Read Всеки умира сам by Hans Fallada Ханс Фалада Ана Димова Online

Всеки умира сам

ЕДИН ОТ НАЙ–НЕВЕРОЯТНИТЕ И ЗАВЛАДЯВАЩИ РОМАНИ, ПИСАНИ НЯКОГА ЗА ВТОРАТА СВЕТОВНА ВОЙНАХанс Фалада е един от най-значимите немски писатели от първата половина на ХХ век, автор на десетки романи, най-известният от които „Всеки умира сам“ е издаден преди няколко години в нецензурираната си версия в Англия и Америка и става литературна сензация.Фалада създава романа си по дейсЕДИН ОТ НАЙ–НЕВЕРОЯТНИТЕ И ЗАВЛАДЯВАЩИ РОМАНИ, ПИСАНИ НЯКОГА ЗА ВТОРАТА СВЕТОВНА ВОЙНАХанс Фалада е един от най-значимите немски писатели от първата половина на ХХ век, автор на десетки романи, най-известният от които „Всеки умира сам“ е издаден преди няколко години в нецензурираната си версия в Англия и Америка и става литературна сензация.Фалада създава романа си по действителен случай. Семейство Квангел започва собствена кампания срещу нацисткия режим, като тайно разпространява картички из Берлин, в които призовава германския народ да осъзнае пагубната роля на Хитлеровото управление. Дали техните картички са получени и прочетени, дали са унищожени, или предадени на полицията? Дали техните действия ще имат някакъв ефект, освен да доведат до унищожаването на собствения им живот и на животите, до които са се докоснали?...Фалада (псевдоним на Рудолф Дицен) е роден през 1893 г. в Грайфсвалд. През 1920 г. дебютира с романа „Младият Гьодешал“. Преведеният на много езици роман „Човече, ами сега?“ (1932) прави Фалада световноизвестен. Писателят умира от свръхдоза морфин на 5 февруари 1947 г. в Берлин.Ненадминат и ярък портрет на живота в Берлин по време на войната.Филип КерДа прочетете завещанието на Фалада за най–мрачните години на ХХ век е като да ви придружава един мъдър мрачен призрак, който хваща рамото ви и шепне в ухото ви: „Така беше.Така се случи...”Едно епохално литературно събитие!Ню Йорк Таймс...

Title : Всеки умира сам
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ISBN : 9786191790098
Format Type : Paperback
Number of Pages : 682 Pages
Status : Available For Download
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Всеки умира сам Reviews

  • Helen Ροζουλί Εωσφόρος Vernus Portitor Arcanus Ταμετούρο Αμούν Arnum
    2018-11-30 04:17

    «Μητέρα, ο Φύρερ σκότωσε τον γιο μου…»Βερολίνο 1940. Αρχές του Β´παγκοσμίου πολέμου. Το χιτλερικό καθεστώς στο απώτερο μεγαλείο του. Η ναζιστική αθλιότητα και η τρομοκρατία του Γ´ράιχ παραλύουν και ματώνουν την ανθρωπότητα. Εστιάζουμε στους Γερμανούς πολίτες την εποχή εκείνη. Συγκεκριμένα σε μια πολυκατοικία και τους ενοίκους της σε μια λαϊκή γειτονιά του Βερολίνου. Οι ένοικοι αντιπροσωπεύουν όλες τις πολιτικές και κοινωνικές τάσεις. Ο συνταξιούχος,αδέκαστος δικαστής Φρόμ, με γνώμονα των πράξεων του την αφέντρα του,τη δικαιοσύνη. Ο χαμερπής και δειλός χαφιές Μπορκχάουζεν με πολλά παιδιά αμφιλεγόμενης πατρότητας και γυναίκα πόρνη. Δεν ενδιαφέρεται για τίποτε άλλο πέρα απο το το τομάρι του και το κέρδος. Παρέα του ένας θλιβερός απατεώνας εθισμένος στο τζόγο και τις καταχρήσεις που έχει ξεχάσει παιδιά και γυναίκα προσπαθώντας να επιβιώσει με κάθε παρασιτικό τρόπο και να γλιτώσει τη στράτευση. Αυτοί οι δυο προσπαθούν να ληστέψουν την ηλικιωμένη Εβραία κυρία Ρόζενταλ η οποία προπολεμικά είχε μια επικερδή επιχείρηση με το σύζυγο της. Τώρα ο σύζυγος είναι εξαφανισμένος σε στρατόπεδα συγκέντρωσης και η ίδια τρομοκρατημένη. Στην ίδια πολυκατοικία συναντάμε τους Περζίκε. Μια φιλοναζιστική,φασιστική οικογένεια με πολλές διασυνδέσεις στη Γκεστάπο και το εθνικοσοσιαλιστικό κίνημα του Χίτλερ. Και φυσικά οι πρωταγωνιστές της ιστορίας μας. Το ζευγάρι των ηλικιωμένων Κβάνγκελ. Ο Ότο και η Άννα. Χάνουν το μοναχοπαίδι τους στον πόλεμο και αποφασίζουν να αγωνιστούν κατά του ναζιστικού κράτους. Ήταν φιλήσυχοι και έντιμοι άνθρωποι. Θα μπορούσαμε να πούμε ουδέτεροι,εσωστρεφείς και ακοινώνητοι. Η μεταστροφή τους σε γενναίους αγωνιστές με πάθος και τόλμη είναι συγκλονιστική. Η αλόγιστη προσπάθεια αντίστασης του ζευγαριού είναι εξ αρχής απέλπιδη και καταδικασμένη. Γράφουν κάρτες κατά του πολέμου και του Χίτλερ και τις αφήνουν σε κεντρικά σημεία και κτίρια με πολύ κόσμο. Όμως οι άνθρωποι είναι ανέτιμοι για αντίσταση και τρομοκρατημένοι. Οι περισσότεροι τρέμουν και αδιαφορούν για τις εκατόμβες νεκρών σε όλο τον κόσμο σιωπώντας και θαυμάζοντας με δέος τον παρανοϊκό μακελάρη που τους εξουσιάζει. Άλλοι γίνονται καταδότες και συνεργάτες των ναζιστών. Άλλοι υποδουλώνονται απο τρόμο, άλλοι εθελοντικά. Οι μισοί παρακολουθούν τους άλλους μισούς για να τους ενοχοποιήσουν. Και όλοι φοβούνται όλους. Είναι ένας εφιάλτης που βιώνουν οικογένειες,γειτονιές,κοινωνίες,πόλεις,έθνη. Επομένως ο τρόπος αντίστασης των Κβάνγκελ μόνο πανικό σπέρνει. Μετά απο δυο χρόνια απαράμιλλης αντίστασης και ασταμάτητου αγώνα το ζευγάρι έχει διανείμει εκατοντάδες κάρτες και γράμματα. Τα περισσότερα όμως έχουν καταλήξει στα γραφεία της ΓκεστάποΕλάχιστα δεν παραδόθηκαν στις αρχές,όμως δεν μάθαμε ποτέ αν άγγιξαν την ψυχή και το μυαλό κάποιων. Βέβαια, η Γκεστάπο, τα Ες Ες, και Ες Α,ως μηχανισμοί αναστολής αναστατώνονται απο αυτές τις «κάρτες» και παλεύουν να συλλάβουν τους προδότες του αισχρού τους καθεστώτος. Όσο αποτυγχάνουν τόσο γελοιοποιούνται και ταπεινώνονται. Αρχίζουν πόλεμο ιεραρχικών και εξουσιαστικών δομών προσπαθώντας με ατέλειωτες ανακρίσεις, υποθετικές δολοπλοκίες, φυλακίσεις θεωρητικά ενόχων και εγκλήματα να ανακαλύψουν τον «Φαντομά» που γράφει κάρτες. Μέσα απο αυτή την αγωνιώδη για τον αναγνώστη καταδίωξη με όλες τις σκέψεις, τις πράξεις, τις αποφάσεις βήμα-βήμα και τις προσπάθειες των διωκτών, εχουμε και το δικό τους σκιαγράφημα -ιδιαίτερα επιτυχές και εύστοχο- αλλά και την κορύφωση της λαχτάρας του αναγνώστη να γλιτώσουν οι δικοί μας αντί-ήρωες-αγωνιστές απο το παραστράτημα και τον έσχατο κίνδυνο του λάθους και της σύλληψης. «.. λίγο ή πολύ, κανείς δεν μπορεί να ρισκάρει τίποτα περισσότερο από την ίδια του τη ζωή. Κάθε άνθρωπος είχε διαφορετικές ικανότητες και διαφορετικό χαρακτήρα- το σημαντικό είναι να αντιστέκεσαι»Το συγκλονιστικότερο μέρος της αφήγησης είναι μετά τη σύλληψη τους η παραμονή και η μετάλλαξη και ωρίμανση τους μέσα στη φυλακή. Τόσο ο Ότο όσο και η Άννα μέσα στα κελιά και την απομόνωση μεταλλάσσονται. Απελευθερώνονται. Προσδοκούν ό,τι δεν έκαναν σε όλη τους τη ζωή. Φιλοσοφούν. Ελπίζουν. Αντιστέκονται. Ονειρεύονται. Συνειδητοποιούν. Απλό,λιτό και αριστουργηματικό ανάγνωσμα. Χωρίς τραγικούς μελοδραματισμούς. Χωρίς δακρύβρεχτες και αιματοβαμμένες περιγραφές. Χωρίς πομπώδεις σκιαγραφήσεις ηρώων και αγωνιστών. Χωρίς πολλά χελιδόνια, μόνο με μια Άνοιξη. «Μητέρα, ο Φύρερ σκότωσε τον γιο μου…»Η πρώτη κάρτα των Κβάνγκελ ενάντια στο χιτλερικό καθεστώς. Καλή ανάγνωση. Αγωνιστικούς ασπασμούς.

  • Tony
    2018-11-22 01:35

    Loved this.But first, some context:Hans Fallada is the pen name of Rudolf Ditzen. At the age of 18, Ditzen and a friend went out in the countryside and, in the manner of duellists, fired guns at each other over some adolescent sexual rutting. The friend missed, but Ditzen's aim was true. Taking his friend's gun, Ditzen shot himself in the chest, but survived. For the first of many times, Ditzen was committed to a sanatorium for the mentally ill. Released, Ditzen turned to alcohol and narcotics. This didn't stop him from becoming a successful novelist. Perhaps it helped? His 1932 novel Little Man, What Now was a popular success and Hollywood turned it into a film. Hitler spurned him though, because of the Jewish producers of the film. His drinking and drug use increased, he became more unstable, and was committed to a Nazi insane asylum. There, he wrote the novel The Drinker, not published until 1950 (and now on my Mount TBR). The war ended; Ditzen was released from the asylum, but he was now a dying man. A friend gave him the file of a middle-aged couple who began leaving handwritten anti-Nazi notes after the wife's brother died in combat. IN 24 DAYS Ditzen wrote Every Man Dies Alone based on their story. 24 DAYS!He died before it was published, a morphine overdose. It was not translated and published here until 2009.You may turn your head, thinking this is just more Holocaust literature. But turn back because this is special. Otto and Anna Quangel are special. The basis of the story is admittedly small because the crime is small: writing anti-Nazi postcards and dropping them in random stairwells. Anna asks, "Isn't this thing that you're wanting to do, isn't is a bit small, Otto?" Otto tells her, "Whether it's big or small, Anna, if they get wind of it, it'll cost us our lives."And so we are sold.Anna and Otto are surrounded by many characters though. And that is the brilliance of the novel. Each character, however small, becomes important, definitional. Let me share just one: "the doctor", who is really a symphony conductor. He shares a cell with Otto. He is not exactly Otto's kind of guy. But the doctor grows on him. The doctor is forbidden to sing. So he hums. Outside, during their morning walk....Quangel got used to listening to this humming. Whatever his poor opinion of music, he did notice its effect on him. Sometimes it made him feel strong and brave enough to endure any fate, and then Reichhardt would say, "Beethoven." Sometimes it made him bafflingly lighthearted and cheerful, which he had never been in his life, and then Reichhardt would say, "Mozart," and Quangel would forget all about his worries. And sometimes the sounds emanating from the doctor were dark and heavy, and Quangel would feel a pain in his chest, and it would be as though he was a little boy again sitting in church with his mother, with something grand--the whole of life--ahead of him, and then Reichhardt would say, "Johann Sebastien Bach."What amazed me, and why I led off with the author's life story, is that this is not simply a genre of a book; it's not just a book about WWII or Nazis or an anti-Nazi movement. This is superb craftsmanship. Written in 1947, there is nothing dated about it. Perhaps that's the wonderful translation. (Although there are numerous ghastly typos, which I do not count against the author or translator). It feels timely, immediate.By way of post-script, here are just two things I learned from this book: First, a proverb: He who has butter on his head should not go out in the sun. True that.And second, under the Racial Purity Laws, all Jewish women in Nazi Germany had to change their first names to "Sara" and all Jewish men had to change their names to "Israel".But this is a book about simple people, like Philip Roth's Al Gionfriddo, "A little man, Doctor, who once did a very great thing."

  • Violet wells
    2018-11-26 00:22

    "Then he picked up the pen and said softly, but clearly, "The first sentence of our first card will read: Mother! The Führer has murdered my son."....At that instant she grasped that this very first sentence was Otto's absolute and irrevocable declaration of war, and also what that meant: war between, on the one side, the two of them, poor, small, insignificant workers who could be extinguished for just a word or two, and on the other, the Führer, the Party, the whole apparatus in all its power and glory, with three-fourths or even four-fifths of the German people behind it. And the two of them in this little room in Jablonski Strasse.” First and foremost this is an absolutely captivating novel. As exciting in its choreography of brilliantly sustained dramatic tension as the best thriller. What it lacks in artistry is made up for by its streamlined vitality and the pulsing urgency of its narrative. There’s something Dickensian about this energy, just as there’s something Dickensian about its characters, all of whom are exaggerated, even caricatured but who nevertheless are always large and vivid with humanity. The Nazis too are powerfully caricatured. At one point a Nazi character says, “I don’t care about emotions. I’d rather have a proper ham sandwich than all the emotion in the world.” This statement is very much in keeping with Nazi priorities within the parameters of the novel where not only the banality of evil is brilliantly dramatised but also the banality of good. Alone in Berlin is based on a true story. Otto and Anna Quangel in the novel are based on Otto and Elise Hampel who, to begin with, are not by any means hostile to the National Socialists. This changes when Elise’s brother is killed early in the war. The Hampels now begin leaving hundreds of postcards all over Berlin calling for civil disobedience. In the novel it is the death of Otto and Anna’s son that sparks the change of stance towards the Nazis. Otto, a foreman in a furniture factory that soon will be turned over to making coffins, is provoked into resistance. He spends his Sundays writing anonymous postcards against the regime and dropping them in the stairwells of city buildings. "Mother Don't give to the Winter Relief Fund! - Work as slowly as you can! - Put sand in the machines! - Every stroke of work not done will shorten the war!"The overriding and unanswerable question about the Nazis remains how did it happen? How did an entire nation allow themselves to be swept up in a tsunami of racial hatred and vengeance? We’re usually told there was nothing one individual could do to oppose this orchestrated regime of terror. The brilliant achievement of this novel is to show how two simple working class people did oppose the Nazis, but, from every practical point of view, in an utterly futile manner. The postcards they wrote – lacking any intellectual sophistication and often containing grammatical errors and misspellings - were almost all immediately handed in to the Gestapo. They terrified anyone who had the bad luck to stumble across one of them. They did no political or military damage whatsoever. This husband and wife were risking their lives for, what in practical terms, was an utterly futile commitment to a series of all but useless gestures. Anna herself questions the “smallness” of the gesture but Otto points out that, if caught, they will pay with their lives and no one can sacrifice more than her own life. Fallada’s great triumph is to show us that their actions, in the sphere of ethics, were far from futile. They acted in accordance with conscience, to preserve their moral integrity even though they knew that to preserve their self-respect would mean losing their lives. Otto’s moment of triumph comes at his (sham) trial when he stands up to the infamous real life Nazi judge most famously portrayed in the film Sophie Scholl. Although Otto doesn’t believe in God what he does is as much a religious as a political act. He is acting as though his every gesture is being monitored by a moral overseer.

  • StevenGodin
    2018-12-08 01:27

    Hans Fallada has written an astonishing but ultimately tragic novel of German resistance to Nazism and the ever formidable Third Reich inferno, and I was stunned to learn it took something like 60 years for it's first English publication, and was penned in less than a month. Also Fallada could have escaped Germany; as a man whose books had been banned by the Nazis, and who had spent time in prison and psychiatric institutions as a result of a drug addiction, he should have got out. But if his inability to tear himself away from his homeland took a fearsome personal toll, it also enabled him to convey with chilling precision the texture of life under fascism, the way that fear enters into every transaction and poisons every relationship. Alone in Berlin is a testament to the darkest days the 20th century had to offer, from beginning to end the book in drenched in fear, it grips hold, tight, and makes it perfectly clear, this is how it was, this was actually happening. But for a husband and wife living through WW2 in Berlin they refuse to be intimidated by a despicable regime, and after losing their son in battle, set out discreetly to make their own personal feelings well known to a greater audience, whilst creating wrath within the Gestapo.Otto and Anna Quangel are a hard working couple, laborious, unsociable, thrifty to the point of stinginess, and originally not hostile to the National Socialists. existing in a cold, shabby and colourless city. That changes when their beloved son, Ottochen, is killed while fighting in France. Otto, a foreman in a furniture factory that soon will be turned over to making coffins, is provoked into resistance. He spends his Sundays writing anonymous postcards attacking Hitler, before dropping them in the stairwells of city buildings. "Mother Don't give to the Winter Relief Fund! - Work as slowly as you can! - Put sand in the machines! - Every stroke of work not done will shorten the war!". This silent mission of defiance will lead a furious SS To put inspector Escherich on the case, with the added pressure of getting immediate results. Unfortunately for him It doesn't happen, always turning up a blind ally, with no traces leading to the suspect known as 'Hobgoblin'. The postcard campaign would march on and on, Otto would grow in both strength and confidence, before a spot of bad luck sends the walls crashing down around them. Finally witnessing the brutal penal code of Nazi Germany.But the Quangels only make up part of the story, the novel reaches out far deeper than just it's main theme. There are traces of unruly life scattered everywhere. Brawling, delirium tremens, clinics and drying-out establishments, country idylls, thieves, whores, blackmail, drugs, Nazi veterans in a haze of drink, struggling ordinary folk trying to put food on the table. Vivid is the world of sub-proletarian swindling that exploits and is exploited by the Nazis. It is remarkable that Fallada, just months before his death, could compose a long novel that, after an overcrowded beginning, advances so confidently to its conclusion. The Quangels neighbours all have considerable time spent on them during the first third, helping to paint a picture of just what life was like under such evil rule. In fact there are huge chunks of the novel where Anna and Otto disappear completely, switching attention to the inner workings of the Gestapo and the fearful people who happen to have a run-ins with them. Many would by chance find one of the postcards, and be immediately struck with foreboding and dread for handling them.I have not always taken to huge expansive novels in the past, Alone in Berlin has put my faith back in them. It was superbly written (translation by Michael Hofmann, top marks) never boring, seemed to fly by in a flash, and deserves all the praise it can get. The fact it was also exhaustingly draining on my soul, harrowing and intensely sad, doesn't stop it being up there with the best I have ever read. Even with the chaos of war around, standing face to face with the horror show of fascist Nazism, for some at least, courage and integrity can still exist, and never be broken. Through all the darkness that proceeds it, the novel still manages to end with a flickering light of hope. And Christ, does it ever need it.

  • F
    2018-11-19 02:37

    Loved it.

  • Nikos Tsentemeidis
    2018-11-23 23:25

    Θα μπορούσαμε να δημιουργούμε καλύτερους πολίτες, αν σε ένα εκπαιδευτικό σύστημα αντί για εξετάσεις είχαμε εργασίες με υποχρεωτική ανάγνωση τέτοιων συγκλονιστικών βιβλίων.

  • Saleh MoonWalker
    2018-11-27 01:18

    Onvan : Every Man Dies Alone - Nevisande : Hans Fallada - ISBN : 1933633638 - ISBN13 : 9781933633633 - Dar 543 Safhe - Saal e Chap : 1947

  • Praj
    2018-11-20 06:33

    I should express thanks to Gudrun Burwitz, for if it was not for her ruthless news, I would not have found a brilliant book that stands for every belief which Ms. Burwitz expels from her very survival. Couple weeks ago, a news article describing Burwitz as the new “Nazi grandmother” made me explore further for its validity. Ms. Burwitz who at the ripe age of 81, still strives hard to support and nurture the most modern breed of Nazis ,keeping alive the malicious work and memory of her father Heinrich Himmler, the chief authority behind the Gestapo operations. “The princess of Nazism ", as one of the historian terms Gudrun, is a despicable bitch loathing the essence of humanity through her narrowed National Socialist mindset. I would not identify her as a cultured human being, let alone a decent citizen of a wonderful country. However, she would have been felicitated for her abhorrence during the Third Reich. In 1940’s Gudrun Burwitz would have been a decent German; the ideal daughter of Deutschland. Not, Otto Quangel, though. He was a traitor, a criminal who committed treason against the Fuhrer. Otto Quangel was the ‘Hogoblin’, whose righteous words were feared by anyone who touched or read them.Otto and Anna Quangel was a working class couple. Like many other couples they were decent Germans. They obeyed their Fuhrer, you see. Their only son was serving in the army defending Hitler’s gruesome idea of legality of human race. They helplessly saw their neighbors being caught and shipped to concentration camps, while they silently sipped their watery coffee in sheer silence. They had to be tough in life. That was the common justification of every brutality the Gestapo police committed. Then one fine day, the death news of their only son arrived and Anna in a bursts of sorrow shrieked, “you and your Fuhrer!”. For Otto, a man of few words, Anna’s words weighed more than the misery of losing his child. The agony of guilt swelled up Otto’s moralistic integrity overwhelming his internal ethics. Otto proposed an obscure form of anti-Nazi warfare. He would write postcards with slogans against the ongoing atrocities.“Mother! The Fuhrer has murdered my son! Mother! The Fuhrer will murder your sons too; he will not stop till he has brought sorrow to every home.”Otto’s heroic resistance to the Nazi Regime magnified only through his personal tragedy. Did the death of his son made him courageous as now he had nothing to lose? Would Otto walk the mutinous path had his son arrived safely home?Hans Fallada who suffered through his own personal war as Rudolf Ditzen, brings the laudable efforts of Elise and Otto Hampel (1931), a real life couple who wrote anonymous postcards and leaflets to educate people about the ongoing atrocities ,informing to not buying Nazi papers and resist from participating in the war. The writing is trouble-free and the plot predictable; nevertheless, throughout the fictional portrayals of the Quangels, Fallada beautifully enlightens the misery of ordinary Germans who struggled from their own moral battles. Like, Eva Kungel who curses the fact of her birthing children who would eventually end up becoming monsters. The investigation of the Hobgoblin case and the defenselessness of Inspector Escherich expose the disintegration of humanness in a society where the nobleness of a feeble endeavor to capture terror was misplaced.Otto Quangel was the burning conscience of a guilt –ridden nation. He and Anna were among the few whom were “good corns” sown in the fields of weeds. Fallada signs off the book saying, “But we don’t want to end this book with death; dedicated as it is to life, life always triumphs over humiliation and tears, over misery and death”. Otto and Anna’s death was inevitable and their efforts although ineffectual were not insignificant. The Quangels did the unattainable and unfortunately their voices were lost among timid tones and pigheaded establishment, contrasting Wael Ghonim the cyber hero whose efforts instigated a revolution finally overthrowing Hosni Mubarak from supremacy.

  • Bettie☯
    2018-11-15 06:39

    Bettie's Bookshttp://www.bbc.co.uk/programmes/b00vvwq0Re-visit 2015 via R4x:Primo Levi's declaration that Alone in Berlin is "the greatest book ever written about German resistance to the Nazis" is bold and unequivocal. English readers have had to wait 60 years to explore the 1947 novel in which Otto Quangel, a factory foreman (Ron Cook) and his wife Anna (Margot Leicester) believe themselves morally obliged to take on the full might of the Nazis.When their son is killed "for Fuhrer and Fatherland", the Quangels begin to write anonymous postcards, denouncing the war and the regime, and leave them on the stairwells of public buildings in Berlin. Over two years, the cards become their life. Trapped through a trivial mistake, by their nemesis, Inspector Escherich of the Gestapo (Tim McInnerny) they are put on trial for their lives, but find a strange freedom in a mocking defiance and then in a terrible silence.Alone in Berlin is a grim but heroic story told with laconic determination by a man who lived through the war in Berlin. It is about the quiet moral triumph of a seemingly inconsequential couple - it points to a courage which lay in the hearts of most true Germans, if only angst and overwhelming fear hadn't been allowed to gain the upper hand.Cast:Otto Quangel ..... Ron CookAnna Quangel ..... Margot LeicesterEscherich ..... Tim McInnernyTrudel Bauman ..... Jasmine HydeEva Kluge ..... Christine KavanaghEnno Kluge ..... Ian BartholomewEmil Borkhausen ..... Richard McCabeFrau Rosenthal ..... Joanna MunroeInspector Rusch ..... John McAndrewJudge Fromm ..... Andrew SachsInspector Zott ..... Nickolas GraceInspector Prall ..... Sam DaleDirector: Eoin O'Callaghan.

  • Melanie
    2018-11-22 23:30

    Some books make you work for it. They're not easy, they're difficult, they're sprawling and slow and undecided. Until they're not. Until you feel the gigantic heart beating at its nervous center, its unabashed humanity and intelligence. It took me 250 pages to fully get into this one, and suddenly it took a turn and I was hooked like never before by its vital urgency. The characters were full-fleshed, fully realized, flawed and magnificent at the same time. The novel rushed towards its inevitable conclusion with grace, the characters rushed towards their inescapable fate with a lucidity that leaves us in awe and teaches us a thing or two about the meaning of courage.The author wrote this novel in 24 days and never lived to see its publication. According to the amazing bonus documents at the end of the paperback edition, Hans Fallada based his novel on a true story and was wondering whether the real acts of resistance of Otto and Elise Hampel had had any meaning.Their lives, the ordinariness, the smallness, the awkwardness of their resistance have more meaning than they will ever know.Because it is absolutely essential for us, for all the generations that come after World War Two, to know that there was decency and good in some Germans in the face of evil.An unforgettable book.

  • Roberto
    2018-11-17 23:27

    Ma cosa si era messo in mente? Un semplice operaio che lotta contro il Führer? È come se una zanzara volesse combattere contro un elefanteLo scrittore tedesco Rudolf Ditzen, noto come Hans Fallada, tossicodipendente, alcolizzato, finito più volte in galera e in manicomio, scrisse nel 1946 in soli 24 giorni le 700 pagine del romanzo, basandosi sui fascicoli provenienti dalla Gestapo sulla vera storia dei coniugi Otto ed Elise Hampel (Quangel nel libro), lui operaio e lei casalinga, che decisero di opporsi al nazismo semplicemente lasciando per le vie di Berlino cartoline che invitavano i tedeschi a ribellarsi al nazismo.Un atto che sembra semplice e banale ai nostri occhi, ma che a quel tempo portava senza indugi alla pena capitale.Cosa facevano gli abitanti di Berlino quando trovavano casualmente le cartoline scritte e lasciate faticosamente dai Quangel? Le consegnavano immediatamente, terrorizzati, alla Gestapo, vanificandone di fatto l’effetto. E infatti il momento più drammatico per Otto, una volta catturato, non fu quello delle percosse e delle torture, quanto quello in cui capì che quasi tutte le cartoline prodotte erano state inutili.La lettura del romanzo è stata per me certamente tra le più coinvolgenti ed interessanti in assoluto. Sottolineerei alcuni punti che emergono dalla lettura:La paura, i delatori, la solitudine. Quello che si evince dal romanzo è che tutti in Germania avevano paura. Una paura totale. Una paura che faceva mancare il respiro, che attanagliava quando ci si rendeva conto che poteva succedere davvero di tutto. Una paura permanente, perché nulla poteva assicurare di non ritrovarsi, in qualunque momento, sbattuti in una prigione con le ossa rotte. Una paura che invadeva tutti, perfino i nazisti, perché il vento poteva cambiare repentinamente.In agguato c'erano il carcere, la tortura, la deportazione.La gente sapeva di poter essere arrestata per un qualsiasi motivo: “tutti hanno qualcosa da nascondere, basta tirarlo fuori” era il credo della Gestapo. E quel “tirarlo fuori” nascondeva torture di ogni tipo, ovviamente. La vita umana non valeva praticamente nulla.Il regime era oppressivo tanto da rendere quasi impossibile l'opposizione. Solo l’unione tra gli individui avrebbe forse potuto fare la differenza, eppure tutti avevano troppa paura anche solo per leggere fino alla fine le cartoline dei Quangel. La paura aveva creato un popolo di rassegnati delatori, vigliacchi pronti a tutto pur di farsi belli agli occhi dei superiori, a loro volta terrorizzati da possibili delazioni e indiscrezioni che li riguardassero. I delatori erano ovunque e si doveva stare attenti a parlare e anche a non parlare, perché anche tacere poteva essere indice di mancanza di fedeltà al regime.Intorno alle figure dei coniugi Quangel c'erano anche molti altri personaggi. Persone normali, parenti, brave persone, prostitute, ubriaconi, scommettitori, commissari, militari. Tutti inevitabilmente soli, perché nessuno poteva fidarsi a condividere i propri pensieri. Quasi tutti questi personaggi morirono, anche quelli innocenti. Morirono in assoluta solitudine, senza conforto, senza giustificazione, senza comprendere a fondo le ragioni della propria morte, senza poter condividere con nessuno i propri pensieri."Perché tu devi sapere che allora saremo molto soli nelle nostre celle, senza poterci mai scambiare una parola, noi che per più di vent'anni non abbiamo mai trascorso una giornata lontani uno dall'altra. Ma ognuno di noi saprà che l'altro non cede, che ci possiamo fidare l'uno dell'altra nella morte come ci siamo fidati tutta la vita. Dovremo morire anche da soli, Anna!"La resistenza tedesca. Dal libro si comprende che la maggioranza dei tedeschi era d'accordo col regime nazista. Ognuno tirava avanti come poteva, allineandosi all’ideologia imperante. "Ognuno muore solo" racconta la ribellione di pochissimi uomini, poveracci che hanno una propria dignità, che sono consci di rischiare la vita per principi morali che li porteranno alla morte. Uomini che cercano di comportarsi “bene” per non disprezzarsi, per avere rispetto di sé stessi.“Sarebbe stato naturalmente mille volte meglio se avessimo avuto un uomo che ci avesse detto: dovete agire così e così', questo o quello è il nostro piano. Ma se ci fosse stato un uomo simile in Germania, non avremmo mai avuto un 1933. Così abbiamo dovuto agire ognuno per conto suo, e siamo stati presi uno per uno, e ognuno di noi morrà solo. Ma non per questo siamo soli, Quangel, non per questo moriamo inutilmente. A questo mondo nulla accade inutilmente, e poiché combattiamo per la giustizia contro la forza bruta, saremo noi i vincitori, alla fine."La resistenza tedesca probabilmente non fu efficace a causa del regime di sospetto instaurato nel Reich, dalla crudeltà della Gestapo, della magistratura completamente asservita al potere dominante, ma forse anche alle caratteristiche del popolo tedesco, che vedeva in Hitler l’uomo che avrebbe restituito alla Germania il predominio, dopo l’onta della sconfitta subita nella prima guerra mondiale.La crudeltà dei nazisti. Fallada descrive la crudeltà delle SS, dei commissari nazisti, della Gestapo, delle guardie, in un modo che fa accapponare la pelle. Non vuole scandalizzare, ma solo far capire che la cattiveria, la sopraffazione, la prepotenza, l'arroganza, la stupidità, erano normali in quel periodo in Germania.Il nazismo non viene visto ed analizzato nelle sue cariche più importanti, che erano ovviamente inavvicinabili per la gente comune; esso viene descritto attraverso le figure emblematiche dei commissari e degli ufficiali della Gestapo che cercano di risolvere il caso delle cartoline e alcuni membri della gioventu hitleriana, spietati, duri, rozzi, efficaci e sbrigativi.Il libro. "Ognuno muore solo" è un romanzo terribile, che tratta temi importanti come il comportamento che si può e si vuole tenere quando le condizioni della vita divengono moralmente inaccettabili. Che si traduce nella scelta tra la paura della morte e la disperazione della vita. La narrazione della fine dei coniugi Quangel, con la descrizione degli ultimi attimi di vita, dei loro terrori e dei loro segreti è tanto meravigliosa, dal punto di vista letterario, quanto terribile e drammatica dal punto di vista umano.E' un romanzo trascinante che si legge benissimo, nonostante i temi dolorosi, non tanto per sapere come va a finire, quanto perché le vicende psicologiche dei personaggi sono coinvolgenti al massimo.Fallada usa un linguaggio istintivo, emotivo, semplicissimo e lineare, quasi banale, quasi ingenuo; un linguaggio che però è perfettamente funzionale alla narrazione. Il paragone dei personaggi del romanzo con uccelli, topi e volpi è semplicemente geniale. Forse è grazie al sacrificio di quelle due brave persone, ai due coniugi Quengel, se oggi possiamo capire un pochino di più la Germania nazista; le cartoline non saranno servite a ribaltare il regime nazista, ma forse (chissà, spero...) saranno servite a impedire il ripetersi di situazioni come quelle raccontate.

  • brian
    2018-12-05 02:19

    after losing their son to the war, berlin residents otta and anna quangel launch a mini-revolt against the reich and fuhrer in the form of postcards around the city which speak subversive messages directly to the people. read in the age of twitter and viral videos, this seems, at once, awfully quaint and particularly profound. there was a time, i gather, when words mattered; when there didn't exist a barrage of partisan wingnuts flooding the zeitgeist with nonsense. but lemme skip the cranky old-man get-off-my-yard thing... the portrait of two old people launching a mini-revolution interests me far more than dudes with guns and bombs and shit. so it pains me to slap this with two stars. but, wow. has there ever been a book more in need of an editor? it's plodding and lumbering and filled with so much unnecessary bullshit it makes the reader feel like a kid forced to plow through four servings of steamed broccoli to get to that half-portion of chocolate pudding. it reads as if fallada drew up a rigid outline and just wrote out the shit. um, part of writing is knowing what to leave out -- the 'leaving out' ups the mystery quotient. y'ever hear the phrase, 'get into a scene at the last possible moment and get out at the earliest possible moment?' -- goose the reader, hans. smack her around. you don't need to tell us everything. skip the walk to the apartment, just land us right there and force your reader to make sense of it as it happens. and if you whisk us out of a scene before it ends... you leave us wondering. remember when don quixote raises his sword to hack away at some guy and cervantes just ends the chapter with the sword in the air? genius, man, genius. and coincidences? just stay away. fallada has a character who pisses off a nurse and so to stick it to him she rats him out as the card dropper. the gestapo quickly realize the guy couldn't possibly be the card-dropper but, so as to prove to their superiors that they're following leads, they tail the guy. we, the reader, know that the guy's foreman at work is otto quangel, the actual card dropper. ugh. it wasn't necessary, hans. you didn't need to do this. there are better ways to draw connections, to make things come together, to have all lines diverge on a common point. and there's lots of this kinda shit going on. too much of it. so... i made it 250 pgs deep. halfway. and dropped the book in frustration. and then i read that fallada wrote the book in 24 days. makes sense. given a few more months and a good editor this could've resembled the masterpiece they said it was.

  • Baxevanidou Faye
    2018-12-02 03:34

    Θα συμφωνήσω απολύτως με μία κριτική που διάβασα εδώ μέσα. Αυτά τα βιβλία θα έπρεπε να διδάσκονται στο σχολείο. Ανάγνωσμα για γερά στομάχια......

  • Sam Quixote
    2018-12-04 01:29

    Berlin, 1940. While Hitler celebrates conquering France, a working class German couple – Otto and Anna Quangel – mourn the passing of their son, Ottochen, who fell in the fighting. Bitterly upset at the Fuhrer, they begin a quiet campaign of civil disobedience against his Third Reich, dropping hand-made postcards with anti-Nazi slogans printed on them across Berlin. The treasonous postcards are soon noticed and the Gestapo quickly take up the hunt for the culprits – but how long can the Quangels evade capture? German writer Hans Fallada’s novel Alone in Berlin (published in America under the title Every Man Dies Alone) was written in just 24 days in 1946. Fallada (real name Rudolf Ditzen) passed away from heart failure, after decades of drug and alcohol abuse, mere months after completing it, and never saw its publication in 1947. Despite doing well in both East and West Germany in the ensuing years, the book wasn’t published in English until 2009 when it became a surprise bestseller. And it’s easy to see why – Alone in Berlin is an excellent novel! After the war, Fallada was given the Gestapo file on Otto and Elise Hampel and used their brave, but doomed, campaign of low-key opposition as the basis for his novel. Names are changed here and there, as are the way the characters meet their fates, and Fallada uses the novelist’s prerogative to dramatize his narrative, but the main characters are based on real people from the defiant Quangels to the tenacious and formidable Gestapo Inspector Escherich right down to the utterly despicable Nazi Judge Feisler towards the end. It is a very long read at nearly 600 pages and it takes a while to get going, so, if you’re going to give it a shot, be patient with it. I can also understand people’s criticisms about the narrative containing too many tangents. Fallada gives a lot of chapters to a couple of inessential side characters, deadbeats Enno Kluge and Emil Borkhausen, whose stories are only very tenuously connected to the Quangels’. It would definitely be a more streamlined novel had they been eschewed entirely. The same could be said of the story of the disgusting Nazi family, the Persickes, and their black-hearted SS son Baldur. Then again, if you just want the bare facts, go read the Wikipedia entry on the Hampels instead. Like any writer worth his salt, Fallada is more concerned with the art of fiction writing like creating atmosphere, characters, as well as a real feeling and understanding of this insane time to better understand the people involved and their actions. How else to grasp the overblown reaction to the Quangels’ small, almost quaint, postcards, upon which were written simplistic things along the lines of “Hitler is a liar!”, than to experience the fearful and oppressive atmosphere of life than through a sampling of its society? Also, the myriad stories were largely entertaining and I was rarely bored with anything I was reading, regardless of relevance to the primary plotline. More importantly the wider cast serves as a reminder that there were many German people who secretly hated and resisted Hitler and his war and that the Nazis were not representative of the country as a whole – as a Brit, I get the impression that all Germans from this time get unfairly tarred with the same brush. Those not in concentration camps could still easily become victims and prisoners themselves thanks to horribly corrupt and brutal institutions like the Gestapo making their everyday lives hell. All of which sounds like a thoroughly depressing read, no? It is and it isn’t. Because, though Fallada treats the subject matter with the utmost respect - not to mention the incidence of characters committing suicide, getting murdered, suffering miscarriages, and being executed! - it’s never overwhelmingly grim, melodramatic or sentimental so it doesn’t wear you down emotionally too much. Quite often it weirdly reads like a thriller and, after the initial slow start, it really picks up steam the deeper into it you go; as odd as it sounds given all that, I found it a very enjoyable read. Fallada was undeniably a talented writer and, though his character portraits of certain characters – particularly the Nazis – were one-dimensional, he importantly gives the main ones necessary nuance to stand out. Gestapo Inspector Escherich is an especially memorable and imposing figure whose own fate came as a shock - he strongly reminded me of Christoph Waltz’s Hans Landa from Inglourious Basterds. It has some fat to it that might do with some selective editing as some passages (the interrogation scenes) are a bit dull and slow but on the whole Alone in Berlin is a compelling and exciting novel that paints a vivid and startling image of life in wartime Germany at the very heart of the Third Reich. As well as cementing his own literary legacy with this book, Fallada ensured the courageous sacrifices of Otto and Elise Hampel live on through the years to be discovered by new generations of readers - a powerful story that deserves to be remembered. Alone in Berlin is a remarkable novel I’m glad to have read.

  • Tittirossa
    2018-11-28 01:12

    Agghiacciante. Allucinante.E' un romanzo.Ma è stato scritto quasi "in diretta" (è uscito nel 1947).Quindi qualcuno che si opponeva c'era.Quindi era possibile opporsi.Quindi era possibile essere contro e non accettare acriticamente tutto quello che imponeva il regime nazista, per paura.Quindi è ancora più orribile quello che è successo.(lo so che questo discorso è da anime candide, e non tiene conto di tutte le variabile dell'hic et nunc. ma rimane il fatto che opporsi era possibile)

  • This Queen
    2018-11-19 05:19

    - Μήπως είναι, πως να το πω, κάπως λίγο αυτό που θέλεις να κάνεις?Μπορεί να είχε δίκιο: Λίγο ή πολύ, κανείς δεν μπορεί να ρισκάρει τίποτα περισσότερο από την ίδια του τη ζωή. Κάθε άνθρωπος έχει διαφορετικές ικανότητες και διαφορετικό χαρακτήρα - το σημαντικό είναι να αντιστέκεσαι.Όλη η ουσία αυτού του βιβλίου βρίσκεται στην παραπάνω φράση. Εξαιρετική αφήγηση και αναβίωση μιας εποχής και της αντίστασης που πρόβαλλαν στο ναζισμό κάποιοι -λίγοι- συνηθισμένοι άνθρωποι. Το "χτίσιμο" των δεύτερων χαρακτήρων προσδίδει στην πλοκή μιαν αλήθεια που μεταφέρει αυτούσια όλα τα συναισθήματα που ξεδιπλώνονται κατά την ανάγνωση: φόβος, απελπισία, αδιέξοδο, θάρρος, αντίσταση, ελπίδα. Το προτείνω ανεπιφύλακτα και χαίρομαι ιδιαίτερα που το 1ο βιβλίο για το '17 αποδείχθηκε διαμαντάκι.

  • Mark
    2018-11-10 23:15

    After having started 2011 with a couple of disappointing novels this one blew me away. Written in 1947 but set in the middle years of the war it follows a number of different characters ranging from the noble and kind through the naive and tragic to the utterly loathsome making a few stops at the fairly disgusting. All emotions are here and this reader certainly experienced quite a few of them himself. The hero and heroine,(Fallada speaks of people in their fifties or even late forties as being old,... this is quite sobering for a man careering towards his 50's but because of the power of this book i'll let it pass !!)an older married couple, having initially been supporters or at least not opponents of the regime in Germany are thrust into a space by the death of their only Son which forces them to reconsider and so begins their simple rebellion of writing annonymous postcards against the Nazis and leaving them in public places. The story is about their courage and struggles and the way their actions affect or involve others. There are side stories involving various other berliners, many of whom, without knowing it, live side by side with these unnoticed and unremembered rebels. The novel delves deep into the horror and injustice present I suppose in all oppressive and cruel dehumanizing regimes but Otto and Anna's refusal to be cowed is amazingly moving. There is even humour; the chapters in the court room would be ridiculous and farcical if it wasn't for the verdicts at the end but the defendants' responses are magnificently powerful. There is an enormous number of brutal and cruel deaths here but nobody reading a book set in Germany in 1942 can be surprised at that and yet the surprise for me is the fact that I was left feeling positive.There was horror, cruelty and monstrous injustice but the ability of love to overcome betrayal, rejection and seeming hopelessness are writ large here. The book revolves around relationships; the life giving sort of men and women in love, the positive affect that can be brought about in a life by the unconditional offering of acceptance, the renewal and recharging of hope because someone loves you and then on the negative side the opposite. How brutalized and rejected people can come to lose all human sympathy and begin to relate to others only as sources of income, entertainment or revenge. The over riding relationship in the background is perhaps that of parent to child. We see good parents mourning the death of a son, we see a good parent being devestated by the realization of her child's brutality, we see a longed for child lost, we see a nigh on demonic relationship between a son and a father who appear to have lost all sense of humanity and we see a brutalized child escaping to new hope with a new parent. Looking back i have used 'brutal' a lot, I apologize for that lack of vocabulary but i suppose that is my over riding image of the book but underpinning it is that other recurring word, love. Do read this book. it's extraordinary.

  • Arwen56
    2018-12-11 01:29

    Non conoscevo affatto né l’autore, né il romanzo. Sono stata indotta a prenderlo in mano dopo aver letto le recensioni di Sandra e di Roberto. E ho fatto bene a seguire i loro consigli, perché merita. A malapena riuscivo a posarlo, la sera, per andare a dormire. E sempre con dispiacere. Perché, nonostante lo stile asciutto, scevro da lungaggini, quasi “spartano” direi, ci si immerge poco a poco in un’atmosfera fatta di paura, di costante timore, di angoscia. Una cappa desolante di sfiducia, in cui tutto affoga e pare sfiorire.L’accostamento che mi viene più immediato è con “1984”, di George Orwell. Libro bellissimo, senza dubbio, ma questo lo è di più, perché ha accenti di vita vera e gli esseri umani li sente quasi respirare.Il libro trae spunto da una vicenda reale, ossia il processo e la condanna a morte di due coniugi berlinesi, Otto ed Elise Hampel (nel libro Otto e Anna Quangel), ghigliottinati nel 1943 per alto tradimento, dopo aver scritto e distribuito delle cartoline postali che invitavano la popolazione a reagire e opporsi al nazismo.Attorno a queste due persone e alla loro vicenda si muovono moltissime altre figure, costruendo in tal modo una trama e un ordito che creano un quadro vivissimo di ciò che doveva essere la vita in quegli anni di obnubilamento delle coscienze. Leggendo si riflette, ci si preoccupa, ci si commuove, ci si indigna, ci si ritrova in ansia, ci si sente impotenti e, talvolta, persino si sorride. E si partecipa sempre, ma non in modo acritico, al contrario, sempre con i sensi all’erta. Come sarebbe piaciuto a Bertolt Brecht. Chissà se quest’ultimo ha letto “Ognuno muore solo”. E chissà se Fallada ha letto “Terrore e miseria del Terzo Reich”.Le ultime cento pagine sono le più intense e, forse, le più tristi, benché si chiudano, tutto sommato, con una nota positiva.Non aggiungo altro, però vi consiglio di non perdervela questa lettura.

  • Whitaker
    2018-11-28 22:24

    I read this while I was also reading Robert Fisk's The Great War for Civilisation The Conquest of the Middle East. Bad idea. Very bad idea. Note to self: Reading two depressing books at the same time does not do good things to one's mood. There has been a surge of interest in the German experience of World War II, particularly the experience of those who tried to resist the war mongering. This novel joins works like The Song Before It Is Sung A Novel, Valkyrie The Plot To Kill Hitler, and Sophie Scholl The Real Story Behind German's Resistance Heroine. It was, however, written long before, in 1947 by Hans Fallada, and in that sense, can be regarded as almost a synchronous record. I am glad for this rehabilitation. It is always useful to remember that no group anywhere is a monolithic bloc and in this age of a resurgent right and rising Islamophobia, it is a lesson that is only too important to remember. What makes this book, for me, less a four or five star effort was its treatment of its characters. Good or bad fell into more or less easily defined camps. The Nazis were brutal bullies; the resisters were good hearted but ineffectual. I don't think life is that simple. The story touched on but did not delve into the fact that most people are just scared. Scared of being denounced, scared of dying, it's so much easier to just go along, to close your eyes to the horror around you. How many of us would do that? I'm pretty sure I would cave, especially if faced by torture and the deaths of my nearest and dearest. Worse. How many of us would be immune to The Lucifer Effect, that infamous Berkeley experiment where ordinary men off the street turned into brutal thugs when placed in charge of another group of men off the street and told to treat them like prisoners? The craven eager willingness to give in to calls to invade Iraq gives me little hope: when even in the "land of the free and the brave" dissenting voices squelch their nagging doubts what are the chances that we'll be better than that? What I liked about the book was its portrayal of ordinary people, holding fast to their beliefs. I'd like to believe that it's possible. I also liked how it raised the eternal question: what form should resistance take? Is it still necessary even if or even when it's utterly useless? This book says, and says resoundingly, "Yes!" I want to believe that. I really do. Oh, but how easy it would be to rationalize collaboration, to say, "I can do more good subverting the system from within."

  • Χρήστος
    2018-11-16 01:39

    Καιρό είχα να απολαύσω τόσο πολύ βιβλίο. Ο Φάλαντα αφηγείται μια αληθινή αντιστασιακή ιστορία στο ναζιστικό Βερολίνο δημιουργώντας εντυπωσιακά ζωντανούς χαρακτήρες και πετυχαίνοντας τη διατήρηση ενός διακριτικού αλλά απτόητου ρυθμού που βοηθά το βιβλίο να φανεί πολύ μικρότερο από όσο πραγματικά είναι (650 σελίδες). Το μεγαλύτερο κατόρθωμά του όμως κατά τη γνώμη μου είναι ότι, εν μέσω βαρβαρότητας που φυσικά δεν αποσιωπάται ή λειαίνεται, επιδεικνύει μια ξεκάθαρη και συχνά ξεκαρδιστική παρωδιακή διάθεση απέναντι στα ελαττώματα της ανθρώπινης φύσης (δειλία, απληστία, φθόνος, χαμέρπεια) και κυρίως στους ανθρώπους που συναποτελούσαν και κινούσαν τη ναζιστική μηχανή.

  • Cara
    2018-11-30 00:28

    If I could have given this six stars, I would have. Maybe it was because I read it in a day, or maybe because it was based on a true story, I know I will not forget this book for a long time.Much WW2 literature is written from the view point of the English during the blitz, the French heading up the Resistence or the Nazi's wreaking evil. I think there is only Alone in Berlin and The Book Thief that I have read, which has given an insight into the dire situation that the ordinary Germans lived through to survive the War. The loss of their son fighting for Hitler, sets Otto & Anna on a path that once started upon, they cannot stop. It may seem a very trivial or weak way to fight out against the Fuhrer, by leaving postcards with anti-Nazi propoganda written upon them all around Berlin. It is however, an act or mission which they will pay for with their lives if caught.The other characters who play out alongside Otto & Anna are all brilliantly drawn. Defined by their bravery, evilness, cunning or fecklesness. None of them are superfluous to the story, even old Judge Fromm makes his final appearance worthy of his strange actions at the beginning.Other factors which made this book amazing for me alongside the fact that it was closely based on a true story, is that it was written in only twenty four days and was first released in 1947. It reads like a modern day thriller and the detail only serves to heighten the suspense and fear you have for the characters. A hefty volume, but definitely worth the investment of your time.

  • Χριστίνα
    2018-12-04 00:35

    Εξαιρετικό!! Ένα από τα καλύτερα βιβλία που έχω διαβάσει ποτέ!! Είναι τόσο πλούσιο σε αισθήματα και εικόνες που δεν μπορώ έτσι απλά να το περιγράψω με λέξεις. Χαίρομαι πραγματικά που διάβασα ένα τέτοιο αριστουργηματικό βιβλίο, που παρά τον πόνο και το θάνατο που περιέχει, σε γεμίζει αισιοδοξία και θάρρος για τη ζωή βλέποντας πως υπήρξαν, υπάρχουν και θα υπάρχουν άνθρωποι όπως ο Ότο και η Άννα Κβάνγκελ.

  • Chrysostomos
    2018-11-22 22:33

    Αριστουργημα! Καταπληκτικός Φαλαντα αξιζει να διαβαστεί απο όλους!

  • Esteban del Mal
    2018-12-03 23:26

    Nazis: history's equivalent to that team that always gets trounced by the Harlem Globetrotters, the Washington Generals. Every time you see Nazis in a movie or read of Nazis in book, you know that they're gonna get theirs in the end. It's akin to something like culturally accepted wisdom to dismiss them as caricatures. But they aren't caricatures (Godwin's Law notwithstanding) -- they existed (DO exist), and for a while there it looked like they might even run things. The period of their ascendancy can hardly be over-examined, because we can't afford anything even remotely resembling it coming about again.Hans Fallada (the nom de plume of Rudolf Ditzen) wrote this book in an astonishing 24 days (about the same amount of time it took me to read it -- OY!) upon being released from an insane asylum after the German surrender in WWII. He did not live to see his novel published. I can't even begin to imagine what he experienced. You can see flashes of his talent throughout, but the whole lacks a certain consistency.The story is a fictionalized account of the true story of a working class couple that distributed postcards anonymously throughout Berlin urging Germans to revolt, sabotage and generally undermine the Nazis whenever possible. The couple attached great importance to the postcards, believing they were having the desired effect on the populace. Of course the postcards were generally reviled and went unheeded, only holding significance to their authors (think all of us here on Goodreads). Yet even when the couple is captured, learn that their postcard campaign accomplished nothing, and they are condemned to death, Falluda captures their dignity.

  • Book Riot Community
    2018-11-30 00:28

    This is an absolutely devastating novel about Otto and Anna Quangel, an older working-class German couple during World War II who wrote anti-Nazi messages on postcards and left them around Berlin. The two work on their own, not part of any larger resistance movement, and they have no way of knowing whether their messages are having any effect. It gets off to a slow start, as the Quangels start their work and the authorities begin to take notice and sift through various suspects to find the culprits. But the later chapters, as the Quangels explain their actions and decide how to deal with the consequences are terrifying and wrenching. Based on the true story of Otto and Elise Hampel and first published in 1947, this book sends a powerful message about the importance of speaking up for good, regardless of the results.-Teresa Prestonfrom The Best Books We Read In June 2016: http://bookriot.com/2016/06/29/riot-r...

  • booklady
    2018-11-17 06:36

    October 31, 2016: Just learned from my friend, Kerstin, there is now a movie about this book, Alone in Berlin. I am not surprised. This is an amazing book. Dark, DARK, Dark, but so appropriate for this age we are living in ... preparatory, prophetic. Into our culture of death which teaches that nothing really matters comes a book and film which teaches the opposite; even our smallest little protests against this grinding machine COUNT. We count. Each and every one of us, from the very smallest unwanted embryo at the beginning of life to the forgotten soul clinging to life in some prison hole or hospital. We are all precious and every single thing we do, every hair on our head, cell of our bodies, though it may seem alone and forgotten is not. On the contrary, we are held dear beyond our wildest imaginings by Him Who IS. Sep 04, 2013: Hans Fallada’s Every Man Dies Alone is the fictionalized account of Otto and Elise Hampel’s unsuccessful localized propaganda effort against the Third Reich during World War II. When the author, Fallada first read about the Hampels’ unspectacular and unsophisticated ‘postcard campaign’ immediately after the war, he was not impressed. Of the 287 hand-written and badly spelled cards, 265 were immediately turned into the Nazi authorities. Compared to (say) von Stauffenberg and his associates’ attempted coup d’état in July 1944, or ... the literate and cultivated leaflets written by the university-educated dissidents of the “White Rose” group in 1942-43, their story was singularly uninspiring. And yet, Fallada's understated telling of the Hampels’ quiet, miserable, even hopeless stand against the 20th Century Killing Machine is compelling.Near the end of the book we are given the reason for everything (including the book's name) by an afterthought character, a prison cellmate of Otto, an orchestra director, who explains to Quangel (the fictional name of Otto Hampel) that his actions far from being futile were very meaningful, “As it was, we all acted alone, we were caught alone, and everyone of us will have to die alone. But that doesn’t mean we are alone, Quangel or that our deaths are in vain. Nothing in this world is done in vain, and since we are fighting for justice against brutality, we are bound to prevail in the end.”Fallada was the nom de plume for Rudolf Ditzen, a man who was a composite of good and bad, sometimes working with and sometimes working against ‘the system’ – like his fictional and fictionalized characters. Every Man Dies Alone is one of the most challenging books I’ve read in a long time, which explains why I offered the life raft of the quote above. It is an uphill read as you are fighting evil angry oppression alongside fearful individuals, turned against each other by circumstance, personality and weakness. In addition to the Quangels’, Fallada has created/woven a cast of other characters, some real/altered and some invented: their dead son’s former girlfriend and her associates; residents of their apartment complex; the inspectors investigating their case; family members, suspects, business associates and finally those met in prison. Fleshing out the novel adds interest but also seems to multiply despair … at least initially.Amazing story and yes, ‘nothing in the world is done in vain’! ======================================Finished it late last night or early this a.m. I'm so glad I stuck with it, although I was wondering. Review to follow. Need some time...Have been stopping and starting this book, reading other lighter books in between. Not sure if that is 'cheating' or helping me some perspective...?

  • Paola
    2018-11-18 23:32

    This is a beautiful book painting the lives of common people living through the terrible years of Nazi Germany, written just after the war by somebody who actually lived in lived through those years.Fallada introduces us to carpenter Otto Quangel and his stay at home wife Anna in the first chapter, and we stay with these main protagonists for the whole book - but all around them many diverse specimens of humanity help paint what it was like. None of these characters is flat or stereotypical: even for the more unidimensional among them we do get to see how they perceive themselves and justify their own actions.Some of the chapters are painful to go through: the Gestapo interrogations (especially those by inspector Laub), the trials of the People's Court are torturing. Some of these descriptions seem out of proportion, then you think that Fallada himself experienced interrogations and prison, and it gets more blood curling. As one would expect, we see depicted the struggle between the pure evil of Nazism and the fundamental decency of those who could simply not debase themselves, that could not be satisfied with trying to get by since nobody can win on his own. A stubborness in dignity, summarised in an exchange between Quangel and and Sr. Richard:Would you rather live for an un­just cause than die for a just one? There is no choice—not for you, nor for me ei­ther. It’s be­cause we are as we are that we have to go this wayIn spite of this I find myself disagreeing with Geoff Wilkes in the afterword, when he writes that "whereas Hanna Aredt's Eichmann in Jerusalem (1936) dissects and analyzes "the banality of evil", Hans Fallada's Every Man Dies Alone comprehends and honors the banality of good". True, some of the actions of passive resistance (which often translated in a death sentence) are born of a set of accidental circumstances and then metamorphose in stronger acts of defiance almost on their own, as if extra cogs thrown into a mechanism were somehow slotted into place. And yes, once these ordinary people cross the path of the Gestapo, nothing much can help them (as is the case of Enno Kluge, Trudel and Karl). But these people, who lived in absolute terror of putting a foot wrong unwittingly, were very aware of the terrible consequences of even the meekest act of resistance: crossing knowingly the threshold of the 'unlawful' required a great deal of courage.Having read this book without knowing anything about Fallada, couple of times I found him heavy handed, excessive somehow in uderscoring the point just made: for instance, after a prisoner commits suicide while in the care of a priest In con­se­quence of this sui­cide, it was the prison chap­lain, Friedrich Lorenz, who was sus­pended from duty, rather than the drunken doc­tor. Charges were laid against the priest. Be­cause it was a crime and the abet­ting of a crime to en­able a pris­oner to put an end to his own life: only the state and its ser­vants were sup­posed to have that pre­rog­a­tive.This is clear enough, then Fallada feels the need to add If a de­tec­tive pis­tol-whips a man so badly that his skull is frac­tured, and if a drunken doc­tor al­lows the in­jured man to die, both are an ex­am­ple of due process. Whereas if a priest fails to hin­der a sui­cide, if he al­lows a pris­oner to ex­er­cise his or her will—that will is sup­posed to have been taken away—then he has com­mit­ted a crime and must be pun­ished.As a piece of literature, this second paragraph seems unnecessary. But considering this novel was written in about a month, just over one year and a half after the fall of Hitler, this is just raw rage from a survivor.It is a beautifully written book, and one that will stay with me for a long time.

  • Chrissie
    2018-11-15 04:11

    Having read through 185 pages and disliking every minute spent with the book, I am stopping. All of my criticisms remain. Fallada wrote this book in 24 days. It shows. IF SOMEONE WANTS TO READ THIS BOOK - CONTACT ME, MAYBE WE CAN SWAP bOOKS!P.S. I went back and reread the Kirkus review. I should have read the review more carefully. It is clearly stated that the characters are "archetypal to a fault". I recommend that carefully read Kirkus's review. Here follows a link to that review: http://search.barnesandnoble.com/book.... It is found at the bottom of the page.I am on page 172 and I thought I just cannot stand reading more of this book...... then I went and looked at the book description and noted that 22 of my GR friends have this on the to-read shelves. Of the four of my friends who have read the book, one gave it 5 stars and three others gave it 4 stars. The average rating is 4.11 with 728 people having read the book! And I really hate it. Now I am thinking I simply must finsih reding it to give a complete report of my views. If I stop now, I haven't given the book a fair chance. So I will continue but the following is what I am currently thinking. Nobody can say that his author has a way with words. The writing is just plain ordinary. The characters are primarily despicable, so it is logical that their language is too. I must accept that. However I do not believe that despicable people have to be described by means of a flat text. Their is no sarcasm. There is no humor. There is no irony. The text is just plain flat.Fallada want to draw a picture of the fear that dragged all Germans down under Hitler's regime. We are to understand how the German people suffered too. I have no problem with that; they too suffered under Hitler. BUT there is NO discussion whatsoever about how originally the Germans in fact looked at Hitler as a person who would bring order to their life and economy. There is not a hint of this in the text. The primary couple in this book are trying to revolt in their own little way, and of course that is good, but but I thoroughly dislike the brutish way in which the huge majority of Germans are depicted. Some of these Germans were moral, good, just people. Other than the couple, I see none of these in this book. Every German official is depicted as a dumb clout. There is one jurist who tries to help a Jew and even he is drawn in negative contours. The fear prevalent in the German socity is made very clear. Most people didn't have the strength to fight this, but some did. So what am I saying? I am saying that the picture drawn of the German population is done without insight or nuance. That is what I think now. I will continue reading.Through page 86: What isit with me? This book has gotten rave reviews, and me - I keep falling asleep when I read it! I don't feel for any of the main protagonists and the writing is just plain ordinary. I hope it gets better.And here is a quote from page 86 to show you what I mean:"While Enno is trotting around the streets, timidly looking for his Tutti, Borkhausen has got up from his bed, gone to the kitchen, and savagely and broodingly eats his fill. Then Borkhausen finds a pack of cigarettes in the wardrobe, slips it in his pocket, and sits down at the table again, pondering gloomily head in hand.""Which is how Otti finds him when she returns from the shop. Of course she sees right away that he's helped himself to some food, and she knows he didn't have any smokes on him and traces the theft to her wardrobe. Apprehensive as she is, she starts an argument right away. 'Yes, that's my darling, a man who eats my food and snitches my cigarettes! Give them back right now. Or pay me back for them. Give me some money, Emil.'"Boring!

  • david
    2018-11-14 03:14

    Arendt wrote of the 'banality of evil.' Fallada's book is maybe about the futility of good, or the absence of cohesion amongst those who were not endangered directly. This WW2 story concerns non-Semitic Germans during this period. It melts into a pond of existentialism and it bespeaks another aspect of imperfect humanity.

  • S©aP
    2018-11-10 01:17

    Romanzo teso e sconvolgente, che si legge d'un fiato non ostante la lunghezza. Fresco, a dispetto dell'età. E profondo. Eccellente prodotto di editoria, in cui un'ampia post-fazione aiuta a metabolizzare la lettura e a comprendere l'autore. Le vicende narrate prendono spunto da fatti realmente accaduti. Il contesto, tristemente noto, è la Berlino in guerra degli anni '40. Oltre alla trama e all'intreccio, fatti e personaggi rendono una fotografia nitida di alcune delle dinamiche che hanno alimentato il successo del nazismo. Non si vede l'enorme consenso di massa, né l'esultanza collettiva e contagiosa. L'orgoglio posticcio del popolo si intuisce, ma resta sullo sfondo. Si illuminano, invece, le fondamenta e i meccanismi della violenza impositiva del potere; la loro capillarità. Si descrivono le forme dell'acquiescenza, a volte inevitabile, altre ignava, e le dinamiche di quegli atteggiamenti diffusi che poi, nelle analisi successive, configureranno l'idea di una "connivenza" di popolo, con il suo dittatore e con il male generato. Si intravede anche il germe dell'indipendenza di giudizio, là dove nasce e prova a sopravvivere (con alterna fortuna) pur se l'ambiente è a lui il più ostile. Lo ritroviamo, qui, nelle menti più semplici, meno strutturate, non necessariamente colte o coraggiose. E ne apprezziamo meglio la purezza.