46 pages • 1 hour read
Hans FalladaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The many baby items Johannes and Emma accrue throughout the novel symbolize their immaturity, aspirations, and shifting self-conceptions. As soon-to-be parents, Johannes and Emma quickly become aware of how many baby-related items they will need to buy. These items all cost money and, according to the guidebooks, they are all necessary. Cribs, diapers, strollers, and other baby items will be essential for little Markel, and their absence from the house symbolizes the extent to which the young couple is not prepared for this pregnancy. Furthermore, their need to buy everything for themselves symbolizes the lack of family support. They cannot borrow or inherit items from their family because they are either estranged (in Johannes’s case) or physically removed from them (in Emma’s case). There is no support network and no guidance available to them.
One of the most important baby items is the stroller. Shortly after Markel’s birth, Johannes and Emma feel as though they are stuck in their apartment with the baby. They want to go out for a walk and take the baby with them but, to do this, they will need to spend money on a stroller. Since they are poor, their best option is to buy one secondhand. Emma is very particular about which stroller they buy, as she has a very specific vision for what items should be used for Markel. She wants him to be raised in a specific way, one which she hopes will prepare him best for the future, and the baby items are a cornerstone of her ambitions as a mother. Each item that they purchase must be measured against Emma’s imagination, judged by how much it conforms to her specific requirements and desires. When they finally select a secondhand stroller, they go to view the item. When the child of the previous owners begins to cry, Emma decides that they must buy the stroller. Any item that can have this degree of emotional effect on a child is deemed good, as the capacity to create sentimental value and treasured memories is an important part of what Emma deems to be good. The items she wants for her baby are not just the best and most expensive versions, but those items which create the most emotional value. The purchase of the stroller symbolizes how Emma values sentiment above everything when deciding what to buy.
During the first few weeks of Markel’s life, the parents struggle to change diapers and perform other tasks. These struggles quickly fall away, however, as they become well-versed in childcare. When Johannes loses his job and is forced to stay home with Markel while Emma works, the speed with which he adapts to the situation is symbolized by his familiarity with Markel’s toys. He knows which toys are suitable for which occasions and how to manipulate these items to encourage Markel to follow his instructions. Whether he is waiting for Markel to sleep or taking Markel for a walk, Johannes’s intimate understanding of the baby items symbolizes the extent to which he has grown as a father and the extent to which he has become familiar with his son.
Over the course of the novel, Johannes and Emma move into a series of homes. Each of these homes symbolizes a different stage of their relationship. Shortly after they get married, they rent a set of rooms from Mrs. Scharrenhofer. These rooms are dark, dusty, and dingy. Emma is immediately displeased, even more so when she realizes that Mrs. Scharrenhofer is beginning to lose her mind. Emma wants to move to a new apartment, but the couple’s financial situation means that they are stuck in this home for a short time. This first home symbolizes the extent to which the couple (and Emma in particular) have created an idealized version of marriage in their minds that does not conform to reality. When Emma imagined their first home, she did not envision dust and gloom. She did not imagine that she would need to contend with a landlord who made her feel unsafe, or that she would not have a proper kitchen of her own. The first house functions as a symbolic wake-up call to the couple, a warning to them that real life will not always correspond to their dreams and desires.
After an interlude at Mia’s house, the couple moves into a small set of rooms behind a cinema and a furniture warehouse. This home meets their needs, but it is not legal. The rooms are not known to the government and the rental contract is not official. This home, where the couple lives just after Markel’s birth, symbolizes the demands placed on them by a collapsing society. Even though the couple have tried to do everything right, they are forced to break the law to survive. In the collapsing society, adhering to the law is often impossible. Between the crumbling economy, the faltering job market, and the housing shortage, an illegal rental is their only option. This home symbolizes the couple’s acceptance that they must occasionally break the law if they want to survive.
After Johannes loses his job, the couple stays in a summer house owned by Heilbutt. He allows them to live there without paying rent, a sincere gesture of goodwill. Even in this difficult situation, Emma is determined to make the most of the house, planning out the vegetables that they will grow in the garden to make themselves self-sufficient. The previously independent couple relies on Heilbutt’s kindness but they are trapped in a bureaucratic absurdity; since they are (once again) not legally living at the house, Johannes must return to Berlin to collect his unemployment payments. He cannot find a job nearby because bureaucracy traps him in a web of complexity, absurdity, and infuriation. Physically driven to the outskirts of Berlin, denied access to government assistance, and reliant on the kindness of a friend, this last home symbolizes Economic Collapse and Societal Breakdown and the couple’s alienation.
Clothing plays an important role in developing the theme of Class Identity, Rivalry, and Solidarity. Johannes may not have any particular education in class dynamics, but he has a fundamental understanding of the symbolic meaning of clothes, particularly in relation to social class. Johannes works as both a sales assistant and a bookkeeper. These are white-collar jobs, distinguished from blue-collar jobs, which involve manual labor. The term “white-collar” refers to the clean shirts that are worn by office workers in contrast to the overalls or work clothes worn by blue-collar workers. Johannes’s status as a white-collar worker, he believes, elevates him above blue-collar workers, even though they are all members of the working class. To Johannes, wearing a shirt to work has value in itself, because his entire identity is based on his perceived status as a white-collar worker.
After leaving his job as a bookkeeper, Johannes goes back to selling clothes at a department store. He does not make these clothes or profit from their sale, other than through the wage he collects from his employers. Added to this, he and his fellow salesmen are pitted against one another in a battle of who can sell the most clothes (and thus generate the most profits for the bosses). The clothing Johannes sells symbolizes his relation to the economy: Johannes is an exploited member of the working class who cannot afford to buy the very products he sells on behalf of others.
After losing his job, Johannes struggles with his identity. He no longer needs to wear his white collar but he continues to do so because abandoning it would be abandoning a foundational part of his identity. After 14 months, however, he can no longer consider himself to be a white-collar worker. He removes the collar from his neck as he stares at his filthy, stained clothing, symbolically accepting his descent into poverty and loss of status. This gesture causes an identity crisis, as Johannes searches for a new way to define himself. Without the collar, he decides, he must find some new way to conceive of his identity.