Rosshalde, by Hermann Hesse. A second reading.

Carrying on my renewed exploration of the novels of Hermann Hesse, I came to Rosshalde, which I remember made a great impression on me at the first time of asking a few years back.

The story examines the situation of an artist, Johann Veraguth, who lives on quite an opulent estate. His wife also lives on the estate, but they live in separate houses. The marriage has become deeply unhappy, The couple's youngest son, Pierre, is really all that now connects them. The boy lives mostly with his mother, whilst the eldest son is mostly away at school.

It seems that his desire to spend time with Pierre is the only thing which leads Johann to keep up the "pretence", and remain at Rosshalde. A visit from a friend, Otto, a man with an outgoing and inquisitive approach to life, sets in motion a series of fundamental contemplations and decisions on Johann's part, and then tragedy intervenes.

As I hinted at in my opening paragraph, Rosshalde made quite an impact on me when I first read it. The novel exudes a charm, a poignancy and a poetic sensibility which set it apart, even from most of Hesse's work. These qualities may to some extent stem from the fact that the story is, it seems, partly auto-biographical in nature.

The opening chapter sets the scene and the tone effortlessly and beautifully, outlining the ambience of the setting and its natural environs, the dynamics and the intricacies of the human relationships which play out there and which are the centrepieces of the story. We are also introduced to the habits and the demeanour of Johann.

These initial constructions go a long way to ensuring the effect and the atmosphere of the Rosshalde story, in its gently endearing but wistful evocations.

The visit paid to Rosshalde by Otto, and its influence on Johann's thinking, are central to the tale, and provoked much thought on my own part. Associating with vibrant, joyous people often brings us to realise what we are missing out on. It is also arguable that these encounters which wrench us away from an insular, secluded existence have a kind of randomness and transience to them. It is so easy to miss that particular train, in that it does not operate to a set timetable.

Johann's experiences also remind us that many individuals who appear, at first glance, to be living an enviable and stimulating life in fact feel unfulfilled. We are not all content with material comfort and professional "success".

Sometimes our pride makes it difficult for us to admit that something is absent. We pretend, or delude ourselves, that we are contented and happy. The point is made in this novel that contentment is perhaps an indicator of a lack of hope. We see some things merely as a means of blocking out distress, misery or sorrow, rather than as a path to positive self-realisation.

The passages which detail Otto's visit to Rosshalde are highly affecting and exquisitely composed, It is advisable for the reader to devote some time to carefully digesting the vagaries of the exchanges between Johann and his friend.

I find this novel important because it addresses, in a quiet and unspectacular way, so many aspects of the human experience which weigh so heavily. Love, compromise, doing things for the wrong reasons, enduring because the alternative is worse. Not being bitter about the past, but embracing the present and the moment. One door closes, another one opens. Also, sometimes Nature intervenes and engineers the change for us.

A striking note for me was the tragedy of human antipathy, miscommunication and misunderstanding, and the acknowledgement, however frustrating, that this is cold reality. There is little point in feeling angry about these things, for that would mostly be a waste of energy. We must learn how to cope, and also to be kind and reasonable in how we navigate the storms. Some horrors, such as loneliness and disillusionment, can be borne provided that there is hope.

The idea of the artist (in this case Johann) "burying himself in his work" - is this comparable to people burying themselves in their work to block out or forget personal woes? - is another theme touched on.  Does such an approach simply serve as a holding operation, rather than constituting an escape or a solution to the individual's predicament? What is perhaps needed is lasting relief, and not a constant urge to drown the anxieties. Not everyone is fortunate enough to receive the stimulus or the resolution.

The great irony of the story is that the event which finally "liberates" Johann is the demise of that which he had hitherto clung to as a beacon.  I am sure many people can identify with this element of the story, and the temptation to attach "irrational" interpretations to such events.

Rosshalde I found hugely enjoyable and stimulating, but I was also left with some quite stark feelings. On the one hand a certain admiration and satisfaction for a person who has, quite late in the day, achieved clarity and sureness of course. On the other, a certain cold wonder concerning the tragedies and follies of people. Even someone who nowadays is much more resigned to the inevitability and inescapability of those latter phenomena cannot fail to be jolted by their shadows and icy pervasiveness. The certainty that these things are facts of life does little to diminish their impressiveness.

Peter Camenzind, by Hermann Hesse - a second reading

 As I continue my second major odyssey through the writings of Hermann Hesse, I turn to his first novel, Peter Camenzind, published in 1904.

It follows the story of the titular character, a young man from the countryside, who goes away to college and subsequently embarks on various travels, friendships and cultural ventures. The novel concludes with Peter returning to his home village to support his ageing father.

What I really like about Peter Camenzind is its streamlined and simple format. Also, Hesse does not settle for stereotypical or "obvious" plot elements or characterizations. The tale is laid out in a pleasingly organic way, exuding a charm and fluency which are outstanding even by Hesse's standards.

The character of Peter Camenzind is quite idiosyncratic but eminently plausible, and he does not necessarily conform to what we expect from protagonists in this type of novel, by Hesse or others. The reader is challenged to accept and recognise that we all have our own quirks and that we all react in different ways to our influences, our upbringing and our environment. We are perhaps mistaken if we cherish the notion that all people develop within a narrow set of parameters.  Young Mr Camenzind is by no means a caricature.

It is telling, I think, that on revisiting the stories of Hermann Hesse, I am a good deal less receptive to the "supernatural" dimension than I was in the past. Instead, I distil things down to a "philosophical" and worldly interpretation, and I would contend that one does not need to be religious or spiritually inclined to be animated and invigorated by Hesse's observations.

As ever, Hesse demonstrates a great facility for evoking imagery through words, imagery which conjures up a vibrant but believable series of locations and situations. This to me suggests a fertile imagination and an observant mind, in addition to solid and wide-ranging personal experience.

The philosophical drive, if one was intended, does not seem as clear and as strong in this novel as is the case with some of Hesse's others. The reader is left with the task of interpreting much of what transpires within the pages. Apart from the standard Hesse themes of self-discovery and a search for personal identity, the "message" is comparatively diffuse here, and the novel is none the worse for that. Only in his later works would Hesse flesh out and engage with his regular fields of inquiry in more concentrated form.

Peter Camenzind's story is an indication that Hesse's work was more varied than some might imagine, and that it evolved and developed over time. It is also fair to say that keen antennae are required to discern the differences and nuances. Even if one accepts that the author's books cover similar ground, I would rather have writing of this quality, continuity and profundity than that of novelists whose subject matter is all over the map but anodyne. Reading Hesse is a journey and an education, not just a form of "entertainment" or relaxation. 

Due to the apparent absence of an all-pervading major theme, the story-line, which is told in the "first person", glides along smoothly, relatively uncluttered by weighty concerns. Hesse is highly adept at basic, enjoyable story-telling, quite apart from his other qualities.

So what did I learn from Peter Camenzind's story?  Well, a conception which crops up here and there is the sense that our experiences, good and bad, even if we do not put them to concrete or tangible use, equip us and embolden us to tackle life's ongoing challenges and trials, although we do not always realise this. In addition, what sustains us is a belief, even a confidence, that something good or rewarding will eventually be ours. This faith may be misplaced and unlikely in reality to ever bear fruit, but a tentative form of progress, consciously and otherwise, towards this vague objective is in the main healthy, provided that we do not visualise the ultimate goal too pedantically or obsessively.

Throughout the novel, Nature, and mankind's relationship to it in the modern age, is a recurring topic. The notion of revering and studying Nature as a means of appreciating and loving our fellow humans more fully is put forward. I must confess that this aspect of Camenzind's wanderings and reflections hit home with me, as someone who has become aware from personal experience of the realities of alienation and detachment.

Recognising that we interact with Nature, as well as being part of it ourselves, may assist in renewing some severed connections, as well as enabling us to steer a more fulfilling and mindful course, by breathing in Nature's gifts. Beauty comes in many forms. These questions are arguably even more pressing and relevant today than when Hesse was composing this story.

The portions of this novel which I relished most were those which chronicled Camenzind's travels, especially those to Italy, and the manner in which he relates the healing and soothing effects of mixing with and befriending ordinary people, with their modesty, humility and earthy goodness. It is perhaps not a coincidence that those people lived more closely attuned to Nature and its munificence.

I sensed that in a way Hesse was setting the authenticity and genuineness of common folk against some others who he encountered in the worlds of academia and art, those who had been affected by ego, vanity and ambition. These points do not really feel to me like an attempt to "romanticize" the distinction, but the writer makes them eloquently enough.

Another argument which caught my attention when studying Peter Camenzind was the idea that observing and associating with individuals is often more instructive and stimulating than an "abstract" examination of humanity as a whole. An example of this is the main character's relationship with the disabled man Boppi, a friendship which is documented most lovingly and touchingly. To be of genuine utility and value, do these relationships need to go beyond the superficial level?

In emphasizing such a "grass roots" method of studying people, Hesse may have been effecting another subtle dig at academia and scholarship, who knows? This introduces us to a field which he would return to, in various forms, later in his career.

Hesse appears to be arguing in his accounts of Camenzind's friendships that we need to value our relationships, learn from them, see them as a two-way process, and harness them to improve and enrich ourselves and the world around us. It is never too late to soak up life's beauty and warmth, and never too late to attain a semblance of realization, and we should not necessarily fear death.

I have always been somewhat sceptical of the oft-asserted suggestion that travel "broadens the mind".  Perhaps what it does accomplish is to help us to get closer to a clue to our true selves, and put other areas of our existence into a clearer perspective. Introduced to different people and backdrops, we may see things which we previously shunned or decried in a new light. This was another of my take-aways from the Camenzind wanderings.

I find it refreshing and interesting that the story does not have a "natural" or definitive ending, as is regularly the case with similar novels, even those of Hermann Hesse. Many of Peter's plans and ambitions remain unclear and unfulfilled, but his experiences and the things which he has learned and achieved together form part of his identity and his personality, and are the resources on which he will draw as his life moves on.

I would say that Peter Camenzind is one of Hermann Hesse's most concise, rewarding and enchanting works. With its broad but important range of questions it might serve as a useful introduction to the thought-world and style of this remarkable writer.

Narcissus and Goldmund, by Hermann Hesse - revisited....

 It had been some little time since I had read one of the novels of Hermann Hesse. This would seem strange and even curious, as Hesse remains possibly my favourite writer, a writer whose works were a great source of inspiration and comfort during some troubled and uncertain times in my life. Anyway, other matters, and other books, took hold of my attention and curiosity, although I never forgot the stories of Hermann Hesse, and the way in which they had offered me direction and even new ways of looking at the world and the challenges of life.

In returning to the Hesse canon, I chose first to revisit 'Narcissus and Goldmund'. I recalled the strong and vivid effect which it had on me some years ago, even if the minutiae of the plot and the characters would take time to drift back into my consciousness.

Another thought occurred to me as I retrieved the book from the shelf - I expected it to be a stimulating and beneficial read, but I equally wondered whether my interpretation of, and reaction to, it would be the same as before. I have "moved on" in a philosophical sense, since the period when Hesse's works first came to my close attention (and to my assistance).

Basically, the story centres on the relationship between the two titular characters. Narcissus is a scholarly resident at a monastery, now a teacher and set to ascend the ranks and the hierarchy of the institution. The younger Goldmund arrives as a new student/pupil, and the two eventually establish a friendship. The perceptive Narcissus sees that it is not in his young friend's true nature to live a life of secluded scholarship and study; he is an artist. Without giving too much away, Goldmund subsequently takes his leave of the monastery and embarks on years of adventuring and experiences "on the road".

Apart from the author's perpetual concerns regarding self-discovery and spirituality, a more distinct strand of study emerged, namely that of people's awareness of their true nature and the means by which they uncover their true "calling". In this instance Goldmund had the shrewd and visionary Narcissus to perform this function, but it occurs to me that most of us are thwarted in this regard, our potential and true happiness suppressed or blocked by other people, by social structures and even by ourselves, consciously or otherwise. The question, of course, of whether we each have a "destiny" is a whole subject on its own...

Must of us have no figure such as Narcissus, to help us to see what our potentially most rewarding and satisfying future course is. Our true talents and gifts remain undiscovered or at least under-utilized, the secret remaining unlocked.

Humanity has progressed in many respects over the centuries, but this may remain one of the areas where we continue to let ourselves down. One has to ask if modern economic pressures and imperatives are among the factors hampering an improvement.

Going back to the novel, I was once again left animated and enthused by Hesse's simple yet poetic and absorbing language. However, there was something else this time around. I was more attuned to the writer's implied, and even sometimes explicit, criticisms and judgements, especially concerning some aspects of scholasticism and monasticism, and the rigidity of the institutions which uphold and oversee them. Being Hermann Hesse he makes the points in a subtle, gentle and constructive manner. Before I was less sensitive to such charges being levelled by the great man, and this change I expect reflects changes in me over the intervening years.

I suspect that most people who read "Narcissus and Goldmund" find themselves, at some juncture, engaging in a touch of soul-searching, and wondering whether they themselves are closer in character and inclination to Narcissus, or to Goldmund. I was not immune to this process, but my assessments were clouded with caveats, doubts and qualifications.

On reflection, I am probably more a "thinker" than an "artist", but I arrived at this thought via a circuitous route. As I turned the age of thirty, I entered a period which could be best described as ebullient, although unlike Goldmund I did not become a wayfarer. The preceding years had been ones of restraint and reticence, although without the erudition and commitment to study of Narcissus. 

The "outgoing" years, when I look back, were more a case of circumstance and a reaction to the "quiet" years, which were really characterised by passivity on my part, rather than any conscious programme of scholarship or learning. When the spell of relative excess was brought to an end, I realized that my true calling was to be a person of study, contemplation and words. So my true finding of myself occurred later in life than happened with Goldmund, and I was not fortunate enough to have a sounding-board or mentor such as the learned Narcissus. This kind of thing can happen to people, but not as dramatically as in literature, and at different stages and under different guises. In my case I wouldn't describe it as trial and error, but it needed several sea-changes in my life before the clearer picture started to fully emerge.

It is easy to see why, with his examples, his vision and the clarity and appeal of his ideas, Hermann Hesse has been cited as an inspiration for those undertaking the journey of life and of self-discovery. He opens people's eyes to their potential, and their humanity, partly through his evoking of the scope for authenticity and beauty in life and the world. He helps to peel away layers of inertia, apathy and lethargy.

The novels and other writings of Hesse are a deep well of philosophical nourishment from which I draw from time to time, and the works seldom fail to energize and galvanize me.

Running alongside the story of Goldmund's wanderings is the philosophical, and ultimately practical, challenge posed by this tension between the artist and the thinker, the senses and the spirit, the flesh and the mind. Can they be reconciled, made not to complement each other but to act in true union to lead us to fulfilment and realization?  It is a tantalizing prospect, and even if there is substance in the notion it is likely that only a very small fraction of us will attain such a union in a meaningful way.

The chronicling of Goldmund's wanderings, his experiences in forests and with assorted inhabitants of the lands which he passed through, is essayed in a charming yet plausible way, with an eye for detail, shade and colour. More than with most authors, I find my brain and my imagination composing imagery to accompany Hesse's words as they are processed. The cares of the world tend to evaporate, at least temporarily, and I am transported to another world, but a world made very believable, very human.

I would be inclined to assert that "Narcissus and Goldmund" is not one of Hesse's most heavily "philosophical" novels, despite the subject matter which is covered within it. It might be more accurate to declare that the philosophy is less immediately "heavy", onerous and portentous than with some of his other output. To a degree, of course, all novels are "philosophical", but this one is bathed in a very beautiful salve.

An intriguing dimension of the Hermann Hesse universe is the naturalness of the settings. In this instance we are presented with a largely pre-industrial world. Of course the pastoral "idyll" is blemished by difficulties, vices and evils, although they appear at first unlike those which abound in our twenty-first century society. The backdrop is a pleasant enough vehicle, but at times we are reminded of the pernicious realities of those bygone times. It is quite easy to miss these sub-texts when caught up in Hesse's enchanting and fluid prose. It may be that he was wanting to draw some attention to the less enlightened patterns of life in the medieval ages without distracting us unduly from the central direction of the narrative.

There are some passages in this novel which examine the nature of art and artists, and I can see why such discussions may serve as a turn-off to some. However, these sections greatly impressed and intrigued me, especially those which addressed questions of impermanence and the fear of death. 

A message which I drew from the story is that of our goals. Our goals may be vague, but the progress and the journey are more important and valuable than the precise objective itself. The objective, if even partly realised, cannot be "the end", but a new beginning, a prompting to embark on a quest for fresh horizons. So it appears to have been with Goldmund.

The artist/thinker dynamic is enticing but, particularly later in the book, Hesse brings the bourgeois/"bohemian" paradigm to the party. This has exercised my thoughts for some years now, more specifically the constraints and "responsibilities" imposed on individuality by modern economic and cultural pressures. Perhaps it was easier to practically escape bourgeois existence (in its various guises and forms) during the times when the novel is set, even the times when Hesse himself was composing his works. Modern societal norms seemingly make it more difficult to pursue a life parallel to the mainstream. For most of those feeling emasculated or ill-at-ease, maybe the most realistic option is to engage as little as possible with "the system", and strive where possible to achieve some kind of realization and insight. Idealism sometimes has to give way to a measure of pragmatism.

In keeping with his favoured themes, Hesse postulates the notion of cycles and the idea that everything passes, with life characterised by renewal and rebirth. Another central theme is that of the "maternal", the mother figure, and the feminine and masculine conscious and unconscious minds. 

However, the one topic from "Narcissus and Goldmund" which stuck most indelibly in my psyche was this idea of unburdening oneself of experiences, emotions, triumphs and traumas by creating something tangible rather than ephemeral, before venturing on to a new challenge. This process almost sounds like a form of catharsis, and it should ideally be conducted in a non-vicarious way, but I was left asking myself whether it matters what form the "document" should take. Can those who are not blessed with artistic gifts or training benefit from such a "project", provided that it reconciles the two "opposites"?

I viewed the tale, and the subjects tackled, through more of a humanist framework on this occasion, because of my burgeoning interest in humanism and ideas of human flourishing. As with many novels of this kind, however, excessive latching on to one philosophical strand or message can mar or obscure one's overall enjoyment of the art.

"Narcissus and Goldmund" is to my mind one of Hesse's most affecting and finely rounded works, one with the depth and scope to spur the reader into greater contemplation and reflection.

 

The Prodigy - Hermann Hesse

I have recently resolved to re-read the works of the great German author Hermann Hesse, and as part of this process I revisited his novel The Prodigy, which has also been published under the alternative title Beneath The Wheel.

The novel tells the tale of a gifted young man called Hans from southern Germany who works hard to attain admission to a prestigious theological college, but is subject to constant pressures from his father, schoolteachers and others.  Once at the aforementioned college, he becomes friendly with a young man who questions the value of "abstract" scholasticism. Hans falls from favour with the college hierarchy, his academic performance diminishes, and he suffers from a breakdown, and returns home, eventually enrolling as an apprentice in a manual occupation.

As ever with Hesse's works, there are lots of pleasing passages concerning a person's oneness with nature, and an immersion in the simple pleasures of life. Again, in keeping with the regular Hesse style, there is not much in the way of direct social criticism, and much of his message can be found between the lines, as it were. There is the occasional slice of sarcasm, which underlined for me that the topics covered in this novel were of particular moment for the writer.

The preamble, covering the time prior to our hero's admission to the theological college, is a delight, and worth the "admission fee" on its own.

This novel is ostensibly a critique of the educational system which prevailed in the early twentieth century. More broadly, it explores themes of regimentation, oppression, the folly of some academic pursuits, and conformity as a route to stagnation and decay. Hesse extols the virtues and value of work which brings one closer to nature, which has a tangible result, and which activates and nourishes all of our senses.  For me, it brings home the necessity for a balance in our lives.

Another strand which runs through the story for me is that people should be allowed to find their own path, and that we should not let the success or acquiescence of others become the measure of our own self-esteem, value or prestige.

This is a highly affecting novel, and is to my mind one of the more straightforward and linear of Hermann Hesse's works. Although the story is told from the standpoint of early twentieth-century Europe, the issues are still relevant. Perhaps some of the ills discussed here are less "institutionalized" nowadays, but they are still pervasive and important.

Wilhelm Meister's Apprenticeship - Johann Wolfgang von Goethe

In recent years, I have been most invigorated and energized by my acquaintance with some classic German literature, in the main Hermann Hesse and Thomas Mann and, I will say, finding it more stimulating and engaging than most of the work by English writers that I have encountered in the same period.

This process has also brought me into contact with the world of Johann Wolfgang von Goethe, and I recently read his novel Wilhelm Meister's Apprenticeship, which had been lurking unread on my Kindle for some little time.

I didn't weigh myself down by seeking to determine whether this was a novel of ideas, a philosophical novel, or a bildungsroman. I am in accord with those who have noted that it defies easy categorization.

Basically, the story follows the journey of the eponymous character, as he strives to escape a bourgeois career, and initially seeks to make a career as an actor. The tension between the bourgeois and the bohemian, the worldly and the spiritual, reminded me, superficially at least, of the works of Hermann Hesse.

Particularly to a modern reader, the story does not appear stunningly original, but it is so absorbing that this is largely immaterial. The characters discuss all manner of ideas encompassing art, literature, religion, politics, philosophy and human nature.  Wilhelm's interest in Hamlet and Shakespeare serves as a kind of peg for part of the way.

The discourse is given added authenticity because the novel was composed at the time when societal and cultural ferment was acute.  This is not some idealized, misty-eyed historical novel.  This sense of realism is accentuated by the fact that the ideas do not protrude forcefully from the narrative, but tend to blend quite seamlessly into the flow of the text.  I found this to be the case especially with the gentle commentary concerning the class structures of those times.

An intriguing aspect of this novel which recurs throughout is the scrutiny of the concepts of Fate and Destiny, as they were up against notions of reason and the idea of making one's own "luck". I related sharply to the parts of the story which stressed the value of falling back on something less exalted and fanciful, and of guarding against unrealistic aspirations in life.

Women play a prominent role throughout the story, especially assertive, educated females from affluent or intellectual backgrounds. I'm not sure whether Goethe was trying to make a point in this regard, but it does endow the novel with an added dimension, and was perhaps intended as subtle social commentary.

The opening chapters engender an immersive and stimulating atmosphere, and before long I found myself genuinely caring about many of the characters and their fortunes, and also identifying with their feelings and their dilemmas. Goethe does seem to have that facility to tug at the heart-strings, and it is displayed most pointedly in the passages which deal with Wilhelm's romantic and emotional entanglements and upheavals.  His alternating anguish and ebullience certainly struck a chord.

This is one of those novels which may reveal its true and full depth with repeated readings. The intricacies of the plot and the subtleties of the characterizations may thereby be more vividly illustrated. Importantly, it has some instructive things to say about how we should improve ourselves and enrich our lives, through activity and cultivating a curiosity about the outside world, rather than lingering in introspection.

Quite a long haul, this one, but a rewarding one, and I can readily see how it has been quite influential down the decades.

The Odyssey - Homer

Having got through Homer's Iliad, I recently set about reading the poet's other celebrated work, The Odyssey.  This was E V Rieu's translation, which was done in a "prose" style.

The poem essentially documents the wanderings, adventures, fortunes and misfortunes of Odysseus (and others) in the aftermath of the Trojan War.  The main thrust of the plot is the quest of Odysseus to return to his home in Ithaca, and his later measures to address the ominous events which had taken place there in his absence.

During the story we are immersed in the world of the palaces  The settings are varied and the story derives much of its richness from the grandiosity or beauty of the locations, and the way in which these are introduced and described. Ironically, this world, as much as it bears some resemblance to historical reality, was shortly to decay and eventually disappear.

In part due to the exotic and evocative settings which form the backdrop for the various portions of the poem, the Odyssey, there is very much a fantasy and/or fairy-tale character to the work, with passages referring to bounteous orchards, streams, forests, springs, exotic fruits and other idyllic features. The mythological element is strong. The constant and elaborate presence of the gods and assorted mythical beings and creatures accentuate this impression.

In other ways I was reminded of some of the stories written by Hermann Hesse, although the precise motivations behind Odysseus' travels were not always the same as those nurtured by Hesse's characters. One can readily appreciate from reading this work how influential Homer has been, subconsciously or otherwise, on many generations of writers, novelists and poets.

For all the tranquil and picturesque landscapes, the Odyssey is not without its violent and disconcerting episodes. The encounter with the Cyclops, and especially his culinary inclinations, certainly raised my eyebrows.  One thing to note is that the story is slightly confusing from a chronological viewpoint, in that much of the plot is related "retrospectively" by Odysseus to the Phaeacians. Once the reader has untangled the order in which the various stages happened, then he or she will be fine, and it should make perfect sense.

The Odysseus is, on the face of it, not submerged by portentousness and gravitas, and some of the dialogue between characters has charm. Moral questions are tackled in a milder and less onerous manner, and this ensures that it is digestible and enjoyable, even if intense concentration is desirable in order to derive the most from it.

It is a gripping and absorbing story, and is well worth reading, and not just for people who have already experienced the Iliad.

The Murder Of Roger Ackroyd - Agatha Christie

I must confess that detective fiction, or crime novels, have not featured that highly on my list of literary priorities over the years. However, the lure of Agatha Christie's work proved too strong, and I therefore recently sought out The Murder Of Roger Ackroyd, first published in 1926, and often cited as one of the most important detective novels of all time.

Almost as soon as I commenced reading the book, the thought struck me that its impact had been dulled by the fact that I had seen the British television adaption, starring David Suchet as Hercule Poirot, even if that adaptation differed from the novel in several respects. On the other hand, the small-screen version did assist me in my "visualizations".

The employment of a central character as "narrator" helps to give this story its distinctive feel. Again, the effect might be different, more pronounced, to those who are unfamiliar with the story in any format.

For me, the character of Hercule Poirot both irritates less and charms less when his idiosyncrasies emanate from the printed page. Even so, one can readily appreciate how Agatha Christie supposedly came to dislike the character, her own creation. I guess that modest, anodyne characters do not inspire strong emotions, or persuade people to read books. Perhaps the reader should develop a method of "tuning out" Poirot's less agreeable traits?

I should stress that my evaluation of The Murder Of Roger Ackroyd may have been coloured by the slant of my fiction-reading in recent times, which has tended to focus on meatier, "philosophical" fare, such as Hermann Hesse and Thomas Mann. So, when a sense of time and place, and historical perspective, seems largely absent, as with this novel, the natural reaction may be "what is all the fuss about?".  An adjustment has to be made, to accept things on their own terms, and to concentrate on the detective elements and the "human nature" angles.

The plot has some compelling elements. Suicide, blackmail, jealousy, resentment, avarice, deceit and of course murder.  The characters themselves are projected quite strongly in the novel, so that one acquires a reasonable understanding of their attributes and vices. The ending can be seen to fulfill more than one function. It surprises, especially to newcomers, but it is also left sufficiently enigmatic to leave some people wondering, and even proffering alternative, if sometimes fanciful, interpretations...

I did enjoy this book, but I wish earnestly that I had experienced it before I saw the television version. Its novelty and "shock" value was much diminished, I think. Repeated readings may alter my attitude, but it does surprise me a little that The Murder Of  Roger Ackroyd is revered to the extent that it is. I guess that opinions depend largely on the personal tastes and literary palate of the reader.

Despite the cleverness of the plot, and its gripping nature, I was not heavily engaged emotionally or spiritually. I was not left feeling inspired or emboldened, or moved by any sense of being uplifted or animated. I had finished the book, and that was pretty much that. It was an interesting and well-constructed novel, but its alleged status as a masterpiece was, I admit, lost on me, during this first encounter.

To my mind, there was little genuine examination of the motives behind the culprit's deeds, or of his underlying grievances, if he had any.  Also, the story is not really placed in any contemporaneous social context, in a way that could penetrate this reader's conscience and imagination. I would have recoiled at the callousness of the murderer, whilst simultaneously pondering any injustices or iniquities which might have been perceived to have fuelled the tragedy.

I think the message to me is either that I prefer pure crime stories to be audio-visual, or that glossy and atmospheric TV shows with lavish production values have tarnished or distorted my approach towards the crime novel genre....

Hermann Hesse - The Glass Bead Game

The works of Hermann Hesse have the rare capacity to force the reader to reappraise his or her attitudes to life and the world around them.

Of Hesse's novels, The Glass Bead Game, which I recently read for the second time, is one of the longest and most intricate, but the questions which it poses can be very readily distilled. The story basically revolves around the character of Joseph Knecht and his life of study and teaching.

Knecht enters the "pedagogic province" of Castalia, and becomes well-versed in the book's titular pastime, although a detailed knowledge or grasp of the game's niceties is by no means essential to an understanding or enjoyment of the novel.

Essentially, the theme of the novel is the tension between the abstract and the worldly, between the ethos of rarefied,contemplative study and that of the more "sordid" and instinctive life outside Castalia. This conflict, and the conclusions which spring from it, are explored with reference to the author's fascination with Eastern concepts of duality, transitoriness, renewal and rebirth. Certain characters in Knecht's orbit are held to be symptomatic of the existing set-up, or precursors of the future.

The heart of the argument, as I understood it, is to what degree "esoteric" academic and cultural pursuits such as the Glass Bead Game have any value for the real world, but equally how much such undertakings contribute to man's reason and enlightenment, bestow practical applications , and therefore lead to a more peaceful and just world.

Of course, this intellectual "elitism" was in effect subsidized by the man in the street. Such "luxuries" would clearly be jeopardized when emergencies such as war arose. As I deciphered it, part of the message here was that Castalia should try to inculcate Castalian principles and values in society proper.  This presumably on the theory that a more stable society would help to ensure the survival of Castalia in some shape or form, by nurturing a more conducive social and economic climate.

Some of the passages which ruminate about intellectual and cultural developments remind me of Thomas Mann. Some of this was tough going when compared to the purely biographical bits, but they are important in the overall.

The Glass Bead Game works on more than one level. It is easy to dwell on the societal ramifications of the Castalian set-up and its relations with the outside world, but the effects on individuals are equally pertinent. The suffocating impact of the secluded existence, being cut off from "real life", as well as the nagging sense that their talents are not being used for the general good, or indeed for an individual's own spiritual well-being.

An abiding trait of Hesse's writing is that he touches the very essence of life, our make-up and our equilibrium, the soul and what animates it. He makes such things seem so elementary and tangible, but also induces a yearning for self-discovery in those of us who have found the equilibrium elusive and troublesome.

The Hesse works regularly take place in remote settings or situations, but the characters are invariably wrestling with universal turmoils and concerns. Hermann Hesse has been a major influence on my life, and my outlook, in recent years.  Just a few pages are sufficient to rekindle that feeling of serenity and hope, like a reconnection with some semblance of love and truth, if only fleetingly.

In a broader way, the story supports the notion that we benefit from a change of scenery, encountering different people, points of view, and atmospheres, and that we should not prolong phases of our life which have begun to decay and pall, and should move on. Of course, this is easier said than done for most people, and most would not rationalize such impulses in the "exotic" manner favoured by Hesse. We should also try not to entirely estrange ourselves from things which appear alien.

My feeling is that Hesse relied on the sensitivity and perspicacity of his readers to constantly juggle these levels of meaning, and to discern them in the first place. Otherwise, his writing would not possess its unique flavour and vitality. What first drew me to Hesse, when my life had been to a dark place, was the weight placed on self-discovery and enlightenment.  But knowing what we do about the man, it is apparent that he had an eye for wider social commentary, in addition to chronicling the journeys of individuals, the latter often serving as metaphors for the former. Matters of some moment were indirectly addressed in a digestible and "non-threatening" form, but the point was undeniably there.

The Glass Bead Game is grandiose by Hesse standards, and the occasional geopolitical tangent is atypical of the author's usual approach. Its depth renders it more demanding and draining on the reader's faculties. Contained within The Glass Bead Game is a conventional Hesse novel, but it is more "fleshed out".

To some less discerning observers it might seem that the story "tails off" or fizzles out, but one must remember that this is not a conventional novel, Hesse had said what he meant to say, and of course the manner in which the main bulk of the tale concludes encourages the reader to assess the possible interpretations. A whole vista of possibilities should really open up.

Admittedly, this book does not quite leave me with the warm and buoyant sensations engendered with some other Hesse works, but this is counter-balanced by the amount, and variety, of food for thought which it serves up. Thoughts about ourselves, our place in the world, and our responsibilities.

Siddhartha - Hermann Hesse

About three years ago, not long after being treated for depression, I read Hermann Hesse's novel "Siddhartha", and it had a profound effect upon me. The events and philosophies detailed in the book gave me hope and encouragement, and reminded me that the world, and this life, were still beautiful and precious. Just recently I re-read "Siddhartha", as part of a tentative effort to once again "reboot" my life.

 

In brief, the novel follows the eponymous character on a journey of self-discovery and spiritual exploration. He craves enlightenment, but comes to recognise that this cannot be attained via the teachings of others. It has to come from within, and we must find our own path, our own truths, and that the voices come from within - the "bird in the breast".

 

It is not difficult to appreciate why "Siddhartha" so captured the imagination of counter-cultural circles on both sides of the Atlantic in the decades which followed World War Two. Its message of liberation from doctrine, tradition and hierarchy, of arriving "there" by ourselves, was warmly embraced by a ready audience.

 

The renunciation of material possessions was of course also a favoured theme of the Sixties, but Siddhartha's quest does not perhaps follow the totally ascetic and self-denying course which some might expect (and/or hope). It seems he took the view that one needs to be immersed in "real life" to see the emptiness of some parts of it. All part of the process of conquering the "self"?

 

It was noticeable how some aspects of the story assumed greater prominence for me just recently, and which did not loom as large when I first read "Siddhartha".  One is the implication that more knowledge or learning can be imparted in one kiss or physical embrace than by slavishly studying some exalted text or tome. Events in my own personal life since 2011 have made me more receptive and empathetic to such things.

 

Also, Hesse mentions that a "game" can only last so long before it becomes stale and repetitive. We must have a goal, a path, a greater aim. As in all things, we need a balance, between keeping grounded and striving for a higher fulfilment.. This is something that many people, myself included, often overlook to our detriment.

 

Siddhartha's dreams are occasionally enlisted to convey symbolism, often to signpost the next stage in his odyssey. As in many of his stories, Hesse's language is organic, vivid but economical, evoking the vitality and the essence of life. These ingredients all help to make his work so enchanting and inspiring.

 

As with the many Hesse works which draw inspiration from Eastern philosophies, the themes of renewal, rebirth, cycles, the transient nature of things, and the essential harmony or "one-ness" of life and nature feature prominently here, as does a simple but profound love of all things.

 

Towards the end, as Siddhartha renews acquaintance with the ferryman, the river is used as a metaphor for life, being, "the moment", one's path, destiny, however we choose to interpret them. The arrival of Siddhartha's son is symbolic; the father's search coming to an end, and the offspring beginning his.

 

Some other important nuggets which I drew concerned the nature of time, the removal of fear and the limitations of words in expressing and explaining truth and wisdom. In time, Siddhartha came to terms with ordinary people, their preoccupations and their loves. This for me was one of the most important sub-plots, and consistent with the "unexpected" character of the journey.

 

Interestingly, the "lesson" which resonated with me was - don't try too hard, or you may miss something which is right in front of you.  Instead, listen and be receptive....

 

"Siddhartha" did not have quite the same emotional impact on me this time around.  This is not surprising, since it was not new to me, and I am a different person now from the one who was engrossed by it three or four years ago. However, I still found it invigorating and instructive.  Recommended reading for anyone.

 

 

 

 

 

 

Hymn To Old Age - Hermann Hesse

Few authors had quite the capacity and the vision to explore the human condition like Hermann Hesse. His novels have been an important part of my life in recent years, and his other writings are just as enthralling and inspiring. Some of these writings are compiled in "Hymn To Old Age"....

 

This collection comprises various "fragments" and vignettes, all loosely addressing and musing on the subjects of old age and ageing. They include extracts from letters and novels, as well as poems and essays. As they were written over several decades, they are endowed with a real vibrancy and diversity. This should not be regarded as Hesse's definitive "take" on the subject matter, and the pieces do not appear to be consciously arranged in any particular order, chronological or otherwise.

 

As ever, Hesse draws on nature, and natural phenomena such as weather and the changing seasons, as powerful and credible metaphor. There are many allusions too to the febrile and uncertain times in which the author lived. The outpourings published here are also largely informed by Hesse's fascination for Eastern philosophies, and concepts such as transcendence, one-ness and the essential harmony of the universe are much in evidence.

 

The writer's love of, and zest for, life permeates every word, as does his eagerness to savour every moment which that existence has to offer. This all ties in with the author's concerns with transience, and the urge to live for the moment, and to appreciate the beauty and vitality of those moments.

 

One of the themes which one detects through these writings is how in some respects the approach of the young and the old bears similarities, even if the reasons for this, and its precise symptoms, are subtly different. Do we lose something crucial in our "middle years"?  Honesty, receptiveness to beauty and simplicity? 

 

The degree to which we have control over when the beginning ends and the end begins is debatable, and it is arguably affected by the environment in which we operate, particularly in the industrial and technological age. Hesse, delicately though resolutely, implies that modern urban life,  consumer society and "the rat race" are not altogether conducive to quiet contemplation and "mindfulness". Many of the tales and scenarios contained here are set in quintessentially "Hesse-ian" rural or idyllic surroundings, and the protagonists have often lived a vaguely ascetic life.

 

Despite everything, to me this book did not feel like a treatise on age and ageing, but more as a sampler, refresher or reiteration of Hesse's concerns, outlooks and favourite themes. The language and wordplay are largely gentle , but add up to something profound and thought-provoking, because of the coherence and humanity of the author's vision.

 

As mentioned above, the concepts of ageing, and the passage of time, dovetail vividly with Hesse's ideas and preoccupations, to do with spiritual exploration, and notions of "home" and constant renewal and rebirth. His attitudes to death, unconventional to many Western eyes both then and now, are but one manifestation of these beliefs.

 

In my own personal situation, I noted the assertion that the young and the old, both have a lack of real concern for the future, for separate reasons, thus permitting a more dominant role for the present and "the moment". Does this lead to a greater freedom and contentment?  Those of us in the "no man's land" between the two poles, who constantly hanker after a return to the days of our youth, may have got things wrong. A more attainable and real sanctuary could await us when we reach old age.

 

Some of the extracts in "Hymn To Old Age" I had read before, in novels and so forth, and most are written or expressed in Hesse's trademark style. However, his writing never becomes repetitive or mundane, as it is so invigorating, enriching and life-affirming. The purity and optimism in his work never grows old.

 

 

Klingsor's Last Summer - Hermann Hesse

Continuing my quest to read as much Hermann Hesse as possible, I next tackled "Klingsor's Last Summer", a novella which was originally published in 1919.

The story is loosely that of the last months of Klingsor, an artist/painter who lives in Switzerland. Although the narrative does not explicitly "cover" Klingsor's death, it is "reported" in an introduction. The bulk of the text is dedicated to ruminations by the artist and his friends on subjects relating to death, fate and human existence generally.

Although "Klingsor's Last Summer" explores and encompasses familiar Hesse preoccupations, it also feels quite "surrealistic", in terms of the imagery which it evokes. At times, it was difficult to ascertain whether or not metaphor was being employed.

The Klingsor character is what we may describe as a hedonist, seemingly living live to the full, and for the moment, unconcerned by consequences, or the pressure to conform. This is in keeping with a theme common in Hesse's body of work, that is the tension between bourgeois comfort and the more freewheeling, bohemian life of the artist or creator.

My own feeling is that "Klingsor's Last Summer" is a little more chaotic and meandering than many other Hesse novels or novellas. This is partly because of the more exotic imagery and symbolism. Any central, overriding message, if indeed there is one, is difficult to discern for much of the way.

In their discussions, Klingsor and his friends debate and agonize over various matters relating to the role of the artist, and the purpose of life. They question whether people spend too much time striving to portray and depict life, rather than enjoying and savouring it for its own sake. That was my interpretation, anyway! Another old chestnut raises its head, in the form of musing on what constitutes useful and constructive employment of one's time on earth, and whether this is necessarily important.

To me, Klingsor celebrates the childlike, the frivolous, the joyful, the ephemeral. Does it matter how we obtain pleasure, satisfaction and fulfillment, as long as we do?  Can one sublime moment of euphoria or exuberance compensate for the myriad mundane aspects of life?

As the book progresses, I detected a tension between traditional Western views and perceptions of life, death and Fate, and the teachings of Eastern philosophies on these subjects. Is human experience one whole, embracing both life and death, and should we fear this concept?

The attitudes held by Klingsor and some of his associates also appear to be reflective of the time during which this story was composed, that is the opening decades of the twentieth century, a period of war, upheaval and change. Pessimism and fatalism abounded.

In all honesty, I did not find this as immediately enjoyable and stimulating as much as other Hermann Hesse works, although this view was doubtless influenced by its distinctive character.  It is still intriguing, and in places thought-provoking.

Gertrude - Hermann Hesse

I was unsure what to expect when I read the Hermann Hesse novel "Gertrude". It does embrace many of the characteristic features and concerns of Hesse's novels, but takes them in some interesting directions. I also felt that the book read very agreeably as a conventional "story", quite apart from the philosophical ground which it covers. Some familiar Hesse ideas and themes are contained in a looser framework than is present in many of his other novels.

The narrator of the story is Kuhn, a composer and musician. He details some of the crucial staging posts in his adult life, and his career as a musician.  The two most important characters other than Kuhn are the singer Muoth and his future wife Gertrude. The relationship between Muoth and Gertrude, which is the source of some anguish and dismay for Kuhn, is the inspiration for his masterwork, an opera, and forms the main thrust of the later chapters of the book.

"Gertrude" contains much ruminating on issues of ageing, loneliness, love and spirituality, but for me the underlying threads which ran through it were what expectations we should have of life, whether we are unrealistic in presuming that happiness and contentment will be predominant, to what extent it is wise to intervene in events, and the importance of the interdependence of people.  These things are explored via Kuhn's own travails, and those of his friends and relatives, and are rationalized partly through Hesse's established lens.

The role of music, so prevalent in much of Hesse's literature, is very much to the fore in this novel. As well as giving the story an added lyricism, charm and flexibility, it is employed by the author as a universal medium, which explains many things much more eloquently than any words ever could, capturing the essence of what it is to be human, the harmony of life, and permeating the core of the soul.

Many of Hermann Hesse's works concentrate on matters of self-discovery, spiritual journey and renewal. These are touched on generally throughout "Gertrude", but the most attention is given to the concepts of one-ness, the merging of opposing elements, such as misery and happiness, melancholy and joy, and contentment and restlessness.

I first began to properly explored Hesse's work two or three years ago, and it has been both inspirational and moving. However, more than any other of his novels which I have read, I personally identified closely with one of the characters, in this case Kuhn. His constant agonizing about the merits, and consequences, of isolation and solitude, and the benefits of mixing with other people, really chimed with some of the thought processes which have been a feature of my recent existence. Is the full richness of life, as it was always intended to be, only experienced by embracing the whole gamut of emotions, moods and predicaments which it has to offer?  To cut oneself off from things which may be disagreeable or painful leads to wishful thinking, hollowness and emptiness.

Within the story there are supposed turning points, including the toboggan accident in which Kuhn sustains life-influencing injuries, and also the death of his father.  My reading of the ensuing situation was that rather than prompting Kuhn to massively change his behaviour as such, these episodes simply concentrated his mind on the true nature of life itself, and how far our behaviour can serve to transcend fate and destiny.  The incidents in question may have altered Kuhn's immediate plans, and on one occasion even saved his life, but they also affected his view on the world.

The symbolism of the tension between, and blending of, the personalities and outlooks of Muoth and Gertrude is in keeping with these concepts, but somehow feels separate and outlined with some finesse. It is quite subtly implied in the narrative that the relationship between the two formed the inspiration for Kuhn's opera, and the dynamic between the abrasive and unpredictable Muoth and the more temperate and placid Gertrude is not satisfactorily resolved. There is no happy ending.

"Gertrude" is a charming and poignant story, and does not just feel like a vehicle, or a series of hooks, on which can be suspended various ramblings about profound philosophical and moral questions. The settings and imagery seemed less abstract than in some other Hesse novels, with place names more prominent, and in this sense it is comparatively conventional and, I would suggest, a good starting point for people wishing to immerse themselves in this author's books.

Knulp - Hermann Hesse

The works of Hermann Hesse have been an inspiration and a comfort to me in recent times, and they never fail to engender a sense of well-being and equilibrium.  Feeling the need for those restorative qualities once again, I recently read his novel Knulp, originally published in 1915.

The novel is divided into three "tales", Early Spring, My Recollections of Knulp and The End. It touches on familiar territory for Hesse;namely themes of self-discovery and "closure". The character Knulp is a wanderer, who straight society would regard as "rootless", and who delights in his carefree existence, but is still somehow subject to occasional restlessness and soul-searching. The latter manifest themselves in the final chapters, as Knulp is afflicted by a serious illness, and wonders whether his life has had a purpose, after an old friend queries whether he has utilized his talents for the best.

The first tale Early Spring serves partly as exposition, detailing some of Knulp's traits and attitudes The second part My Recollections of Knulp is told from the perspective of a travelling companion of Knulp, and it is here perhaps that the first signs of ambiguity appear in our hero's mind, though it is not shown overtly in the narrative. The final portion, The End, is where Knulp goes home, both literally and metaphorically, returning to his home town, ostensibly for medical treatment, but also to ruminate on his childhood, and there he finds his "answer".

I found myself identifying more and more with the central character of the novel. He had embarked on a course, but was now assailed by self-doubt, uncertainty and even stagnation, wondering indeed whether he was indeed fulfilled, or possessed by self-delusion.

As with many Hesse books, there are some wonderfully moving little scenes, the one which touched me most here was the one where Knulp and the servant girl Barbele bade each other farewell after a night out.

There is some examination of the conflict and tension between, on the one hand, curiosity and inquisitiveness, and on the other, comfort and familiarity. This soon gave way to the question of what actually constitutes "roots" and "home" Is it a physical place, or a state of mind?

The regular Hesse concern of a "homecoming" as a metaphor for closure as death approaches is deployed here too. The closing passages centre on Knulp's encounter with "God", although it is tempting to see God in this context as a metaphor for the world at large and the character's friends and relatives. Concerned that his life since childhood has been worthless, Knulp receives assurance that his life has been of value, that although he has not been of "value" to others in a conventional "bourgeois" way, he has served a purpose by his cheeriness and warmth to others, and the way in which his demeanour and sheer presence precipitated thoughts in others. The memorable phrase "homesickness for freedom" is employed to describe the sentiments which Knulp might have instilled in people who have lived a more staid existence. Again, the equating of childhood with freedom and non-conformism is noticeable.

Knulp is another striking and thought-provoking work, subtly different from other similar Hesse works, mostly by virtue of its structure. Most of all, like many other entries in the author's bibliography, it has the capacity to make one feel glad to be alive, and to shake one out of any apathy and inertia which might linger.

The Fairy Tales of Hermann Hesse

As a great enthusiast for the works of Hermann Hesse, I like to snap up wherever possible books containing his writings.  One such is The Fairy Tales of Hermann Hesse, which as the title implies, is a collection of such stories by the great man.

Despite having relished numerous Hesse novels, I was unsure what to expect from this book.  However, as soon as I began to read the first story, those familiar pleasant and organic vibes radiated from the pages,  that unique and intoxicating style which Hesse developed.  The themes and concerns which pervade the writer's novels feature prominently here.  Many of these tales in one way or another deal with matters of self-discovery and spirituality, but others pertain to grimmer affairs.

In contrast to the largely worldly events and thoughts seen in many Hesse novels, this compendium sees a greater stress on the supernatural, perhaps unsurprisingly given the genre involved.  Even so, all of this remains within the loose framework which one would associate with this writer.  Some of the backdrops and imagery are quite exotic, surreal even...

Many of these stories do have morals or messages contained within them (but not rammed down the reader's throat), whilst others are more akin to streams of consciousness or mood pieces. One of the joys of Hesse's writings is that interpretations can be fluid and multi-faceted, this largely stemming from the nature of his preoccupations. The brevity of these pieces, and their streamlined format, helps to give them real impact, as their subject matter tends to be more concentrated.

Of the tales making up this book, ones which I found particularly affecting and intriguing were "The Dwarf", "Augustus" and "Iris".  The last named, and others, encapsulate many of Hesse's recurrent fascinations, including the notions of "returning to mother", "going home" and "oneness"

Much of the final portion of this book is given over to stories which reveal the author's despair concerning political and social trends in the early 20th century.  A relatively strident and unambiguous tone is adopted here, in such tales as "Strange News from Another Planet", "The Forest Dweller", "If The War Continues", "The Empire" and "The European".  In these prescient commentaries on, and indictments of, tyranny, war and intolerance, Hesse sounds notes of dread and foreboding, reflective of those volatile days. That said, I found the tenor to be largely one of defiance rather than resignation.

The language employed in these more "topical" pieces is hardly cryptic or euphemistic, as if Hesse was striving to deliver a stripped down warning, devoid of any scope for misinterpretation.

With translation, and an introduction, by Jack Zipes, The Fairy Tales of Hermann Hesse will enrich and broaden people's appreciation of  the man's visions, outlook and world-view, as well as being an entertaining and stimulating read.

The Journey To The East - Hermann Hesse

In somewhat distilled form, The Journey To The East encapsulates many of the ideas and themes which characterize the work of Hermann Hesse, albeit with some interesting differences, and in much more enigmatic and "unorthodox" form than is generally the case with his novels.

The Journey To The East follows the attempts by the narrator "H H" to chronicle his involvement with a spiritual sect known as The League, and the "pilgrimage" referred to in the title.

The "journey" is not a trek across a geographical region or area as much as a voyage of self-discovery and enlightenment. As with many Hesse novels the precise location seems almost immaterial or academic, and secondary in importance to matters of a spiritual and cerebral nature. Indeed, members of The League have the facility to cross the boundaries of time and space, fact and fiction.

Like some of Hesse's most affecting and profound work, The Journey To The East is very brief and concise, with an economical style. Hesse seems capable of cramming more symbolism and meaning into ninety-odd pages than other authors can manage in a lifetime.  The vagaries of the plot mean that some readers may find this one a little more difficult to digest and grasp than Hesse's other stories, and it therefore demands greater concentration and analytical awareness - or at least it did for me!

As is usually the case with Hesse, the pages are a sensory feast.  One is compelled to absorb and assimilate the sights, sounds and aromas which are described in the text.  Also, Hesse's ability to make scholarship, study and erudition seem so invigorating and inviting is very much in evidence.

So what themes and topics are prominent in this novel?. Consciousnesss, human imagination, the collective versus the individual, faith and belief all feature.  The Eastern concepts of "one-ness" and "naturalness" also receive an airing.

Much of the novel centres on the disillusionment which "H H" and others begin to feel towards the League at a certain stage of the journey, his struggle to commit this to paper, and the narrator's return to the League to face judgement for his conduct and approach during the time of distress and doubt. Needless to say, there are some surprises in store...

I have to admit that The Journey To The East did not draw me in and inspire me to the same degree as the other Hesse novels which I have encountered, but nevertheless it is intriguing and thought-provoking.

Rosshalde - Hermann Hesse

After a break of a few months, I recently felt the urge to read another of Hermann Hesse's novels, and Rosshalde seemed to fit the bill.

The first thing to say is that Rosshalde explores many of the themes which are characteristic of Hesse's work. Also, the novel is set in the type of environs and atmosphere which, for reasons which are difficult to articulate, make his books so captivating, engaging and compulsive reading.  As ever, though, it is the subtle differences and tangents which enrich and augment the experience for the reader.

It would seem that this particular book is at least partly autobiographical.  It tells the story of an artist, Johann Veraguth, and his complex relations with his estranged wife and his two sons.  The title of the work refers to the country estate where the four people live.

Rosshalde looks at the dilemmas endured by Veraguth as he wrestles with his family obligations, and his devotion to his youngest son Pierre, as well as the opportunity to embark on a voyage of self-discovery and enlightenment, this being provided by his friend Otto Burkhardt.

In keeping with many of Hesse's novels, the writing is wonderfully rich and evocative, and it feels like every word is meant to count, there being minimal superfluous "padding".  The imagery formed by the words, and combinations of words, forms into one organic whole and seeps into the mind of the reader. This is particularly true of the passages describing the surroundings at Rosshalde, which consequently assumed for me the trappings of a state of mind as much as a geographical location. The author's humanity and zest for life and living ooze from every page, and he has the capacity to endow the mundane and workaday with a magic and impact.

The familiar Hesse themes of rebirth, self-realisation and consciousness are featured heavily, although they are perhaps pushed less overtly here than in some of his other works.

I discerned (rightly or wrongly) a few underlying messages and themes.  The state of living through somebody else (in this case the young Pierre), rather than for our own sake, and how this can cause us to settle for an existence which is delusive, and the course of which is precarious, tenuous and largely beyond our control. The difficulty of "letting go" in such circumstances, and the need for the intervention of an extraneous catalyst, deus ex machina, or unexpected event to break the cycle and liberate us. The tendency for people to feel comfortable, but numb, and not fulfilling ourselves, taking risks or making sacrifices.

Although the death of young Pierre makes this on the surface a less uplifting read than some of Hesse's other works, like those other novels it draws the reader in, exercising the mind, and evoking a sense of time and place.

Beneath The Wheel - Hermann Hesse

Over many months, I have blogged my thoughts on some of the novels of Hermann Hesse. My latest read, Beneath The Wheel, was in many respects the least complex and meandering of them all, but at the same time the one whose plot reflected some of my feelings on the course taken by my own life.

The central thrust of Beneath The Wheel is a critique of rigid formal education, and its insidious effect on the development of individuals. It tells the tale of  Hans Giebenrath, a small-town boy who leaves home to attend an academy. In time, he strikes up a friendship with a fellow student, Hermann Heilner, who has much less regard for the strictures of his tutors and teachers.  Eventually Hans assigns greater priority to his relationship with Hermann than to his studies.

After returning to his home town following the onset of a nervous breakdown, Hans struggles to adapt, and is plagued by difficulties, some of them stemming from the estrangement previously induced by the pressures of education.  At the end, Hans is found drowned.

Although Beneath The Wheel was originally published in 1906, some of the subjects which it throws up are as relevant now as ever.  The sometimes stultifying effects of academia and "bourgeois" conformism on mind and spirit, and the measures undertaken by the establishment to maintain people on a pre-defined course in life, this manipulation leavened with the promise that one will be "looked after" in return.

The experiences of Hans on his return to his home town are perhaps a reminder that even when one is allowed to find one's own way in life, and we experience peaks and troughs more intensely and vividly, we are prey to the same pitfalls and pressures as everyone else.  Such an existence is not necessarily idyllic.  At the same time, the denial of natural emotional and spiritual development at a crucial stage of life is often irrevocable.

In addition to its philosophical angles, Beneath The Wheel contains some of Hesse's most evocative and compelling descriptions and depictions of nature and places.

This is another Hesse novel which as well as exercising the grey matter, has the power to make one glad to be alive.

Demian - Hermann Hesse

I have just finished reading this, another of Hermann Hesse's most notable novels, and thought that I would share a few of my thoughts and observations.

The first few chapters of the book indicated to me that this was going to be different in themes and feel to the other Hesse works which I had previously enjoyed.  However, it turns out that many familiar Hesse themes formed the central thrust of it, albeit in different settings and with an intriguingly vibrant new take.

Duality, self-discovery and matters of consciousness all loom large here, seen through the prism of the central character, Emil Sinclair, and his encounters with various "mentors", including Max Demian.

One of the primary messages of the book seems to be that in order to achieve a realization of "self", one must sample and inhabit both the world of bourgeois order and that of "darker forces".  Hesse appears to contend that traditional religious instruction does not incorporate the "other" world, and to argue the point he invokes the figure of Abraxas, who harmonizes good and evil, and symbolizes the concept of "one-ness".

The Cain and Abel metaphor is used to good effect early in the story, and later Demian's mother Eva becomes an important symbol of the ideal for Sinclair.  The "sparrowhawk" and egg symbols are also clever and powerful.

The later chapters also contain some observations about modern-day life, and its corrosive effect on thinking, spirituality and individuality, leading to staleness, complacency and indolence. Hopes are expressed that the status quo will be changed by those embarked on the journeys of discovery identified here.

For me, the threads of Demian are less clearly defined and seamless than some of Hesse's other novels, and less immediately comforting and inspiring.  However, those readers who persevere with it will not only be challenged, but also rewarded.

Peter Camenzind - Hermann Hesse - book review

No sooner had I finished the wonderful Narcissus and Goldmund than I set about tackling Peter Camenzind, one of Hesse's earlier efforts.  As with the other Hesse works with which I have made acquaintance, completing it did not take long, as one is drawn inexorably into the ebb and flow of the storyline, as well as the power of the subject matter.

Peter Camenzind deals with what were to become the familiar Hesse themes and concerns such as spirituality, personal discovery and humanity, and therefore lays the groundwork for his later novels. However, this one has some distinctive characteristics of its own, and I found it more straightforward and "stripped down" than some of the others.

The plot concerns the experiences of the eponymous character, from his formative years in his home region, through his education and subsequent intellectual and artistic exploits and endeavours, and on to his return.

The young Camenzind is very much captivated by the beauty of nature, but has a curious relationship with some family members.  During and after his education he finds his interactions with cultivated society largely frustrating and unfulfilling, and instead finds solace and meaning in other circles . 

As the story moves forward, Camenzind comes to appreciate the "one-ness" of humanity and nature, and this appears to be achieved through a series of "re-births", during which he rediscovers the charm and honesty of the simple things in life, which often stand in stark contrast to the superficiality and insincerity which he has encountered on his various travels.

The closing chapters see Camenzind continue his voyage of discovery, and his relationship with a crippled man sees this process enter a new dimension.  He then returns to his home town.

This novel also takes a frank and unusual look at the subject of death, and perhaps aims to challenge some of the established views which were prevalent around the time of its publication.

From my point of view Peter Camenzind, like other Hesse novels, looks at life as an inner struggle, but also as a series of cycles, with a periodic journey back to "mother nature" desirable for nourishment and rejuvenation.  Above all, it celebrates all life for its richness, dignity and beauty.

Narcissus and Goldmund - Hermann Hesse - book review

My journey through the works of Hermann Hesse continues apace, and next on the list was Narcissus and Goldmund, which in many ways has been the most affecting and thought-provoking for me.

The work tells the story of two young males who attended a monastery.  Narcissus quickly rises to become a quasi-tutor, and the young Goldmund becomes, in effect, a protege of his. Once Goldmund experiences the pleasures of the flesh, he doubts whether it his vocation to be a monk, and the astute and perceptive Narcissus helps his younger friend to achieve an awakening.  Goldmund consequently takes his leave of the monastery.

The novel, as with other Hesse books, explores the Dionysian/Apollonian dynamic of "the thinker versus the artist" or "intellect against nature", but here ample attention is also paid to the idea of travelling "back to mother", of rediscovering the innocent and dreamlike path first embarked on during childhood.  Goldmund, with the assistance of Narcissus, comes to recognise his mother's qualities and influence, and that these had been distorted and misrepresented by his father, hence the steering of the youthful Goldmund in a monastic direction.

After his awakening, and his departure from the monastery, Goldmund sets out on a journey through the countryside, relishing the favours of women and savouring and feasting on other things to which the senses respond.  As this stage of the story unfolds, we are made aware that the "maternal" dimension of existence, although more varied, colourful, vibrant and intense, is also less secure, certain, logical and predictable.

Much of the imagery employed to convey this idea of the "mother" ideal, and also of Goldmund's delving into the torment of "the artist" is projected through the females who he encounters on his travels.  Female wiles, and in one sequence the act of childbirth, are used to illustrate the extremes of pleasure and anguish which, it seems, are revealed by similar physical manifestations.

As Goldmund moves from place to place, he finds that people are not exclusively welcoming to his wayward and itinerant lifestyle, as they are attached to a sense of roots and attachments. This makes him aware of the transient nature of things, and partly explains his urge to apply his artistic urges to create works of art which will be other than ephemeral.  Brushes with death, and witnessing the ravages of the plague, intensified these thoughts.

I interpreted this part of the tale, rightly or wrongly, as another "awakening" on Goldmund's part. He sought more of a goal, and sense of purpose, a focus for his endeavours. The subjects of his artistic efforts also yield much symbolism, with a compulsion to create figures depicting the Madonna and Narcissus. This may have indicated a growing realisation that he was beginning to combine the sensual and the practical.

Goldmund is eventually reunited with Narcissus, and both before and after this event further insight dawns on him.  My take on this was that he began to appreciate that life is a constant cycle of suffering and pain, alleviated by pleasure.  This pleasure or joy soon ebbs, and the agony returns. The cycle can be transcended by tangible realization of thoughts, images and dreams, combining elements of the "artist" and the "thinker".  Narcissus opines that in reaching this state, Goldmund has truly found himself.

After returning to the monastery with Narcissus to partake in further artistic work. Goldmund becomes restless again, after the completion of a project diminishes his sense of purpose. There follows a potent conclusion to the story. Goldmund seeks again to satiate his wanderlust, but finds that his charms are no longer as seductive, and his senses not as aroused.  Stricken by illness, and bereft of the drive to apply his thoughts and dreams artistically, Goldmund lacks the will to survive and exist which previously drove him on.  The conflict is at an end. He is ready to return to Mother....

During the final chapter, we discover that the outcome of Goldmund's meandering journey has prompted Narcissus to question his own approach to life.

Narcissus and Goldmund I found quite inspiring.  Another message which I took from it was that all our lives are a constant battle for peace and contentment, but factors, often stemming from childhood, cause us to approach this struggle in different ways.  However, we all constantly require re-balancing, re-nourishment and replenishment.  Being true to ourselves at the outset of the journey may be the most natural, honest and effective way to find some meaning....