Read Online The Tin Drum by Günter Grass, Breon Mitchell - Free Book Online
Authors: Günter Grass, Breon Mitchell
Ads: Link
cut my umbilical cord; there was nothing more to be done.
The Photo Album
I am guarding a treasure. Through all the bad years of nothing but days to get through, I guarded it, hid it away, pulled it out again; during the trip in the boxcar I clutched it to my breast, a thing of value, and when I slept, Oskar slept on his treasure, his photo album.
What would I do without this open family grave that shows all things so clearly? It has a hundred and twenty pages. On each page, four or six or sometimes only two photos are carefully arranged, mounted in patterns that are sometimes symmetrical, sometimes less so, but always based on right angles. It's bound in leather, and the older it gets, the more leathery it smells. There were times when it was exposed to the wind and weather. The photos loosened, and I was obliged by their helpless state to seek some quiet opportunity when paste could restore those nearly lost images to their ancestral spot.
What else in this world, what novel has the epic scope of a photo album? May the good Lord in Heaven, that diligent amateur who photographs us from on high each Sunday and pastes us in his album, terribly foreshortened and more or less properly exposed, guide me safely through this my album, prevent me from any stops of unseemly length along the way, no matter how pleasurable, and refrain from nourishing Oskar's love of the labyrinthine; for I'm eager to follow up these photos with the originals.
A few incidental remarks: all sorts of uniforms here, dresses and hairstyles change, Mama gets fatter, Jan grows slacker, here are some people I don't even know, wonder who took that shot, things are starting to go downhill, and now the turn-of-the-century art photo degenerates into today's commercial photo. Take, for example, this monu
ment to my grandfather Koljaiczek and this passport photo of my friend Klepp. Simply place Grandfather's sepia portrait side by side with that glossy passport photo of Klepp, just crying out for a rubber stamp, and it's easy to see where advances in photography have brought us. And all the paraphernalia these instant photos require. But I have more to answer for than Klepp, since, as the owner of the album, it was up to me to maintain standards. If hell's in store for us someday, one of its most refined forms of torture will be to lock a person naked in a room filled with framed photos of his era. Quick, a little pathos: O man amid candid cameras, snapshots, passport photos! O man in the glare of flashbulbs, O man standing erect beside the Leaning Tower of Pisa, O photomat man, whose right ear must be exposed to be passport-worthy. And—hold the pathos: perhaps even this hell will be bearable, because the worst pictures are never taken, but only dreamed of, or if taken, never developed.
Klepp and I had pictures both taken and developed during our early days on Jülicher Straße, having made friends while eating spaghetti. I was busy with travel plans back then. That is, I was feeling so depressed that I wanted to take a trip, and planned to apply for a passport. But since I lacked the cash to finance a proper trip, one that included Rome, Naples, or at least Paris, I was just as glad I couldn't afford it, for nothing's more depressing than traveling in a state of depression. We both had enough money for the movies, however, so Klepp and I visited cinema halls where, in keeping with Klepp's tastes, Wild West films were playing or, matching my needs, films in which Maria Schell wept as the nurse, with Borsche as head surgeon having just finished a most difficult operation, playing Beethoven sonatas by the open balcony door, the very image of responsibility. We found it a great affliction that the programs lasted only two hours. We would have liked to see some of them a second time. Often we got up at the end of a film and went to the box office to buy another ticket for the same show. But the moment we left the hall and saw the longer or shorter lines at the
The Photo Album
I am guarding a treasure. Through all the bad years of nothing but days to get through, I guarded it, hid it away, pulled it out again; during the trip in the boxcar I clutched it to my breast, a thing of value, and when I slept, Oskar slept on his treasure, his photo album.
What would I do without this open family grave that shows all things so clearly? It has a hundred and twenty pages. On each page, four or six or sometimes only two photos are carefully arranged, mounted in patterns that are sometimes symmetrical, sometimes less so, but always based on right angles. It's bound in leather, and the older it gets, the more leathery it smells. There were times when it was exposed to the wind and weather. The photos loosened, and I was obliged by their helpless state to seek some quiet opportunity when paste could restore those nearly lost images to their ancestral spot.
What else in this world, what novel has the epic scope of a photo album? May the good Lord in Heaven, that diligent amateur who photographs us from on high each Sunday and pastes us in his album, terribly foreshortened and more or less properly exposed, guide me safely through this my album, prevent me from any stops of unseemly length along the way, no matter how pleasurable, and refrain from nourishing Oskar's love of the labyrinthine; for I'm eager to follow up these photos with the originals.
A few incidental remarks: all sorts of uniforms here, dresses and hairstyles change, Mama gets fatter, Jan grows slacker, here are some people I don't even know, wonder who took that shot, things are starting to go downhill, and now the turn-of-the-century art photo degenerates into today's commercial photo. Take, for example, this monu
ment to my grandfather Koljaiczek and this passport photo of my friend Klepp. Simply place Grandfather's sepia portrait side by side with that glossy passport photo of Klepp, just crying out for a rubber stamp, and it's easy to see where advances in photography have brought us. And all the paraphernalia these instant photos require. But I have more to answer for than Klepp, since, as the owner of the album, it was up to me to maintain standards. If hell's in store for us someday, one of its most refined forms of torture will be to lock a person naked in a room filled with framed photos of his era. Quick, a little pathos: O man amid candid cameras, snapshots, passport photos! O man in the glare of flashbulbs, O man standing erect beside the Leaning Tower of Pisa, O photomat man, whose right ear must be exposed to be passport-worthy. And—hold the pathos: perhaps even this hell will be bearable, because the worst pictures are never taken, but only dreamed of, or if taken, never developed.
Klepp and I had pictures both taken and developed during our early days on Jülicher Straße, having made friends while eating spaghetti. I was busy with travel plans back then. That is, I was feeling so depressed that I wanted to take a trip, and planned to apply for a passport. But since I lacked the cash to finance a proper trip, one that included Rome, Naples, or at least Paris, I was just as glad I couldn't afford it, for nothing's more depressing than traveling in a state of depression. We both had enough money for the movies, however, so Klepp and I visited cinema halls where, in keeping with Klepp's tastes, Wild West films were playing or, matching my needs, films in which Maria Schell wept as the nurse, with Borsche as head surgeon having just finished a most difficult operation, playing Beethoven sonatas by the open balcony door, the very image of responsibility. We found it a great affliction that the programs lasted only two hours. We would have liked to see some of them a second time. Often we got up at the end of a film and went to the box office to buy another ticket for the same show. But the moment we left the hall and saw the longer or shorter lines at the
Similar Books
