The Passenger
The Top 10 Sunday Times Bestseller
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- 6,99 €
Beschreibung des Verlags
'Gripping' - Telegraph'Brilliant' - Sunday Times'Riveting' - Guardian
The devastating rediscovered classic written from the horrors of Nazi Germany, as one Jewish man attempts to flee persecution in the wake of Kristallnacht
BERLIN, NOVEMBER 1938. With storm troopers battering against his door, Otto Silbermann must flee out the back of his own home. He emerges onto streets thrumming with violence: it is Kristallnacht, and synagogues are being burnt, Jews rounded up and their businesses destroyed.
Turned away from establishments he had long patronised, betrayed by friends and colleagues, Otto finds his life as a respected businessman has dissolved overnight. Desperately trying to conceal his Jewish identity, he takes train after train across Germany in a race to escape this homeland that is no longer home.
Twenty-three-year-old Ulrich Alexander Boschwitz wrote The Passenger at breakneck speed in 1938, fresh in the wake of the Kristallnacht pogroms, and his prose flies at the same pace. Shot through with Hitckcockian tension, The Passenger is a blisteringly immediate story of flight and survival in Nazi Germany.
PUBLISHERS WEEKLY
A German Jew evades arrest by traveling on a series of trains in this uncanny 1938 novel from Boschwitz (1915–1941), his first to be published in English. WWI veteran Otto Silbermann slips out the back door of his Berlin house when Nazis show up to arrest him in 1938. He seeks out his Aryan business partner, Becker, in Hamburg, to recover a debt, and Becker unleashes an anti-Semitic screed before paying up. Otto uses the money to aimlessly ride the rails ("I am safe, he thought, I am in motion. And on top of that I feel practically cozy"). He eventually tries to sneak into Belgium, only to be returned to Germany by soldiers who reject his attempted bribes. He avoids Jewish acquaintances and pesters his son in Paris to figure out how to get him to France, but when the briefcase containing the money goes missing, Otto loses all hope of escape. His bleak reflections on his endless journey ("I'm a prisoner. For a Jew the entire Reich is one big concentration camp") are contextualized by scathing observations of Aryan Germans, who sometimes offer mild sympathy but ultimately seem to find the concentration camps "rather novel and quaint." This chilling time capsule offers a startling image of fascism taken hold.
