Product Description

The first novel by Bernhard Schlink since his international best seller The Reader, Homecoming is the story of one man's odyssey and another man's pursuit.

A child of World War II, Peter Debauer grew up with his mother and scant memories of his father, a victim of war. Now an adult, Peter embarks upon a search for the truth surrounding his mother's unwavering--but shaky--history and the possibility of finding his missing father after all these years. The search takes him across Europe, to the United States, and back: finding witnesses, falling in and out of love, chasing fragments of a story and a person who may or may not exist. Within a maze of reinvented identities, Peter pieces together a portrait of a man who uses words as one might use a change of clothing, as he assumes a new guise in any given situation simply to stay alive.

The chase leads Peter to New York City, where he hopes to find the real person behind the disguises. Operating under an assumed identity of his own, Peter unravels the secrets surrounding Columbia University's celebrated political science professor and best-selling author John de Baur, who is known for his incendiary philosophy and the charismatic rapport he has with his students. Terrifying mind games challenge Peter's ability to bring to light the truth surrounding his family history while still holding on to the love of a woman who promises a new life, free of lies and deceit.

Homecoming is a story of fathers and sons, men and women, war and peace. It reveals the humanity that survives the trauma of war and the ongoing possibility for redemption.

Product Details

• Amazon Sales Rank: #74900 in Books
• Published on: 2008-01-08
• Released on: 2008-01-08
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 272 pages

From Publishers Weekly
Starred Review. Schlink's first novel, The Reader (1997), became a U.S. bestseller after it was an Oprah pick. That book, and his next, a short story collection, raised moral questions about Germany right after WWII; his latest, following two crime novels, takes up that line of inquiry and may be his most powerful and disquieting. The title refers to a pulp novel discovered in fragments by the narrator, Peter Debauer, and to Debauer's quest to find the book's pseudonymous author, who seems to have an uncanny knowledge of the conditions and landmarks of Debauer's own youth in postwar Germany. This mysterious work, with similarities to The Odyssey, offers tantalizing clues to a deeper mystery, that of the identity of Debauer's father, reported dead after the war. Debauer's youth, failed career and love life play out against authoritatively detailed scenes of Nazi degeneracy, the fall of the Berlin Wall and the stark differences between East and West Germany. As in his previous works, Schlink's protagonist is a flawed character who elicits the reader's understanding but not affection—until the poignant denouement. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The Washington Post's Book World/washingtonpost.com

Near the end of Bernhard Schlink's international bestseller, The Reader, its German law student narrator rereads The Odyssey and writes that he remembered it as "the story of a homecoming. But it is not the story of a homecoming. How could the Greeks, who knew that one never enters the same river twice, believe in homecoming? Odysseus does not return home to stay, but to set off again. The Odyssey is the story of a motion both purposeful and purposeless, successful and futile." This, he adds, also mirrors the history of the law.

These elements -- The Odyssey, a temporary return home, restless change, even the nature of the law -- are all fundamental to Schlink's fine new novel, Homecoming. In a quiet, conversational style similar to that of The Reader (and to so many classic European récits), Peter Debauer recalls the major events of his life: his visits to his grandparents in Switzerland, childhood with his hard-edged but beautiful single mother, the books he read, the women he loved. At times he can grow quite lyrical about the past:

"The crunch of the gravel, the buzz of the bees, the scratch of the hoe or rake in the garden -- since those summers at my grandparents' these have been summer sounds; the bitter scent of the sun-drenched boxwood, the rank odor of the compost, summer smells; and the stillness of the early afternoon, when no child calls, no dog barks, no wind blows, summer stillness."

At his grandparents' house, young Peter hears stories of heroes and military victories, but is perplexed when the Swiss win one battle because a knight named von Hünenberg betrays the Austrian battle plans. How can a traitor be a hero? Peter's grandfather replies that "if you can do the right thing only by being underhanded, being underhanded doesn't make it wrong." Is this true? When Peter grows older, he spends years working on a doctoral thesis about the uses of justice. But he is unable to finish it.

As the somewhat wistful pages of Homecoming go by, the reader more and more starts to wonder about Peter's father. The widowed mother never talks about him, and the grandparents discuss only his boyhood. What happened to this charming Swiss student during World War II? How did he die? These and related questions subtly disturb the calm surface narrative, like a powerful but unseen current, until Peter finally starts to go in quest of the elusive truth.

Years earlier, while still in school, Peter tells us that he once happened to read a few pages of some discarded galleys from a publishing series edited by his grandparents called "Novels for Your Reading Pleasure and Entertainment." This particular novel recounted the adventures of a German soldier, Karl, who escapes from a Russian prison camp and slowly makes his way home. After overcoming numerous dangers but gradually losing all his companions, Karl eventually reaches his old apartment, eagerly climbs the steps, and in the doorway makes out the youthful figure of his wife, who "stares at him, horrified, as if seeing a ghost. . . . She is carrying a little girl who can be no more than two, while another one, a bit older, clings to her and peeks out coyly from behind her apron; moreover, a man is standing next to her with his arm around her."

What happens next? Strange to say, the story's conclusion is nowhere to be found, despite Peter's search through all the published volumes of "Novels for Your Reading Pleasure and Entertainment." In subsequent years, the boy tries hard to discover the name of the novel and its author, but for a long time without any success. Yet after his grandparents' death, the grown-up Peter finally manages to unearth another chunk of the narrative and so learns more of the soldier Karl's adventures on his homeward journey. It takes him a surprisingly long while before he realizes that Karl's various trials, exploits and temptations are actually patterned after those experienced by Odysseus. Yet for some reason the novel's unknown author chose to deviate from The Odyssey's happy ending. Why?

At first this seems just an idle literary question. After all, The Odyssey has been mined for centuries as the dominant pattern for homecoming stories of all sorts. Think of Joyce's Ulysses, Wallace Stevens's poem "The World as Meditation" and the film "O Brother, Where Art Thou?" What's more, there were other Nostoi, as the Greek termed a whole genre of mini-epics about the homecomings of the various heroes of the Trojan War. Matters grow unsettling, however, and burst the bounds of mere fiction when Peter convinces himself that he recognizes the actual apartment building from the novel. Screwing up his courage, he finally rings its bell one day, climbs the steps and sees a young woman waiting for him in an apartment doorway.

From this point Homecoming grows increasingly intricate: Is life beginning to imitate art? Is Peter becoming Karl, or was Peter's father Karl? And who is the novel's unknown author? Like a literary sleuth or the protagonist in an early Paul Auster novel, the now-obsessed Peter follows up every clue, trying to learn more about both this mysterious writer and his equally mysterious father. Meanwhile, he also falls in love, the Berlin Wall comes down, and Eastern European archives, full of many secrets, are suddenly accessible again. Everywhere the lies of the past are being exposed, however unwelcome or uncomfortable the consequent realities might be.

But can the truth of the past -- wie es eigentlich gewesen, as it really was -- be so easily determined and verified? Isn't it possible that Odysseus simply made up all his adventures? When Peter encounters a distinguished expert in "deconstructionist legal theory," he learns that in Homer's epic "everything was in flux: the work's entire intent and meaning, its portrayal of truth and lies, loyalty and betrayal." In fact, "what we take for reality is merely a text, what we take for texts merely interpretations. Reality and texts are therefore what we make of them. History has no goal: there is no progress, no promise of rise after fall, no guarantee of victory for the strong or justice for the weak. We can interpret it as if it had a goal . . . as if good and evil, right and wrong, truth and lies actually existed, and as if the institutions of law actually functioned. We have the choice of either droning back what has been droned into us or deciding for ourselves what we want to make of the world, who we want to be in it, and what we want to do in it. We come to our truth, which enables us to make decisions, in extreme, existential, exceptional situations. The validity of our decisions makes itself felt in the commitment we make to carrying them out and the responsibility we take for carrying them out." Such is the so-called iron -- not the golden -- rule.

Peter's girlfriend, Barbara, calls this point of view evil. It might be the outlook of an existential confidence trickster, a survivor at any cost. In Homecoming's conclusion, Schlink -- like other novelists before him (Gilbert Adair, Malcolm Bradbury) -- invokes the case of Paul de Man, the revered Yale professor who was discovered to have written anti-Semitic articles in his European youth. But he also alludes to the famous "obedience to authority" experiments of Stanley Milgram, in which college students were pressed to follow orders and essentially torture their classmates. Peter's personal odyssey ultimately becomes an inquiry into the nature and consequences of deceit. It asks, in effect, the painful question that has haunted two generations in Germany: What did you do in the war, Daddy? And how did you justify it?

While Homecoming addresses complex and painful matters, its telling is nonetheless a model of grace and clarity. While obliquely covering 50 years of modern European and American history, Schlink also makes us care about the confused and often weak-willed Peter Debauer. Can he handle the truth? And what will become of him afterward? Like The Odyssey, Homecoming is ultimately about love -- not only its wonder but also its pain, not only its recurrent failure but also the possibility of its preservation and renewal.

Copyright 2008, The Washington Post. All Rights Reserved.

From Bookmarks Magazine
Bernhard Schlink’s The Reader (1995), an Oprah Book Club pick, explored a love affair and wartime guilt. Homecoming ruminates on guilt, justice, history, identity, and evil, and it uses the idea of homecoming to chart Peter’s journey toward truth and love. Lies surface and questions about identity emerge as Peter follows clues to the mysterious author’s—and his father’s—whereabouts. A few critics felt that the translation did not do the novel justice, and others felt that a strange conclusion and "quirky" but "somewhat lifeless" characters marred the novel (The Oregonian). Still, reviewers generally liked Peter, and praised the novel’s sophisticated inquiry into the long-lasting effects of war.
Copyright © 2004 Phillips & Nelson Media, Inc.

Customer Reviews

What happened?
After a book like "The Reader", I was expecting great things from "Homecoming", but instead I was completely disappointed, not only in the work, but also the publisher for putting this on the market as is with what seemed to me, almost no editing. The thoughts in this book are garbled and not well put together, as if this was the rough draft for this book. One could almost connect with the main character, and a paragraph later back to the disconnect. I definitely struggled to finish this book and only did so out of respect for the author and giving him a fair shake to "turn it around". This wasn't a bad book, but better said as a good rough draft.

Brilliantly Written
Written with the same clear, crisp narrative voice that struck me in his first book (THE READER), Homecoming shows how Schlink has evolved in the last 10 years. Very well written.

"... because I wanted a new life . . .
but did not know what it should be like."

Most children growing up knowing little about an absent father will at some stage seek clues from the past in order to comprehend their own persona. The quest to fill gaps and to identify with their own behaviour may reveal unpleasant surprises. These can be especially disturbing for those growing up after a war during which their fathers may have condoned or even committed atrocities. In "Homecoming", Bernhard Schlink translates this complex theme into an engaging, multilayered tale, focusing on another sensitive topic of recent German history.

After "The Reader's"[1995] worldwide success, expectations for this follow-up novel have been predictably high. In the earlier book, the protagonist was presented as an accidental spectator and partaker in an older woman's exposure as a concentration camp guard. Here, Schlink couches the uncovering of an older generation's deceitful behaviour within a first-person's account of an active, at times obsessive, pursuit of a fictional character, its author, and indirectly of the protagonist's father. The author creates in Peter Debauer a modern-day Odysseus, who roams from place to place, unable to accept his life and "come home". Will he, eventually, find out what he was searching for - about the unknown figures and, especially, about himself?

Peter recalls his childhood memories fluctuating between those of his reserved and strict mother and of idyllic vacations at his grandparents' place in Switzerland. The mother avoided her son's questions about his father beyond the bare minimum: he had died during the war. His father's parents were not much better, and while sharing stories from their son's childhood, they omitted any reference to him beyond his student years. The lack of information had disturbed the boy, yet he had felt incapable of asking for more. On the other hand, he enjoyed his grandfather's tales of military campaigns and soldiers' homecoming stories. Schlink uses the grandfather's authority to raise contentious issues like honour and valour explained to the boy in the context of recent history. Accounts of German soldiers' tortuous travels in reaching home after escaping Russian POW camps were popular at the time and featured in the pulp fiction series that the grandparents published.

Despite prohibiting instructions, Peter secretly read parts of one such story on the galleys his grandparents had given him as scrap paper. Unfortunately, several chapters and the ending were missing. What had happened after the hero, Karl, reached home only to find his wife with young children and another man? Was it fiction or the author's personal experience? Coming across the fragment as an adult during a discontented period in his life, Peter's curiosity is reawakened to find the rest of the story and to trace its author. Coincidences facilitated his task as he put his mind to compiling the diverse pieces of evidence. Some clues challenged his up till then laissez-faire attitude to his emotional life, while others tested his political frame of reference. The more he found, the more he sensed some familiarity with the place to which Karl returned. Peter's new romantic interest, while adding new pieces to the puzzle, nonetheless also interfered with his pursuing the mystery.

In addition to applying Ulysses' Odyssey as a metaphor for Peter's quest, Schlink applies its structure to different levels of the narrative. As Peter's own life emulates the fictitious Odysseus, Peter's personal character adapts and changes as the situation or his obsession appear to require. Not surprisingly, given Schlink's own dedication to the profession and the specific topic he discusses, his protagonist joins the league of legal researchers. Schlink places Peter into historical contexts such as the fall of the Berlin Wall. In its aftermath archives were opened that brought much disturbing evidence to light. Mirroring the author's own experience, Berlin has a profound impact on Peter. It reveals another facet of his personality. Continuing his search there, he becomes aware of correlations between the composition of the fiction fragment and some academic legal texts, justifying fascistic ideology. This in turn leads him to new clues as to the author's identity. Drawing on several known contemporary cases of successful ideological turncoats, Schlink develops one such character into the primary counterpart to Peter. While he feels more repulsed by than attracted to this potential opponent, Peter devises a scheme to unmask him that takes him eventually to New York.

The author doesn't shy away from touching on some weighty topics that have been close to his jurist's heart for many years. He draws attention to some dubious legalistic philosophy and practice prevalent during the Third Reich and still persisting in some quarters, which, for example, argue for shifting guilt from the perpetrator to the victim, or from actor to commentator.

"Homecoming" is a complex and profound book and despite its fluid conversational style, should be read carefully with attention to the clues that, while appearing haphazard and scattered at first, combine into a meaningful whole. Peter Gebauer may not come across as a strong or likeable character, yet Schlink has succeeded in creating in him an excellent example of the type of person confronted with the challenges of his time. The topical political and philosophical controversies that are brought to light are well integrated into the narrative. They encourage pause for reflection without losing or sidelining the pre-eminent theme of the story. [Friederike Knabe]