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Hans Fallada (1893–1947)

Autor(a) de Every Man Dies Alone

134+ Works 7,135 Membros 237 Críticas 19 Favorited

About the Author

Hans Fallada is a pseudonym of Rudolf Ditzen, who was born in Greifswald, Germany, in 1893. Many of Fallada's works, including the posthumously published The Drinker, were about his life, which was rife with addictions and instability. Another subject of his works was his homeland Germany. Earlier mostrar mais works, including international bestseller Little Man, What Now?, show a Germany that would allow itself to become a Nazi nation under Hitler. Later works deal with the aftermath and guilt of this decision. He died on February 5, 1947, in Berlin. (Bowker Author Biography) mostrar menos

Obras por Hans Fallada

Every Man Dies Alone (2009) 3,637 exemplares
Little Man, What Now? (1932) — Autor — 1,007 exemplares
The Drinker (1950) — Autor — 437 exemplares
Wolf Among Wolves (1937) 337 exemplares
Nightmare in Berlin (1947) 189 exemplares
Once a Jailbird (1934) 176 exemplares
A Small Circus (1931) 171 exemplares
Iron Gustav (1940) 124 exemplares
Ein Mann will nach oben (1953) 81 exemplares
Damals bei uns daheim (1941) 68 exemplares
Geschichten aus der Murkelei (1964) 50 exemplares
An Old Heart Goes A-Journeying (1936) 50 exemplares
Heute bei uns zu Haus (1943) 31 exemplares
That Rascal, Fridolin (1959) 25 exemplares
Once We Had A Child (1980) — Autor — 20 exemplares
Der Jungherr von Strammin (1943) — Autor — 19 exemplares
Aquest cor que et pertany (1939) — Autor — 15 exemplares
Seul dans Berlin (1947) 13 exemplares
Liefde en puin (2018) 13 exemplares
Der ungeliebte Mann (1986) — Autor — 12 exemplares
Wolf Among Wolves, Vol. 2 (1970) 10 exemplares
Wolf Among Wolves, Vol. 1 (1972) — Autor — 10 exemplares
Erzahlungen (1980) 9 exemplares
Hoppelpoppel, Where Are You? (1975) 7 exemplares
Märchen und Geschichten (1985) 7 exemplares
Lilly and Her Slave (2022) 7 exemplares
Der junge Goedeschal : Roman (2012) 6 exemplares
Geschichten aus der Murkelei 1. (2002) 5 exemplares
Frühe Prosa 1: Romane (1993) 5 exemplares
Ohne Euch wäre ich aufgesessen (2018) 4 exemplares
Ltenweihnachten (2005) — Autor — 3 exemplares
Kleiner Mann - was nun?: 1 CD (2010) 3 exemplares
I en ulvetid 3 3 exemplares
I en ulvetid bind II 3 exemplares
Geschichten aus der Murkelei 2. (2000) 3 exemplares
Gesammelte Erzählungen (1967) 3 exemplares
Malheur-Geschichten (2019) 2 exemplares
Obras 2 exemplares
Jeder stirbt für sich allein (2011) 2 exemplares
Wizzel Kien : der Narr von Schalkemaren (1995) — Autor — 2 exemplares
I en ulvetid bind I 2 exemplares
Ich weiß ein Haus am Wasser (2017) 1 exemplar
Küçük Adam, Ne Oldu Sana? (2023) 1 exemplar
Marerittet 1 exemplar
¿Y AHORA QUE? 1 exemplar
Novelas escogidas 1 exemplar
Ensam i Berlin del 2 (2019) 1 exemplar
Ensam i Berlin del 3 (2019) 1 exemplar
Ensam i Berlin - Del 4 (2019) 1 exemplar
2005 1 exemplar
Ensam i Berlin del 1 (2019) 1 exemplar
Demasiado íntimo 1 exemplar
Senza amore 1 exemplar
Ricominciare 1 exemplar

Associated Works


Conhecimento Comum

Nome canónico
Fallada, Hans
Nome legal
Ditzen, Rudolf Wilhelm Friedrich
Outros nomes
Fallada, Hans
Data de nascimento
Data de falecimento
Localização do túmulo
Carwitz, Duitsland
Local de nascimento
Greifswald, Pomerania, Kingdom of Prussia, German Empire
Local de falecimento
Berlin, Germany
Locais de residência
Leipzig, Germany
Königin-Carola-Gymnasium, Leipzig, Saxony, Germany
Gymnasium Fridericianum, Rudolstadt, Thuringia, Germany
interim mayor (Feldberg ∙ Germany)
potato grower (mostrar todos 7)
estate agent
Rowohlt, Ernst (uitgever)
Putnam, George (publisher)
International Order of Good Templars
Reichsarbeitsdienst (RAD)

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Hans Fallada's life story reads like an outsized novel. Before World War II, his novels were international bestsellers and his first big success Little Man, What Now? (1933) was adapted into a Hollywood movie. After the rise of the Nazis to power that year, his work was banned from being sold outside Germany. He refused to join the Nazi party and was arrested by the Gestapo; although released, he was regularly interrogated by the Nazis about his writing. He refused to flee the country. The pressure took its toll and as he resorted to drugs and alcohol for relief; he was eventually imprisoned in an asylum for the criminally insane. He survived and was freed at the end of the war. But he was a shattered man and died in 1947 at age 53. He remained a popular writer in Germany after his death, but outside his own country he faded into obscurity for decades. Then in 2009, American publishers began reissuing his works in translation and his talents were rediscovered.



“They were standing right up to the shop window, well-dressed people, respectable people, people who earned money. But reflected in the window was another figure: a pale outline without a collar, in a shabby coat, with trousers besmirched with tar. And suddenly Pinneberg understood everything. Faced with the policeman, these respectable people, this bright shop window, he understood that he was on the outside now, that he didn’t belong any more…”

Unemployment was at 42% in Weimar when Hans Fallada published this tender and often charming novel of Germany between the wars. In a country being devoured by hyperinflation, with more and more people falling into a nameless, faceless nothingness where they no longer mattered to any one, the newly installed Chancellor cut unemployment support. Nine days later, Little Man, What Now?, a book written in only sixteen weeks, was published, giving the downtrodden a voice. Fifty German newspapers serialized the book, and it became a worldwide sensation. It also brought Fallada disfavor when it was turned into a wonderful film in America, starring the luminous Margaret Sullavan as Lammchen, and the underrated Douglass Montgomery as Pinneberg. The film, you see, was made by Jews in Hollywood…

Fallada’s focus in the novel is a young German couple with a child on the way. The reader only knows the unborn child by the affectionate term used by Sonny and Lammchen — Shrimp. Through Pinneberg and Lammchen’s struggles, and their slide downward, we see peripherally a people desperate to latch onto either the lofty ideals of Communism, or the promises of jobs proffered by the Nazi Party. In a novel nearly apolitical, because it’s focus is the little guy, we see the conditions that give birth to what happened, and get a glimpse — not from hindsight, because this was published in 1932 — at an ugliness that would only grow more fervent, until it threatened to engulf the world.

There is a soft neorealism to Fallada’s narrative, which is tremendously intimate, and terribly charming. Yet interspersed with this realism is the kind of loveliness such as one might find in one of Remarque’s novels:

“The white curtains moved gently against the windows in the wind. A soft light radiated through the room. An enchantment drew them towards the open window, arm in arm, and they leaned out. The countryside was bathed in moonlight. Far to the right there was a tiny flickering dot of light; the last gas-lamp on Feldstrasse. But before them lay the countryside, beautifully divided up into patches of friendly brightness, and deep soft shade where the trees stood. It was so quiet that even up here they could hear the Strela rippling over the stones. And the night wind blew very gently on their foreheads.”

In essence, the entire novel is made up of realistic vignettes, the love story of a couple who marry upon discovering that Emma (Lammchen) is with child. Johannes Pinneberg (Sonny) very much loves his Lammchen, and has to work in a different town just to survive. Their struggles are not unlike any newly married couple’s problems, but poverty and the growing unrest and desperation in Germany between the wars begins closing in on them, inch by inch. Fallada shows in great detail how such times bring out the best in some people, but the worst in others. He also shows how employers, knowing how valuable having a job was, took advantage. All this is done with great charm, humor, and slice-of-life moments which are universal. Pinneberg must even play up to a girl and keep his marriage to Lammchen secret in order to keep one job. No job is safe, however, and no matter how hard Pinneberg tries, the couple slowly move toward the gutter. Pinngeberg’s pessimism, and his desperation to take care of his Lammchen, is perhaps best represented by this apolitical passage:

“There was a wild, wide, noisy and hostile world out there, which knew nothing of them and cared less.”

In many ways, Lammchen is the stronger of the two, and she knows it. Pinneberg knows that despite his job, they are one step from hopelessness, and joining his comrades. The slide is so gradual, their day-to-day struggle so consuming, it is the reader who sees it best, through Fallada’s remarkably intimate and charming vignettes. Even as they are relegated to a tiny loft above a cinema, and then Lammchen must spend hours darning socks for just a small amount to feed the Shrimp and themselves, because Pinneberg can no longer find work, there is charm, and some hope. But Pinneberg knows that it is only his friend Heilbut’s kindness that is keeping them from the gutter. Lammchen’s Sonny boy, is losing himself, and his dignity.

Lammchen senses this, but knows that one day things will be better, if they can hang on. Her greatest fear is that her Sonny boy will do something before they are back on their feet which will stain him, and haunt him long after the tide has turned. She reveals this to the lovable scoundrel Jachman near the end of the book, while they are waiting for Pinneberg to arrive. But Sonny is very late, and her fear for him is growing. It brings about an open-ended conclusion that is terribly moving. It is also terribly lovely, one of the most beautifully written scenes you’ll ever come across in literature.

Fallada, whose own life was fraught with adversity, both outward and inward, based Emma (Lammchen) on his wife Anna Issel, and it is easy to see that Pinneberg is much like Fallada himself. This novel had tremendous success, easing Fallada’s own financial problems for a time. Though it perhaps takes too long to get to its moving conclusion, few will be sorry they read it. One of the most remarkable things about the book is that it was penned during the events, as these things were happening to Fallada and others. Fallada lived this, and the intimacy of Sonny and Lammchen’s story affords readers a bird’s eye view of what was really happening. In doing so, it gives us a better understanding of history.

For those interested, there is a good article about Fallada here: http://hansfallada.com

Someone was forced to take down the youtube link I had previously posted for the charming Hollywood film (there was one made in Germany also) based on the book. It stars Margaret Sullavan, who is luminous, and Douglass Montgomery, who is equally wonderful. It ends differently from the novel, however. For modern readers, it is a strange circumstance where I would almost recommend viewing the lovely 1934 film first — if possible — because it will help you get into the older style of Fallada’s intimate narrative of Little Man, What Now?
… (mais)
Matt_Ransom | 26 outras críticas | Oct 6, 2023 |
My second Fallada and it's brilliant in every way. The writing/translation is crisp, the characterisations realistic, and the storyline itself astoundingly simple and compelling.

The way the lives intertwine in such a simple way and unravels so naturally can be fully attributed to how well Fallada motivated each character. He wound them up so effectively at the beginning, imbued them with their personalities and flaws, before releasing them on their often-crisscrossing paths across the city over the years.

The aptly-placed afterword only served to elevate my admiration for this book and the author's abilities. The afterword could potentially serve as a novella itself, the way it made me gasp out loud and also reevaluate the entire story I had just read.
… (mais)
kitzyl | 158 outras críticas | Sep 17, 2023 |
Un libro davvero potente ed unico.

I temi principali trattati nel libro "Ognuno muore solo" di Hans Fallada sono:

Resistenza: Il romanzo esplora la resistenza e la lotta della gente comune nella Germania nazista. Rappresenta la volontà di opporsi al regime e di combattere per la libertà, nonostante le difficoltà e i pericoli

Disperazione: Il libro mette in evidenza la disperazione e la sofferenza delle persone durante la guerra. Mostra come la situazione politica e sociale influenzi la vita quotidiana e porti alla disperazione e alla perdita di speranza.

Corruzione e opportunismo: "Ognuno muore solo" presenta anche una critica alla corruzione e all'opportunismo presenti nella società berlinese dell'epoca. Fallada descrive personaggi che si adeguano al regime nazista per interesse personale o per sopravvivere, mettendo in luce la mancanza di integrità morale.

Denuncia dell'istinto umano: Un altro tema centrale del romanzo è la denuncia dell'istinto umano. Fallada esplora la natura umana e mette in luce l'istinto alla sopravvivenza, la paura e la solitudine che possono influenzare le scelte e le azioni delle persone.

Questi temi si intrecciano nella trama del romanzo, offrendo una visione realistica e toccante della vita durante la Seconda Guerra Mondiale in Germania.
… (mais)
AntonioGallo | 158 outras críticas | Jul 21, 2023 |
We all know about the autocracies committed by Hitler and the Nazi Party. But have you ever wondered why the German people not only accepted, but openly embraced the madness of Hitler and his henchmen. This novel explains goes a long way in explaining this disturbing phenomena. The novel is based on the true story of a humble German couple, who at great risk to themselves, distributed hundreds of pamphlets denouncing Hitler and The Nazi Party. The Gestapo was under the belief that the distribution of these pamphlets was the undertaking of a very large and well organized resistance force. Sadly, this was not the case. Just one nobel man, and one very brave woman were behind it all. Because, the sad fact is that driven by fear and paranoia, not only Hitler and The Nazi Party, but of their fellow Germans as well; the vast majority of German citizens succumbed to their basic human survival instincts and did whatever they had to survive. No matter what horrible things they had to do, or agree to, they did so in order to survive.… (mais)
kevinkevbo | 158 outras críticas | Jul 14, 2023 |



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