After carefully reading a famous book, everyone must have gained a lot. You can’t just read it, but write a review after reading it. So can you write a review? The following is my review of "The Tin Drum" compiled for you (generally 8 articles). Welcome to read and collect. After reading "The Tin Drum" Chapter 1
In the spring and summer of 1952, I traveled around France by hitchhiking. I had no occupation, I just sketched on wrapping paper and wrote constantly. I was full of literary thoughts and wrote thousands of words. In addition to composing the hymn "The Sleeping Helmsman Perinulus" imitating the great master, I also wrote a long and bloated poem. The protagonist of the long poem is the monk Oskar Matzerath. predecessor.
Constrained by fashion, I identified the protagonist of the poem as a young existentialist. He lived in our time and was a bricklayer by trade. He was wild and erudite, often quoting. He was tired of affluence just before its arrival, and nausea became his addiction. He built a tall pillar in an unknown town and squatted on the pillar to meditate. His mother scolded him endlessly and used a long wooden stick to carry the lunch box and handed the food to him for him to eat. She seeks to lure him home, and she even enlists the support of a mythical chorus of maidens. The social circle of the small town surrounds Gao Zhu, where friends and foes gather, eventually forming a group that looks up to Gao Zhu. The carefree monk on the pillar looked down, calmly changing the gravity leg and the virtual leg, finding his perspective of observing the world, and he was full of metaphors.
This failed long poem was shelved by me. We can get a glimpse of it from the only remaining fragments: Trakl at that time (Note: Joe Trakl (1887-1914), an Austrian Expressionist poet, wrote the collection of poems "Sebastian in a Dream" (1915), etc. . ), Apollinaire, Ringelnatz (Note: Joe Ringelnatz (1883-1934), a German writer who wrote "Gymnastics Poetry" (1920), etc.), Rilke and Lame García Lorca's German translation had such a huge impact on me. The only funny thing is the poem's search for a transcendent perspective. The perspective of the towering monk with the pillar is too static, but Oscar Matzerath's three-year-old boy's height is just right. This dwarf perspective is both flexible and can create a sense of distance. We can say that the dwarf Oscar Matzerath is the antithesis of the Stigmata.
At the end of the summer of the same year, when I left France for Dusseldorf via Switzerland, I met Anna for the first time, and intuitively abolished the image of the monk with the stigma. One afternoon, on an ordinary occasion, I saw a three-year-old boy with a tin drum hanging around his neck standing among the adults drinking coffee. The boy's demeanor was striking and deeply embedded in my mind. This three-year-old naughty boy is quite obsessed with his instrument, even to the point of selflessness. At the same time he made a look of disdain for the adult world of afternoon coffee chats.
This "discovery" was forgotten for three whole years. I moved from Dusseldorf to Berlin, got a new sculpture teacher, reunited with Anna, got married the following year, took my misguided sister out of a Catholic convent, sketched, and made flying birds. Sculptures, scarecrows and hens woven from gold wire. My first full-length prose study, "Fences," adopted Kafka's novel model and borrowed the rich metaphors of the early Expressionists. However, this study failed. Then, in one stroke, I created my first collection of loosely structured improvisational poems. These concise and lively poems gradually broke away from the author's control and gained relative independence. This was The Advantages of the Bluebell, my first book in paperback format, with poetry and illustrations.
Since then, while I was mainly engaged in my career as a sculptor, I also completed some short plays, such as the one-act plays "Uncle, Uncle" and "The Flood". When I was invited to attend a gathering of the Four Seventh Society, I recited these skits with modest success.
Since Anna is a dancer, I also wrote a ballet script for her. I tried to draft several ballets, and the plots of the ballets later became chapters of the novel "The Tin Drum", such as the opening chapter of the novel "The Big Skirt" and the story about the stone statue "Niobe" on the bow of the ship (Note: Niobe, The Queen of Thebes in Greek mythology, her twelve children were killed by Apollo and Artemis, so she cried all day long and was eventually turned into a stone statue) and the "Last Tram", In the novel, Oskar Matzerath and his friend Vitra ride this tram through Dusseldorf at night. There are also scenes of Polish cavalry attacking German armored vehicles. I cast aside these drafts of the ballet, never published them, and ended up turning them into chapters of the epic novel The Tin Drum.
I was fully armed, armed with materials accumulated over a long period of time, an unclear plan, and an unquestionable desire for fame, and started writing a novel. Anna wanted to understand the more rigorous ballet training, so we left Berlin in early 1956 for Paris. Although we had nothing at this point, our trip was worry-free. Near the Place Pigalle, Anna was taught by Nora. Mrs. Nora was a respected Russian ballet coach in Anna's heart.
While I was polishing the text for the screenplay "The Bad Chef," I wrote the first draft of a novel whose title changed many times, from "Oscar the Drummer" to "The Drummer" to "The Tin Drum." . After reading "The Tin Drum" Chapter 2
The tin drum has been throughout the story, and the protagonist Oscar has been carrying it since he was three years old.
The Tin Drum accompanied Oscar to witness countless historical moments.
The Tin Drum witnessed the moment when Oscar fell from the nineteenth-level cellar at the age of three.
From that moment on, Oscar did not grow another centimeter in the next ten years of his life, remaining at 94 centimeters.
Along with Oscar, The Tin Drum experienced historical events such as the Polish Post Office Defense War, the German invasion of Poland, the Soviet bombardment of Danzig, and other historical events.
Oscar kept beating the drums. He used the drums to drum out the death story of her poor mother, and used the drums to drum out the absurd and magical life he had experienced.
In the story, Oscar has been homeless. He has experienced war, performed on the front line, worked as a stonemason, worked as an art school model, and played in a jazz band. Through these things, Oscar has fully participated in a series of historical events.
So, with the changes in Oscar, the social environment at that time was also revealed bit by bit.
This book has a profound political metaphor, expressed through the absurdity of Oscar's experience.
To understand this novel, you must have a full understanding of the relevant historical events.
I don’t have a deep understanding of these histories, so I didn’t have the excitement that people who have personally experienced these events would have when reading this book.
But this does not affect me from continuing to read this book. The context of the story is still very clear.
With Oscar’s perspective, the story combines fiction and reality, with real historical events and the absurdity of Oscar singing about broken glass.
People around Oscar died one after another. His biological father Bronski participated in the Polish defense war and was executed. His nominal father Matzerath was killed by the counterattacking Soviet army as a Nazi.
He followed his "stepmother" Maria to the new city and experienced a period of economic downturn and lack of supplies.
Oscar has been swinging between two extremes. On the one hand, he is the incarnation of Satan, using drums to take away people's lives and blasphemy; on the other hand, he is the incarnation of Jesus, using drums to demonstrate his omniscience and omnipotence. God's perspective.
The drum has always been with him, beating at every historical node, and the rhythm of the story is the rhythm of the drum.
By reading this book, I seem to hear the roar and low of history through the sound of drums.
This is a rare and good book that shows history from multiple perspectives and levels. Unfortunately, I did not fully understand it. I only left a sigh of admiration after reading it. After Reading "The Tin Drum" Part 3
The novel "The Tin Drum" is divided into three parts. I have only read the first part of it now. I will briefly talk about my feelings about this part I read. .
Günter. Glass used his rich imagination to create the image of the protagonist Oscar. Little Oscar can understand adults when he is born. When he was born, because two moths blocked the light, he felt the darkness of the world and wanted to return to his mother's womb. Unfortunately it was too late. This also pave the way for the rest of the novel. Because the novel is set during the First World War, the darkness of the era and social turmoil caused little Oscar to be dissatisfied with society and life. When he was three years old, he fell down the stairs, turning himself into a "dementia" that could not speak. He no longer grew taller, but he still had a high IQ, and he also acquired a special function. , can shatter all glass products with its sharp scream. In this way, he can hide himself, protect himself, and stay away from the complex adult society. He began to beat his beloved tin drum all day long, hiding aside and observing the world with cold eyes, using his own way to avoid and deal with this dark society.
The novel uses a first-person narrative to describe Oscar's life, and uses memories. At the beginning of the novel, it is written that Oscar lives in a mental sanatorium. He lives in a completely isolated ward and only has contact with the outside world through nursing staff. This also reflects Oscar's boredom and dissatisfaction with the society at that time. He still beats his beloved tin drum all day long, recalling his past events to the beat of the drum, and then asks the caregiver to bring him "innocent" paper to write down his memories. Why is the word "innocent" used there? I think this is also Oscar's satire and contempt for the dark society at that time.
In the first chapter of the novel, when Oscar witnessed the darkness of society, he felt disgusted. He kept beating his tin drum to vent his dissatisfaction with the abnormal society. He also often uses his ability to sing about broken glass to "disrupt" the order of society. In his eyes, this society is chaotic, weird, and hopeless.
Many places in the novel are written by Günter. It is written from Glass's own experience and knowledge. He also used novels to express his dissatisfaction with the darkness of Germany during World War I.
After reading "The Tin Drum" Chapter 4
Anna personally experienced the four-year creation process of "The Tin Drum". She often wanted to hear, and sometimes insisted on hearing, my provisional endings to novels, which were not yet finalized and often differed only in details. I often fell into a trance while writing and kept smoking, so that the room was filled with smoke and it might be difficult for Anna to confirm that this man was her husband. As her partner, I must have been insufferable because I was immersed in the world of my fictional characters. I am a power distribution device operating many circuits, and I am closely connected to several intersecting levels of consciousness. People call it "crazy".
While I am immersed in creation, I also live a very real life. I cooked the five flavors carefully and danced whenever I had the chance, because I admired Anna's long legs and dancing posture. In September 1957, while I was concentrating on writing the second draft of The Tin Drum, our twins Franz and Raoul were born. This is not a creative issue, but an economic issue. We have three hundred marks a month for living expenses, which I earn casually. At the annual gathering of the 47th Society, I sold my sketches and lithographs; Walter Hellerey (Note: Walter Hellerey (1922-), German poet, literary critic, literary magazine One of the publishers of "Accent" paid me commissions for manuscripts and adopted my manuscripts. He was a philanthropic person, and occasionally brought me money when he came to Paris. Note: Hermann Heisenbüttel (1921-), a German "concrete poetry" poet, made a play that I had never performed into a radio play; the following year, I had begun to carve out the final draft of "The Tin Drum". I won the 47th Society Literary Prize and earned a lot of money for the first time, totaling 5,000 marks. With this money, we bought a record player. This record player can still make sound today. It belongs to us. Daughter Laura.
The stark fact that I never took the high school graduation exam often makes my parents sad, but sometimes I think: it is precisely this that protects me. With a high school diploma, I would definitely have a position where I would be a nighttime program editor and lock my newly written manuscripts in a drawer. As a buried writer, I would definitely resent those writers who are quick to write. These writers can express themselves eloquently and write a thousand words in nature, and God often gives them inspiration. "After Reading "The Tin Drum" Chapter 5
From yesterday to now, I have been immersed in the atmosphere created by Günter Grass. , it’s hard to calm down. When I first read his 1999 Nobel Prize-winning work "The Tin Drum", I struggled. I felt that I could never find the kind of shock that a work of that level should give me. I wanted to do it several times. Give up.
It seems so shallow at the moment! However, I persisted, because as a writer, I have high respect for the Nobel Prize in Literature, and I believe that those distant judges must be the world. The most discerning novel in the world. "The Tin Drum" must have its own extraordinary qualities.
Only in the following reading did I feel that "The Tin Drum" was like a lion carrying the wind and rain. But it is creepy and calm at first, and as soon as the wind blows, it shows its irresistible domineering power. In my years of reading, I have seen many excellent works, but in most of them I have a feeling of "Me too." I feel that I can imitate them when the time comes. Only "A Dream of Red Mansions" makes me sigh, and then "The Tin Drum". I feel that I can't do it. Günter Grass has created a height that is difficult for me to climb. , I look up to and deeply respect it.
What is particularly strange to me is that after reading "The Tin Drum", my nose felt breathless. Chapter 6 of "The Tin Drum"
This book was mentioned once in Wang Xiaobo's book, so I have admired it for a long time. However, it took too long to read this book, and I felt a little sorry for Glass because he was busy with worldly affairs and too busy with other things. It is a great regret not being able to read this wonderful novel properly. After reading it today, it can be regarded as an explanation of myself, Glass and Wang Xiaobo.
This book is full of metaphors. If you dig deeper, you will have a lot of fun.
Escape from the adult world Oscar is a symbol of passive resistance. Being able to achieve the effect of a 3-year-old child at will, I guess this is the dream of most adults. However, children hope to grow up early, except for the precocious Oscar. However, if the body stays at the state of 3 years old, it cannot make the mind stay at the state of 3 years old. The growing mind makes Oscar suffer from the torture of desire and evil - finally one day he will grow up, although only a little.
Fortunately, there is a magical tin drum. This children's toy is undoubtedly the externalization of innocence. Oscar, who owns the tin drum, or the tin drum owned by Oscar, has magical Jesus-like magic. This power is the power of childhood. He (it) can make adults dance and cry - returning to the distant childhood.
Another miracle is Oscar’s childhood scream—the tool for carving glass at will. This is the only weapon of a powerless child. It has magical power but does not have any real power. In the test of reality, this weapon gradually became ineffective.
There is a scene that moved me very much - crying with onions in the "Onion Cellar". After reading "The Tin Drum" Chapter 7
The author of "The Tin Drum" just finished revising the final proofs, and the book left him. The final correction took place fourteen years ago, and I have since lost The Tin Drum. The novel has been translated into Croatian, Japanese and Finnish, and I expect it will make the petty bourgeoisie of all countries restless. The Langfur district of Danzig is my lost hometown, and its fame spreads like wildfire around the world.
A mountain of comments and prejudices seemed to block my path to this book, because I had never read The Tin Drum in a coherent manner in print. For five years, the writing plan or draft of "The Tin Drum", its first, second and third drafts have determined my living habits and even my sleep. It's all over now. Several subsequent books, such as "Dog Years" and poetry collections, were nearly completed and readily available.
I have never read "The Tin Drum" in a bound form, and this can be attributed to a sense of disgust generated by professional habits. Even now, when I'm asked to tell the story of how my first novel came about, I just aimlessly flip through the opening pages of certain chapters. At first, I was reluctant to review my past situation and the reasons for writing "The Tin Drum". I was afraid of being trapped in a cocoon. The author of "The Tin Drum" talks about "The Tin Drum" and he is a dubious witness.
Precisely because I admit that I am not qualified to review this novel, I am able to clear out the piles of junk and avoid helpful lies. These lies, like cuttings, kept the hothouse of Germanic language and literature thriving.
It is neither a desire to create (such as I must write and know how to write), nor a long-cherished determination (such as I am going to write now!) nor some noble sense of mission or Indicators (natural talents, obligations, etc.) prompted me to sit down in front of the typewriter. My background as a small citizen may be my most reliable propeller, because I want to shorten the distance between myself and the upper class. I am ambitious and determined to do something amazing. A fitful liberal arts secondary education (I dropped out as a fifth-grade high school student) only fueled this stinking ambition. This is a dangerous dynamic that often leads to arrogance. Precisely because I understand where I come from and what drives me, I always control that drive simply and calmly when I write. I view writing as a distant, ironic process. The process is personal, while its results (whether success or failure) are public.
My mother Helen Glass passed away suddenly in 1954 at the age of fifty-six. Because she not only had the sentiments of a philistine, but also loved drama, when her son was twelve or thirteen years old, she called him Peer Gynt (Note: Peer Gynt, Ibsen) without ridicule. The protagonist of the play "Peer Gynt" is an egoist). Her son loved to make up stories and promised her wealth, a Persian lambskin coat and travel expenses to Nepal and Hong Kong. The Tin Drum appeared five years after her death and achieved the kind of success Peer Gynt had imagined. When my mother was alive, I always wanted to prove my potential to her; however, it was not until she passed away that my energy was released. After reading "The Tin Drum" Chapter 8
Compared with those writers who have a sense of social responsibility, I am definitely at a disadvantage. This type of writer knocks on the typewriter under the banner of social obligations. They pay no attention to themselves, but perform their duties with the overall social situation as the starting point. There are absolutely no noble intentions that led me to dedicate a shining treasure to postwar German literature. I did not want to, and could not, satisfy the reasonable demands of "clarification of German history" put forward by the literary circles at that time, because my efforts could not bring comfort or relief to people. I tried to measure my own lost countryside, and first of all, level by level, I leveled the rubbish heap of the so-called middle class (that is, the rubbish of the proletarians and philistines). The author of "The Tin Drum" may have succeeded in discovering some new understandings, exposing some people's disguises, actually breaking the magic of National Socialism with a sneer, and destroying people's false sense of awe towards it. and gave freedom of movement anew to language hitherto bound. But he originally didn't want to, and couldn't clarify history.
I am satisfied with the joy of artistic creation, appreciate the changing forms, and like to depict anti-reality on paper. In short, the organ of artistic experimentation is already there, eager to overcome resistance and devour huge amounts of material. However, the material already exists, waiting for metabolism. Due to the fear of large-scale materials and my loose and absent-minded nature, I did not make a big effort.
The inducement of private life once again liberated my creativity. In the spring of 1954, shortly after my mother's death, I married Anna Margaretta Schwartz. After marriage, I concentrated on my work, adhered to the labor ethics and dedication of the citizens, and was determined to prove my talents to my in-laws who suddenly broke into my humble home. My in-laws are obedient Swiss citizens, as simple and tolerant as the Puritans. They watched with the eyes of art connoisseurs as I performed gymnastics performances on overly large equipment.
This is a ridiculous risk-taking behavior, because Anna has just broken away from the protection of the big bourgeoisie, turned to seek an unstable life, and carefully tried her hand in the artist circle in post-war Berlin. At that time she certainly had no ambition to be the wife of a so-called great writer.
Although the interests of those who came from a small city often collided hilariously with the desire of a wealthy lady from a big bourgeois family to pursue women’s liberation, the combination with Anna still made me unswervingly move towards myself. progress towards the goal. Although the literary inspiration for "The Tin Drum" occurred before we met, our marriage set a clear goal for me.