קולהאס ואחרים

by Heinrich von Kleist, היינריך פון קלייסט

המרקיזה האלמנה פון או... – "גברת בעלת שם מצוין ואם לכמה ילדים מחונכים- למופת" – מפרסמת מודעה בעיתונים "שנאמר בה כי הרתה בלא ידיעתה", ושאבי הילד (שאינה יודעת מיהו, כי למיטב ידיעתה לא שכבה עם איש) מתבקש לפנות אליה. "מתוך התחשבות במשפחתה גמרה אומר להינשא לו". כך, במאורע מוזר, אך כפי שיסתבר לא בלתי-אפשרי, נפתחת הנובלה הראשונה בספר זה.

בנובלות של קלייסט, שכולן מקובצות כאן, מוצב תמיד במרכז מאורע מרעיש או מוזר, אבל ממשי, המגלגל ככדור-שלג עלילה דרמטית אל מהפך סוער לא-צפוי. קלייסט, גדול כותבי הנובלות הגרמנים ומחשובי הסופרים בכל הזמנים, יצר שורת דמויות בלתי-נשכחות. במיוחד דמותו של מיכאל קולהאס, שכבר יצאה מן הסיפור לעצמאות והפכה בזיכרון התרבותי ל"מושג" (בדומה לדון קיחוטה, אותלו, או ק.). דמויותיו האובססיביות, הדבקות בנחישות ובעיקשות במה שנראה להן כמטרתן, מחוללות עלילות סוחפות בעלות מחוות גדולות המותירות חותם בזיכרון. לעתים סובבות העלילות הללו סביב קונפליקטים מוסריים ואידיאולוגיים, בפרט כשהדמויות נאבקות בתקנות, חוקים, סבכים משפטיים והייררכיות שלטוניות. אבל במוקד כל יצירתו של קלייסט עומד קרע פסיכולוגי: אותה תחושה של האדם בחוסר ההרמוניה שלו. דמויותיו חותרות לשווא, עד לקטסטרופה, לחוש את עצמן כאדם שלם ואוטונומי. זו האובססיה האמיתית שלהן.

תרגומו של רן הכהן יוצר מקבילה עברית מרשימה לכתיבה הייחודית, הקפדנית והאירונית, של קלייסט, ואולי מאפשר לקורא העברי לחוש לראשונה בגדולתו.

Genres: Fiction, Short Stories, German Literature, Germany, Essays, 19th Century, Classics

222 pages, Paperback

First published January 1, 2009

About the author

The dramatist, writer, lyricist, and publicist Heinrich von Kleist was born in Frankfurt an der Oder in 1777. Upon his father's early death in 1788 when he was ten, he was sent to the house of the preacher S. Cartel and attended the French Gymnasium. In 1792, Kleist entered the guard regiment in Potsdam and took part in the Rhein campaign against France in 1796. Kleist voluntarily resigned from army service in 1799 and until 1800 studied philosophy, physics, mathematics, and political science at Viadrina University in Frankfurt an der Oder. He went to Berlin early in the year 1800 and penned his drama "Die Familie Ghonorez". Kleist, who tended to irrationalism and was often tormented by a longing for death, then lit out restlessly through Germany, France, and Switzerland.

After several physical and nervous breakdowns, in which he even burned the manuscript of one of his dramas, Heinrich von Kleist reentered the Prussian army in 1804, working in Berlin and Königsberg. There he wrote "Amphitryon" and "Penthesilea."

After being discharged in 1807, Kleist was apprehended on suspicion of being a spy. After this he went to Dresden, where he edited the art journal "Phoebus" with Adam Müller and completed the comedy "The Broken Pitcher" ("Der zerbrochene Krug") and the folk play "Katchen von Heilbronn" ("Das Käthchen von Heilbronn").

Back in Berlin, the one time Rousseau devotee had become a bitter opponent of Napoleon. In 1811, he finished "Prinz Friedrich von Homburg." Finding himself again in financial and personal difficulties, Heinrich von Kleist, together with his lover, the terminally ill Henriette Vogel, committed suicide near the Wannsee in Berlin in 1811.

[From http://www.heinrich-von-kleist.com/]

Reviews

[Jimmy · Rating 5 out of 5]

I didn't know much about Kleist when I started reading this. In fact, I felt like reading him after reading the excellent Robert Walser short story "Kleist in Thun", so I had no idea what to expect.

Contained in this volume are almost all of his short stories (missing are "The Foundling" and "The Duel"). Kleist was in his early thirties when he committed suicide, and it is remarkable that what little writing he left behind has inspired Kafka, Mann, Walser, etc. What I didn't expect was that his stories would be such page turners, and so action packed. And his sentences are convoluted, long, and syntactically crazy. Interesting comment about his sentences from a review of this book in Three Percent:

"the complexity of his language serves as a respite for the reader from the tension created by the intricate plotting. Once the reader settles into his prose, the language laden sentences that seemingly turn themselves inside out mesmerize us into a leisurely pace that is comforting in its cadence."

What strikes me about his stories in general is how he tends to put his otherwise rather normal characters in these extremely tumultuous situations, and he shows you how they are almost moved by larger forces into becoming either monsters or angels. Many times his characters acted with such mercilessness and violence that it was hard to stomach, but also hard to turn away from.

I will now talk about each story individually.

Fragments - This is basically just 2 fragments or quotes, both pretty good, but without context it is merely interesting and a good way to start the collection.

Earthquake in Chile - 5 stars - a town passes moral judgement on a couple to a disastrous end

Betrothal in Santo Domingo - 4.5 stars - powerful story of betrayal, race relations, and reminiscent of Romeo & Juliet

St. Cecilia, or the Power of Music - 3.5 stars - simple story, pretty good

Beggar Woman of Locarno - 3 stars - simple ghost story

The Marquise of O... - 5 emphatic stars - one of the best stories I've ever read

Michael Kohlhaas - 2.5 stars - okay this is the longest story in the book, about 100 pages... it probably qualifies as a novella.. it starts out very promisingly as a revenge story, but gets really bogged down in specifics in the middle, and I almost gave up. It was also very confusing with a bunch of names of officials and talk of the different laws and jurisdictions all coupled with Kleist's signature clause-filled sentences; it almost gave me a headache! There were 30 or 40 almost unbearable pages where I had very little understanding of what was going on, but kind of had a vague notion enough to get through to the last 20 pages or so, where things suddenly turn weird... The end is almost like a totally different story about a gypsy woman but it also kind of ties up the beginning revenge story too. I liked the ending, as unpredictable as it was, and I liked the beginning a lot too, but the middle just drags this story down. I wish I liked this more, and it's probably my fault that I can't appreciate it as much.

On the Gradual Formation of Thoughts While Speaking - 4 stars - this is an essay about how sometimes you can think better if you "think aloud" as we now say it. He comes to some interesting conclusions towards the end.

On the Theater of Marionettes - 5 stars - an amazing essay. Kleist talks to a puppetmaster and from the art of puppetry comes a lot of amazing philosophical insights. I wish Kleist wrote philosophy, cause I would read it.

"We see that in the organic world, to the same degree that reflection gets darker and weaker, grace grows ever more radiant and dominant.  But just as two lines intersect on one side of a point, and after passing through infinity, suddenly come together again on the other side; or the image in a concave mirror suddenly reappears before us after drawing away into the infinite distance, so too, does grace return once perception, as it were, has traversed the infinite--such that it simultaneously appears the purest in human bodily structures that are either devoid of consciousness or which possess an infinite consciousness, such as in the jointed manikin or the god"

[Steven R. Kraaijeveld · Rating 4 out of 5]

"The truth is…that I find what I imagine to be beautiful, not what I actually produce. Were I able to engage in any other useful pursuit, I would gladly do so: I only write because I can't do anything else." (278)

Poor Kleist. We should be thankful, though, that he did write; and what do we care, or would we have cared, if he ended up a general – like 18 others in his family's lineage? Anyway, after being initially somewhat underwhelmed by the stories – no doubt in part due to high expectations – I was overall impressed when I put down the collection. There is an immense undercurrent to Kleist's writing, a frantic kind of power that derives from the language itself as much as from the direct and unwavering way he has of telling a story.

[more to be added soon]

[Brian · Rating 5 out of 5]

On the burial day, the body lay white as snow in an open casket in a hall whose walls were covered with black cloth. The priest had just concluded a stirring sermon beside her bier when he received the Elector's resolution in answer to the appeal presented by the deceased, which said, in sum: that he should go fetch his horses from Tronkenburg Castle, and at the risk of imprisonment, cease and desist from any future petitions in this matter. Kohlhaas put the letter in his pocket and had the casket brought to the hearse. As soon as the grave had been covered back up, the cross had been planted in it and the guests who'd been present at the funeral had departed, he threw himself one last time before her now empty bed, and promptly turned to the business of revenge. [169]

[Austin Lynch · Rating 3 out of 5]

First experience with Kleist. Definitely a striking style for the time, but not necessarily my thing. 2 stars for most every piece except "Michael Kohlhaas" which stood head and shoulders above the rest in my opinion. That piece also makes it clear why Kafka held Kleist in such regard. Will be reading Der Zerbrochne Krug soon.

[M. Sarki · Rating 4 out of 5]

Amazing collection of stories. However, I am suspect of this particular translation. There were far too many instances of modern turns-of-phrases especially in the best story of all, Michael Kohlhaas. I have not read anywhere as yet if my suspicion holds water or not, but I would be interested if anyone knows something about this. The book itself, its production value, is exquisite. A very nice edition.

[Shawn]

PLACEHOLDER REVIEWS

"St. Cecilia or The Power Of Music" - a group of brothers plan on leading a riotous assault by Iconclasts to destroy a local cathedral, yet the assault never happens as the music of the Holy Mass begins. Years later, a woman searches to discover what happened to her sons who have vanished since that day. Nicely told tale of a religious miracle.

"The Earthquake In Chile" In Santiago, two forbidden lovers, Jerónimo and Josefa, are imprisoned and the woman scheduled for execution when, at just the right moment, an enormous earthquake strikes the city, releasing both of them from imprisonment and planned execution, and then finding their circumstances engulfed by the outpouring of compassion that follows such an enormous disaster. But then the church needs a moral scapegoat for the event... A brutal, raw, honest story.

"The Betrothal in Santo Domingo" is set during the Black Rebellion in Haiti, as forces are making an advance on Port-Au-Prince, the last white stronghold. We are introduced to the terrible, bloodthirsty old man Congo Hoango, off fighting, and his mulatto wife and daughter who maintain a "safe house" on the road, luring in unsuspecting whites seeking shelter until Hoango returns. This is a surprisingly dense story that really tries to grapple with the problem of racial animosity that arises from Colonialist treatment of other races, and how it leads all involved to ugly actions and murderous ends. A very sad piece

[michal k-c · Rating 4 out of 5]

i have now read Michael Kohlhaas twice within about 8 months which is not really noteworthy but it is kind of funny. this time it struck me as an almost Tarantinoesque revenge thriller which is maybe a good way to recommend this to someone if you really want them to be disappointed. anyway Kleist rocks, would perhaps seem a bit pessimistic to the whole human project if not for his wonderfully mystical attitude towards life and love.

[Majestativa]

… of fearlessness, of cheerful recklessness in the face of danger, of self-denial and godly self-sacrifice, of the unflinching abandonment of life as though it were the most worthless possession.

[Omar Villa Hernandez · Rating 5 out of 5]

Las grandes obras en prosa de Von Kleist

En el centro de esta maravillosa antología está Michael Kohlhaas, una verdadera obra maestra que prefigura "El Proceso" de Kafka

[Luke]

Written 1811 at latest

[Excesivo · Rating 3 out of 5]

Escritor súbito y fatídico; pero sus temas no son de mi agrado.

[pandarubbish]

★★★★★ for On Marionettes
★★★★ for Kolhaas
★★★ for the rest

[Glenn · Rating 5 out of 5]

Man, this guy really knew where it was all at. And by 1811, even. Brutal. Beautiful.

[William Patterson · Rating 5 out of 5]

I read the other stories with some degree of interest, but Michael Kohlhaas is the key. It totally recolors the rest. MK is practically Walserian in its digressive, anti-literary bathos. It seems to describe an ever-changing, stilted, perverse, nearly porcelain shape (a jug probably dropped and now a jagged shard). Like a small coterie of the very best (Kafka, Walser) it is a properly transcendental literature that nearly ruins respectable, well-tuned fiction. This is because, more than being random or shocking or thrilling or even strange, it seems to have an intelligence that does not belong to us, an intelligence not designed to please or prove, that does not give pleasure the way pleasure asks to be given, and so waves vaguely into a distance beyond itself, to a thing beyond art, representation, at the limit of storytelling.

[Abigail · Rating 4 out of 5]

"We see that in the organic world, to the same degree that reflection gets darker and weaker, grace grows ever more radiant and dominant. But just as two lines intersect on one side of a point, and after passing through infinity, suddenly come together again on the other side; or the image in a concave mirror suddenly reappears before us after drawing away into the infinite distance, so too, does grace return once perception, as it were, has traversed the infinite - such that it simultaneously appears the purest in human bodily structures that are either devoid of consciousness or which possess an infinite consciousness, such as in the jointed manikin or the god" (273).

[Lamoreaux · Rating 5 out of 5]

Kafka claimed von Kleist as a kindred spirit and major influence, as these selections should make clear -- especially the "Michael Kohlhaas" novella (which also provided partial inspiration for Doctorow's "Ragtime").
My copy of the this volume purports to be a "First Archipelago Books edition." It's full of typographical errors ("lead" instead of "led"; "ringing" when the word should have been "wringing"). I thought it worth the time to read, though, and I'll read it again in 2011.

[Paul · Rating 5 out of 5]

Just finished Michael Kohlhaas. I recall a certain writing workshop back in the 1960s where this was read aloud. In a single night. Must have been a long night. But this translation is great, and the book is highly recommended to those who seek the unusual, without seeking the obscure. I'm happy to own it, even if I've already read most of it. "The Earthquake in Chile" comes next.

[John Gaynard · Rating 5 out of 5]

I am familiar with the name of Heinrich von Kleist since the "Marquise of O" film, but I had never read him. This collection of short stories and novellas is impressive. Kleist's headlong prose in which every new sentence comes as a stimulating surprise is a joy to read.

[Victoria · Rating 5 out of 5]

Astonishingly modern-feeling stories by someone so renowned and influential that it seems presumptuous to rate it.

[Jeremy Plante · Rating 4 out of 5]

A couple of the stories were perfect ('Marquise of O' and 'The Earthquake in Chile') and the two ending essays were quite enlightening and interesting.

[Blake · Rating 5 out of 5]

Wortsman's translation and Kliest's original both scare you a little bit with the force with which the story moves into the conclusion. Read "Michael Kolhaas if you read any of Kleist.

[Nathan · Rating 4 out of 5]

The Romantic Kafka.

[Rainer6868 · Rating 4 out of 5]

von Michael Kohlhaas war ich sehr beeindruckt

[Steve]

Strange, old book. I might pick it up again someday.