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Internet Review of Books The Kindly Ones by Jonathan Littell
Internet Review of Books The Kindly Ones by Jonathan Littell
Internet Review of Books The Kindly Ones by Jonathan Littell
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Reviewed by Rebeca Schiller
Oh my human brothers, let me tell you how it happened. I am not your brother, you’ll
retort, and I don’t want to know. And it is certainly true that this is a bleak story, but an
edifying one too, a real morality play, I assure you. You might find it a bit long — a lot of
things happened, after all—but perhaps you’re not in too much of a hurry; with a little
luck you’ll have some to spare. Toccata, The Kindly Ones
This intriguing opening paragraph is how Jonathan Littell in his controversial behemoth
The Kindly Ones lures readers into the abysmal world of Dr. Maximilien Aue, the book’s
narrator. Aue, an unrepentant Nazi bureaucrat, takes his audience on a journey back
through history to the most miserable places— Babi Yar, Stalingrad, and Auschwitz—and
reflects about his past as a young man before the war and as an SS officer, reasoning with
his readers that if he was able to commit atrocities in the name of country and duty,
weren’t they capable as well?
Compared to Tolstoy’s War and Peace and winner of France’s most prestigious literary
awards—the Prix Goncourt and the Grand Prix du Roman,—the premise to The Kindly
Ones is fascinating, but as the story moves forward this increasingly disturbing,
overbearing, and longwinded tale leaves one wondering at every page turn, Oy, when
will this finally end?
Divided into seven musical compositions—Toccata, Allemandes I and II, Courante,
Sarabande, Menuet (en Rondeaux), Air and Gigue—and written in a Proustianstyle of
never ending sentences, paragraphs that go on and on, and tonguetwisting German
military ranks and expressions, this seemingly highbrow novel with its erudite narrator
takes a wicked turn and our sophisticated and cultivated Nazi becomes a cliché of
perversity.
As we follow his eyewitness accounts of the grisly mass executions by the
Einsatzgruppen of Jews and Bolsheviks in the Ukraine and the Caucuses, and later to the
Siege of Stalingrad, we are also subjected to vivid reports of his intestinal and bowel
problems. However, scattered among the grotesque, Littell sprinkles his story with some
interesting scenes, including a long discussion with a linguist about language and race, as
well as an enlightening interview with a captured Russian Commissar, in which Aue and
the Bolshevik debate the finer points of Communism and National Socialism.
While the war rages on and on, so do Aue’s pedantic observations. We become more
acquainted with our learned protagonist and much of what we discover is repulsive. For
example, Aue clearly details his incestuous relationship with his twin sister as a teenager
(and for whom he stills yearns), as well as his homosexual encounters—in one long
seduction of a young Catholic soldier he pontificates on how warriors had lovers and
fought in battles sidebyside in ancient Greece. Aue also enumerates his own
masturbatory predilections. Many of these scenes seem to be gratuitous and lend little to
move the story forward.
The pace picks up, however, when Aue encounters major Nazi officials, including
Eichmann, Himmler, and Auschwitz commandant Hoëss. It’s in these passages that Littell
does an exemplary job of writing about actual characters that the reader is familiar with
and realistically incorporates them into scenes with Aue. One particular section that
stands out is a discussion on the sadism and humanity of SS concentration camp guards
with Dr. Eduard Wirths, the chief SS doctor at Auschwitz:
I came to the conclusion that the SS guard doesn’t become violent or sadistic because he
thinks the inmate is not a human being; on the contrary, his rage increases and turns into
sadism when he sees the inmate, far from subhuman as he was taught, is actually at
bottom a man, like him, after all, and it’s this resistance, you see, that the guard finds
unbearable, this silent persistence of the other, and so the guard beats him to try to make
their shared humanity disappear. Of course, that doesn’t work: the more the guard
strikes, the more he’s forced to see that the inmate refuses to recognize himself as non
human. In the end, no other solution remains for him than to kill him, which is an
acknowledgement of complete failure.
Readers who have an interest in the Holocaust and the SS will be impressed with Littell’s
exhaustive research on the subject. In interviews, Littell said he relied heavily on
renowned historian Raul Hilberg’s monumental The Destruction of the European Jews.
As Aue climbs the bureaucratic SS ranks, he appears in Zeliglike fashion at pivotal
places of the war, including a stint in Auschwitz as a quasi quality control manager,
investigating per Himmler’s orders, the question of the high mortality rate among the
prisonerlaborers. Through his interviews with camp officials at Auschwitz, he discovers
the corruption among the SS guards and commandants within the overall camp system.
It’s in these sections where Littell shines more as a historian rather than a novelist.
However, by the time the novel reached its conclusion this reader lost all interest in how
Aue manages to escape death and live the rest of his days in peace and comfort as a
family man and manager of a lace factory in France.
No one can discount the power of publicity and The Kindly Ones has proved to be a prime
example of great hype and spin; however, Littell’s vast historical research on the horrors
of the Third Reich along with a handful of thoughtprovoking scenes were eclipsed by the
book’s bloated and overwritten plot and its remarkably boring narrator. What promised to
be a great and provocative work of fiction turned into a dismal disappointment.