Introduction to Hermann Broch

Here’s a brief biographical sketch from a New York Times review of the paperback reprint of The Sleepwalkers

Born in 1886, Broch was a product of that fin-de-siecle Vienna that he analysed devastatingly in his brilliant study Hugo von Hofmannsthal and His Time‘ (recently available in English). The dutiful son of a Jewish textile manufacturer, he attended the local technical institute, took his engineering degree at a textile school in Alsace-Lorraine, traveled to the United States to observe milling procedures and in 1907 patented a cotton-milling device. When his father retired in 1915, Broch took over the business and in the next 10 years became what he cynically termed a captain of industry.

At the same time, he nurtured ambitions for an intellectual career. For years he sporadically attended courses in mathematics and philosophy at the University of Vienna and wrote essays and reviews for various liberal journals. In 1927 he dismayed his family by selling the plant and declaring his intention to pursue a doctorate. But within a year, disenchanted by the disdain for ethical questions displayed by the Vienna Circle of logical positivists, he gave up his academic plans and turned to fiction. As he wrote in a ‘Methodological prospectus‘ for his publisher, he had become convinced that those realms of experience rejected by contemporary philosophy can best be dealt with in literature.

The Sleepwalkers (1931 to 1932) is a thesis novel with a vengeance. According to Broch, sleepwalkers are people living between vanishing and emerging ethical systems, just as the somnambulist exists in a state between sleeping and walking. The trilogy portrays three representative cases of ‘the loneliness of the I’ stemming from the collapse of any sustaining system of values. (In Search of the Absolute Novel by Theodore Ziolkowski)

The Anarchist is the second in the trilogy of novels which Broch published simultaneously under the umbrella title The Sleepwalkers in 1931. An English translation by Willa and Edwin Muir was published in 1932 which, as far as I can tell, remains the only English version. Some English editions have an introduction; mine doesn’t. What the book is really crying out for is notes of some kind but I suspect that sales of it are so minuscule that any annotation project would never be viable.

The Anarchist

It is March 1903 and Broch throws us straight into the fray. 30-year-old clerk August Esch (‘lean and robust’, p.208, ‘a strong fellow and not in the least afflicted by nerves’, p.219; with ‘short stiff hair, dark head and tanned ruddy skin’, p.231) lives in Cologne.

He has just been fired from his job as a clerk at Stemberg and Company, wholesale wine merchants, due, he believes, to the machinations of the hypocritical head clerk (p.201) Nentwig, who he will spend the rest of the book doggedly hating. Esch was caught out in some minor error of the accounts while he believes Nentwig to be guilty of much larger scale frauds, though he can’t prove it. This grudge will fester through the entire novel and form the core of Esch’s slowly mounting sense of global injustice…

Esch walks along the canal to the low-rent bar-cum-restaurant run by Mother Hentjen, a fat 36-year-old woman once married to Herr Hentjen whose portrait hangs on the wall. Sometimes the rowdy boozy male customers take the serving girls Hede or Thusnelda home and sleep with them, it’s that kind of place.

Angry Esch shares a beer and a bratwurst with Martin Geyring, the cheerful crippled socialist agitator and member of the Social Democratic Party, who walks with crutches. Geyring tips him off about a vacancy for a clerk in the Central Rhine Shipping Company in Mannheim. Esch goes back to Stemberg and blackmails a good reference out of the vile Nentwig. He applies for the Mannheim job and gets it and a few day later sets off by train.

He arrives at the premises down on the docks and is shown to his unglamorous offices, a glass-partitioned box at the end of a long row of sheds (p.173). He is informed that the proprietor, a Mr Bertrand, a ‘renegade officer’, is a decent sort (p.187). Now, anyone who’s read the first book in the trilogy knows this must refer to Eduard von Bertrand, who was a major character in it, and a successful businessman back when that book was set, in 1888.

Anyway, August finds accommodation with a brother and sister who rent rooms, a customs inspector from the docks named Balthasar Korn and his ‘elderly virgin’ sister, Erna (in fact she’s not a virgin, p.210, but is much later described as ‘that skinny sallow little thing’, p.329). Erna is looking for a husband so she loses no opportunity to flirt with Esch, to hint at her fine collection of lingerie, to press her thigh against him when the trio go to bars or restaurants.

One day, down at the docks, Esch comes across a gentleman complaining that the stevedores are unloading his luggage in a clumsy way which might damage it. Esch steps in to reprimand them and the gentleman introduces himself as Herr Gernerth, new lessee of the Thalia Variety Theatre (p.177).

Gernerth gives Esch free tickets and Esch takes along Korn and Erna. Among the other acts is a gripping performance by a knife thrower and his beautiful assistant who adopts a crucifixion pose against a back backcloth while he sends razor sharp daggers whistling past her body.

Entranced and haunted by the deep feelings this sight awakens, Esch returns repeatedly and eventually is introduced to the couple, Herr Teltscher, whose stage name is Teltini, and Ilona, both of them Hungarian by birth (p.184). He is also, apparently, Jewish (p.206), Jewishness and anti-Semitism forming a small but persistent hum in the background.

They all go for a meal together. It becomes clear Korn is hitting on Ilona big time, putting his arm round her shoulder, while Esch is irritated by the old ‘virgin’ Erna continuing to press up against him.

A new character is introduced – Fritz Lohberg, a prim and innocent young tobacconist who Esch buys his cigarettes from. Lohberg’s shop is light and pleasant and the smell of tobacco gives it a lovely manly feeling of good fellowship. That said, Lohberg is a bit of a milksop: he is a member of the Salvation Army and keeps pamphlets on his counter promoting vegetarianism and against alcohol.

Korn follows Esch and also becomes a fellow of Lohberg’s shop, though Esch resents his big bearish vulgarity and Lohberg is terrified of him.

Korn finds out that Lohberg is going to an evening rally of the Salvation Army and insists they go along. To his surprise, Esch finds the Army’s singing and the religious sincerity very moving and comes within an ace of singing along himself. He realises how lonely he is. He has darker, brooding thoughts, about life and death and our essential loneliness, which remind the reader of some of the darker thoughts of the protagonist of the previous novel, The Romantic.

Esch has presentiments and feelings which he can’t bring into focus or define but which are mixed up with smells of the city at dusk, of fresh air out under the trees, or the dense cigar smoke of beer-cellars.

That night, driven by something like spiritual yearning, he finds himself loitering outside Fräulein Korn’s bedroom, making a bit of a noise, and hearing responding noises inside, until he is emboldened to go in. She is not naked but not wearing much and happy to flirt and encourage him. However, as things become serious, she suddenly calls a halt and utters those philistine, bourgeois, narrow, provincial words: ‘When we’re man and wife’ – and Esch recoils, not only as an homme moyen sensual who has been balked of the physical pleasure he was psyched up to enjoy, but also because he was in the midst of a kind of spiritual transport, and hardly anything in the world could have disgusted him more than the bathetic and banal linkage of coitus with the legal forms demanding by petty-minded and the conventional.

From that moment he hates Erna with a passion, and Erna returns the scorn with knobs on. She takes great delight in confirming Esch’s growing suspicions that someone else is padding around the house late at night, and that it is none other than Ilona, who has started to sleep with her crude, bearish brother.

Martin the trade union activist had popped in to see Esch every time his work took him through Mannheim, and now tells him he’ll be addressing a political meeting and invites him. Esch goes along to the meeting in the public room of a small tavern, although he recognises one of the policemen on the door who warns him to keep away.

In the event there is a lot of barracking from the floor when Martin utters unpatriotic sentiments, at which point a load of police enter the premises, go onstage to announce that it is shut down and they must all disperse, and arrest Martin for sedition (p.204). In sympathy with the arrest of their trade union representative the transport and dockers union goes on strike, meaning loading and unloading on the docks where Esch works comes to a standstill and he is increasingly at a loose end.

One night Esch is sitting in Gernerth’s seedy office at the theatre when Teltscher enters, sweating and beaming after his act. But when he demands payment, Generth goes into a familiar obstructive routine about overheads, rent, expenses and so on, and the pair of them wish that if only they could come up with an act which had next to no overheads but would really pack the punters in.

Out of the blue Generth suggests women wrestlers!

Korn makes his entrance into the office to meet Ilona, who is by now hopelessly infatuated with him, then they go off for the night. Gernerth, Teltscher and Esch discuss the women wrestler idea some more and Esch volunteers to pay a call on the theatrical agent, Oppenheimer, on the scheduled trip back home to Cologne he was due to make in a few days (p.206).

It’s a deal. If Esch can drum up some women wrestlers and, even better, some financing, then he can buy into the business and take a share of the profits. Suits Esch. Since the dockers strike started, there’s been nothing to do except hang round the docks, bored.

There’s a comedy of manners scene where Esch invites the weedy religious Lohberg to tea with Erna, the man-eater, who decides that, to spite Esch, she will match Lohberg’s investment in the women wrestling scheme i.e. invest 1,000 Marks. During the rather stiff and formal tea, Erna wonders if Lohberg is a virgin. She wonders if he cries during sex. Esch watches her and is disgusted.

Driven by his obscure yearning for purity or atonement, aroused by attending the Salvation Army meeting, Esch makes the irrational decision that he will serve the new women wrestling scheme. He has no money to invest, but he will devote time to making it happen, in fact he decides to quit his job at the wine importers. In some obscure way, he feels that serving like this will pay his debt. It’s something to do with being a book-keeper and wanting to keep tidy accounts where debts match credits, something to do with Martin being in prison while he is still a free man…

So returning from Mannheim back to Cologne, Esch visits Mother Hentjen, bringing her a nice present of a model of the Schiller Memorial outside that Mannheim theatre, but she inadvertently lets slip some remarks about her mysterious past, and disappears in a huff.

Esch goes to the office of the legendary theatrical agent, Oppenheimer, only to discover it is a messy shambles and that Herr O keeps irregular hours, according to the scornful neighbours.

(America In case I haven’t mentioned it before, Esch is obsessed with the idea of emigrating to America, something he discusses with both Lohberg and Korn. It reminds me that Kafka’s first attempt at a novel, begun in 1912, describes a young man emigrating to America in search of a better life. It reminds me of Bertolt Brecht’s obsession with America, its gangsters and its place names, none of which he had visited in the 1930s. It reminds me of the descriptions in George Grosz’s autobiography of his boyhood obsession with America. Was it a widespread movement at the turn of the century, this German romantic ideal of emigrating to the New World?)

The women wrestler idea progresses: Oppenheimer rustles up a variety of women from the music halls of Cologne and gives them exotic performers names. Esch attends an ‘audition’ where they try to persuade them to put on tights and wrestle, although some of the women flatly refuse and walk out.

Meanwhile, in a different part of his mind, Esch grows steadily more obsessed with the injustice of his friend Martin Geyring the trade union activist being locked up in prison. He discovers that Martin was locked up as a result of a deal done between Bertrand, owner of the major import-export firm in the area, and the police. Hmmm, so not such a decent guy after all.

After some thought, Esch writes an article or letter decrying the injustice of Martin being in gaol and delivers it in person to the Social Democrat paper, The People’s Guardian. Here he is humiliated by the editor’s blasé and patronising attitude, politely pointing out that they wrote all the articles about Martin that they needed to at the time he was arrested, not weeks later (p.228 ff).

The editor lets slip that Bertrand is a sodomite, although only ‘down in Italy’ (p.230). To the reader of the previous novel, The Romantic, this is a dynamite revelation because it sheds a new light not only on Bertrand’s dandyish personality, wit and irony, but on the odd, teasing relationship he had with The Romantic‘s lead female character, Elisabeth.

Anyway, in this novel Bertrand slowly comes to symbolise to Esch all the wickedness and corruption in the world, which he feels oppressed by but is too thick and uneducated to analyse coherently.

Thus, by half way through the novel, Esch is describing Bertrand as ‘the Antichrist’ (p.237). This seemed such an excessive thought that I wondered whether the novel might be leading up to Esch assassinating Bertrand. This is typical of hundreds of sentences describing Esch’s thoughts:

It was a matter of striking a blow at the whole thing, or at least at the head of the offence. (p.243)

In fact a constellation of feelings begins to coalesce in his mind: Esch felt a powerful sense of yearning for something higher when he attended the Salvation Army meeting; he is disgusted by Korn and Ilona’s affair; he sublimates or vents this in mounting antagonism to the fact that Teltscher and Oppenheimer are Jewish. When he sees Teltscher and Oppenheimer walking towards him chatting about the wrestling project, Esch bursts out in anti-Jewish insults and Oppenheimer is prompted to say ‘he’s an anti-Semite’ (p.238), although, a little puzzlingly, they continue on pretty good terms.

All this combines with the powerful but incoherent sense Esch has that things are in chaos, that the whole world is ruled by the corrupt (the sodomite Bertrand), that there is injustice everywhere (his friend Martin in gaol). In particular this offends his book-keeper’s ‘upright soul’ and sense that there must be order – every debit must be balanced by a credit. (p.242)

So by this stage, half way through the novel, I wondered whether the novel is meant to be the portrait of a nascent fascist, a proto Nazi…

More plot

Since many summaries of the novel I’ve read describe it as a rollicking account of Esch and his troupe of women wrestlers, I was struck by how little description of them the book contains. There’s a page or so on the process of hiring the women wrestlers, training them and organising them. There’s a bit about sending out posters and publicity, a paragraph describing Teltscher supervising the unloading of the state sets at the Cologne docks, but then – in a glaring omission – no description of the Grand Opening Night. And only the briefest paragraph cursorily describing one fight. You might have expected at least a page about the actual art of wrestling, the different holds and manoeuvres, the rules maybe, explaining how they were staged and arranged, who the best ones were, and so on.

None of that is here. Instead Broch takes it as read that they become a regular nightly attraction at the Alhambra theatre, and gives us one description of Esch proudly walking among the packed tables at the cabaret theatre, and beginning to enjoy the profits he is sharing.

In other words, Broch is more interested in the ongoing evolution of Esch’s character than in external events, per se, and certainly than the women’s wrestling which is all but ignored. Shame. Could have been interesting, in its way, and possibly very funny. But Broch isn’t that kind of writer.

Esch is at Mother Hentjen’s looking at the wine list when it dawns on him that he should use his expertise to improve it or to get her better deals. Looking through a newspaper he reads about wine auctions held at a place called Saint-Gaor up the Rhine.

So he persuades a reluctant Frau Hentjen to accompany him, and Broch describes at length a day trip down the Rhine wherein the interest is, as usual, in the changing moods of the two characters, closely connected with the time of day and the setting (on the ferry up the Rhine), walking through the shadowy streets, climbing the dusty path up the Lorelei. By the end of the trek, Mother Hentjen is so exhausted that, plumped back in her seat on the train home she makes no complaint when Esch brushes her cheek then kisses her – because she is too exhausted to notice.

Back at her restaurant in Cologne she livens up a bit, but bids him her usual brisk goodnight, treating him the same as all the other punters, but Esch loiters, then goes up to her room, inflamed with conviction that the kiss was a promise and also overcome with the same kind of overblown semi-religious, world-saving fervour we’ve seen mounting in his character throughout the story.

Thus he overcomes Mother Hentjen and rapes her, not in her bedroom but in an out-of-the-way alcove which contains two spare beds, although she keeps on shaking her head, No, till the end.

Esch settles in to be Mother Hentjen’s lover but in a very peculiar way, and Broch devotes a couple of pages of characteristically long, impressionistic sentences describing the strange trance Hentjen goes into whenever Esch approaches. He comes to her in her afternoon siesta or at night after closing time and how she submits to his embrace from a great distance, from a place where she doesn’t even acknowledge herself any more, so that the more furiously Esch labours in vain to prompt an animal grunt of lust from her, the more determined she becomes to stay silent.

Nonetheless, Mother Hentjen accepts his animal lusts on her body, and they become an item – for this reader, at any rate, an odd and disturbing item.

Esch continues his obsession with emigrating to America. He goes into a bookshop (something he has rarely done in his life – an indication of his low level of education and intelligence) and buys a book about America, poring over the sepia photos and memorising facts and figures about this marvellous country. In his simplicity he imagines it as a place of justice and honour where innocent trade union organisers aren’t locked up (like Martin) at the behest of perverted company owners (like Bertrand).

Gernerth comes up with the idea of hiring a negro woman wrestler. Already the wrestling women have been given (entirely fake) names and are claimed to be from different countries. In each bout care is taken that the German girl ends up triumphant.

Esch repeats his suggestions of emigrating to America. Teltscher says he’ll stand no chance in America where they already have women’s wrestling, but in Mexico or South America there’s a shortage of women, so if the wrestling doesn’t turn a profit, the women can always go back on the game. But blondes, they must be blondes. Latinos like blondes.

So Esch, naively in this as in all his other endeavours, returns to scouring the bars and brothels of Cologne, this time looking for blondes. In an obscure wish to avoid Mother Hentjen’s reproaches, and to show that he isn’t using the services of prostitutes on his investigations, Esch goes out of his way to also visit the homosexual brothels.

This is a rather cack-handed plot device which allows Broch to take us into gay brothels circa 1903. Here Esch quickly discovers that Bertrand is a legendary sodomite, possessed of vast riches, a luxurious house and a steam yacht crewed by handsome young men, and that he enjoys picking up rent boys, for a while.

Esch discovers one such boy, Harry Köhler who, he discovers, had a brief relationship with Bertrand. Over drinks in a bar Esch hears Harry repeat Bertrand’s notions about love being based on detachment, which the reader of the first novel remembers Bertrand elaborately explaining to the sceptical Elisabeth 15 years earlier. Clearly it is his established spiel.

Anyway, it is Mother Hentjen’s birthday and we are surprised to be reminded, from the way she is described as fat and old and dried-up, that she is just 37.

She has gotten used to Esch turning up towards closing time, and taking her to the alcove (not her private bedroom) where on the spare bed he spears her stiff, unyielding and silent body. On the night of her birthday she is, for once, slightly responsive, but Esch realises she is consumed with jealousy over his involvement with the women wrestlers, and suspects he has a woman in every town he travels to. With indeterminate seriousness, she threatens to ‘do him in’ if she finds him being unfaithful to her. By this stage I was finding the petty-minded, stupid behaviour of a lot of these characters rather tiresome.

Esch, driven by increasingly obscure but powerful urges to ‘do the right thing’, whatever that is, decides it is time to extract from the wrestling business the initial investment and profits due to Fräulein Erna and Lohberg back in Cologne. He goes to see Gernerth who protests like fury, not least because the women wrestling attraction is losing popularity and struggling to make a profit. He gives Esch half what’s owed to his friends.

Esch take the train back to Mannheim and looks up Fräulein Erna, has tea with her and the milksop Lohberg. When Esch reports that he’s only brought only half the money owed to her, Erna flies into a fury. Despite this, a little later Esch is standing over her as she writes a receipt and finds himself stroking her cheek and then they kiss and then they go up to her bedroom and make love.

Immersed in the flow of the text, I accepted this development as many others, which I didn’t really understand or believe, but which flowed with the same lack of logic as him raping Mother Hentjen. I’d have preferred Erna to have remained an entertainingly vicious enemy and felt simply disappointed that they ended up sleeping together. Aren’t people boring, at least in novels. In novels, in fiction, in literature, it is so often about love love love or sex sex sex.

Anyway, Erna consents to have sex with Esch every night of his stay in Mannheim, despite the fact that they both know she is engaged to the weedy tobacconist, Lohberg. Which is so wildly beyond the psychology of any woman I’ve ever met or heard about that, by this stage, I seemed to be reading a novel from a parallel dimension. Or a different time. Or a different culture.

Esch dutifully visits Martin in prison and is infuriated that he seems to be taking his incarceration so calmly. Martin was, in fact, only sentenced to three months, for sedition, but Esch has worked himself up into a vast confused state of anger at the entire order of things, based on confused grievances at: poor Ilona having to stand by the board and have daggers thrown at her, at Martin being arrested simply for calling for the brotherhood of man, and at the corruption of Bertrand the unnatural sodomite who seems to be able to get away with it all.

This is all muddled in with his Salvation Army experience of yearning for a better world and, on the other hand, his narrow-minded, book-keeper’s obsession with balancing accounts, making everything just so and imposing order, an order which, in his feverish hallucinations, seems to include sacrifice, his own acts of sacrifice plus some obscure sense that someone must die or be murdered.

For some reason, murder and death and sacrifice have, by this stage, become the keywords of the text.

This delirious brew detaches itself from reality in an extended sequence where Esch takes the train from Mannheim to Badenweiler on the edge of the Black Forest. For it is here – according to one of the rent boy, Harry Köhler’s, friends in the gay bar, a fat musician named Alfons (his wobbling folds of fat are repeatedly described) – that Bertrand has his big estate.

As in a dream, Esch walks through town to the gates of the estate, walks unopposed through the gates, enters the house, mounts the stairs and finds himself meeting Bertrand, shaking his hand, welcomed into his study and talking to him. There follow pages of heady, pseudo-philosophical conversation which sound fine but didn’t mean anything to me. Here’s Bertrand:

‘No one can see another in the darkness, Esch, and that cloudless clarity of yours is only a dream. You know that I cannot keep you beside me, much as you fear your loneliness. We are a lost generation. I too can only go about my business.’
It was only natural that Esch should feel deeply stricken, and he said:
‘Nailed to the cross.’

This means nothing to me and apart from the fact that a dream sequence appears to have strayed into an otherwise fairly realistic novel, I just couldn’t process or compute this sequence.

According to the Wikipedia summary of the novel, Esch had visited with the intention of murdering Bertrand. But I found Esch’s consciousness so confused that I found the Bertrand visit a series of inconsequential and dreamlike sentences which conveyed no hard facts or events. It didn’t help that the visit is immediately preceded by a long digression describing a kind of dream voyage by ship to America. Taken together the entire thing seemed like a strange, dreamlike fantasy.

Certainly at no point did I feel it was ever Esch’s intention to hurt Bertrand and the scene contains no sense of threat or danger, and no dramatic reversal as of Bertrand talking him out if it, at all.

Esch goes to see Martin a second time in prison and slips him a packet of cigarettes while the easy-going warden turns a blind eye. Martin casually suggests Esch will never see him alive again, which just exacerbates Esch’s confused sense that some kind of sacrifice is required for him to be free of the past.

Esch returns to Cologne after his six-day excursion and returns to Mother Hentjen’s restaurant. His thought processes are really confused by now. He gets angry that MJ is once again cool to him in front of all her customers and storms out. But then he returns after the restaurant has closed, insists on being taken up to her bed, and assaults her almost at once.

Afterwards she is quiet as he goes off into one of his complex, contradictory long fantastical thought processes which winds him up into such a fury that he slaps her round the face and immediately proposes that they get married, to which she meekly replies yes. The reader is by this stage in the twilight zone of a completely alien psychology.

Next morning, the sight of the portrait of the original Herr Hentjen hanging on the wall of the restaurant drives Esch to (yet another) paroxysm of fury. He calls for paper and pen, and there and then writes a letter to the Chief of Police denouncing Bertrand as a homosexual and a pervert, folds it in his pocket.

He posts it next day on  hi way to see Gernerth who, he discovers, is away from his office. Then Teltscher the knife thrower arrives and tells him just how weak the women wrestling business has become (there were only fifty customers in the audience the night before), and they discuss how they can recoup their investment from the mysteriously absent Gernerth.

Esch is still nudging Teltscher to come to America with him where Esch – like an idiot – thinks they’ll all be able to live in castles and Ilona will live in a deer park like a princess.

Later, Esch swings by the gay bar again and is surprised when Alfons the fat musician comes in looking dishevelled and distraught and tells him that Harry is dead, killed himself with an overdose. Why? asks Esch, and Alfons points to the newspapers.

They are edged with black and the entire city is mourning the abrupt death of the eminent businessman Eduard von Bertrand. Reading the small print, Esch sees that Bertrand shot himself. Because he is by now quite deranged with narcissistic self-absorption, Esch doesn’t in the slightest blame himself for giving the letter to the police which must have prompted an initial visit to Bertrand who must have realised he would be outed and imprisoned etc, and so decided to kill himself. None of this terrible agony is described or even hinted at. Instead we simply see it from Esch’s blunt, stupid point of view and his only reaction is to think – utterly irrationally – that this means Martin the cripple will no longer follow and menace him with his crutches (?).

Esch pushes off, leaving Alfons to have an extended reflection on his own life and how, as a fat gay musician, he is in touch with sensations and feelings which straight men with their incessant tragic pursuit of women, will never know. Men chase women because they think the intensity of their possession will protect them from their fear of death. Then when it doesn’t protect them, they rage against the women for failing them, and beat them. Alfons feels well out of the whole farce.

Cut to Ilona getting out of the bed she shares with Korn who is fast asleep and snoring. She also reflects on her life, on the man who committed suicide for her sake and the other man who she was unfaithful to and who nearly killed her, and to the venereal disease she was given as a girl which made her infertile. Then she sneaks down the hall and slips into bed beside skinny Fräulein Erna.

Back with Esch in Cologne, Oppenheimer and Teltscher are both keen to track down Gernerth who has disappeared on family business to Munich, apparently. The theatre’s rent and wages for the staff and performers all fall due at the end of the month, in a few days’ time. But Gernerth doesn’t appear and when they call in the police, the latter ascertain that Gernerth had withdrawn his entire company’s funds from his bank and done a bunk.

He’s disappeared with all their money, leaving them liable for all the company’s debts.

To my surprise this isn’t as ruinous for Esch as I’d expected. Oppenheim and Teltcher concoct a new plan to use the theatre properties which the Hungarian appears to own, and to rent out a new theatre and put on the knife throwing act among others. They persuade Esch to take out a mortgage on Mother Hentjen’s restaurant in order to finance the new business, Oppenheimer pocketing a 1% fee.

I wasn’t clear just how much Esch was being fleeced by this, but just like Joachim von Paselow in The Romantic it is clear that he is unworldly and impractical and easily duped. Not least because his head is continually occupied with obsessions about making ‘sacrifices’ in order to ‘redeem Time’ and bring about ‘a new world’, and so on.

While Esch’s head is full of this nonsense, Mother Hentjen gets on with repainting her restaurant and the others set up their theatre company and Esch has the claustrophobic feeling that all his best efforts to escape – to make some kind of grand sacrifice, to restore order to the world or, most ambitiously, to take everyone off to America where they would be reborn and live like kings – have failed, and that the banal world of the everyday is everywhere rising up to stifle him.

It was a vicious circle from which there was no escape. (p.336)

And so Esch slowly resigns himself to his place in the actual world, sometimes taking out his frustration at not being able, by some dramatic sacrifice to rise to a higher sphere of perfection, by beating the crap out of Mother Hentjen, and in due course they are married.

In a super-brief, one-paragraph coda right at the end of the text, the narrator tells us that when the theatre Teltscher and Ilona had set up in Duisburg goes bankrupt, Esch and Hentjen invest in their next venture, which also fails, and so lose all their money.

But then Esch unexpectedly gets a job as head book-keeper in a large industrial concern and so they live relatively well, Mother Hentjen grows to genuinely admire him, and he hardly ever beats her any more.

And that is that.

Social history

I’m not sure these are novels anyone would read for pleasure, exactly. The ‘drawing’ of the characters is detailed but feels alien, in fact doubly alien, because

1. The language the novels are translated into is not idiomatic English, it’s like an English no-one ever spoke or wrote, strongly betraying its Germanic roots.
2. The behaviour and attitudes of the characters is so alien to English traditions, in all kinds of ways.

Sex

In English literature until some time in the 1970s sex was avoided or buried in euphemisms. The German attitude is strikingly more blunt and crude.

• Esch is experienced in ‘drinking dens, brothels and girls’ (p.226)
• When Esch is half way through seducing Erna and she rebuffs him, he just goes off and spends the night with a more accommodating woman. Simple as that.
• Esch is upset that Ilona is spending the night with Korn, not because of any outraged morality, but simply because he thinks Korn is a crude bear who doesn’t deserve her.
• When Erna first meets Lohberg the naive tobacconist, she frankly wonders whether he’s ever had a woman and whether, during the heat of sex, he would be moved to tears (p.211). That’s not the kind of speculation you get in Virginia Woolf or Aldous Huxley, is it?
• We are told that Esch fairly regularly ends the evenings at Mother Hentjen’s by taking Hede home and sleeping with her. Hede is never introduced as a character, we never hear her speak or feature in anyone’s consideration.
• In a passage which is striking because the author and character take it for granted, Esch – at a loose end because of the strike – conceives a way to pass the time which is to make a list of all the women he’s ever had, and send them postcards. There’s no subtlety and no qualms or hesitation or periphrasis about the idea – he’s shagged a certain number of women and now he gets a pen and paper and racks his brains to make a list, after a while adding in the dates and locations so far as he can remember.

Compare and contrast with the Anglo-Saxon tradition, where sex is hedged around with the barbed wire of Puritanism and prudishness. To understand English literature you have to understand that the English have been terrified of open, honest descriptions of sex and sexual attraction until relatively recently.

I suppose a possible upside of the Anglo approach is that you could argue that sexual euphemism has taken its place alongside other English euphemisms and circumlocutions – for example around class, one’s place in society, and socially appropriate behaviour – to create what amounts, in England, to an entire culture or irony and misdirection.

As far as I can tell, throughout the 19th century the Continentals (especially the French) thought the English were disgusting hypocrites about sex, preserving a Victorian chasteness in our literature and public discourse (politics, religion), while the streets of London were heaving with prostitutes who accosted almost everyone every evening in the most brazen way; that we went to great lengths to preserve our self-image of gentlemanliness and stiff upper lip and imperial attitudes etc, while casually nipping over to Paris for scenes of gross debauchery. Whereas the French prided themselves on integrating sex and sexuality more honestly into their culture and literature.

So I suppose that the hypocrisy – of double standards – which the French so despised in the English might be related to all the other types of our multiple levels of irony, double entendre, misdirection and circumlocution about sex. In other words, that the English sense of humour which the Continentals remarked on, was closely connected to the English inability to discuss or describe sex honestly, which they also remarked on.

Anyway, the point of this excursion is simply to point out that this vast apparatus of irony, euphemism, and long-winded circumlocution about sex which characterises so much English literature is simply absent from this book. It doesn’t exist and nobody seems to miss it. They think about sex a lot, they have sex, sometimes they feel a bit jealous – that’s about it.

Therefore, although they contain a) extended nature descriptions, of parks and gardens and twilit skies and b) go into extended detail about the mental states of their central protagonists and the difficulty they have pinning down evanescent thoughts and ideas – these novels nonetheless completely lack the subtlety or understatement about social relationships and sex which a reader of English novels is used to.

There’s a strange kind of haunting absence about them.

Class

English literature, like English society, is absolutely drenched in class distinctions, the most fundamental of which is the gap between those who went to posh private schools – and dress and talk and exude confidence accordingly – and the rest of us, who didn’t.

Obviously, other 19th century European nations also had class hierarchies, sometimes more rigid than ours when it came to the top layers of aristocracy, court formalities etc.

But below that level, it’s harder to make out class distinctions in foreign literature. Thus in The Anarchist Esch is educated enough to be a clerk but doesn’t know what the ‘premiere’ of a play means (p.221), and I think Mother Hentjen’s is meant to be a pretty rough establishment, full of pipe-smoking working class types, who routinely take one or other of the ‘waitresses’ home to sleep with them, but there are none of the class markers I’d be used to in an English novel.

For example, none of them seem to have an accent. No distinction is made about the way they talk. They all appear to talk the same dialect, language and register. The interplay of accents and class distinction through vocabulary or turn of phrase which make up a huge amount of the dialogue in English novels (whether characters say ‘Hello, old boy’ or ‘Alright, mate’) is utterly absent from these books.

When rough Esch meets urbane Bertrand they speak the same language, use the same phrases, there is no way of distinguishing between the crude wife-beater and the suave gay company chairman by anything they say.

The only bit of linguistic distinction, the only place where Broch indicates that different people have different registers, idiolects and so on, relates to Ilona who is Hungarian and so doesn’t speak German very well. That’s it. All the other Germans appear to speak pure German without inflection or distinction.

Could it be that there is a lot of variation and distinctiveness in the characters’ speech in the original German and that all this has been lost in translation?

What is entirely missing from the novel is any sense of the self-consciousness and social awareness of class which so dominates English literature, snobbery in other words.

Snobbery plays a huge role in the English novel, from Jane Austen through Dickens and Thackeray and on to the incredibly upper-class characters in late George Eliot or Henry James, characters who skilfully navigate the complex social etiquette surrounding class (and region and education) in England.

All that social subtlety, all those velleities, all those implications through the careful selection of the mot juste in description or dialogue, are completely absent from these works.

Esch thinks the company chairman, Bertrand, must be a pretty decent sort. He thinks Martin the trade union activist is an honest bloke. He dislikes Korn because he’s so bearishly unthinking. That’s it. There is none of the social subtlety of the English tradition.

Comedy

A German joke is no laughing matter. (Mark Twain)

As a result of its blunt straightforwardness regarding a) sex and b) society and class, there is little or no comedy in the novel. Maybe I’m being obtuse, but you’ve read my summary of the plot and there aren’t many comic scenes, are there?

The only scene with a tincture of comedy is the tea party held by Fräulein Erna for Esch and Lohberg, where we see the three of them jostling and competing. Or Erna and Esch competing over the weedy tobacconist. But the humour mostly comes from Lohberg’s incomprehension of why the other two are bickering i.e. their thwarted lust for each other. And that is, at bottom, a fairly crude situation.

As I read about Martin the cripple or Bertrand the dandy company owner, and crop-haired Esch stumping around the cobbled streets of Cologne on his way to the dockers’ dive run by Mother Hentjen, I kept thinking of the stark German Expressionism of the 1900s, and then of the deliberate cripples and grotesques of Weimar art.

Stark and ugly is the German style. For example, nothing that Oppenheimer says is remotely funny or even interesting, but the way he is a tubby, little man with a disorderly office paints a picture which is sort of humorous in the Germanic way, in the way of laughing at crude stereotypes.

Philosophy

So what does the book have to offer if it lacks these mainstays of the English tradition? The answer is what I called in my review of The Anarchist, Broch’s phenomenology – his interest in the feeling of thought, his fascination with the way his central characters struggle to formulate and fully experience their own feelings and intuitions and ideas.

Yet there was an obscure miscalculation somewhere that he couldn’t quite put his finger on… (p.215)

This, it seems to me, is the strong point and main feature of the novels – the way Broch captures the fleeting quality of thought itself. Up to a point.

The big downside to the novels, in my opinion, is that these thoughts all too often turn out to be those of psychotics and religious hysterics.

Thus Joachim von Paselow, from the first novel, becomes steadily more deranged with paranoia, his thoughts eventually swamping the text in a goo of half-baked religio-philosophical ramblings.

In just the same way, the book-keeper August Esch, who starts the novel as a reasonably sensible character, by the end is consumed with absurdly over-the-top, overblown hyper-emotions.

Here’s a small example. The crude, blunt character Balthasar Korn arrives home to find a little drinks party going on in his front room, and rudely shoos the milksop tobacconist Lohberg off his sofa in order to plonk himself down on it. A pretty trivial moment. Here it is described from Esch’s point of view:

The noise which the man Korn raised while doing this was extraordinary, his body and voice filled the room more and more, filled it from wall to wall; all that was earthly and fleshly in Korn’s ravenously hungry being swelled beyond the confines of the room, threatening mightily to fill the whole world, and with it the unalterable past swelled up, crushing everything else out and stifling all hope; the uplifted and luminous stage darkened, and perhaps indeed it no longer existed. ‘Well, Lohberg, where’s your kingdom of redemption now?’ shouted Esch, as though he were seeking to deafen his own terrors, shouted it in fury, because neither Lohberg nor anybody else was capable of giving an answer to the question: why must Ilona descend into contact with the earthly and the dead?

Much of the later parts of the novel are like this, with way over-the-top hysteria prompted by apparently trivial, everyday occurrences.

By the end of the novel I had come to feel all the passages like this – and some go on for pages and pages – amounted to pretentious, adolescent bombast.

How I longed for one witty turn of phrase which would defuse this universal Weltschmerz, for the acid wit of an Evelyn Waugh, the levity of a P.G. Wodehouse, God for just a little English irony and self-deprecation.

But right to the end Broch appears to take everything as tragically as his pathetic, lowlife characters.

Credit

The English translation by Willa and Edwin Muir of The Sleepwalkers by Hermann Broch was first published in 1932. All references are to the Vintage International paperback edition of all three novels in one portmanteau volume which was first published in 1996.

20th century German literature

• The Stoker by Franz Kafka (1911-12)
• The Metamorphosis by Franz Kafka (1912)
• In the Penal Colony by Franz Kafka (1914)
• The Trial by Franz Kafka (1914-15)
• The Great Wall of China by Franz Kafka (1917)
• A Country Doctor and other stories by Franz Kafka (1917)

• Siddhartha by Hermann Hesse (1922)
• The Castle by Franz Kafka (1922)
• Investigations of a Dog by Franz Kafka (1922)
• A Hunger Artist and other stories by Franz Kafka (1924)
• The Burrow by Franz Kakfka (1924)
• Der Steppenwolf by Hermann Hesse (1927)
• Berlin Alexanderplatz by Alfred Döblin (1929)
• All Quiet on the Western Front by Erich Maria Remarque (1929)
• Narcissus and Goldmund by Hermann Hesse (1930)
• The Romantic (1888) by Hermann Broch (1931)
• The Anarchist (1903) by Hermann Broch (1931)
• The Realist (1918) by Hermann Broch (1931)

• A Small Yes and a Big No by George Grosz (1946)

The Weimar Republic

• Käthe Kollwitz @ the British Museum
• Magic Realism: Art in Weimar Germany 1919 to 1933 @ Tate Modern

• The Vanquished: Why the First World War Failed to End 1917 to 1923 by Robert Gerwarth (2016)
• The New Objectivity: Modern German Art in the Weimar Republic 1918 to 1933 ed. Stephanie Barron and Sabine Eckmann (2015)
• From Weimar to Wall Street 1918 to 1929 (1993)
• Art Deco by Alastair Duncan (1988)
• Bauhaus by Frank Whitford (1984)
• The Weimar Years: A Culture Cut Short by John Willett (1984)
• The New Sobriety: Art and Politics in the Weimar Period 1917 to 1933 by John Willett (1978)
• Weimar: A Cultural History 1918-1933 by Walter Laqueur (1974)
• The Expressionists by Wolf-Dieter Dube (1972)
• Weimar Culture by Peter Gay (1968)