Homo faber: ein Bericht
Walter Faber is an emotionally detached engineer forced by a string of coincidences to embark on a journey through his past. The basis for director Volker Schlš ndorff' s movie Voyager. Translated by Michael Bullock. A Helen and Kurt Wolff Book
19 pages matching Vater in this book
Results 1-3 of 19
What people are saying - Write a review
LibraryThing ReviewUser Review - LibraryThing
Third German book of the year, but probably the only one that qualifies as a legitimate adult-type novel. At times confusing for a non-native speaker. The coincidences and revelations may seem like stuff that I didn't properly understand, but a second look and, "Yeah, this really is what happened". Really good stuff. Highly recommended if one is learning the language and wants something a bit more challenging.
LibraryThing ReviewUser Review - LibraryThing
“Nothing is harder than to accept oneself." - Max Frisch. Walter Faber is a paradigm of collective identity v/s self-identity, rationality v/s irrationality and providence v/s concurrence; counter positioning free will. You cannot find yourself anywhere except in yourself. Frisch portrays the contradictory worlds of methodical reasonableness and the quandary of being a mortal. Walter believes in what he nurtures. As a technologist working for UNESCO, he lives in the present and connects with the world through scientific implications of his free will. Walter truly believes that it is mere a sequence of coincidences that fashions a man’s life, not fate. He defies the very nature of human sentiments sheltering his vulnerabilities through an itinerant lifestyle and transitory associations. Nevertheless, when circumstantial occurrences go beyond coherent justifications revealing the blatancy of Walter’s concealed emotions; the dichotomy of fate and coincidences are collided. Walter’s encounter with Herbert, his travel to the tobacco plantation, facing his uneasy past through Hannah and the sexual relation with Sabeth banishes Walter’s logic of concurrent consequences and imposes the idea of destiny. His obstinate belief that a man should not be held responsible for the actions he did not choose is shattered when guilt overrides his conscious after knowing Sabeth’s true identity. He appreciates the value of forgiveness, a concept which he had alienated himself from. A man is a not a machine but an incongruous creature. Frisch talks about the influence of industrial age and its significance in etching human mentality. The evolution of scientific technologies has assured human beings the capabilities of capturing the materialistic wonders controlling every aspect of human survival. Above all, however, the machine has no feelings; it feels no fear and no hope ... it operates according to the pure logic of probability. For this reason I assert that the robot perceives more accurately than man. Walter’s fixation with the technology constantly asserts the conflict between the modern world and the so called primitive thought processes. To a spiritual mind, death is the ultimate liberation of a soul. Whereas in a scientific setting death is seen as a failure of the aortic pump. Frisch toys with the post-modernism attitude towards technology suggesting that even though technology can make life easier it cannot define the workings of human connections. Walter’s practicality in every decision shielded him from the absurdity of emotions and fear making him helpless and nauseated in his own personality, is analogous to the resolution of Antoine Roquentin in Sartre’s Nausea:- I was thinking of belonging, I was telling myself that the sea belonged to the class of green objects, or that the green was a part of the quality of the sea. Even when I looked at things, I was miles from dreaming that they existed: they looked like scenery to me. I picked them up in my hands, they served me as tools, 1 foresaw their resistance. But that all happened on the surface. If anyone had asked me what existence was, I would have answered, in good faith, that it was nothing, simply an empty form which was added to external things without changing anything in their nature. And then all of a sudden, there it was, clear as day: existence had suddenly unveiled itself. It had lost the harmless look of an abstract category: it was the very paste of things; this root was kneaded into existence. Or rather the root, the park gates, the bench, the sparse grass, all that had vanished: the diversity of things, their individuality, was only an appearance, a veneer. This veneer had melted, leaving soft, monstrous masses, all in disorder—naked, in a frightful, obscene nakedness. I kept myself from making the slightest movement, but I didn't need to move in order to see, behind the trees, the blue columns and the lamp posts of the bandstand and the Velleda, in the midst of a mountain of laurel. All these objects . . . how can I explain?.............
Homo faber die Verführung des technischen
Entstehungs und Textgeschichte
1 other sections not shown