If Wolf Among Wolves was an exceptional product of his relatively stable forties, The Drinker represents a total rejection of that stability, beginning with his marriage, which was dissolved by mutual agreement just before his fifty-first birthday in the summer of 1944. Not long before he had prefixed one of his books of reminiscence with a public tribute to his wife Suse, the ‘Lämmchen’ of Little Man, What Now?, whofirst made me what I have become, she taught an aimless man how to work, a desperate man how to hope. It was thanks to her faith, her loyalty, her patience that we managed to build up what we now possess, what we rejoice in every day. And it all came about without much talk, or fuss, or finger-wagging, but simply by her being there and sticking to me through good times and bad.
Now however he had turned against her influence and wrote, apparently in secret, this relentless first-person story (the only one among all his main novels) about a provincial provision dealer who falls out with the capable wife on whom everybody thinks he depends, starts obsessively drinking, becomes besotted with the waitress whom he calls his reine d’alcool, and from that point starts dropping irrevocably, through a richly squalid series of subsidiary tales and episodes, to the horrible bottom of his society. How much of this is hallucination, how much imagination—the reader thinks of Kafka’s In the Penal Colony—how much reality? What is its basis in the author’s own experience, what in the life of his country in the last year of the war?
Not published till after the Nazi surrender—in the Federal Republic in 1950, in the GDR three years later—it was written in the autumn of 1944, and it marks the catastrophic ending of Fallada’s most fruitful period. The war was then nearing its end, with the Russians advancing through Poland and Romania, and the Western Allies in France and Belgium. The Propaganda Ministry had listed him as undesirable; Rowohlt had been expelled from the official Chamber of Culture and gone into the army: during 1943 he was discharged as ‘politically unreliable’ and his firm, already ‘gleichgeschaltet’ (or incorporated in the officially-approved system), finally closed down. Though the Labour Service briefly commissioned Fallada to come and report on their activities in occupied France and Czechoslovakia, he was now once again drinking himself stupid and seems to have written nothing, possibly because he did not much like what he saw. What was much worse for him was that just at this juncture a smart, seemingly unattached Berlin woman arrived in Feldberg who not only reminded him of his chief Berlin attachment at the end of the earlier war, but was also an alcoholic and a morphine addict. Already in matrimonial trouble because of an affair with his family’s au pair girl, he now became hopelessly involved with this Ulla or ‘Uschi’, with the immediate result that he and his wife divorced by mutual agreement. Then on his first visit home there was a quarrel during which he loosed off two shots from a half-forgotten gun, and was carried away to a closely guarded criminal asylum in the neighbouring city of AltStrelitz on a charge of attempted murder. It was there that, under the pretence of writing a propaganda novel, he wrote The Drinker, not in code as has sometimes been suggested, but in fine criss-crossed lines to economize paper. Dates in the margin of the original show that it took him a fortnight.
Critics of this book have complained that he wrote it without any final literary polish; that the style is too straightforward to qualify as high art. If so it is because of the immediacy with which he wrote, without (so it is said) any kind of revision either then or later. And yet it is not set down like a diary, for it has a plan and a shape like a Gadarene slope, as the whole of the narrator’s life is seen hurtling to its self-motivated perdition. Magda is Fallada’s wife Suse; la reine d’alcool a lower-class stand-in for Uschi the Berliner; Else the maid has features of the au pair; the setting is the area of his Carwitz home, and the asylum the one in which he was writing. What is above all very genuine is the self-destructiveness and the desire to hurt the wife who is in many ways so evidently his better half. The pain of this terrible paradox is stated at the beginning of the third chapter, leading to the reflective wordsBut man gets used to anything, and I am afraid that perhaps he gets used quickest of all to living in a state of degradation.
Nothing specifically suggests that such a state was also the state of Germany in the days of the Final Solution; for there is no direct reference either to National Socialism or to its organizations, merely to the officials of the asylum and the courts, who would not have been all that different under the Republic. All the same, it is difficult to read the book without also reflecting on the huge degradation of a great European country, as well as the lesser degradations which National Socialism inflicted on the writer himself: the false triviality of some of his lesser books, for instance, the fiasco of the Jannings film, or the commissions to report on labour in the occupied countries and to write an anti-Jewish novel about Kutisker und Barmat, a bank that went under in the nineteen twenties. Fallada was after all an artist with an acute interest in individual lives, and if it is true, as Georg Lukács has said, thatin the oppressive atmosphere of fascism, Fallada lost that inner confidence in his feelings which—for all his lack of firmly pondered and held views—characterized his initial critique of society.
then he surely will have felt a sense of shame as well as resentment.
How we take The Drinker today, then, depends in some measure on our view of its author’s attitude to the Third Reich. Personally uncommunicative, at least in his stable moods, he gave no evidence of courage but had a complex kind of obstinacy none the less. He was never pro-Nazi; he was unwilling to leave Germany; he would not risk any form of resistance. Tom Crepon, whose mildly fictionalized East German biography of 1978 was written with Suse Ditzen’s aid and approval, reports a visit of May 1934 by the younger Rowohlt with Martha Dodd and Mildred Harnack, the American who joined the ‘Red Orchestra’ group with her husband Arvid and Harro Schultz-Boysen, and was beheaded in 1943. She asked Fallada if it was still possible to write as one wished, and when he said yes, if you were prepared to compromise on unimportant points, she turned away, remarking ‘What is important, what is not?’. Martha Dodd’s conclusion was that Fallada had resigned himself, and was content in his new isolation. Yet clearly this contentment had worn through by the middle of the Second World War, and if the deterioration of his marriage was a major factor so was his plain incompatibility with the system. These two elements in his decline seem to have aggravated one another, to judge from the timing of his lapses. Thus it appears to have been a particularly severe blow when the Rowohlt firm was finally closed down, not least because its offence had been to publish such ‘undesirable’ authors as the cabaret poet Joachim Ringelnatz (who had died in 1934) and Fallada himself. It was this that led to the (unfulfilled) commission from another publisher to write the anti-semitic ‘Kutisker’ book.
That the picture of the asylum given in The Drinker stands for more than the bare events of the author’s own incarceration is clear, since it helped that he was imagined to be at work on the ‘Kutisker’ job, and he was in fact released after less than four months. Unexpectedly, in view of his announced intention to return to his wife, he then married the disastrous Uschi, with whom he would spend his last two years. These saw the breakdown of all his resolutions as they shared the ‘little death’ of their renewed addictions, first in her Feldberg house near his own and then in her flat in the ruins of Berlin; and the incoherence of their life together from then on seems reflected in the incoherence of his first, largely autobiographical postwar novel Der Alpdruck (The Nightmare), which actually appeared before The Drinker and proved much harder to write. It was the first time since the nineteen twenties that Fallada had lost his grip on the reader. Yet in its scrappy way the book gives a convincing impression of the arrival of the Red Army in Feldberg and the moral collapse of the inhabitants, and describes with a certain irony the circumstances that led to its author—who would never have accepted, nor perhaps been offered, public office under Hitler—being installed as mayor of Feldberg for four months till his strength gave out. Thereafter he looked for literary and journalistic contacts in Berlin, and found them again among the Soviet occupiers and their helpers, notably the poet Johannes R. Becher who had returned from emigration in Moscow to head the Kulturbund (or League of Culture) which the Russians sponsored, initially in all four sectors of the city.