The Chronicle Near Annette Pehnt Review

Annette Pehnt is a master of laconic conciseness and fine dissection of communication. It captures in her novels with an unequaled accuracy, which between, going behind and above the words people together persuade everyday (intentions, expectations, associations, disappointments, proximity, surprise …), and captures all the nuances and layers in half not a word too much – – can and largely without quotation marks and question marks this procedure, which creates a seemingly light-footed transparent tone Pehnt has been different subjects naturalistic, semi-monologue narrative style that almost minimalist comes along.

edited convincing example encounters in a nursing home  and “bullying”.  In her latest novel, “The Chronicle close” (2012) tells the relationships between three women (grandmother, mother, daughter) who want to be near the other and can hardly find yet.

The narrative situation is marked by the few days that (the nameless narrator) spends daughter at the bedside of their dying mother Annie. She wants before final silence occurs, gain clarity about what the relationship was between them more difficult way.

The narrator has long tried everything to persuade her mother to open ( “beginnings of all kinds, you remember, Mom.”; “I have no idea what it was like for you.”) but refused to ( “oh come on, swiping all gone, come on, those are just old stories now not bohr always the case.”). Finally, the daughter has summoned all her powers of persuasion to win Annie for a trip to Rügen -. To learn them both alone finally something from the past, the hard years of war and grandmother When Annie dies her daughter will have to live with the painful detachment, without ever finding peace, to really buried without the past.

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From the silent monologues daughter, the reader learns the relevant stages of life and striking stress scenes of three women in the distant and recent past. The focus is Annie, who was an unclouded relationship to maintain neither her mother nor her daughter in a position. She is a victim and Verursacherin. Attitudes, traits and key experiences affect to the generation of the narrator. The grandmother was brittle and apparently incapable of empathy. Her words alienated and often hurt the person addressed by their uncompromising directness what one might see her as reckless indiscretion or recklessly; in fact, they seemed to use needle tips and knife blades to manipulate their surroundings words. The wounds they struck at her own daughter, never healed.

Under the impossibility close to this woman suffered Annie in childhood. How many times grandmother had left alone, left her child in the war years his fears? high nor aged startled Annie when howled somewhere a police or fire siren. At that time the Little broke with fear legs out, she tore up a grandmother with an overnight air raid alarm out of bed to put them both in the bunker to safety. But instead reaped consolation and protection Annie accusations: “You torture me You’re killing us both..” Grandmother then decided that the child should remain near the house in a “semi-secure basement”; from then on they could stretch their “Pudding legs” every night on a wooden pallet between supply crates, but was in the dark alone, behind closed doors.

Much older than his wife, was Annie’s father landscape painter. His favorite subjects were the gnarled willows and poplar poppy fields between groups on the Lower Rhine. When he shortly after the war suddenly fell down on the field and died, had grandmother alone not only for Annie and himself, but also provide an uncle Hermann. Together with the old, Annie unknown man they came out of the bomb ruins in a one-room shack, “far out of town” In the post-war chaos grandmother grows in strength and independence. in the struggle for survival she strips off any remaining emotional.

For days she leaves Annie alone disappear, in order to procure food and clothing. Imaginative she fights for survival in the privation time. The end justifies the means, including probably one way or another love power. They “can not without the men.” Come Annie unexpectedly home, she caught mother pushed with a teacher, an official or a total stranger into a corner. In contrast, Annie, who always vying for the love of the mother and longs for closeness, cool and reserved kept at a distance. Also in the mother daughter relationship takes the Love merchandise character to be negotiated: mother brings the first economic miracle gifts with (jacket, book bag), and Annie recompenses her by detailing a ritual of joy pointing, whose rules are created as subtle as Albrecht Dürer curls on a ten-mark note: you outdated “gleam in the eye”, rotates with the jacket in the room, and soon followed by the climax, the whispered from Tuchfühlungsnähe words “I love you very much”.

If all this as “valid currency goes through,” the mother sealed the deal with a kiss “on the mouth” – a moment of triumph, the Annie “also abhors and longs”; it is the intimacy they despised there, or the hypocrisy, the artificiality, the materialization of feelings? In this infamous, intricate game forced bonds but when cold not hollow words, escalate the center over the years. The aging grandmother can maneuver her daughter in inescapable situations, they extort cold to her to elicit a Liebesbezeugung (the magic words “Mother, I love you”), “Mother threatened Annie with death, they can be good.” “I die, she says it slowly.” “All alone I am, ‘moans mother,” and Annie knows what she has to do now. “You’re my daughter, ‘mutters mother,’ do not you leave me alone. ‘” At the end of the dance is also “once again not die” and Annie exhausted sink down on her shoulder.

It is no surprise not that Annie, an intelligent girl with talent for languages, learning on the slanted keyboard of manipulating and playing herself a virtuoso. It is a translator, marries her boss, gives birth to a daughter (the narrator) – and poisoned by this new mother-daughter relationship with a repertoire of open accusations, ominous allusions, pointed provocations common playing with expectations and instilled guilt feelings, dreister denial your own risk. exaggerated to absurd, malicious insinuations back the others wrong and strengthen its position of moral superiority; Pity the role of values, oppressed makes unassailable. The narrator learns that she was “as a tough kid”; but “this was not an innocent cries, which was almost so, one must the not say in babies, that’s taboo, but that was almost a vicious shouting, actually torture so.

Now with that said times. sleep deprivation as torture. ” burdened by the problematic mother-daughter relationship is also the narrator their way. She marries a doctorate, had two children. That they also constantly frightens the right noises, strangers, being alone, comes just with Annie incomprehension: “Where’d you get that just so I did not you … have the fear of war, could not.” so now sits the narrator of Annie’s bedside. She wants the old story of the child cry again hear know “whether it is true.” But perhaps it is already too late and to move the scene of the decisive battle.

“No one can imagine, there has also not excused,” says Annie, and the daughter does not understand what she means. Sure they want to attach her daughter’s guilt that she has come to the world was, they were nevertheless warned at her own mother: “The guys have not in hand, shooting going on, and who has the trouble of war. just not a child that you messed up your whole life. “< Annette Pehnt psychologically gripping novel about the painful impossibility of closeness between mothers and daughters, which continues to the next generations, enjoys direct design of situations and the subtle emotions of indirect communication that do not require bodily needs ( “hugs are unthinkable”), the rare moments of gentle tenderness with which the two daughters – and only -. dare an approach

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The Chronicle Near Annette Pehnt Review. (2019, Nov 18). Retrieved from

The Chronicle Near Annette Pehnt Review
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