13 books this month. Not surprising that a certain proportion of them were women in translation, given that it is #WITMonth, but I also felt tempted to read more women in general, which is reflected in the ratio of women to men: 8 women, 5 men this month. I was also keen to read more foreign authors in general: 11 are either in another language or in translation. My favourite genre remains crime fiction, obviously, with no less than 7 books in this area, but I have also read short stories, diaries and essays this month.
Women in Translation – done a good job of reviewing nearly everything
Although I am tagging this with #WITMonth, German author Lucy Fricke has not been translated into English, even though she is no writing newbie. The novel Töchter (Daughters) is her fourth and I’d heard quite a rumble of excitement about her previous one, Takeshi’s Skin. I had Daughters shipped over from Germany following rave reviews not only in the German press but also on the blog of Kaffeehaussitzer, who always keeps me abreast of the German publishing scene. So let me be upfront about it: I enjoyed it, but didn’t think it deserved quite such high accolades.
It is a road trip novel about two indomitable female friends, who at some point describe themselves as Thelma and Louise, except they are neither young, nor sexy, and not even oppressed. Martha and Betty have been friends for 20 years, ever since they first moved to Berlin. Both of them come from broken homes with disappearing fathers, and each of them has developed a different mechanism for coping with the trauma. Martha has married and is trying desperately to conceive via IVF before her 40th treatment (after which IVF is no longer available in Germany). Meanwhile, Betty avoids any commitment by being the proverbial rolling stone and rents her flat out in gentrified Kreuzberg via AirBnB while she travels.
Martha’s father, Kurt, with whom she has reached an uneasy truce in his old age, suddenly announces that he has a terminal illness and has made an appointment at a Swiss clinic to curtail his suffering. Could she please accompany him on his final journey? Martha, who has been unable to drive after a horrible accident some years previously, and who thinks this is a terrible idea anyway, appeals to her friend Betty. So the strange trio set off in Kurt’s clapped-out old car and this grim-sounding road trip soon takes on farcical proportions.
As they wind their way through crappy hotels and appalling petrol station snacks, they are subjected to Kurt’s anti-feminist rants and then a sudden change of plan. Before he dies, Kurt would like to see once more his very first love, whom he lost to an Italian man on the shores of Laggo Maggiore. Betty has her own agenda for going back to Italy, since she bears a certain nostalgia for her Italian ‘Dad’, the one man from her mother’s endless collection of ‘uncles’ and ‘step-dads’ who was ever nice to her as a child.
While the themes of the story can be easily identified as friendship, parenthood, forgiveness and death, and the final message is the somewhat trite ‘you need to find joy in life itself’, this goes a bit further than typical chick lit. There is quite a bit of self-mocking going on, for one:
We spend three, four decades talking about men and then we talk about illnesses. What a waste of life!
Secondly, the story is (refreshingly) not about finding the perfect man and partner, but about making peace with fatherly imperfections and moving from being a daughter to being a full-grown woman. Beneath the comic moments and sharply satirical observations, there is an underlying sadness. The author also lampoons the road movie she is imitating in the book:
It’s not as if a road trip is necessarily full of surprises, the promise of love or sex or crime at every road station. That only happens in films and books, a coming of age story on the fast lane. In real life, things happen slowly. In real life, we spend years grieving over a single heartache, while on the big screen any loser, any clown can save or destroy the world within a couple of days, as long as he (sic!) believes in himself and his power.
I think the reason this has been so rapturously received in Germany is perhaps that there is not much of a literary tradition there for Bridget Jones style humour. I actually liked it more than Bridget Jones, mostly for the social satire aspects. However, among the worthy, dramatic German women filmmakers such as Margarethe von Trotta and Helma Sanders-Brahms of the New German Cinema period, there has always been a bit of a comedic tradition with directors and writers such as Doris Dörrie and, more recently, Maren Ade. I think this book fits in that slot – and can easily imagine it filmed (and perhaps improved in the process).