Who needs another book on Hitler? Even one by Mailer?
The Castle in the Forest
By Norman Mailer
Random House. 467 pp. $27.95
Imagine a different April 1945. Red Army troops pull a bedraggled Adolf Hitler out of his bunker rabbit hole.
Before long the dentist is yanking back Hitler’s head to inspect his teeth. For several years the former Führer alternately rants and ruminates to world media, his trial for crimes against humanity lumbering to its inevitable verdict.
As Hitler stands on the Nuremburg gallows, surprisingly statesmanlike – by then totally overexposed to newspaper readers, radio listeners and newsreel buffs – a few Jewish witnesses to the execution chant “Mazel tov! Mazel tov!”, for which they’re later rebuked.
Would Hitler still have attracted hundreds of biographies, studies, histories, and novels after World War II? Would Norman Mailer, at 84, think the little painter worth another round in his first novel in 10 years?
Doubtful. By escaping his up-close and personal moment with the non-Nazi world through suicide, Hitler forced that world to investigate his uniquely destructive life and times. For decades, the publishing world churned out books to the refrain “Hitler, We Hardly Knew Ye!”
But eventually we did – through 900-page biographies, multivolume histories, pinpoint studies of everyone who ever crossed his path. The world learned what it needed to know. Which makes continuing books about him more suspect.
Yet “even today,” we’re told by the narrator of The Castle in the Forest, Mailer’s imaginative but misbegotten approach to young Adolf, “the first obsession remains Hitler. Where is the German who does not try to understand him?”
All over Germany, would be the answer. Been there, done that. Many Americans feel the same.
Similarly, the narrator later claims “the world has an impoverished understanding of Adolf Hitler’s personality. Detestation, yes, but understanding of him, no – he is, after all, the most mysterious human being of the century.”
Nonsense. Hitler is history’s most overanalyzed psychopath.
So why a novel putatively about Hitler until age 16? The answer seems to be that Mailer, as often before, wants to associate himself with a subject of paramount historical importance. Hitler remains the ultimate touchstone, to writers of his generation, for meditating about evil.
Fair enough. An immortal like Mailer deserves the benefit of the doubt. Unfortunately, a third factor gets in the way. The more you read Castle, the more you feel you’re reading a book about Norman Mailer.
Surprise?
The narrator of this bizarre intermingling of Hitler’s family and, one surmises, Mailer’s thoughts on his own sexuality and big brood, asks the reader to call him D.T., short for Dieter. At first he presents himself as an SS officer in 1938. He worked under Himmler, assigned to look into Hitler’s family background.
About 70 pages in, however, we learn that D.T. is really a “higher devil” who works for Satan himself (a.k.a., the Maestro and Evil One) in the eons-long clash with the deity German-speaking devils call the D.K., for Dummkopf. (That German-speaking devils use a two-letter abbreviation for a single German word is one of many quality-control problemsin Mailer’s effort to evoke German atmosphere.)
The narrator entered Dieter’s body, just as he’s entered others for centuries. It’s how Satan’s cadres get close to “clients,” swaying their choices. As part of his mission, Dieter segued back to Adolf’s childhood.
With that dubious setup, The Castle in the Forest turns out to be not all that much about little Adolf or “Adi.” Instead, it devotes most of its attention to Hitler’s (partly imagined) family roots. At the center is Hitler’s father, Alois, his much-younger third wife, Klara Poelzl (Hitler’s mother) – Alois’ putative niece, but perhaps his daughter – and how Alois views his young bride and children.
As the Wizard might say, pay no attention to that Provincetown paterfamilias behind the curtain with nine kids, many women and exes, and the much-younger wife for 30 years.
Alois is, at mid-book, “a man in his late middle age who dangled a wizened pup between his legs,” with “a total of eight kids alive or dead,” though you “could add a few not exactly accounted for… .”
Expect Castle to offer penetrating insights about Adolf? Hold off. The narrator’s few observations on young Adi stay pedestrian (“He was outrageously in need of love and damnably vulnerable”).
Meanwhile, we hear lots about Alois’ beekeeping and prodigal sexuality, beginning in the days when “he made love to each of the three women he could look upon as regulars,” including a 19-year-old waitress.
“She had kept the formal entrance to her chastity intact,” writes Mailer, in the style of 1950s paperback pornography, “but the same could not be said of her neighbor.” (Don’t ask.) We hear much about Alois’ “Hound” and its ability to poke.
Here is Alois, in his 50s, as he takes niece Klara from her room to his bed: “Half her body was on fire, but half was locked in ice, the bottom half. If not for the Hound, he might have stalled at the approach to such a frozen entry, but then her mouth was part of the fire and she kissed him as if her heart was contained in her lips, so rich, so fresh, so wanton a mouth that he exploded even as he entered her… .”
More Hitler material please!!! Saddam material!!! Anything but this!!!
Indeed, after such repeated priapic passages and plenty of scatological attention to “Adi’s pip-squeak of an anus” and “Adolf’s bowel movements,” one begins to feel that the Lech in Winter, the diaper-changer of nine, can’t pull himself away from sex and excretion to think about much else, even his official high historical agenda.
“I remain a devil, not a novelist,” admits the narrator at one point.
You said it.
Add to this many stylistic problems. Early on, the narrator tells us in regard to Hitler, “To borrow from the Americans, given their rough grasp of vulgarity, I am prepared to say: ‘Yes, I know him from asshole to appetite.” Here, as often, neither the German tone nor American syntax rings.
Structural choices in the novel also make little sense. At one point, the narrator launches a 47-page digression about “Nicky” and “Alix” (Nicholas II and Alexandra) while conceding: “I know by now that not even a loyal reader can stay true to an author who is ready to leave his narrative for an apparently unrelated expedition.”
Amen.
As The Castle crumbles, the narrator appears to know he’s in trouble: “[I]t must be obvious by now,” he declares, “that there is no clear classification for this book. It is more han a memoir and certainly has to be most curious as a biography since it is as privileged as a novel.”
Mailer reportedly plans to continue the saga, taking Hitler into manhood. Halten Sie, bitte! Do we need Hitler refracted through the libido of a horny old writer – with magnificent past accomplishments – who’s still a prisoner of sex?
Norman, wonderful Norman, a request. Before the eyes, ears and legs aren’t the only parts gone south, give us that unvarnished, tell-all memoir. It would instantly become a key history of late 20th-century America.
Call it Me, Myself and I, or even Ich und Mich if it makes you happy. But leave Hitler alone. He needs no further advertisements. Neither do you.
Of thought and metaphor
Deciphering the layered ways in which we communicate is his mission
Steven Pinker specializes in the psychology of language.
January 21, 2007
Peter Calamai
Science writer
Asking Steven Pinker, Harvard researcher and best-selling author, to pass the salt turns out to be very educational.
Not about sodium and high blood pressure, but about how we use language and what that reveals about human nature.
Pinker specializes in the psychology of language and also in shaking up the scientific establishment. Five years ago he ignited an academic firestorm with the best-selling book The Blank Slate: The Modern Denial of Human Nature, which argued that innate behavioural differences exist among individuals and between men and women.
The 52-year-old cognitive scientist, born and raised in Montreal, is again challenging conventional wisdom with The Stuff of Thought, a book about language due out in September. He’ll deliver a lecture in Toronto on the topic Wednesday, as part of 15th anniversary celebrations for the Canadian Institute for Advanced Research.
“We have to do two things with language. We’ve got to convey a message and we’ve got to negotiate what kind of social relationship we have with someone,” Pinker says in a telephone interview from his home in Cambridge, Mass.
Even something as seemingly straightforward as asking for the salt involves thinking and communicating at two levels, which is why we utter such convoluted requests as, “If you think you could pass the salt, that would be great.”
Says Pinker: “It’s become so common that we don’t even notice that it is a philosophical rumination rather than a direct imperative. It’s a bit of a social dilemma. On te one hand, you do want the salt. On the other hand, you don’t want to boss people around lightly.
“So you split the difference by saying something that literally makes no sense while also conveying the message that you’re not treating them like some kind of flunky.”
The Harvard psychologist classes the salt request as an example of indirect speech, a category that also includes euphemisms and innuendo. Two other key themes for Wednesday’s talk are the ubiquity of metaphor in everyday language and swearing and what it says about human emotion.
For Pinker all three categories of language provide windows on human nature, and analyzing them can reveal what people are thinking and feeling. The approach builds upon his earlier thesis that human nature has distinct and universal properties, some of which are innate determined at birth by genes rather than shaped primarily by environment.
Known as evolutionary psychology, this field of study looks at human behaviour through the lens of natural selection, treating our mental faculties for things like language as the result of an evolutionary adaptation, just like the process that produces the human eye. This approach runs the risk of being hijacked by advocates of biological determinism our genes dictate what we do or even the proponents of eugenics the breeding of a master race.
Pinker is familiar with such dangers, having navigated the determinist shoals in both The Blank Slate and an earlier book, How the Mind Works. His current focus reaches even further back, to his first book for the general public, The Language Instinct, and to an even earlier academic tome about how children acquire verbs.
“I have a chapter on verbs in this book because verbs are how we talk about causation, who did what to whom, who’s responsible for someone’s death. The answer to that is very much like who gets to be the subject of a verb. I argue that we have a sense of causal agency or responsibility that both governs our language and governs our moral and legal reasoning.”
While verbs are undoubtedly pivotal, readers and listeners are more likely to be drawn by Pinker’s apparently exhaustive investigation of swearing, which challenges even a classic work in this field, Shakespeare’s Bawdy by Eric Partridge.
“As it turns out, people swear in five different ways. That’s why it took me a while to figure this out,” he says.
A family newspaper can’t reproduce most of Pinker’s instances of earthy language, without resorting to a surfeit of ‘s. Not to mention *s, !s and even XXXXs. His analysis of the subject matter and the impact of swearing, however, is a safer matter. Mostly.
“The subject matter of swearing is something that people don’t like to have taken lightly. Sex is a big deal. An atmosphere in which you bring up sex at the drop of a hat seems to many people to remove some of the inhibitions about thinking about sex. Casual speech about sex occurs in an atmosphere that would tolerate casual sex itself and there are a lot of reasons why people get upset about casual sex.”
Using sexual terms in swearing, something like motherf—er, evokes revulsion over the implied depravity.
In addition to sex, Pinker lists four taboo subjects that dominate swearing: religion, excretion, despised groups, and disease and infirmity.
These change over time and differ from one society to another.
“There were curses like `a pox on you’ in English, but we don’thave much of that anymore. In Yiddish, for example, the word for cholera, choleryeh, means curse.”
Then there’s the difference between Quebec and the rest of Canada. Pinker spent the first 22 years of his life in Montreal graduating with a B.A. in psychology from McGill, so he has no trouble in cursing in French.
Yet he says that the root difference has more to do with Catholicism than with language. Before the Reformation, English swearing was rich in religious taboo words. It still is in nominally Catholic societies, like Quebec.
Pinker cautions that his work looks at what swearwords across languages have in common rather than the swearwords of any one language.
The most common denominator is taboo words that arouse strong negative emotions. Hearing or reading these words triggers activity in the amygdala, an almond-shaped part of the brain believed to invest our thoughts with aggression, fear, threat recognition, and other negative emotions.
But why does the amygdala light up, why do we get upset when someone swears at us, and why do societies pass laws against swearing on the airwaves?
“People know there is a difference between what you do and what you accept. There is a difference between me knowing that people swear, me hearing people swear and me swearing, and everyone accepting that this is something you can do as much as you like.”
While swearing may garner public attention, perhaps the more surprising aspect of Pinker’s work traces the pervasiveness of metaphor in language. Not flowery poetic allusions or rhetorical similes but concrete-to-abstract transitions so common in everyday speech and writing that we often don’t even recognize them as metaphorical.
Consider this sentence:
“He attacked my position and I defended it.” It uses the metaphor of argument as war. Or how about “this program isn’t going anywhere,” which uses the metaphor of progress as motion.
Says Pinker: “Look at almost any passage and you’ll find that a paragraph has five or six metaphors in it. It’s not that the speaker is trying to be poetic, it’s just that that’s the way language works.
“Rather than occasionally reaching for a metaphor to communicate, to a very large extent communication is the use of metaphor,” he says.
“It could be that 95 per cent of our speech is metaphorical, if you go back far enough in language.”
Why? Here, the teacher part of researcher and author Steven Pinker comes to the fore, offering a boring explanation and an interesting explanation, both with an element of truth.
The boring explanation is that using metaphor is a quick-and-dirty way of expressing a new idea without the trouble of coining [notice the metaphor] and propagating a new word.
“But that presupposes that the mind itself works metaphorically, that we see the abstract commonality between argument and war, between progress and motion. And it presupposes that the mind, at some level, must reason very concretely in order that these metaphors be understand and become contagious.
“And that’s the more interesting part of the story.”
Except, perhaps, for the revelation about asking for a salt shaker.