Page 1 of The Flounder




  Contents

  Cover

  About the Book

  About the Author

  Also by Günter Grass

  Dedication

  Title Page

  Translator’s Note

  The First Month

  The third breast

  What I write about

  Nine and more cooks

  Awa

  How the Flounder was caught

  Division of labor

  How the Flounder was caught a second time

  Dreaming ahead

  How the Flounder was prosecuted by the Ilsebills

  Meat

  Where the stolen fire was briefly hidden

  What we lack

  Hospitably from horde to horde

  Dr. Affectionate

  Fed

  The wurzel mother

  Demeter

  What a cast-iron spoon is good for

  How I see myself

  Oh, Ilsebill

  At the end

  What I don’t want to remember

  The Second Month

  How we became city dwellers

  Quarrel

  Dishwashing

  Elaine Migraine

  Libber, Libber

  Like my Dorothea

  Like at the movies

  Scania herring

  To Ilsebill

  My dear Dr. Stachnik

  Surplus value

  The Third Month

  How the Flounder was protected against aggression

  When I was her kitchen boy

  Vasco returns

  Three questions

  Too much

  Esau says

  The last meal

  Tarred and feathered

  Fat Gret’s ass

  Delay

  The Flounder’s ideas about nunnish life

  Hasenpfeffer

  Whoever wants to cook in her footsteps

  The cook kisses

  The Fourth Month

  Inspection of feces

  Empty and alone

  The burden of an evil day

  Turnips and Gänseklein

  Why the Flounder tried to rekindle two cold stoves

  Late

  Fishily on love and poetry

  Agnes remembered over boiled fish

  It seems his name was Axel

  Excrement rhymed

  Only one was burned as a witch

  Immortal

  The Fifth Month

  What potato flour is good for (and against)

  Told while pounding acorns, plucking geese, peeling potatoes

  Plaint and prayer of the farm cook Amanda Woyke

  Ole Fritz

  Speaking of the weather

  How letters were quoted in court

  Why potato soup tastes heavenly

  Starvation

  The Great Leap Forward and the Chinese world food solution

  Boiled beef and historical millet

  Both

  The Sixth Month

  Dresses from India

  Sophie

  The other truth

  Beyond the mountains

  Gathering mushrooms

  Searching for similar mushrooms

  Hidden under sorrel

  Afraid

  Three at table

  Nothing but daughters

  Continuous generation

  The Seventh Month

  With Ilsebill, too

  Lena dishes out soup

  A simple woman

  All

  Nail and rope

  Home-fried potatoes

  Bebel’s visit

  The trip to Zurich

  Where she left her specs

  An obituary for Lena

  The Eighth Month

  Father’s Day

  The Ninth Month

  Lud

  Late

  Why she vomited

  Vestimentary preoccupations, feminine proportions, last visions

  The Womenal

  On Møn

  Conversation

  What we wish for

  Man oh man

  Three meals of pork and cabbage

  Copyright

  About the Book

  Lifted from their ancient fairytale, the fisherman and his wife are still living today. During the months of Ilsebill’s pregnancy, the fisherman tells her of his adventures through time with the Flounder, constituting a complete reworking of social, political and gastronomic history.

  About the Author

  Günter Grass (1927–2015) was Germany’s most celebrated post-war writer. He was a creative artist of remarkable versatility: novelist, poet, playwright, essayist, graphic artist. Grass’s first novel, The Tin Drum, is widely regarded as one of the finest novels of the twentieth century, and he was awarded the Nobel Prize for Literature in 1999.

  ALSO BY GÜNTER GRASS

  The Tin Drum

  Cat and Mouse

  Dog Years

  The Plebeians Rehearse the Uprising

  Four Plays

  Speak Out!

  Local Anaesthetic

  Max: A Play

  From the Diary of a Snail

  Inmarypraise

  In the Egg and Other Poems

  The Call of the Toad

  The Meeting at Telgte

  Headbirths

  Drawings and Words 1954–1977

  On Writing and Politics 1967–1983

  Etchings and Words 1972–1982

  The Rat

  Show Your Tongue

  Two States – One Nation?

  My Century

  For Helena Grass

  The Flounder

  Günter Grass

  Translated from the German by Ralph Manheim

  Translator’s Note

  It must be evident to anyone who has ever fished in the North Atlantic or browsed in a fish market that the fish described here, and eaten here is not what is commonly called a flounder. He’s too big, stout, and pebbly. I call him a flounder because he is no ordinary fish, but an archetypal one, harking back to the dawn of human consciousness but first revealed to the general public in the Grimm Brothers’ tale “The Fisherman and His Wife,” all English translations of which concur in calling the fish (who was really an enchanted prince) a flounder. As is made clear here in the translation with some violence to the original, Günter Grass’s fish is actually a turbot (Steinbutt). The Grimms’ fish, on the other hand, is only a Butt, or flatfish, and the flatfish family includes both Grass’s turbot and our flounder. Moreover, Webster defines “flounder” as “in a broad sense any flatfish,” which puts us perfectly in the clear.

  The translation of this book called for a range of knowledge that I cannot lay claim to. I am deeply grateful to the late Wolfgang Sauerlander and to Helen Wolff for their help and advice.

  R.M.

  The First Month

  The third breast

  ILSEBILL PUT ON more salt. Before the impregnation there was shoulder of mutton with string beans and pears, the season being early October. Still at table, still with her mouth full, she asked, “Should we go to bed right away, or do you first want to tell me how when where our story began?”

  I, down through the ages, have been I. And Ilsebill, too, has been from the beginning. I remember our first quarrel, toward the end of the Neolithic, some two thousand years before the incarnation of our Lord, when myths were beginning to distinguish between raw food and cooked food. And just as, today, before sitting down to mutton with string beans and pears, we quarreled more and more cuttingly over her children and mine, so then, in the marshland of the Vistula estuary, we quarreled to the best of our neolithic vocabulary over my claim to at least three of her nine kids. But I lost. For all the ur-phonemes my nimble, hard-working tongue w
as able to line up, I did not succeed in forming the beautiful word “father”; only “mother” was possible. In those days Ilsebill’s name was Awa. I, too, had a different name. But the idea of having been Awa doesn’t appeal to Ilsebill.

  I had studded the shoulder of mutton with halved garlic cloves, sautéed the pears in butter, and bedded them on boiled string beans. Even though Ilsebill, speaking with her mouth still full, said there was no reason why it shouldn’t come off, or “take,” right away, because she had thrown her pills down the John as the doctor advised, what I heard was that our bed should have priority over the neolithic cook.

  And so we lay down, arming and legging each other around as we have done since time immemorial. Sometimes I, sometimes she on top. Equal, though Ilsebill contends that the male’s privilege of penetrating is hardly compensated by the female’s paltry prerogative of refusing admittance. But because we mated in love, our feelings were so all-embracing that in an expanded space, transcending time and its tick-tock, freed from the heaviness of our earthbound bed, a collateral, ethereal union was achieved; as though in compensation, her feeling penetrated mine in hard thrusts: we worked doubly and well.

  Eaten before the mutton with pears and beans, Ilsebill’s fish soup, distilled from codfish heads that have had the hell boiled out of them, probably embodied the catalytic agent with which, down through the ages, the cooks inside me have invited pregnancy; for by chance, by destiny, and without further ingredients, it came off, it took. No sooner was I out again—as though expelled—than Ilsebill said with perfect assurance, “Well, this time it’s going to be a boy.”

  Don’t forget the savory. With boiled potatoes or, historically, with millet. Our mutton—as always advisable—had been served on warmed plates. Nevertheless our kiss, if I may be forgiven one last indiscretion, was coated with tallow. In the fish soup, which Ilsebill had made green with dill and capers, codfish eyes floated white and signified happiness.

  After it presumably came off, we lay in bed together, each smoking his (or her) conception of a cigarette. (I, descending the steps of time, ran away.) Ilsebill said, “Incidentally, we need a dishwasher. It’s high time.”

  Before she could engage in further speculation about a reversal of roles—“I wish I could see you pregnant some time”—I told her about Awa and her three breasts.

  So help me, Ilsebill, she had three. Nature can do anything. Honest to goodness, three of them. And if my memory doesn’t deceive me, all women had that name in the Stone Age: Awa Awa Awa. And we men were all called Edek. We were all alike in every way. And so were the Awas. One two three. At first we couldn’t count any higher. No, not below, not above; in between. The plural begins with three. Three is the beginning of multiplicity, the series, the chain, and of myth. But don’t let it tie you up in complexes. We acquired some later on. In our region, to the east of the river, Potrimpos, who became a god of the Prussians along with Pikollos and Perkunos, was said to have had three testicles. Yes, you’re right: three breasts are more, or at least they look it; they look like more and more; they suggest superabundance, advertise generosity, give eternal assurance of a full belly. Still, when you come right down to it, they are abnormal—though not inconceivable.

  Naturally. A projection of male desires! I knew you’d say that. Maybe they are anatomically impossible. But in those days, when myths still cast their shadows, Awa had three. And it’s true that today the third is often wanting. I mean, something is wanting. Well, the third of the three. Don’t be so quick on the trigger. No, of course not. Of course I won’t make a cult of it. Of course two are plenty. You can take my word for it, Ilsebill, basically I’m satisfied with two. I’m not a fool. I don’t go chasing after a number. Now that, thanks to your fish soup and no pill, it must have come off, now that you’re pregnant and your two will soon weigh more than Awa’s three, I’m perfectly, blissfully contented.

  The third was always an extra. Essentially a caprice of capricious nature. As useless as the appendix. Altogether I can’t help wondering: Why this breast fixation? This typically male tittomania? This cry for the primal mother, the super wet-nurse? Anyway, Awa became a goddess later on and had her three tits certified in hand-sized clay idols. Other goddesses—the Indian Kali, for instance—had four or more arms. But these may have served some practical purpose. The Greek mother goddesses—Demeter, Hera—on the other hand, were normally outfitted and managed to stay in business for thousands of years even so. I’ve also seen gods represented with a third eye in their forehead. I wouldn’t want one of those if you paid me.

  All in all the number three promises more than it can deliver. Awa overdid it with her three boobies as much as the Amazons underdid it with their one breast. That’s why our latter-day feminists always go to extremes. Get that sulky look off your face. I’m all in favor of the libbers. And I assure you, Ilsebill, two are plenty. Any doctor will tell you so. And if our child doesn’t turn out to be a boy, she’ll certainly have enough with two. What do you mean, aha? Men just happen to be crazy, always this yen for bigger and bigger bosoms. The truth of the matter is that all the cooks I have ever sojourned with have had one on the left and one on the right, the same as you: Mestwina two, Amanda Woyke two, and Sophie Rotzoll had two little espresso cupfuls. And Margarete Rusch the cooking abbess smothered the wealthy patrician Eberhard Ferber in bed with her two admittedly enormous tits. So let’s not exaggerate. The whole thing is kind of a dream. No, not a wish dream. Why must you always pick a fight? Can’t a man dream a little? Can’t he?

  Absurd, this jealousy about everything and nothing. A pathetic lot we’d be without projections and utopias! I’d even be forbidden to let pencil stray over white paper in three curved lines. Art would have to say “Yes” and “Have it your way” all the time. I beg you, Ilsebill, be just a little reasonable. Think of the whole thing as an idea with an inherent contradiction which, it is hoped, will give the female breast the dimensions it now lacks and produce some sort of superbosom. You must learn to take a dialectical view. Think of the Roman she-wolf, for instance. Think of expressions such as “nature’s bosom.” Or, with regard to the number, the triune God. Or the three wishes in fairy tales. What do you mean, given myself away? You think I’m wishing? Well, well. You really do?

  All right. Admitted that when I grab at empty space, I’m always after the third breast. In which I’m certainly not alone. There must be reasons why we men are so hipped on breasts, as if we’d all been weaned too soon. It must be you women’s fault. It could be your fault. Because you attach so much, too much importance to whether or not they sag a little more, each day a little more. Let them sag, to hell with them. No. Not yours. But they will, they’re bound to, in time. Amanda’s sagged. Lena’s sagged from the start. But I loved her and loved her and loved her. It’s not always a bit of bosom more or less that matters. If I wanted to, for instance, I could find your ass with all its little dimples just as beautiful. And I certainly wouldn’t want it in three parts. Or something else that’s smooth and round. Now that your belly will soon start ballooning, a symbol for everything that’s roomy. Maybe we’ve simply forgotten that there’s still more. A third something. In other respects as well, politically for instance, as possibility.

  Anyway, Awa had three. My three-breasted Awa. And you, too, had one more back in the Neolithic. Think back, Ilsebill: to how our story began.

  Even if it seems convenient to presume that they, the cooks inside me (nine or eleven of them), are nothing more than a full-blown complex, an extreme case of banal mother fixation, ripe for the couch and hardly worthy of suspending time in kitchen tales, I must nevertheless insist on the rights of my subtenants. All nine or eleven of them want to come out and to be called by name from the very start; because they have too long been nameless old settlers, or, collectively, a complex without name or history; because too often in mute passivity and too seldom with ready words (I say: dominant nevertheless; Ilsebill says: exploited and oppressed) they cooked and performed v
arious other services for shopkeepers and Teutonic Knights, abbots and inspectors, for men in armor or cowls, in baggy breeches or gaiters, for men in high boots or men with snapping suspenders; and because they want their revenge, revenge against everyone; want at last to be out of me—or, as Ilsebill says, emancipated.

  Let them! Let them reduce us all, including the cook inside them—who would doubtless be me—to sex objects. Perhaps from exhausted daddies they will build a man who, untainted by power and privilege, will be sticky and new; for without him it can’t be done.

  “Not yet, unfortunately,” said Ilsebill as we were spooning up our fish soup. And after the shoulder of mutton with string beans and pears, she gave me nine months’ time to deliver myself of my cooks. When it comes to deadlines, we have equal rights. Whatever I may have cooked, the cook inside me adds salt.

  What I write about

  About food and its aftertaste.

  Then about guests who came

  uninvited or just a century late.

  About the mackerel’s longing for lemon juice.

  Among fishes I write mostly about the flounder.

  I write about superabundance.

  About fasting and why gluttons invented it.

  About crusts from the tables of the rich and their food value.

  About fat and excrement and salt and penury.

  In the midst of a mound of millet

  I will relate instructively

  how the spirit became bitter as gall

  and the belly went insane.

  I write about breasts.

  About Ilsebill’s pregnancy (her craving for sour pickles)

  I will write as long as it lasts.

  About the last bite shared,

  the hour spent with a friend

  over bread, cheese, nuts, and wine.

  (Munching, we talked about this, that, and the other

  and about gluttony, which is only a form of fear.)

  I write about hunger, how it is described

  and disseminated by the written word.

  About spices (when Vasco da Gama and I

  made pepper cheaper)

  I will write on my way to Calcutta.