The Kindly Ones

Whenever a book is released that fictionalizes the Holocaust, the question arises: Why? However, when a novel like Jonathan Littell's THE KINDLY ONES is released, it's easy to understand why. Littell's novel about a fictional Nazi officer and his life during and after WWII is a compelling and, at times, tedious work. Grover Gardner's narration is magnificent--he gives a performance as stunning as the writing. The content is frequently gruesome, especially in some of the earlier scenes, and it takes a special reader like Gardner to transcend any repulsion while conveying the brutality of the plot and its characters. Although the answer to the question "why" is clear, with a work of more than 39 hours, at times the listener still must wonder: Why so long? D.J.S. (c) AudioFile 2009, Portland, Maine

Starred review from November 30, 2009
Littell's epic tale of a reformed Nazi officer takes the form of a fictitious memoir that takes listeners on a journey from Poland to the Ukraine and through some of the most notorious events in world history as seen from a Nazi perspective. Grover Gardner gives an unforgettable performance as Dr. Max Aue, a closeted homosexual and rising star in the SS. Gardner's intensity and passion force listeners to identify with Aue in all his torment and brutality. It's an uncomfortable, unforgettable, and transformative experience. A Harper hardcover (Reviews, Dec. 8, 2008).

December 8, 2008
Signature

Reviewed by
Jonathan Segura
Written in French by an American, this was the hot book of Frankfurt in 2006 and won two of France's major literary awards. A couple of years and a reported million-dollar advance later, here it is in English. Is it worth the hype and money? In a word, no.
Dr. Max Aue, the petulant narrator of this overlong exercise in piling-on, is a rising star in the SS. His career helped along by a slick SS benefactor, Aue watches the wholesale slaughter of Jews in the Ukraine, survives getting shot through the head in Stalingrad, researches and writes dozens of reports, tours Auschwitz and Birkenau, and finds himself in Hitler's bunker in the Reich's final days. He kills people, too, and is secretly gay—a catcher—and tormented by his love for his twin sister, Una, who now rebuffs his lusty advances. He also hates his mother and stepfather. As he claims, “If you ever managed to make me cry, my tears would sear your face.”
But after nearly 1,000 pages, Herr Doktor Aue, for all his alleged coldness and self-hatred and self-indulgent ruminations, amounts to nothing more than a bloodless conduit for boasting the breadth of Littell's research (i.e., a nine-page digression on the history of Caucasian linguistics). The text itself is notable for its towering, imposing paragraphs that often run on for pages. Unfortunately, these paragraphs are loaded with dream sequences marked by various unpleasant bodily functions, a 14-page hallucination where a very Céline-like crackpot cameos as “Dr. Sardine” and dozens of numbing passages in which SS functionaries debate logistical aspects of the Jewish Question. Also, nary an anus goes by that isn't lovingly described (among the best is one “surrounded by a pink halo, gaped open like a sea anemone between two white globes”). Most crippling, however, is Aue's inability to narrate outside his one bulldozing, breathless register, and while it may work marvelously early on as he relates the troubles of trying to fit the maximum number of bodies into a pit, the monotone voice quickly loses its luster.
In the final 200 or so pages, Berlin is burning, the Russians and Americans are making rapid advances, Hitler is nearly assassinated and SS brass are formulating their personal endgames. But, alas, this massive endeavor grinds to its conclusion on a pulp conceit: two German cops, against all odds, are in hot pursuit of Aue for a crime he may or may not have committed.
Littell's strung together many tens of thousands of words, but many tens of thousands of words does not necessarily a novel make. As the French say, tant pis
.
Jonathan Segura is the deputy reviews editor of
Publishers Weekly and the author of
Occupational Hazards.