'However Sick a Joke…': on Comedy, the Representation
10 ‘However sick a joke…’: on comedy, the representation of suffering, Rainer Werner Fassbinder’s Melodrama and Volker Koepp’s Melancholy Stephanie Bird Primo Levi invokes the notion of a joke when he first arrives in Auschwitz. The prisoners, who have had nothing to drink for four days, are put into a room with a tap and a card that forbids drinking the water because it is dirty: ‘Nonsense. It seems obvious that the card is a joke, “they” know that we are dying of thirst and they put us in a room, and there is a tap, and Wassertrinken Verboten’.1 In Levi’s example, the relationship of mocked and mocker is clear, as is the moral evaluation that condemns those that would ridicule and taunt the prisoners. Yet in Imre Kertész’s novel Fateless, the moral clarity offered by Levi is obscured is absent from Kertész’s reference to the notion of a joke. In it, the 14 year-old boy, György Köves, describes how the procedure he and his fellow passengers must undergo from arrival in Birkenau to either the gas chambers or showers elicits in him a ‘sense of certain jokes, a kind of student prank’.2 Despite feeling increasingly queasy, for he is aware of the outcome of the procedure, György nevertheless has the impression of a stunt: gentlemen in imposing suits, smoking cigars who must have come up with a string of ideas, first of the gas, then of the bathhouse, next the soap, the flower beds, ‘and so on’ (Fateless, 111), jumping up and slapping palms when they conjured up a good one.
[Show full text]