Summer Before the Dark by Volker Weidermann
There are many things we have to thank Pushkin Press for (Gaito Gazdanov, Teffi, gorgeously produced books, to name just a few); but one of their major achievements is their part in the rediscovery and championing of Stefan Zweig, making available so many of his works in English.
Zweig probably needs very little introduction here as I’ve written about him before; his writings, once so popular, slipped into decline but have now come back into vogue, and there is a large selection available from Pushkin. He’s often bracketed with Joseph Roth, a slightly younger author from the same era (and whom I’ve also covered) and so when I saw that Pushkin were bringing out a beautiful-looking volume dealing with their ‘last summer’ in 1936 at Ostend, it was a must!
This lovely little hardback (and the cover image is gorgeous) tells the stories of not only Zweig and Roth, but also their friends and colleagues in exile; from Egon Erwin Kisch and Herman Kesten to Romain Rolland and Arthur Koestler, as well as several others, some of whom I’d heard of and others who were new to me. The book also loops back to the past to cover Emile Verhaeren, Zweig’s early inspiration, and his second-wife-to-be Lotte is prominent in the narrative.
“Summer” is initially a difficult work to categorise as in some ways it almost reads like fiction. At first, the writing seems a little simplistic, but as the book progresses you find yourself gradually being drawn into the world of Zweig, Roth and co. The atmosphere of the times is brilliantly brought to life, and I found as I read on that I was visualising the seaside setting, the little cafes, the group of emigres eating, drinking, arguing and loving. Zweig and Roth really come alive as characters of course, but their friends are also brilliantly portrayed. Weidermann really captures the petty rivalries, the loves, the despair and the desperation that consume them.
… The more I thought about it, the more I realised that our spiritual world is made up of millions of atoms of single impressions, whose minimum number stems solely from what we see and what we experience – while everything else, the existential interwoven world, we owe to books, to what is read, transmitted, learned.
Central to the book is the relationship between Roth and Irmgard Keun (whom I’ve written about before). Their short, intense affair was pretty much the last love of Roth’s life, although the much younger Keun went on to have a long and fascinating existence, managing somehow to survive the war living in Germany.
What’s fascinating is seeing how the emigres completely understand the threat of Germany and Nazism; the pain of having to leave their homeland or lose their lives is palpable, and it’s quite incredible looking back to realise that large sections of the world just ignored the rise of Hitler and his cronies, despite their despicable behaviour throughout the 1930s.
At one point, the author describes a photo of Zweig and Roth which was taken at the time by Keun, going into detail about the pose and what it says about the two writers, making you long to see it. It turns out to be a kicker of an image which appears on the last page and really hits you in the gut. The two men were obviously very different in background and temperament, and it shows, but they still managed to retain a connection and a fragile friendship based on their intellectual lives.
Weidermann quotes a variety of sources at points through the book, from letters and biographies, and it’s clear he’s done much research to enable him to paint such a wonderful, impressionistic picture of this exotic group of people. I was mildly puzzled, therefore, by the lack of any notes or references at the end of the book; it’s the kind of thing I would have expected, to enable me to go on and explore further if nothing else, but there are none at all, meaning that the reader does have to trust Weidermann’s interpretations and accuracy.
However, this is a minor quibble, and what the book gives is a rich, moving and entertaining portrait of a wonderful group of artists in transit. At the end, we find out the eventual fate of each character, and in most cases it’s not pretty. It’s all to easy to forget how hopeless things must have seemed at some points during the conflict, and how it appeared that civilisation was going to hell in a handcart.
Alas, the world that was theirs has gone; Ostend apparently looks completely different, and I doubt any of the group of emigres would be happy with the direction we have gone in since. But this book takes you back to 1936 and lets you live through the times of Zweig, Roth and their friends alongside them. Another winner from Pushkin!
(Many thanks to Pushkin Press for very kindly providing a review copy)
Feb 01, 2016 @ 06:24:52
Sounds wonderful, and made all the more poignant because we know what was about to happen in Europe. Pushkin Press make me feel better about the state of publishing!
Feb 01, 2016 @ 07:31:30
They’re a wonderful publishing house and this one is exceptional – highly recommended!
Feb 01, 2016 @ 07:12:42
This is one I very much want to read, especially since all the characters are familiar to me and that period in history reminds me a bit too chillingly of the present period…
Feb 01, 2016 @ 07:29:47
It’s a wonderful read, and I know what you mean about the resonances with today – the book I review in part 2 of Evoking a Lost Europe has the same effect, if not more…
Feb 01, 2016 @ 07:41:04
Lovely review, Karen. I’ve been listening to an abridged version of this on Radio 4’s Book of the Week – it really gives a sense of the loss and pain you’ve mentioned in your review. I’m finding it very poignant…
Feb 01, 2016 @ 09:36:01
Thanks Jacqui. Yes, I hope to catch up with Radio 4 soon – poignant is a good word!
Feb 01, 2016 @ 07:57:18
I’ve also heard part of this on the radio and it sounded fascinating. Excellent review! Thanks.
Feb 01, 2016 @ 09:35:25
Thanks Harriet! I’m intending to catch up with the radio soon!
Feb 01, 2016 @ 09:46:03
This sounds richly evocative Karen, and particularly poignant in the current political climate. Another one going on the wish list!
Feb 01, 2016 @ 09:58:23
It is – a lovely and timely and very absorbing read.
Feb 01, 2016 @ 12:43:29
Sounds marvellous Karen though I agree, the lack of any footnotes or details of sources is definitely worry.
Feb 01, 2016 @ 13:46:32
It struck me as quite odd, because he quotes quite a lot and even if each reference wasn’t sourced, I still would have expected a general bibliography of some sort at the end. Still, the book is an excellent read and I daresay I could spend a few months tracking down the sources…. 🙂
Feb 01, 2016 @ 12:48:34
I can see why you were drawn to this book, a perfect book for you. It does sound excellent especially for such a fan of Stefan Zweig.
Feb 01, 2016 @ 13:45:21
It *was* just the right book for me – I loved it!
Feb 01, 2016 @ 16:26:23
Apparently the editor discovered this during German Literature month when Thomas’ reviewed the German book. I started it, liked it very much but got distracted. I need to get back to it. I’ve been to Oostende and it’s not very appealing anymore. Still . . .
Feb 01, 2016 @ 17:20:20
How interesting! I’m glad it got picked up. Yes, Ostend sounds like it isn’t what it used to be…
Feb 01, 2016 @ 17:26:17
I also heard parts of this on the radio last week but as is so often the case I didn’t manage to catch it every day. Now I think I will wait until I can get a copy of the book. I’m leading discussions next week in Paula McLain’s ‘The Paris Wife’ which, of course, deals with the writing community in the Paris of the 1920s. It would be interesting to pair it up with this account of a different community a decade later, especially from the point of view of the participants view of war, but I don’t think I am going to have time to explore the connection,.
Feb 01, 2016 @ 19:22:33
There’s an omnibus of the radio pieces available online but having listened to the first part, it doesn’t beat reading the book! What you say about the comparison with “The Paris Wife” is fascinating – I’ve considered reading it but I believe it’s fictionalised, whereas this one seems to be very rooted on fact (although I would need references to back up that statement….) 🙂
Feb 01, 2016 @ 20:17:36
I’m currently reading this – very much enjoying the contrast between Zweig and Roth. The appearance of Irmgard Keun is a particular bonus!
Feb 01, 2016 @ 21:33:42
I was quite pleased when Keun turned up as I wasn’t expecting her! Ues, Zweig and Roth are so different – it’s a great book! 🙂
Feb 02, 2016 @ 05:07:49
This does look and sound very appealing indeed. Pushkin Press does such a good job at packaging quality literature with great aesthetics! Just happened to snag a copy of Teffi’s Subtly Worded and Jona Oberski’s Childhood at a sale last week and am thrilled with the find.
Feb 02, 2016 @ 06:52:24
They do! The Teffi is wonderful – you’ve got a good find there!
Feb 03, 2016 @ 07:13:22
Feb 05, 2016 @ 08:30:46
Wonderful review! I am very glad that this book is available in English now. Well done, Pushkin Press!
Feb 05, 2016 @ 11:41:29
Thank you! Pushkin have indeed brought us so many delights!
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