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    Transit
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    Transit
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    Transit
    Audiobook1 hour

    Transit

    Written by Anna Seghers

    Narrated by Peter Lieck

    4.5/5

    ()

    Currently unavailable

    Currently unavailable

    About this audiobook

    Frankreich im Jahr 1940. Der Norden des Landes ist von deutschen Truppen überrollt, Südfrankreich bleibt unbesetzt. Hier sammeln sich die vor dem Hitlerregime geflohenen Antifaschisten, die Nazigegner, die rechtzeitig davongekommenen Juden. Marschall Petains Gendarmen sperren die Flüchtlinge in Lager und liefern sie an die Gestapo aus, wenn sie nicht Visa oder Transits vorweisen können, die sie zur Einreise in ein sicheres Land berechtigen.
    LanguageDeutsch
    PublisherDer Audio Verlag
    Release dateNov 9, 2015
    ISBN9783898136839
    Unavailable
    Transit
    Author

    Anna Seghers

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    Reviews for Transit

    4.5/5

    3 ratings7 reviews

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    • 5/5
      ”You know of course what unoccupied France was like in the fall of 1940. The cities’ train stations, their shelters, and even the public squares and churches were full of refugees. They came from the north, the occupied territory and the ‘forbidden zone,’ from the Departments of Alsace, Lorraine, and the Moselle. And even as I was fleeing to Paris I realized these were merely the remnants of those wretched human masses as so many had died on the road or on the trains. But I hadn’t counted on the fact that many would be born on the way. While I was searching for a place to sleep in the Toulouse train station, I had to climb over a woman lying among suitcases, bundles and piles of guns, nursing a baby. How the world has aged in this single year! The infant looked old and wrinkled, the nursing mother’s hair was gray, and the faces of the baby’s two little brothers watching over her shoulder seemed shameless, old, and sad. Old also were the eyes of these two boys from whom nothing had been concealed, neither the mystery of death nor the mystery of birth.” (Page 30) The unnamed narrator in Anna Seghers brilliant WWII novel has escaped from a Nazi concentration camp and has made his way to Marsailles where the city teems with refugees waiting to board a ship, any ship, in order to escape the uncertain fate that awaits them all. The unbelievable bureaucratic red tape that delays, suspends and defers the attainment of the ubiquitous ‘transit papers’ turns the city into a waiting room for refugees where the unlikely narrator hears their stories and shares their experiences while pondering his own tentative future.The story of refugees of this time or of our present day share many of the same qualities, so this novel offered a lot for the reader to think about in regard to the present day refugees, worldwide. The suffering, uncertainty and hardships are hard to accept without pondering how fortunate we are to not be in their shoes. Seghers novel brilliantly and in beautiful language shows us all we need to know while at the same time reading like a thriller. Very highly recommended.
    • 4/5
      A novel set in the second world war, but with a very turn-of-the-century feel, rather like the novel one might have expected from Stefan Zweig had he carried on in this life a little bit longer, or lived a little later. That is, it's a novel without a lot of sudden revelations or dramatic turns. The development is slow and under the surface, and the reader is continually re-understanding what has been learned before. No doubt this will bore some readers to tears, but for those with a little patience, it's got a lot to offer. The story is surprisingly static - if you're expecting leering, sneering Nazi officers and swaggering GIs, you've wandered into the wrong book. Most of the story is set in Marseilles, where would-be exiles are trying to arrange to get the paperwork in order to get on a ship headed away from Europe. These are not heroes, they are ordinary people trying to get out of the way of fate. In other words, they are the immigrants who built the Americas in the middle of the last century. But of course, this is all backdrop - just as a similar sort of plot is all backdrop to Casablanca, which story makes an interesting contrast to this one. The real story is a psychological study in the mold of Zweig or even Fontane. It is a puzzle: we are given the pieces of a story, like an equation, and we are left to solve the problem of the narrator's character. Seghers' artistry is in giving us enough to develop a convincing hypothesis on the first reading, but leaving enough unresolved to welcome a second pass. I look forward to finding out whether what unfolds on the second reading demands another time through.
    • 4/5
      WW2, Marseilles is the only port in unoccupied France still operating. This is the place where refugees of all sorts end up and make the rounds for exit visa, transit visa, permits of all kinds and the rare spaces available on the ships leaving. The story is told by one of them, escaped from a German camp and then a French camp, finally reaching Marseilles where the only way he can stay is if he proves he is trying to leave. A quite absurd roundabout where he encounters again and again the same people, staying in a state in limbo, waiting for something to give him a decisive shove, to give his life meaning.
    • 4/5
      This novel is told in the first person narrative and is a very engaging story. The characters are depicted as very human and we get a picture of life in the early WWII time period when displaced people are migrating out of Europe. You can feel the anxiety of those fleeing as they are trying to obtain the necessary documents while the laws were very rigid. I enjoyed this book very much and I would recommend it to those who like WWII era fiction.
    • 4/5
      ... 'don't you ever feel like going home again?'… 'A leaf blowing in the wind would have an easier time finding its old twig again.'” p 156The narrator, who has escaped from a Nazi concentration has been captured and interred in a French camp. As the Nazi's approach, he fears for his life, and escapes a second time to flee to Paris. But once again, the Nazis are advancing, and after attempting to deliver a letter to a writer named Weidel whom he discovers has committed suicide, he flees south once more with Weidel's suitcase in hand.The French, however, are not fond of refugees and so our narrator winds up with a variety of false identities as he enters Marseilles, France's last open port. He'd like to stay there, but is only allowed to be there if he is actively trying to leave, so he begins to half-heartedly play the game of acquiring the proper visas. This is a complicated since visas must be obtained for exiting France, entering the destination country, obtaining transit visas for each port in every country the ship may stop, and booking ship passage. The bureaucracy is almost insurmountable – one can not obtain item 'A' without first having item “D” and each item is only good for thirty days. He is one of a faceless mass, with very few of the overworked officials caring about much but their own safety.It's also a deadly game as many of the refugees will be imprisoned if they aren't able to leave before the Nazis arrive- Jews, escapees from concentration camps, cripples, gypsies and those who fought against Franco.The novel's repetitiveness and frustrations leave us feeling those emotions along with the refugees. It's a world where identities are lost and no plans can exist as one can only wait to see what happens next.
    • 4/5
      Frankreich im zweiten Weltkrieg. Ein junger Deutscher flieht aus einem Konzentrationslager nach Paris, wo er zufälligerweise an die Hinterlassenschaften eines Toten gerät, zwischen denen sich unter anderem ein Einreisevisum nach Mexiko befindet. Er reist weiter nach Marseille, wo viele andere Flüchtlinge auf eine Möglichkeit warten, in ein anderes Land zu fliehen. Mit dem Einreisevisum nach Mexiko beginnt er, sich unter dem Namen des Toten die weiteren Transitpapiere zu beschaffen und lernt dabei Marie kennen, die Frau des Verstorbenen.
      Das Hörspiel (keine Lesung!) vermittelt überzeugend die Atmosphäre in der damaligen Hafenstadt. Der Ich-Erzähler berichtet nicht nur von seinen vergeblichen aber auch erfolgreichen Bemühungen, die notwendigen Papiere zu besorgen, sondern schildert auch manches Schicksal, das seinen Weg kreuzt. Menschen, die monatelang warten, der Wilkür der Behörden ausgeliefert sind, endlich ihre ersehnten Papiere in den Händen halten und dann doch nicht ausreisen können, weil der Tod schneller war. Oder die, die das letzte benötigte Dokument erst erhalten, wenn das erste schon wieder ungültig ist. Und alle wünschen sich nichts sehnlicher, irgendwohin zu gelangen, wo sie in Sicherheit sind - und vermissen trotzdem ihre Heimat.
      Dieses Hörspiel ist wirklich toll umgesetzt und man bekommt eine Ahnung davon, wie grausam es sein muss, auf der Flucht zu sein. Obwohl die Buchvorlage dazu vor fast 70 Jahren geschrieben wurde, glaubt man ein aktuelles Stück Literatur vor sich zu haben. Hörenswert!
      Einen Punkt Abzug gibt es für die gelegentlichen zu lauten Hintergrundgeräusche (Kneipe, Straße), die manchmal die eigentlichen Stimmen beinahe völlig untergehen lässt.
    • 4/5
      The ports of Southern Europe are filling up with desperate refugees. They are residents of bombed-out cities, members of persecuted ethnic groups, people who belong to the wrong political party, people who have fought on the wrong side in earlier conflicts, people who don't know where they live or which country they belong to any more. And they are stuck on the border, trying to jump through the bureaucratic hoops in the right sequence so that they will be allowed to move on to a new life in another country. But they are all heading south, to Africa, the Americas, anywhere away from the horror of Europe. If you didn't know better, you might think that this was an elaborate satire on the present refugee crisis. But of course it's 1940/1941, we are in Vichy France, and the terror that the refugees are escaping from is that of Nazi Germany. Seghers wrote this book whilst she was en route into exile in Mexico, and it clearly draws heavily on her own experience of the atmosphere of wartime Marseilles and the absurdities of the visa process, but it isn't a straight autobiographical account. She explores what it means to be a refugee through a narrator who is so alienated that he doesn't even have a name any more, still less a clear idea of where he is going or what he is escaping from. He is just a random ordinary person who got drawn into a fight with an SA man and found himself in a concentration camp, escaped to France by swimming the Rhine, and doesn't want to fall into the hands of the Nazis. He has acquired some false papers in the name of Seidler, and he would be perfectly happy to carry on living on those somewhere in France, but he has also accidentally got entangled with the posthumous existence of a deceased novelist called Weidler, whose friends are trying to get him to Mexico and whose estranged wife can't get out of France without his help. Things get more and more complicated, and the narrator gets drawn further and further into the complexities of the visa system, where you typically find you can't get document A before you have received document B, but document B depends on document C, which you can't get without A, and so on. As we follow him through the queues and consulates and the chance meetings with fellow-refugees in cafés along the way, we gradually learn more about what it might feel like to be stateless, detached from your identity and background. (Incidentally, we also learn a good deal more about the intriguing flat bread topped with cheese and tomatoes that is the staple food of the transients in Southern Europe - this must surely be one of the earliest literary explorations of pizza-culture...)Not an easy or a cheerful read, even if it is often very funny, but definitely still a book we can learn something from today.