I read this book in a single sitting. The writing is beautifully descriptive, especially when evoking locations and a memorable picnic. Though short (120 pages), the novel is not slight, addressing as it does the question of German guilt through the story of former Wehrmacht soldier Ernst Kestner. He returns to the (fictional) village of Lascaud where, one hot June afternoon under orders, he did something that has consumed him ever since, a massacre based on Oradour-sur-Glane. I've said it over so often before, but never to anyone but me, I always thought that starting from the beginning was yet another chance of stopping the end happening.
The aspect of the book I like most is its portrayal of the relationship between Kestner and his estranged daughter Tina, who married a Frenchman and went to live in Paris to spite her father because she knew how sensitive he was to France, though not why. I was reminded of the BBC documentary, Storyville: My Nazi Legacy about two sons of top Nazis responsible for crimes against humanity and the shame and guilt passed on to their children, who struggle to reconcile childhood images of their fathers and the atrocities for which they were responsible. Kestner had been on the point of deserting from the army to be with Jannie, a local woman with whom he'd been having a risky affair, on the fateful day his unit was ordered into the village to murder the entire population. He has spent the intervening years as a butcher in Lübeck, unhappily married, a distant father unable to forget what he did, or his lost love. [Jannie] was present inside him only as images, glaring overlit pictures which, when they occurred to him, burned out as long as he could hold them, all the ordinary contents of his mind. They did not seem like memories. They had never faded at the edges.
It is a testament to Hughes' skill as a writer that though Kestner is not a sympathetic character nonetheless you feel his guilt, his need to confess, to seek absolution. It is unsettling to realise Kestner retains some sympathy for Germany's Nazi past, though this could be nothing more than nostalgia. It is troubling, too, when Kestner questions whether the French have made too much of something that happened forty years before whilst ignoring current tragedies, and his feeling (delusion?) he was vindicated by a love that made his actions so impossibly difficult to commit. The final part is a little weak and I think the novel would have worked better if Hughes had stopped short of those last pages, though I did like the scenes between Kestner and Mayor Lorion, who also feels guilty but in his case of absence not presence.
An elegant, over-looked gem of a novel that shows less can be more.