By Hans Keilson
A penetrating research of standard humans resisting the Nazi occupation—and, actual to its identify, a dismal comedy of wartime manners—Comedy in a Minor Key tells the tale of Wim and Marie, a Dutch couple who first cover a Jew they be aware of as Nico, then needs to cast off his physique while he dies of pneumonia. This novella, first released in 1947 and now translated into English for the 1st time, exhibits Hans Keilson at his most sensible: deeply ironic, penetrating, sympathetic, and brilliantly glossy, an inheritor to Joseph Roth and Franz Kafka. In 2008, while Keilson got Germany's prestigious Welt Literature Prize, the quotation praised his paintings for exploring "the harmful impulse at paintings within the 20th century, right down to its inner most mental and non secular ramifications."
Published to rejoice Keilson's hundredth birthday, Comedy in a Minor Key—and The loss of life of the Adversary, reissued in paperback—will introduce American readers to a forgotten vintage writer, a witness to international battle II and a cosmopolitan storyteller whose books stay as clean as after they first got here to gentle.
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Additional resources for Comedy in a Minor Key: A Novel
I have existed all this time. I might have been there when you were baptized, Myra. ” As the moment vanishes, Artkin meets Miro’s eyes and gives him “as much of a smile as he ever allowed himself” (23). As is typical with Cormier, the scene serves more than one purpose. Besides justifying Miro’s name, it demonstrates the slipperiness of the concept of “names” and their relation to people’s inner psyches. It also reveals Arkin’s confidence and his ability to manipulate people and make them question even their most basic beliefs about themselves and the world around them, and because the scene comes early in the book it prepares readers to appreciate Arkin’s motivation and skill in the coming ordeal.
That’s when I saw the tool on the windowsill. ” I asked, but of course he can’t just answer the question. He has to argue. ” Well, I knew a ratchet when I saw one. qxd 20 6/12/07 9:40 AM Page 20 Chapter One Henriette tires of the argument and so pretends to read. The father gets so mad that he starts to dump Henriette out the window, but fortunately a nurse intercedes, and then someone in the hall shouts that Havana cigars are being passed out in the waiting room and Mr. Clark dashes off. Before he gets back, a woman comes in to get the information for the birth certificate and Henriette grabs the form and gets the last word in the argument by writing “Ratchet!
Or Cellar Steps. Adam Farmer was nothing—the void yawned ahead of him and behind him, with no constant to guide himself by. Who am I? Adam Farmer. Two words, that’s all” (83). Lines from the song are sung in various places throughout the book, but not until four pages from the end does Cormier include the last line of the song: Heigh-ho, the merry-o, The cheese stands alone. ” Either way, the line is an accurate description of what has happened to Adam. ” The writer recommends that “Subject A’s confinement be continued until termination procedures are approved; or (b) Subject A’s condition be sustained until Subject A obliterates” (213).
Comedy in a Minor Key: A Novel by Hans Keilson