Elsa's handwriting was such a scrawl that Peter could read only the opening words: Dear little Alice. He hadn't found any more of his father's letters, not a single one.
Excerpted from The Blindness Of The Heart by Julia Franck Copyright © 2007 by S. Fischer Verlag GmbH, Frankfurt am Main. Excerpted by permission.
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Posted November 17, 2010
Most novels that explore the events of the Holocaust focus on the 'Before' and 'After'-showing the events chronologically and the resulting impact. However, The Blindness of the Heart takes a reverse approach and begins by revealing a disturbing 'After': a young woman abandons her young son at a train station and disappears. We see how they've lived in horror for months, but his abandonment is still shocking. Then the author, Julia Franck, takes us back in time to the early years of this young woman, and the events that lead up to a lost little boy, confused, hungry and alone.
The mother is Helene, and her family is dysfunctional and damaged long before the Holocaust begins. Her identity as a person is in question before her identity as a Jew becomes relevant. As a nurse she helps care for her ailing father while trying to deal with her mentally ill mother. She thinks she finds a future, but nearly everything she is close to is taken away. She finds a way out of the impending doom by marrying a German who helps her with false papers that identify her as Anna, a German citizen, but their marriage yields nothing but the child. She raises him alone while working long hours in the hospital, assisting German doctors in the maternity ward, as well as in the forced sterilization of some female patients. Her son, Peter, is often left alone while she works, and while they remain together it's clear she's drifted away long before she leaves him literally.
The book is incredibly painful. A few times I put it down just to get away from the grief. The author makes a tremendous gamble by having her lead character do something that appears unforgiveable right off the bat. She is counting on the reader to ponder the back story and conditions of the woman's life and see if her decision made sense. She shows how emotionally abandoned Helene had been, and the ugliness that fills her life. The problem is, despite Helene's previous suffering, it's very difficult to get over the impact of the first few pages of the book. The result is a tension that carries through the book and makes the narrative so compelling.
One factor I found fascinating was the details of the nurses and their struggles in Germany. The endless shifts, multiple duties, and repellent activities in their wards were well detailed, and a part of Nazi history that I wasn't aware of. The fact that Helene works with new mothers is a link emotionally with her own insane mother and her own flawed nurturing. What motherhood means is an underlying theme, and the title makes you consider what kind of love is blind.
Additionally, Franck creates an unforgettably tense scene in which the hungry mother and son go mushroom hunting, and find themselves in flight to escape hunters that are not after animal prey. As she runs frantically, she appears to be hallucinating as she considers her escape route, Peter's whereabouts, and the various ingredients for different recipes to cook, all spinning through her head at once. Her actions in the forest foreshadow what is to come.
In a few places I found Helene/Anna's character to be incredibly cold. I understand that under her circumstances, self-preservation required her to withdraw emotionally. And very few aspects of her life were really under her control. Yet there was an element of simple kindness she seemed to lack, or perhaps, it was all used up.
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Posted April 15, 2014
Prologue was good, then we are plunged into a boring story that is very slow - prompting me to skip over dull passages. By page 138, I still don't care much about the characters. I think I will have to give up on this book. Other reviewer writes that this is a haunting tale of the holocaust, but the first third of the book is just too hollow and boring.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted June 30, 2011
Posted May 17, 2011
Very good story and well written. Moves along at an interesting pace. No dull pages. The story was kinda depressing, but true for its time in history. Didn't like the ending, but suppose it was justified. This book is not for young teens. I recommend it.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
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