All Quiet on the Western Front, first American edition
First American edition

All Quiet on the Western Front

Novel, 1929
approx. 72,500 words,
207 pages @350 wds/pg
First line: [SHOW] [HIDE]

We are at rest five miles behind the front.

Great lines: [SHOW] [HIDE]

"When it comes to dying for your country, it's better not to die at all."

Why do they never tell us that you are poor devils like us, that your mothers are just as anxious as ours, and that we have the same fear of death, and the same dying and the same agony--Forgive me, comrade; how could you be my enemy?

You may turn into an archangel, a fool, or a criminal—no one will see it. But when a button is missing—everyone sees that.

Last line: [SHOW] [HIDE]

Turning him over one saw that he could not have suffered long; his face had an expression of calm, as though almost glad the end had come.

Erich Maria Remarque [SHOW] [HIDE]

Remarque was a great and popular writer for over four decades, but will beremembered always for his first gigantically influential novel, All Quiet on the Western Front.... more

The movies [SHOW] [HIDE]

Three film versions have been made of the novel All Quiet on the Western Front, the two you are most likely to find being the 1930 black-and-white classic and the 1979.... more

All Quiet on the Western Front

COMMENTARY

Simply told nightmare of war

All Quiet on the Western Front is the kind of book that you've heard about forever as a Great Book, one you've always meant to read some day, and yet it sounds so heavy and depressing and so...so worthwhile...that somehow you put off getting to it.

And then you finally do read it and, whew. You want everyone else to read it. Now.

The topic is heavy, the message may be depressing, and it is so worthwhile. But it is also a wonderful read. A seemingly easy read that sucks you in and wrings you out.

It purports to be the testament of one Paul Baumer, a German soldier during World War I, and is written entirely in simple, short sentences.

Baumer starts telling his story in 1917 after half of his company has been wiped out, but in flashbacks he introduces his comrades in arms as he met them in school or during the early days of the war. He details how they lived, fought and died together. Reading this I had my first real understanding of the famous camaraderie in the trenches, of how soldiers become closer than lovers, of how this relationship becomes their spiritual driving force, far from any noble ideas of fighting for a cause like God or country. In these extreme circumstances Baumer tries—and usually succeeds in trying—to convey inner states on the very edge of describability.

It's an unrelenting nightmare. The battle scenes and the life among the muck and the bombs and the splinters that can suddenly pierce the brain of the man beside you so he dies while you continue conversing with him—they're all hellish enough. But to say it's unrelenting is to mean it goes beyond the battlefield as some of the most painful chapters are those that take place in lulls between battles or when the men are away from the front. The psychological scars are permanent. While visiting his mother Baumer pounds his bed in mental agony, crying:

I ought never to have come here. Out there I was indifferent and often hopeless—I will never be able to be so again. I was a soldier, and now I am nothing but an agony for myself, for my mother, for everything that is so comfortless and without end.

Nor, we gather, does the end of war bring surcease for the survivors. Remarque's dedication to the novel speaks of "the men, who even if they may have escaped shells, were destroyed by the war".

And yet we never shed a tear for the characters in this novel. For Remarque's matter-of-fact language slips the horror past our inner censors, so we end up accepting the most awful things as everyday occurrences, just as the numbed soldiers do.

Then the story comes to a sudden, shocking halt in mid-1918 on the quietest day of the war, while the world awaits the armistice. And we grope back to our normal lives and we look back over the reading experience with wonder over what became of us for the duration.

All Quiet on the Western Front was not the only great first-person account of the horrors of World War I in that era. Henri Barbusse's Under Fire (1916) had earlier covered soldiers on the French side to similar effect, though in a more heated, poetical manner. Robert Graves' autobiography Good-bye to All That (1929) provided the similar British experience. Siegfried Sassoon and Wilfred Owen gave voice to the soldiers' experience in memorable poetry. Writers of later generations, like Canadian Timothy Findlay in The Wars (1977) and American Pat Barker in his Regeneration trilogy (1991-95), have returned to the same horrifying events of 1914 to 1918.

But it was Remarque's great novel that made the First World War representative of all futile, senseless, inhuman conflicts ever since. It is hard to imagine World War II novels, like The Naked and the Dead (1948) by Norman Mailer and Catch-22 by Joseph Heller, or the Vietnam War film Apocalypse Now, without All Quiet on the Western Front having first won our understanding of the insanity of war.

I'm not saying all wars are wholly insane or even wholly bad. But their insanity, how they can unhinge the minds of the individuals caught in them, was never more clearly revealed than in this novel. And the very odd thing is that we do not come away from it depressed, but rather—inexplicably—uplifted. Perhaps "uplifted" is too fancy a word for it. Try "transformed".

I don't quite understand this effect but I get it, if you know what I mean.

So read this book. Now.

— Eric

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All Quiet on the Western Front
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Author
Erich Maria Remarque

Movies
All Quiet on the Western Front

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Author
Henri Barbusse

Novel
Under Fire

Novel
The Naked and the Dead

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Three Comrades
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Under Fire
Get at Amazon: US Can UK

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The Naked and the Dead
Get at Amazon: US Can UK

missing graphic
All Quiet on the Western Front
Get at Amazon: US Can UK