By Reinhard
Discuss Margarete Buber-Neumann is to narrate the history of the KPD (German Communist Party) in the interwar period, apparently gutting a compact body and found to be a drama full of intrigue, injuries and seams, heroes and villains, dead and wounded in the Nazi lager, executioners and victims coming within the same rows as Heinz Neumann, German Communist leader and husband of Margarete, who disappeared in Moscow after purging, or Willi Münzenberg found dead in France while fleeing the Nazis and Soviet agents and was married to Babette Gross, the author's sister. After his arrest in Moscow in 1937 and by virtue of the secret clauses of the pact between Stalin and Hitler, Buber-Neumann, spent the gulag of Siberia to the Ravensbrück concentration camp, where he remained until his release after the end of the war, leaving witness in several works, as Prisoner of Stalin and Hitler or Deported to Siberia. In Milena, and with the same direct and forceful style of previous works, fast and gritty and needs of the plot, the author recounts his stay in the Nazi camp and the relationship of friendship which he engages with Milena Jesenská, Czech writer and journalist and former communist who had maintained a relationship as strange as brief and intense with Franz Kafka, a platonic love than real founded on a mutual correspondence that would eventually see the light, after the death of two, in the Letters to Milena .
The play, always presented as warm and sincere tribute to Milena Jesenská tribute, a promise before she died, is divided into two distinct parts. The first recounts the life of Milena until his arrest in Prague in 1939, its beginnings in journalism and politics, almost simultaneously, and always against the wishes of a despotic father and bourgeois to the core, their relationship with Kafka in Prague's cultural ferment, and also, among other characters of the period, Max Brod, executor of the writer, and Willy Haas, who deliver Milena Kafka's letters before his arrest by the Gestapo, but also the vibrant story and out of the Communist Party-there relationship with Milena trabaría Julius Fucik, author of Feature at the foot of the gallows - after several years of fighting militancy that could not withstand the disappointment caused by Stalinism and its practices macabre farce of a system that was evident in Moscow trials and whose consequences led to Margarete Buber to the field of Karaganda and Heinz Neumann to a death that left no trace. But no doubt the relationship between Kafka and Milena the axis on which turns this part of the book, either through their own confessions to the author, either by reproducing the correspondence between them. A relationship as intense but fleeting letters in the physical and that starts with the translation into Czech Milena some writings of Kafka and is nipped in the bud by the writer in a further sign of fatalism that always accompanied him, test a strange personality that feels so fascinated Milena as worried as subjugated and fearful that the end all die and so, as a story of Franz, the man who wrote as he lived, surrounded by his asceticism as a single individual as the most honest would describe the newspaper obituary that he Milena dedicated to his death and which defined, in a passage full of emotion, as it really was a visionary, the kind of men who support their entire disease burden of his inner angst, too wise to learn to live and too weak to fight, I treasured a knowledge of men and expresses only occurs in those who live solitary ascetics whose nerves are extremely sensitive to capture whole person through a mere gesture . From that vantage point works perfectly describe the horror hidden errors and unearned guilt of being human.
The second part describes the life and death in Ravensbrück, the struggle for survival in the different circles of hell, for the cruelty of the guards and the prison regime, hunger and disease, are linked in many contempt cases the Communist prisoners, authentic kapos the field, as manifested by those Grete and Milena orthodoxy had long ago abandoned the wisdom and foresight that predicted, long before Soviet tanks across the Oder, the new slavery to fall over much of Europe when the race finishing. A political harmony, the disappointment following the failure of utopia, which is already reflected in the first chapter, which recounts a night stand between the two protagonists to the newcomer, Margarete, count the reality of Stalin's Russia, and resulting in a deep friendship that only end with the death of Milena, seriously ill since the time of Prague. The portrait that Buber-Neumann trace Milena, with direct and polished prose that characterizes and evoking the writer Evgenia Ginzburg and Vertigo, is a fascinating woman, so simple in their gestures and in their fragile and delicate beauty, remains almost intact despite the harsh conditions, disease and poor nutrition, with enormous powers of persuasion to put on the ropes to his executioners, who owns a firm in his convictions that will captivate most of companions, but especially Grete, which starts the promise of writing a book that portrays the inferno, which describes the friendship born in him, and that the author met and exceeded in this work, offering a small but accurate biography the woman who captured the genius of Prague, Czech he wrote in German.
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