The
Castle in the Forest, by Norman Mailer.#
This book is Norman Mailer's fictional narrative
history of Adolf Hitler's family, including his father's
life. The book is narrated by a devil who is assigned to
young "Adi" Hitler.#
A few remarks about the book before I pick out my
favourite quotes and topics.#
First, this book can be very obscene at parts---and not
because of its subject matter (Hitler) but in a
deliberate attempt to shock and create disgust and a
debasing image of human life. Thus, I cannot recommend
it on those grounds. (Although, this is much more
pronounced before page 80 than after.)#
Second, the book feels like part one of a trilogy,
except there is no indication of forthcoming parts. The
book ends as Hitler is a teenager and one feels slightly
let down that there was little pay-off for reading about
such sexual deviance. So, if you want to read the book,
don't go in thinking it will cover his entire life, as I
did.#
Even so, there is a much fore-shadowing of what
Hitler is known for. There is much emphasis on the
"war games" he played as a child. Then there are
section such as these:
[His father said,] "In the home of the bees,
there are no good Christians. No charity
whatsoever. You will not find one bee in any hive
who is too weak to work. That is because they get
rid of cripples early. They obey one law and it
sits on top of everything." [p. 165]
The thought of a beehive so affecting Hitler is
striking to a Mormon with the history of the beehive
state and Orderville work ethic.
Consistently, my favourite part of the book is when the
narrator discusses what it is like to be a devil. One gets
little snippets of an alternative world that (I believe)
does exist in some sense---obviously placing no faith in
Mailer's knowledge. In particular, Mailer is great at
imagining how devils would be view (and be taught about)
God.#
When it comes to turning a child into a client,
we follow a reliable rule. We move slowly. [...]
The child may not live. We lose so many. [...]
[Investing] in the newborn is an unbalanced gamble
for both the Maestro and the Lord. [p. 74]
The first element of mutual recognition in the
struggle between the D.K. (as we shall now often
call Him) and our leader---the Maestro---is their
mutual understanding that no single splendid human
quality is likely to prevail by itself, unaltered
by His power or ours. [p. 74]
Humans have become so vain (through technology)
that more than a number expect by now to become
independent of God and the Devil. [In
contrast to the Middle Ages; p. 76]
I see it as my duty to be ready, indeed, to
know more about godly sentiments than all but the
most gifted of the angels.
That may be why the Maestro encourages us to
speak of God as the D.K. [...] So D.K. stands for
Dummkopf. It is not that we look upon God as
stupid [...] Our use of th word Dummkopf comes, I
expect, from the Maestro's determination to wean
us from our greatest weakness---the unwilling
admiration we feel for the Almighty. As the
Maestro never allows us to forget, God may be
powerful, but He is not All-Powerful. Hardly
so. We, after all, are also here. If the D.K. is
the Creator, we are His most profound and
successful critics. [p. 93]
The last line is amazing.
After discussing the requirement to be present at
sex acts and the difficulty therein, the narrator
writes:
It seems---I dare to speak here only for
myself---as if the E.O. has never been able to
accept his failure to be present in the hour when
Jesus Christ was conceived. [p. 109]
The narrator is very particular to point out the
D.K.'s faults---including, he writes, His hope for the
brontosaurus, he continues:
While it must be admitted that He never gave
up, even if He was not always in firm control of
the earth He had fashioned, it is also
incontestable that earthquakes and ice ages
brought many an interruption to His experiments
and savaged many of His pursuits. Why? Because He
had incorrectly designed this globe of earth in
the first place. [p. 152]
It is interesting to read Mormon theology into this
and imagine the repercussions of eternal progression:
If God progresses eternally, then he could be better
at His job today than He once was; and, what is the
qualification for starting a world, is it necessarily
the case that to progress to that point one must not
be capable of such "mistakes"?
Later, D.T. writes about how bodily odors were
placed as a mark upon the clients of Satan, but that
devils solved the problem by the twentieth century by
encouraging clients to invent bathtubs, cleansing
oils, soaps, and deodorant. (p. 153-154)
D.T. remarks that both angels and devils try to
influence people through dreams but "the average dream
becomes a whirligig, a strew, a chaos left by the
melee between the Cudgels [angels] and ourselves."
(p. 158)
I made a request to the Maestro: Could I devote
my efforts to learning as much about Nicholas
as was possible? "Do what you can" was the
reply. I could hardly decide whether I was
being promoted or abandoned. [p. 216]
Indeed, the Maestro always spoke well of the
Trinity, as if he knew something others did
not. [p. 235]
What a slight and scathing remark!
Most of our clients either cease to exist---no
soul is left!---or are reincarnated by the
Dummkopf, who does not like to give up on any of
His creatures, large or small, wise or
foolish---which may be one reason the world
becomes more and more over-run by
mediocrity. [p. 271]
Such a comment is expected of an august author.
History [...] is seldom recalled as
all-fascinating. It is such a bed of lies. That is
the only reason I could recommend the life of a
devil to would-be aspirants. We know so much about
how it happens, how it really
happens. [p. 334]
God was everywhere, [and], so was the Devil. As
long as one did not oblige oneself to follow every
thought, then the Devil could have no access. God
would be there to protect your
ignorance. [p. 355]
Something very entertaining about these sequences is
how Dante-esque the narrator's side comments are. It
seems as if everyone in history that Mailer has a
slight dislike for is under demoniac influence. I
wonder if he realized he was doing this, or it is too
great a temptation when writing about such a
subject. Included: Oscar Wilde (p. 178).#
I would not that many of us are well versed in
literary classics. I cannot speak for the angels,
but devils are obliged to be devoted to good
writing. [p. 75]
On wine:
'You are cruel to grapes. You stamp all over
them with your dirty feet and then, when the poor
things are feeling very sour from such
mishandling, you add sugar and pretend to be
connoisseurs. You sip your sour juice and sugar
and try not to make a face. Beer, at least, comes
from grain. Its feelings are not so tender.'
[p. 441]
The book is very conscious of it being a book and there
being a reader. For example, after discussing how Adi went
from being bullied at school to being in charge of the
games played, he writes:#
Some [readers] may have felt uncomfortable,
therefore, to discover that they were enjoying
these first successes of the child, Adolf
Hitler. Be assured. To read about the skills or
triumphs of any protagonist is bound to elicit
happiness in just about all who follow the story
[p. 113]
And how true he was, although I was not conscious
that I was enjoying Adi's success until I read this
line. It is very awkward to be reading and being happy
for him, then the narrator calls you out on it, as if
it is either sinful to be happy for him, or even
worse, to not realize you had been.
A particularly great example of the consciousness:
as the narrator diverts the story slightly, he
suggests to the reader what page Adi's story will pick
up on! (p. 214)