I usually only post book reviews of books that won't leave me alone. I thought, and hoped, that when I finished reading The Passenger by Ulrich Alexander Boschwitz, I was done with it. Since I closed the final page, I've gone to a book club meeting where we discussed another book and I'm reading my third new book. But Boschwitz won't leave. Hence, here's the review:
The Passenger
Otto Silbermann, with his Aryan nose but his Jewish last name is on the run. Although he's just been excoriated and demeaned by his Nazi business partner, he managed to get some of his money back. However he's stuck:
Mulling over his situation, he wondered what am I supposed to do now? Because they're still going after Jews. I can't stay a single night in my apartment—not with forty-one thousand marks!
We have to leave Germany, but no place will let us in I have enough money to start a new life, but how to get it out of the country? I don't have the nerve to try to smuggle it across. Should I stay or go? What to do?
Should I risk ten years in prison for a currency offense? But what other choice is there? Without money I'd starve out there. Every road leads to ruin, every single one. How am I supposed to fight against the state?
. . .
Other people were smarter. Other people are always smarter! If I'd realized in time what was going on, I could have saved my money. But everyone was constantly reassuring me. Becker [business partner] more than anybody. And fool that I am, I let myself be reassured. . . .
Maybe things aren't half so bad, and the whole business is one big psychosis. But no, I should finally acknowledge the reality of the situation: things are going to get worse—much, much worse! (80-81)
It's 1938 and Otto Silbermann, a persnickety neurotic, could not be less suited to running for his life.
Author Ulrich Alexander Boschwitz (1915-1942) wrote and published an earlier version of The Passenger when he was only 23, and he died before he could get a revised edition to his publisher. At first the writing seemed to me to have some of the clumsiness of a young writer—overwriting, heavy-handed dialogue, redundancy—but as my anxiety grew (more on that in a second) so did the writing grow on me and I stopped judging.