Piano Guidance
Piano Guidance
Photo: Enzo Muñoz
After his marriage fails, Michael feels guilty for the negative impact of his divorce on his daughter, motivating him to become more open in his relationships.
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Read More »The primary concern of the novel is guilt about the Holocaust. Examining the role of guilt in post-war Germany, The Reader presents guilt as a pervasive and inevitable force. An important motif running throughout the story is the question of who must be held responsible for atrocities committed during the Holocaust. Michael and his generation lay blame on not only the Nazi perpetrators but also the bystanders — the previous generation who looked the other way, either by their inaction during the Holocaust or by accepting Nazi sympathizers and perpetrators back into society after the war. However, Michael also holds responsible his own generation for having accepted their parents, some of whom worked for Hitler’s regime and many of whom were bystanders. Filial love, Michael believes, “made them irrevocably complicit in their crimes.” That he identifies love for the previous generation as a kind of complicity speaks to the long-lasting role of guilt in a nation’s history. For Michael, this guilt becomes a collective national inheritance passed down from generation to generation, an unavoidable “German fate.” Schlink portrays guilt as both destructive and necessary. Guilt is destructive in that it creates inner conflict as well as conflict within relationships and across generations. The guilt arising from the Holocaust causes Michael’s generation to be torn between love for their parents and the moral obligation of condemning them for their complicity. Another example of guilt’s destructive power is the damage that Michael’s guilt over disavowing Hanna inflicts on him. Michael’s resulting decision “never to take guilt upon [him]self or feel guilty, never again to love anyone whom it would hurt to lose” closes him off emotionally, sabotaging his relationships with others. Yet however destructive guilt may be, it also motivates people to take responsibility for their actions, to recognize mistakes and wrongdoing, and to avoid them in the future. For example, the collective guilt that Michael’s generation inherits from the Holocaust is what drives them to acknowledge and condemn Nazi war crimes. After his marriage fails, Michael feels guilty for the negative impact of his divorce on his daughter, motivating him to become more open in his relationships. That the novel presents both positive and negative consequences of guilt suggests that guilt must be accompanied by a sense of responsibility — responsibility not only to own one’s mistakes and wrongdoing but also to accept guilt in a way that is productive. Essentially, Schlink is arguing that Germany must face and deal with its Nazi past in order to move forward. But even as Germany must accept guilt and deal with its Nazi past productively, absolution for the atrocities committed during the Holocaust is seemingly impossible. At the end of the novel, the Jewish woman in New York — the only remaining survivor of the church fire in which Hanna was complicit — refuses to accept Hanna’s money, because to do so would be to grant her absolution, and thus to relieve a Nazi criminal of responsibility. The woman’s inability to forgive Hanna suggests that some crimes are so heinous that they cannot be forgiven or atoned for. The guilty must always remain in a state of guilt, because to forgive would be to allow the guilty to forget their guilt and their victims. Though Hanna is already dead by the time Michael meets the woman, the woman’s refusal to grant Hanna absolution suggests that even the dead cannot be forgiven for such crimes.
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