Too Loud a Solitude

Too Loud a Solitude

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Overview


Hantá rescues books from the jaws of his compacting press and carries them home. Hrabal, whom Milan Kundera calls “our very best writer today,” celebrates the power and the indestructibility of the written word. Translated by Michael Henry Heim.

Product Details

ISBN-13: 9780156904582
Publisher: Houghton Mifflin Harcourt
Publication date: 04/27/1992
Series: Harvest in Translation
Edition description: First Edition
Pages: 112
Sales rank: 263,629
Product dimensions: 5.31(w) x 8.00(h) x 0.29(d)

About the Author


Dohumil Hrabal (1914-1997) was a Czechoslovakian writer. He was the author of CLOSELY WATCHED TRAINS, which gained an international audience both as a novel and as a film, and I SERVED THE KING OF ENGLAND.

Read an Excerpt

CHAPTER 1

For thirty-five years now I've been in wastepaper, and it's my love story. For thirty-five years I've been compacting wastepaper and books, smearing myself with letters until I've come to look like my encyclopedias — and a good three tons of them I've compacted over the years. I am a jug filled with water both magic and plain; I have only to lean over and a stream of beautiful thoughts flows out of me. My education has been so unwitting I can't quite tell which of my thoughts come from me and which from my books, but that's how I've stayed attuned to myself and the world around me for the past thirty-five years. Because when I read, I don't really read; I pop a beautiful sentence into my mouth and suck it like a fruit drop, or I sip it like a liqueur until the thought dissolves in me like alcohol, infusing brain and heart and coursing on through the veins to the root of each blood vessel. In an average month I compact two tons of books, but to muster the strength for my godly labors I've drunk so much beer over the past thirty-five years that it could fill an Olympic pool, an entire fish hatchery. Such wisdom as I have has come to me unwittingly, and I look on my brain as a mass of hydraulically compacted thoughts, a bale of ideas, and my head as a smooth, shiny Aladdin's lamp. How much more beautiful it must have been in the days when the only place a thought could make its mark was the human brain and anybody wanting to squelch ideas had to compact human heads, but even that wouldn't have helped, because real thoughts come from outside and travel with us like the noodle soup we take to work; in other words, inquisitors burn books in vain. If a book has anything to say, it burns with a quiet laugh, because any book worth its salt points up and out of itself. I've just bought one of those minuscule adder-subtractor-square-rooters, a tiny little contraption no bigger than a wallet, and after screwing up my courage I pried open the back with a screwdriver, and was I shocked and tickled to find nothing but an even tinier contraption — smaller than a postage stamp and thinner than ten pages of a book — that and air, air charged with mathematical variations. When my eye lands on a real book and looks past the printed word, what it sees is disembodied thoughts flying through air, gliding on air, living off air, returning to air, because in the end everything is air, just as the host is and is not the blood of Christ.

For thirty-five years now I've been compacting old paper and books, living as I do in a land that has known how to read and write for fifteen generations; living in a onetime kingdom where it was and still is a custom, an obsession, to compact thoughts and images patiently in the heads of the population, thereby bringing them ineffable joy and even greater woe; living among people who will lay down their lives for a bale of compacted thoughts. And now it is all recurring in me. Along with thirty-five years of pushing the red and green buttons on my hydraulic press, I've had thirty-five years of drinking beer — not that I enjoy it, no, I loathe drunkards, I drink to make me think better, to go to the heart of what I read, because what I read I read not for the fun of it or to kill time or fall asleep; I, who live in a land that has known how to read and write for fifteen generations, drink so that what I read will prevent me from falling into everlasting sleep, will give me the d.t.'s, because I share with Hegel the view that a noble-hearted man is not yet a nobleman, nor a criminal a murderer. If I knew how to write, I'd write a book about the greatest of man's joys and sorrows. It is by and from books that I've learned that the heavens are not humane, neither the heavens nor any man with a head on his shoulders — it's not that men don't wish to be humane, it just goes against common sense. Rare books perish in my press 9 under my hands, yet I am unable to stop their flow: I am nothing but a refined butcher. Books have taught me the joy of devastation: I love cloudbursts and demolition crews, I can stand for hours watching the carefully coordinated pumping motions of detonation experts as they blast entire houses, entire streets, into the air while seeming only to fill tires. I can't get enough of that first moment, the one that lifts all the bricks and stones and beams only to cave them in quietly, like clothes dropping, like a steamer sinking swiftly to the ocean floor when its boilers have burst. There I stand in the cloud of dust, in the music of fulmination, thinking of my work deep down in the cellar where I have my press, the one where I've been working for thirty-five years by the light of a few electric bulbs and where above me I hear steps moving across the courtyard, and, through an opening in the ceiling, which is also a hole in the middle of the courtyard, I see heaven-sent horns of plenty in the form of bags, crates, and boxes raining down their old paper, withered flower-shop stalks, wholesalers' wrappings, out-of-date theater programs, ice-cream wrappers, sheets of paint-spattered wallpaper, piles of moist, bloody paper from the butchers', razor-sharp rejects from photographers' studios, insides of office wastepaper baskets, typewriter ribbons included, bouquets from birthdays and namedays long past. Sometimes I find a cobblestone buried in a bundle of newspapers to make it weigh more or a penknife and a pair of scissors disposed of by mistake, or claw hammers or cleavers or cups with dried black coffee still in them or faded wedding nosegays wound round with fresh artificial funeral wreaths.

For thirty-five years I've been compacting it all in my hydraulic press, and three times a week it is transported by truck to train and then on to the paper mill, where they snap the wires and dump my work into alkalis and acids strong enough to dissolve the razor blades I keep gouging my hands with. But just as a beautiful fish will occasionally sparkle in the waters of a polluted river that runs through a stretch of factories, so in the flow of old paper the spine of a rare book will occasionally shine forth, and if for a moment I turn away, dazzled, I always turn back in time to rescue it, and after wiping it off on my apron, opening it wide, and breathing in its print, I glue my eyes to the text and read out the first sentence like a Homeric prophecy; then I place it carefully among my other splendid finds in a small crate lined with the holy cards someone once dropped into my cellar by mistake with a load of prayer books, and then comes my ritual, my mass: not only do I read every one of those books, I take each and put it in a bale, because I have a need to garnish my bales, give them my stamp, my signature, and I always worry about whether I've made a bale distinctive enough: I have to spend two hours overtime in the cellar every working day, I have to get to work an hour early, I sometimes have to come in on Saturdays if I want to work my way through the never-ending mountain of old paper. Last month they delivered nearly fifteen hundred pounds of "Old Masters" reproductions, dropped nearly fifteen hundred pounds of sopping-wet Rembrandts, Halses, Monets, Manets, Klimts, Cézannes, and other big guns of European art into my cellar, so now I frame each of my bales with reproductions, and when evening comes and the bales stand one next to the other waiting in all their splendor for the service elevator, I can't take my eyes off them: now The Night Watch, now Saskia, here Le Déjeuner sur I'herbe, there the House of the Hanged Man at Anvers or Guernica. Besides, I'm the only one on earth who knows that deep in the heart of each bale there's a wide-open Faust or Don Carlos, that here, buried beneath a mound of blood-soaked cardboard, lies a Hyperion, there, cushioned on piles of cement bags rests a Thus Spake Zarathustra; I'm the only one on earth who knows which bale has Goethe, which Schiller, which Hölderlin, which Nietzsche. In a sense, I am both artist and audience, but the daily pressure does me in, tires me out, racks me, sears me, and to reduce and restrict my enormous self-output I drink beer after beer, and on my way to Husenský's for refills I have time to meditate and dream about what my next bale is going to look like. The only reason I down so much beer is to see into the future, because in every bale I bury a precious relic, a child's open coffin strewn with withered flowers, tinsel, and angel's hair, and I make a nice little bed for the books that turn up unexpectedly in the cellar, much as I myself turned up there one day. That's why I'm always behind in my work, why the courtyard is piled to the rooftops with old paper that can't go down the opening in the ceiling of my cellar for the mountain of old paper blocking it from below; that's why my boss, his face scarlet with rage will sometimes stick his hook through the opening and clear away enough paper to shout down to me, "Hanta! Where are you? For Christ's sake, will you stop ogling those books and get to work? The courtyard's piled high with paper and you sit there dreaming!" And I huddle in the lee of my paper mountain like Adam in the bushes and pick up a book, and my eyes open panic-stricken on a world other than my own, because when I start reading I'm somewhere completely different, I'm in the text, it's amazing, I have to admit I've been dreaming, dreaming in a land of great beauty, I've been in the very heart of truth. Ten times a day, every day, I wonder at having wandered so far, and then, alienated from myself, a stranger to myself, I go home, walking the streets silently and in deep meditation, passing trams and cars and pedestrians in a cloud of books, the books I found that day and am carrying home in my briefcase. Lost in my dreams, I somehow cross at the traffic signals, bumping into street lamps or people, yet moving onward, exuding fumes of beer and grime, yet smiling, because my briefcase is full of books and that very night I expect them to tell me things about myself I don't know. On I go through the noisy streets, never crossing at the red; I walk subconsciously unconscious, half-asleep, subliminally inspired, with every bale I've compacted that day fading softly and quietly inside me. I have a physical sense of myself as a bale of compacted books, the seat of a tiny pilot light of karma, like the flame in a gas refrigerator, an eternal flame I feed daily with the oil of my thoughts, which come from what I unwittingly read during work in the books I am now taking home in my briefcase. So I walk home like a burning house, like a burning stable, the light of life pouring out of the fire, fire pouring out of the dying wood, hostile sorrow lingering under the ashes.

For thirty-five years now I've been compacting old paper in my hydraulic press. I've got five years till retirement and my press is going with me, I won't abandon it, I'm saving up, I've got my own bankbook and the press and me, we'll retire together, because I'm going to buy it from the firm, I'm going to take it home and stash it somewhere among the trees in my uncle's garden, and then, when the time is right, I'll make only one bale a day, but what a bale, a bale to end all bales, a statue, an artifact, I'll pour all my youthful illusions into it, everything I know, everything I've learned during my thirty-five years of work; at last I'll work only when the spirit moves me, when I feel inspired, one bale a day from the three tons of books I have waiting at home, a bale I'll never need to be ashamed of, a bale I'll have time to think out, dream out, in advance. And, more important, while I line the drum of my press with books and old paper, while I'm in the throes of creation but just before I turn the pressure on, I'll sprinkle it all with confetti and sequins, a new bale a day, and when a year is up — an exhibition, I'll hold a bale exhibition in the garden, and all the people who come will be able to make their own, though under my supervision, and when the green light goes on and the press starts churning, starts its tremendously powerful churning, starts crushing and compacting the old paper trimmed with books and flowers and whatever refuse people happen to have brought along, the sensitive spectator will personally experience compaction in my hydraulic press.

But now I'm at home, sitting on a chair, my head drooping lower and lower, until I drift off the only way I know how, moist lips against raised knees. Sometimes I remain in my Thonet position as late as midnight, and when I awake, curled up, coiled up in myself like a cat in winter, like a rocking-chair frame, I lift my head to find my trouser knee drenched with drool. I can be by myself because I'm never lonely, I'm simply alone, living in my heavily populated solitude, a harum-scarum of infinity and eternity, and Infinity and Eternity seem to take a liking to the likes of me.

CHAPTER 2

For thirty-five years now I've been compacting old paper, and I've had so many beautiful books tossed into my cellar that if I had three barns they'd all be full. Just after the war was over — the second one — somebody dumped a basket of the most exquisitely made volumes in my hydraulic press, and when I'd calmed down enough to open one of them, what did I see but the stamp of the Royal Prussian Library, and when next day I found the whole cellar overflowing with more of the same — leather-bound tomes, their gilt edges and titles flooding the air with light — I raced upstairs to see two fellows standing there, and what I managed to squeeze out of them was that somewhere in the vicinity of Nové Strašecí there was a barn with so many books in the straw it made your eyes pop out of your head. So I went to see the army librarian, and the two of us took off for Nové Strašecí, and there in the fields we found not one but three barns chock full of the Royal Prussian Library, and once we'd done oohing and ahing, we had a good talk, as a result of which a column of military vehicles spent a week transporting the books to a wing of the Ministry of Foreign Affairs in Prague, where they were to wait until things simmered down, when they could be sent back to their place of origin. But somebody leaked the hiding place and the Royal Prussian Library was declared official booty, so the column of military vehicles started transporting all the leather-bound tomes with their gilt edges and titles over to the railroad station, where they were loaded on flatcars in the rain, and since it poured the whole week, what I saw when the last load of books pulled up was a constant flow of gold water and soot and printer's ink coming from the train. Well, I just stood there, leaning against a lamppost, flabbergasted, and as the last car disappeared into the mist, I felt the rain on my face merging with tears, so when on my way out of the station I saw a policeman in uniform, I crossed my wrists and begged him with the utmost sincerity to take out his handcuffs, his bracelets, as we used to call them, and take me in — I'd committed a crime, a crime against humanity — and when he did take me in, all they did was laugh at me and threaten to lock me up. A few more years of the same, though, and I got used to it: I would load entire libraries from country castles and city mansions, fine, rare, leather- and Morocco-bound books, load whole trains full, and as soon as a train had thirty cars off it would go to Switzerland or Austria, one kilogramof rare books for the equivalent of one crown in convertible currency, and nobody blinked an eye, nobody shed a tear, not even I myself, no, all I did was stand there smiling as I watched the train hauling those priceless libraries off to Switzerland and Austria for one crown in convertible currency a kilo. By then I had mustered the strength to look upon misfortune with composure, to still my emotions, by then I had begun to understand the beauty of destruction, and I loaded more and more freight cars, and more and more trains left the station heading west at one crown per kilogram, and as I stood there staring after the red lantern hanging from the last car, as I stood there leaning on a lamppost like Leonardo da Vinci, who stood leaning on a column and looking on while French soldiers used his statue for target practice, shooting away horse and rider bit by bit, I thought how Leonardo, like me, standing and witnessing such horrors with complete composure, had realized even then that neither the heavens are humane nor is any man with a head on his shoulders.

(Continues…)


Excerpted from "Too Loud a Solitude"
by .
Copyright © 1976 Bohumil Hrabal.
Excerpted by permission of Houghton Mifflin Harcourt Publishing Company.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Too Loud a Solitude 4.4 out of 5 based on 0 ratings. 9 reviews.
Guest More than 1 year ago
Hrabal presents a fable written in an extremely enjoyable style which expresses the problems of Czechoslovakia at the time perfectly. The fact that this book made it through Czech censors at the time is rather shocking, I suppose the censors were proof of the damper which Communism could put on the populace.
AndrewBlackman on LibraryThing More than 1 year ago
The narrator of this book is an idiot. His boss despises him, others laugh at him. He drinks beer all day, and works in a cellar compacting wastepaper. He has been compacting wastepaper in the same cellar with the same hydraulic press for 35 years, and has picked out classics of world literature from the garbage, amassing a library which towers over him as he sleeps, always threatening to crush him. Other times he leaves the books in the compacter, but arranges them carefully so that each bale he creates has its own unique literary character.Like other idiots and fools throughout literary history, Hanta seems in his simplicity and ridiculous behaviour to express something more human and true than those around him. He is shocked by his visit to the new paper-compacting factory, where gigantic presses compact mounds of paper a thousand times bigger than he can manage in his old hydraulic press. The workers at the new press do work that is ¿inhuman¿, just tossing the books into the press, ¿and it didn¿t even matter what page they fell open to: nobody ever looked into them, nobody even dreamed of looking into them.¿ Hanta¿s lovingly-created individual bales have been replaced by unthinking machines operated by unthinking workers who just drink milk and laugh as they destroy the books.Having been written in Czechoslovakia in 1976, the destruction of books is of course an act of great resonance. This was a nation of strict censorship, where books would be destroyed if they were deemed to be against the state¿s interest. Hrabal¿s criticism of this censorship is thinly veiled, and must have taken a lot of courage to write at that time.It¿s a story with resonance beyond the Communist bloc, however. It is not only books that are crushed in this book but individuality. Hanta is made obsolete by the more efficient new press, by a process more efficient but less human. This may have been a critique of the Czechoslovak government, but it could equally be levelled at ¿free¿ societies today. In our drive to do everything faster and more efficiently, we are losing something along the way, something so old and elemental we¿ve almost forgotten what it is. As strange and probably insane as Hanta is, I found myself relating very strongly to the old man in the basement, struggling to hold onto what he cherishes, doggedly doing his job every day for 35 years and doing it with care and patience, despite the world around him valuing nothing but speed and efficiency.
Tinwara on LibraryThing More than 1 year ago
This is one of those books that give me a feeling that actually they are very good in a literary way, but whose meaning I can't quite grasp. Like the waste paper press, that plays an important role in this book, stuffed with old newspapers, books and paper waste from the shops, this book is, despite its 98 pages, also extremely full. Full of references to Czech history, to writers, philosophers, psychologists, to religion, and Czech culture. And full of symbolism (a returning reference to turds?). I felt that I didn't have enough specific knowledge to understand this all. I felt quite lost, actually, reading this book.Some books, especially good books, are multi layered in the way that even if you don't understand all the references, you still have a good story left. In this case I felt that the story without understanding its context was rather thin. The story deals with the way manual labour is replaced by automated labour and the art of work by plain routine. However, manual labour is not exactly glorified either, it is hard and dirty work, even if you could express a bit of your personality in it. Whereas the automated labour is rather cheerful and clean, but kills the imagination. Writing this, it seems an interesting theme to me! Perhaps the problem is that I just didn't feel that much sympathy for this character.
jackdeighton on LibraryThing More than 1 year ago
Like Closely Observed Trains this book is short, indeed barely a novella, but it is beautifully written (and well translated into USian.) For thirty five years Ha¿¿a has been compacting paper in a cellar room overrun with mice. During this time he has salvaged hundreds of rare books and stored them in his flat where they take up all the space and even hang over his bed, like a sword of Damocles ready to fall.Spiced up with reminiscences of Ha¿¿a¿s early life and encounters with his suppliers and his boss there is a characteristic Eastern European air of strangeness about the novella which borders on magic realism but does not quite stray into it. While Ha¿¿a is working he sometimes has visions of various philosophers, plus Jesus and Lao-Tze, and ruminates on the fate of the mice caught up in his compactor, the battles between rats occurring beneath his feet and the necessities of having an ¿other¿ to confront.The routine of his job is underlined by the repetition in nearly every chapter¿s first line of his statement about thirty five years spent compacting paper. This could be a metaphor for the dreariness of life under a dictatorship, or just of a relatively uneventful life in general. Yet there is incident too, little sparks of colour, variation and human interaction.The book is effectively a monologue, with little dialogue to speak of, presenting a bleak outlook on life - and, surprisingly for an Eastern European novel, absolutely no sex (although a gypsy woman does offer) - but Hrabal nevertheless engages our empathy and sympathy. Despite not having the same burden of history to freight the narrative Too Loud A Solitude easily stands comparison to Closely Observed Trains in terms of its examination of the human condition.
lriley on LibraryThing More than 1 year ago
I have papalaz to thank for the reccomendation of this book by Bohumil Hrabal. Its main character Hant'a is absolutely remarkable. There is an innocence about him that is wonderfully perverse. He goes about his daily agenda with an anarchic simple(single)mindedness and without a trace of cynicism. This agenda of his mainly revolves around work at a kind of a pulping mill(?) a job that he loves--as he loves the machine he operates--as he loves the printed material particularly books that he saves to take back to his home which is piled floor to ceiling everywhere with his collection of 35 years. He is a bibliomaniac, auto-didact working class hero all rolled into one with not a shred of the common ambitions of his fellow citizens--and might as well mention he's a hell of a beer drinker too as he's always building up a powerful thirst in his separating and saving mania. And it's not that he doesn't have human relationships only that he's free and easy in how he takes them--and all the above eventually and sadly leads to his boss punishing him by replacing him with others more diligent than he. Even in death though--a suicide by his beloved paper crushing machine he retains his kind of happy go lucky and hopeful spirit. He is made for the life he has made and for no other. And so I have to say I really liked this. Hrabal certainly had a talent for a ribald and eclectic kind of humor. Hant'a might be somewhat oblivious to the concerns of those around him but he is very unique. Going to have to check Mr. Hrabal out further.
vaellus on LibraryThing More than 1 year ago
A poetic, philosophical and tragicomic first-person narration of a bibliophile who has compacted wastepaper for 35 years in socialist Czechoslovakia. The heartbreaker is in the depiction of loving craft being displaced by unfeeling automation."Every beloved object is the center of a garden of paradise", a quote by Novalis dear to the narrator and also representative of the novella's content.If you like Hrabal, you might want to have a look at Robert Walser's work.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
Anonymous More than 1 year ago
An amazing book that almost reads more like poetry than prose. About a man's spiritual journey expressed through his love of books and learning.