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This never-before-translated masterpiece—by a heroic best-selling writer who saw his life crumble under the Nazis— is based on a true story. It presents a richly detailed portrait of life in Berlin under the Nazis and tells the sweeping saga of one working-class couple who decides to take a stand when their only son is killed at the front.
First published in Germany in 1947, Every Man Dies Alone is a true masterpiece from a bestselling writer who saw his life crumble following his decision not to flee Germany and his refusal to join the Nazi party. The novel presents a richly detailed portrait of life in Berlin under the Nazis and tells the sweeping saga of one working-class couple’s decision to take a stand when their only son is killed at the front. With nothing but their grief and each other against the awesome power of the Reich, Otto and Anna Quangel launch a simple, clandestine resistance campaign that soon has an enraged Gestapo on their trail, and a world of terrified neighbors and cynical snitches ready to turn them in. In the end, Every Man Dies Alone is more than an edge-of-your-seat thriller, more than a moving romance, even more than literature of the highest order—it’s a deeply stirring story of two people standing up for what’s right, and for each other.
Although it isn't a perfect novel, I would recommend it for Fallada's talent in showing us that sometimes the most frightening part of a war isn't dramatic at all -- it's the psychological game, that tension arising from waiting for something to happen, and wondering if it ever will, that slowly begins to wear the spirit down...continued
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(Reviewed by Karen Rigby).
Every Man Dies Alone is inspired by Elise and Otto Hampel, a blue collar couple. Elise and Otto eluded the police and the Gestapo from September 1940-42, "leaving hundreds of postcards calling for civil disobedience and workplace sabotage all over Berlin."
One of the frequent subjects of the Hampels' postcards was the Winter Relief Fund, a seasonal charity backed by the Nazis, but widely suspected of being open to graft. A considerable public show was made of the fund, and not contributing to it was seen as a form of disloyalty. The Hampels used the fund as a touchstone of their opposition in part because "pressure to contribute was considerable, and armbands and pins were distributed for public display to identify donors -- and ...
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