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Der junge Goedeschal
Falladas Debüt, 1920 gedruckt, gibt in ihrer expressiven, bildreichen, eigensinnigen Diktion die Grundlage ab für Falladas literarisches Schaffen. Angesiedelt in der »guten alten« Zeit vor dem ersten Weltkrieg, spielt »Der junge Goedeschal« in der Familie eines hohen Justizbeamten. Kai Goedeschal, der Obersekundaner, erlebt alle Sorgen und Nöte der Pubertät und findet keinen Beistand. Fallada widmet sich den Problemen junger Menschen, vor allem jener, die den Generationenkonflikt austragen, gegen eine pharisäische Erziehung rebellieren, die Doppelzüngelei der Spezies Bürger abwehren müssen. Seinen Erstling schrieb Fallada zwischen 1917 und 1919 in Berlin.
286 pages, Paperback
First published January 1, 1920
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About the author
Hans Fallada
221 books768 followersHans Fallada, born Rudolf Wilhelm Adolf Ditzen in Greifswald, was one of the most famous German writers of the 20th century. His novel, Little Man, What Now? is generally considered his most famous work and is a classic of German literature. Fallada's pseudonym derives from a combination of characters found in the Grimm fairy tales: The protagonist of Lucky Hans and a horse named Falada in The Goose Girl.
He was the child of a magistrate on his way to becoming a supreme court judge and a mother from a middle-class background, both of whom shared an enthusiasm for music and to a lesser extent, literature. Jenny Williams notes in her biography, More Lives than One that Fallada's father would often read aloud to his children the works authors including Shakespeare and Schiller (Williams, 5).
In 1899 when Fallada was 6, his father relocated the family to Berlin following the first of several promotions he would receive. Fallada had a very difficult time upon first entering school in 1901. As a result, he immersed himself in books, eschewing literature more in line with his age for authors including Flaubert, Dostoyevsky, and Dickens. In 1909 the family relocated to Leipzig following his father's appointment to the Imperial Supreme Court.
A rather severe road accident in 1909 (he was run over by a horse-drawn cart, then kicked in the face by the horse) and the contraction of typhoid in 1910 seem to mark a turning point in Fallada's life and the end of his relatively care-free youth. His adolescent years were characterized by increasing isolation and self-doubt, compounded by the lingering effects of these ailments. In addition, his life-long drug problems were born of the pain-killing medications he was taking as the result of his injuries. These issues manifested themselves in multiple suicide attempts. In 1911 he made a pact with his close friend, Hanns Dietrich, to stage a duel to mask their suicides, feeling that the duel would be seen as more honorable. Because of both boys' inexperience with weapons, it was a bungled affair. Dietrich missed Fallada, but Fallada did not miss Dietrich, killing him. Fallada was so distraught that he picked up Dietrich's gun and shot himself in the chest, but miraculously survived. Nonetheless, the death of his friend ensured his status as an outcast from society. Although he was found innocent of murder by way of insanity, from this point on he would serve multiple stints in mental institutions. At one of these institutions, he was assigned to work in a farmyard, thus beginning his lifelong affinity for farm culture.
While in a sanatorium, Fallada took to translation and poetry, albeit unsuccessfully, before finally breaking ground as a novelist in 1920 with the publication of his first book Young Goedeschal. During this period he also struggled with morphine addiction, and the death of his younger brother in the first World War.
In the wake of the war, Fallada worked several farmhand and other agricultural jobs in order to support himself and finance his growing drug addictions. Before the war, Fallada relied on his father for financial support while writing; after the German defeat he was no longer able, nor willing, to depend on his father's assistance. Shortly after the publication of Anton and Gerda, Fallada reported to prison in Greiswald to serve a 6-month sentence for stealing grain from his employer and selling it to support his drug habit. Less than 3 years later, in 1926, Fallada again found himself imprisoned as a result of a drug and alcohol-fueled string of thefts from employers. In February 1928 he finally emerged free of addiction.
Fallada married Suse Issel in 1929 and maintained a string of respectable jobs in journalism, working for newspapers and eventually for the publisher of his novels, Rowohlt. It is around this time that his novels became noticeably political and started to comment
He was the child of a magistrate on his way to becoming a supreme court judge and a mother from a middle-class background, both of whom shared an enthusiasm for music and to a lesser extent, literature. Jenny Williams notes in her biography, More Lives than One that Fallada's father would often read aloud to his children the works authors including Shakespeare and Schiller (Williams, 5).
In 1899 when Fallada was 6, his father relocated the family to Berlin following the first of several promotions he would receive. Fallada had a very difficult time upon first entering school in 1901. As a result, he immersed himself in books, eschewing literature more in line with his age for authors including Flaubert, Dostoyevsky, and Dickens. In 1909 the family relocated to Leipzig following his father's appointment to the Imperial Supreme Court.
A rather severe road accident in 1909 (he was run over by a horse-drawn cart, then kicked in the face by the horse) and the contraction of typhoid in 1910 seem to mark a turning point in Fallada's life and the end of his relatively care-free youth. His adolescent years were characterized by increasing isolation and self-doubt, compounded by the lingering effects of these ailments. In addition, his life-long drug problems were born of the pain-killing medications he was taking as the result of his injuries. These issues manifested themselves in multiple suicide attempts. In 1911 he made a pact with his close friend, Hanns Dietrich, to stage a duel to mask their suicides, feeling that the duel would be seen as more honorable. Because of both boys' inexperience with weapons, it was a bungled affair. Dietrich missed Fallada, but Fallada did not miss Dietrich, killing him. Fallada was so distraught that he picked up Dietrich's gun and shot himself in the chest, but miraculously survived. Nonetheless, the death of his friend ensured his status as an outcast from society. Although he was found innocent of murder by way of insanity, from this point on he would serve multiple stints in mental institutions. At one of these institutions, he was assigned to work in a farmyard, thus beginning his lifelong affinity for farm culture.
While in a sanatorium, Fallada took to translation and poetry, albeit unsuccessfully, before finally breaking ground as a novelist in 1920 with the publication of his first book Young Goedeschal. During this period he also struggled with morphine addiction, and the death of his younger brother in the first World War.
In the wake of the war, Fallada worked several farmhand and other agricultural jobs in order to support himself and finance his growing drug addictions. Before the war, Fallada relied on his father for financial support while writing; after the German defeat he was no longer able, nor willing, to depend on his father's assistance. Shortly after the publication of Anton and Gerda, Fallada reported to prison in Greiswald to serve a 6-month sentence for stealing grain from his employer and selling it to support his drug habit. Less than 3 years later, in 1926, Fallada again found himself imprisoned as a result of a drug and alcohol-fueled string of thefts from employers. In February 1928 he finally emerged free of addiction.
Fallada married Suse Issel in 1929 and maintained a string of respectable jobs in journalism, working for newspapers and eventually for the publisher of his novels, Rowohlt. It is around this time that his novels became noticeably political and started to comment
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Displaying 1 - 2 of 2 reviews
February 21, 2025
NOTE: I read one-half of the paperback edition of the above publication. It was not one of the edition options. I also need to qualify my rating of this novel. The translator might be as much to blame as the author. Personally, I'm not particularly motivated to check out another translator.
If I hadn't read so many of his later novels, I might not have had such high expectation for his first novel. The problem wasn't so much the storyline narrative but the chapters that attempted to capture the adolescent mental processes of Goedeschal. It was often unreadable. For example,
"Rippled by the winter air, shallow waves ran over the pond of boredom. Already it was as if, slenderly looming, he must cast over the lighted windows above the glow of purity so intimately willed, denying the casual recline into silence, as he bore witness to the new goodness that now sang his blood. The little silly gestures of the afternoon waved only, childish fluttering flags, around the periphery of his being, in the center of which squatted clenched, unassailable and deeded, a yearning will."
p. 182
To me this is the work of a young writer trying too hard to be profound and/or "literary" who is high on morphine and writing from a sanitorium, which pretty much describes Rudolf Ditzen/Hans Fallada when he wrote this novel. It went unnoticed.
The more mature Fallada has written many wonderful, if not always uplifting, short stories and novels. He is one of my favorite authors writing in my favorite historical time and place (i.e. Germany during the Weimar Republic and the early years of "1,000 year reich".
To this day, if an author has a best seller, a publisher will release their earlier works to cash in. This appears to be an example of that practice. The only real value of this novel, in my opinion, is to literary historians in order to show the development of the author and complete the full history of his authorship. I cannot recommend this novel other than that.
If I hadn't read so many of his later novels, I might not have had such high expectation for his first novel. The problem wasn't so much the storyline narrative but the chapters that attempted to capture the adolescent mental processes of Goedeschal. It was often unreadable. For example,
"Rippled by the winter air, shallow waves ran over the pond of boredom. Already it was as if, slenderly looming, he must cast over the lighted windows above the glow of purity so intimately willed, denying the casual recline into silence, as he bore witness to the new goodness that now sang his blood. The little silly gestures of the afternoon waved only, childish fluttering flags, around the periphery of his being, in the center of which squatted clenched, unassailable and deeded, a yearning will."
p. 182
To me this is the work of a young writer trying too hard to be profound and/or "literary" who is high on morphine and writing from a sanitorium, which pretty much describes Rudolf Ditzen/Hans Fallada when he wrote this novel. It went unnoticed.
The more mature Fallada has written many wonderful, if not always uplifting, short stories and novels. He is one of my favorite authors writing in my favorite historical time and place (i.e. Germany during the Weimar Republic and the early years of "1,000 year reich".
To this day, if an author has a best seller, a publisher will release their earlier works to cash in. This appears to be an example of that practice. The only real value of this novel, in my opinion, is to literary historians in order to show the development of the author and complete the full history of his authorship. I cannot recommend this novel other than that.
October 13, 2013
Primera novela de Fallada. Bastante difícil de leer. Nada que ver con Jeder stirbt für sich allein, que fue su última novela.
Displaying 1 - 2 of 2 reviews