A Stranger in My Own Country: The 1944 Prison Diary by Hans Fallada

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By Hans Fallada

'I lived an identical existence as all people else, the lifetime of traditional humans, the masses.' Sitting in a jail phone within the autumn of 1944, Hans Fallada sums up his existence less than the nationwide Socialist dictatorship, the time of 'inward emigration'. lower than stipulations of shut confinement, in consistent worry of discovery, he writes himself unfastened from the nightmare of the Nazi years. His frank and occasionally provocative memoirs have been proposal for a few years to were misplaced. they're released right here in English for the 1st time.

The confessional mode didn't come certainly to Fallada the author of fiction, yet within the psychological and emotional misery of 1944, self-reflection grew to become a survival method. within the 'house of the dead' he exacts his political revenge on paper. 'I comprehend that i'm loopy. I'm risking not just my very own lifestyles, I'm additionally risking ... the lives of some of the humans i'm writing about', he notes, pushed by means of the compulsion to jot down. And write he does - approximately spying and denunciation, concerning the risk to his livelihood and his literary paintings, in regards to the destiny of many pals and contemporaries reminiscent of Ernst Rowohlt and Emil Jannings. to hide his intentions and to save lots of paper, he makes use of abbreviations. His notes, always uncovered to the gaze of the felony warders, turn into one of those mystery code. He eventually succeeds in smuggling the manuscript out of the felony, even though it remained unpublished for part a century.

These revealing memoirs by way of one of many best-known German writers of the twentieth century can be of serious curiosity to all readers of recent literature.

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A Stranger in My Own Country: The 1944 Prison Diary

'I lived an identical existence as everybody else, the lifetime of usual humans, the loads. ' Sitting in a jail mobile within the autumn of 1944, Hans Fallada sums up his existence lower than the nationwide Socialist dictatorship, the time of 'inward emigration'. below stipulations of shut confinement, in consistent worry of discovery, he writes himself unfastened from the nightmare of the Nazi years.

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Shorn of its nineteenth-century style, rid of its fondness for the impersonal passive tense, and free of its lengthier sentences, it has gained immensely in clarity. It has also gained in readers (hence Howard’s reference to the financial rewards). M. Baldwin, ‘Clausewitz in Nazi Germany’, Journal of Contemporary History, 16 (1981), 19. 44 Ibid. 19. , Basil Liddell Hart, The Defence of the West (London, 1950), 292–4, 371. 46 J. F. C. Fuller, The Conduct of War 1789–1961: A Study of the Impact of the French, Industrial and Russian Revolutions on War and Its Conduct (London, 1961), 12, 64–5.

However, Paret himself suggested another answer. He believed that Clausewitz’s most famous assumption, that war is nothing but the continuation of policy by other means, pervades the entire text, because it was a proposition which had its roots in his earliest reactions to war and was fully fledged by 1804–5, even before the battle of Jena. Thus for Paret, and for those who have read his rendering of it, On War possesses an inner unity which had escaped its earlier readers. This is the Clausewitz which has ruled the roost in American military academies for the last thirty years, and it made sense both in the aftermath of the Vietnam War and in the later years of the Cold War.

Linking this surge of interest to the influence of Moltke rests on an underlying paradox. On War is a sustained dialogue between theory and practice. Clausewitz’s early self-education, the inspiration of his adolescence, had been in philosophy; he had read the works of the Enlightenment, and, for all his damning comments about certain military theorists, he was determined to write a theory of his own. Both his own experience as a soldier and military history, to which he had been introduced by Scharnhorst, were the reality checks on this inclination to abstraction.

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