In an age of upheaval and challenged faith, traditional heroes are hard to come by, and harder still to love, with their bloodstained hands and backs unbowed by the consequences of their actions. Through penetrating readings of key works of modern European literature, Victor Brombert shows how a new kind of hero—the antihero—has arisen to replace the toppled heroic model.
Though they fail, by design, to live up to conventional expectations of mythic heroes, antiheroes are not necessarily "failures." They display different kinds of courage more in tune with our time and our needs: deficiency translated into strength, failure experienced as honesty, dignity achieved through humiliation. Brombert explores these paradoxes in the works of Büchner, Gogol, Dostoevsky, Flaubert, Svevo, Hašek, Frisch, Camus, and Levi. Coming from diverse cultural and linguistic traditions, these writers all use the figure of the antihero to question handed-down assumptions, to reexamine moral categories, and to raise issues of survival and renewal embodying the spirit of an uneasy age.
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Brombert traces the birth of the antihero--a "perturber and a disturber," and occasionally what we moderns might call a slacker--back to Georg Buchner's Woyzeck. He then fast-forwards to such antiheroic masterworks as Jaroslav Hasek's The Good Soldier Svejk and Nikolai Gogol's nightmare vision of haberdashery, "The Overcoat." These are all fictional or dramatic works, which seem to be the most likely incubators of contrarian victory. Yet the centerpiece of Brombert's book is his chapter on Primo Levi's classic Holocaust memoir, Survival in Auschwitz. The author zooms in on a particular episode, in which Levi tutors a fellow prisoner in Italian by quoting Dante's terza rima reconstruction of Ulysses. In the ultimate antiheroic setting--the dehumanizing black hole of the concentration camps--this pedagogical labor strikes Brombert as a spiritual triumph: "The recourse to Dante's poetry, in order to teach Italian to an Alsatian fellow inmate in a German camp deep inside Poland, where Yiddish is the common tongue, becomes a symbol of universality and of the possible survival of meaning." Whether Levi, who chalked up his own survival to luck, quite fits into this pantheon of rebels and obstructionists is open to debate. But like In Praise of Antiheroes, his last-ditch recourse to Homer reminds us that old-fashioned humanism has plenty of life in it yet. --Bob Brandeis
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