Kairos

‘It’s a private story of a big love and its decay, but it’s also a story of the dissolution of a whole political system. Simply put: How can something that seems right in the beginning, turn into something wrong? This transition interested me. It has a lot to do with language – since language is made to express feelings and visions as much as to hide or betray them. It can reveal something interior, and yet mislead people, or it can just be a blank surface. If you look at the details of what is spoken and where there’s silence instead, you’ll also be able to follow the invisible currents, the shifting power between generations, the techniques of manipulation and abuse.’    

Read the full interview here.

‘What you try as a writer is always to get out of sight, to have your peaceful writing. Writing has a lot to do with emotion, and also personal history. Reflection is a process, it’s not done quickly. If you write about something, you look at things in a different way than when you are just experiencing them.’

Read the full interview here.

‘In luminous prose, Jenny Erpenbeck exposes the complexity of a relationship between a young student and a much older writer, tracking the daily tensions and reversals that mark their intimacy, staying close to the apartments, cafés, and city streets, workplaces and foods of East Berlin. It starts with love and passion, but it’s at least as much about power, art and culture. The self-absorption of the lovers, their descent into a destructive vortex, remains connected to the larger history of East Germany during this period, often meeting history at odd angles. 

‘Michael Hofmann’s translation captures the eloquence and eccentricities of Erpenbeck’s writing, the rhythm of its run-on sentences, the expanse of her emotional vocabulary. 

‘What makes Kairos so unusual is that it is both beautiful and uncomfortable, personal and political. Erpenbeck invites you to make the connection between these generation-defining political developments and a devastating, even brutal love affair, questioning the nature of destiny and agency. Like the GDR, it starts with optimism and trust, then unravels.’

John Powers, NPR:

‘Pain and pleasure do the tango in the engrossing new novel Kairos, the story of a love affair set in East Germany right before and after the fall of the Berlin Wall. It’s the latest book from the East Berlin born Jenny Erpenbeck, the 57-year-old writer and opera director who I fully expect to win the Nobel Prize sometime in the next five years. A grownup writer for grownup readers, Erpenbeck has an unsurpassed gift for showing how our ideas, passions and choices are shaped – and reshaped – by passing time and the ceaseless transformations of history.’

Charles Finch, Los Angeles Times:

‘Inasmuch as the German novel exists, however, its undisputed star in America at the moment is Jenny Erpenbeck. She’s a writer with a roving, furious, brilliant mind, and in her best-known books, including Go, Went, Gone, about a retired professor drawn into the refugee crisis, she fuses the emotional and historic in a way that suggests a new path for — well, the German novel. Now, in her severe but rewarding “Kairos,” Erpenbeck has done it again, carefully mapping the disintegration of an East German love affair onto the era just before the 1990 reunification of Germany. The book bears with it, as so startlingly few novels seem to when you encounter one that does, the absolute urgency of existential questions. Questions that encompass both the fall of the Berlin Wall and the rise of S&M.’

Natasha Walter, the Guardian

‘Jenny Erpenbeck’s Kairos is one of the bleakest and most beautiful novels I have ever read. On one level, it is a love story, or rather a story about the loss of love. It begins with a woman, Katharina, hearing about the death of her former lover. Boxes of his papers are delivered to her apartment, and when she finally sits down to open them the past rises before her like a pack of playing cards thrown into the air. […] Throughout these personal and political journeys, Erpenbeck never reaches for the stock phrase or the known response. While the novel is indeed bleak in its view of love and politics, spending time with Erpenbeck’s rigorous and uncompromising imagination is invigorating all the way to the final page.’

‘In the west we often get a very idealized and west-centric depiction of how the East Germans felt about the division, this idea that everyone behind the wall was just longing to get out, longing to be free, but I appreciated that this novel touched on a different side of that, even if it did so subtly. 

Mostly the East was “home” for Katharina, she touches on some of the fears and discomforts of unification, she doesn’t spend a lot of time glorifying the plenty on the other side, and instead notes how many East Germans reacted with indifference to the free money thrown at them after the wall came down, etc. 

I thought it was a unique and interesting work, and it kept me ruminating on it in the days after I finished.’ 

Yana Kucher, The Booker Prize Book Club