Self reference time! Post-Euroswing I’ve had to relearn the most basic human motor functions, including complex cognition and not expecting chilled bottles of champagne lurking at every turn and beaches packed with delirious hedonism. Unravelling? No, I’ve tied up several loose ends in recent weeks in several strange twists of fate.
The first came in Cannes, a few days after I left the techno madness of Barcelona behind. I was dining at a quaint Italian restaurant called Arcimboldo when I noticed a guy at the table next to me was wearing a M.A.N.D.Y. T-shirt. I had to mention something, and when I did he introduced himself as Peter Hayo, a founding member of Get Physical and producer of many fine dance records. He was in town as part of his other concern, Perky Park, a company that does music production for commercials and otherwise. His two co-conspirators, Walter Merziger, Arno Kammermeier are also known as Booka Shade. So, naturally, I asked him about a rumor I’d heard, that they produced Aqua’s “Barbie Girl.” The rumor delighted me–that the popularity of a silly Danish pop song I’d found so much delight in could have been been responsible for the genesis of one of the biggest forces in contemporary dance music would have been an utterly fun piece of cosmic coincidence. Alas, not so, entirely. Hayo and chums just remixed the track for Universal Music, and, as you know, it spent a significant amount of time on the charts, and, subsequently, fattened the Perky Park synth fund.
The second weird, ‘What the?’ techno moment came after I returned, and got a tip from a diligent German about the closeness between the group awarded the Titanium Lion at Cannes and work done by pfadfinderei, Bpitch’s design gurus. Turns out, shaping barcodes to make them look cool while still functioning is a pretty routine concept in graphic design. So kids, don’t believe everything the awards shows tell you.
Hans Fallada wrote The Drinker over two weeks in 1944, while residing in a a criminal asylum near AltStrelitz, Germany. He was confined there for the attempted murder of his wife. Given these inauspicious beginnings, the book has been especially troublesome for critics. It’s disingenous, however, to look at The Drinker as anything but the personal reflection of an author torn asunder by a turbulent society in collapse.The novel begins as narrator Erwin Sommer’s successful grocery concern teeters on the brink of collapse. With sparse language, the book composes an intimate psychological profile of an obsessive who would fling everything to the wind sooner than ask for assistance. He empties his savings and steals his wife’s silver — anything for another moment with his muse, Elinor, a village barmaid he fixates upon during his initial jag and who becomes his queen of schnapps, ruler of a woozy and throbbing world.
All his life, Fallada — a pseudonym chosen by Rudolf Ditzen — has inflicted tortures upon himself and others. During a melancholy childhood, he killed a chum when a suicide pact disguised as a duel went awry. Ditzen later grew into morphine addiction, alcoholism, and a carton-a-day smoking habit, with eventual trips in and out of institutions and prisons. Astonishingly, Ditzen found time to write nearly two dozen books during his dissolute life, very few of which are available in English. While Little Man, What Now? is justly famous for its excavation of pre-War German consciousness, The Drinker is an equally profound exploration of the author’s own demons of substance abuse.
While the book’s spare tone, lack of flashy language, and stark portrayal of German society are all signature marks of Ditzen, The Drinker more closely resembles Evelyn Waugh’s The Ordeal of Gilbert Pinfold. The novel is clearly founded in life experience, yet its narrative flights of fancy cultivate readers who place confidence in the narrator’s inner turmoil, but remain wary of the details.
– Nick Parish