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In Paradise: A Novel, by Peter Matthiessen
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The bestselling final novel by a writer of incomparable range, power, and achievement, a three-time winner of the National Book Award.
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Peter Matthiessen was a literary legend, the author of more than thirty acclaimed books. In this, his final novel, he confronts the legacy of evil, and our unquenchable desire to wrest good from it.
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One week in late autumn of 1996, a group gathers at the site of a former death camp. They offer prayer at the crematoria and meditate in all weathers on the selection platform. They eat and sleep in the sparse quarters of the Nazi officers who, half a century before, sent more than a million Jews in this camp to their deaths. Clements Olin has joined them, in order to complete his research on the strange suicide of a survivor. As the days pass, tensions both political and personal surface among the participants, stripping away any easy pretense to resolution or healing. Caught in the grip of emotions and impulses of bewildering intensity, Olin is forced to abandon his observer’s role and to bear witness, not only to his family’s ambiguous history but to his own.
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Profoundly thought-provoking, In Paradise is a fitting coda to the luminous career of a writer who was “for all readers. He was for the world” (National Geographic).
- Sales Rank: #216078 in eBooks
- Published on: 2014-04-08
- Released on: 2014-04-08
- Format: Kindle eBook
Amazon.com Review
An Amazon Best Book of the Month, April 2014: Peter Matthiessen, three-time National Book Award winner and esteemed author of both fiction and nonfiction, has never backed away from writing about difficult subjects. In his new novel In Paradise, he sets his story in the mid-'90s at a spiritual retreat at Auschwitz. The novel centers around Clements Olin, an American academic of Polish decent who has traveled to the concentration camp for reasons both spiritual and personal. While Olin makes his own journey, dealing with the bouts of sadness, horror, and absurdity--and even occasional joy--that accompany such a retreat, we are introduced to a group of characters all experiencing their own version of observance and remembrance. The result is a novel that is as profound as anything that Matthiessen has written before. --Chris Schluep
Praise for Peter Matthiessen:
“You could well school yourself as a young American writer, in the early 21st century, by reading and then rereading the works of Peter Matthiessen. But of course he wasn't just a writer's writer; he was for all readers. He was for the world.” --National Geographic
Praise for IN PARADISE:
“Matthiessen’s descriptions are poetic and scarifying…he creates indelible vignettes about what remains and what took place here. Like the rest of Matthiessen’s vast body of work, “In Paradise” leads us into questions that define our most profound mysteries.”--The Washington Post
“The beauty of [In Paradise] comes in [Matthiessen’s] powerful descriptions. With his command of the language, he can add something new and profound to that vast library of Holocaust literature. In Paradise allows Peter Matthiessen to once again demonstrate that he remains one of our most powerful writers.”--The Miami Herald
“The conflict between the drama of the self and its surrender in the shadow of the Holocaust is Matthiessen's bold subject...powerful.” –New York Review of Books “Peter Matthiessen's In Paradise is a deeply intelligent study of Holocaust remembrance… bleakly funny… [and] eloquent” --The Wall Street Journal
“A fitting coda to [Matthiessen’s] career… Where better to look for some sort of human essence than in a landscape that embodies us at our worst?...This is the key message of Matthiessen’s life and writing -- that we are intricate, thorny, inconsistent, that the lines between good and bad blur within us, that we are capable of anything. The only choice is to remain conscious, to engage with openness.” --Los Angeles Times
“Written with a young man’s energy, In Paradise possesses an old man’s wisdom, which eschews the presumptions of age and the easy attainment of certitude." –The Daily Beast “In Paradise is a fitting final addition to Matthiessen's oeuvre, in that it combines moral seriousness and imagination grounded in the world with elegance of expression and a willingness to take risk.” --National Geographic
“[In Paradise] … provides rare insight into the dark magnetism of a brutal landmark. What drives a survivor to return? What inspires conflicted visitors to join hands in spontaneous dancing? Matthiessen’s courage and clarity in addressing this topic [were] signal virtues of his career.” --Newsday
“In Paradise is…contemplative and moving, and in its haunting story of Holocaust survivors who revisit Auschwitz, we find one of the last century’s greatest authors penning a book worthy of his legacy.” --Grantland
“Matthiessen’s writing flexes the same kind of muscularity as others of his generation— Vonnegut, Styron, Doctorow—but his devotion to Zen Buddhism results in a spiritual journey that’s palatable even to the non-spiritual… [his characters] are fully realized people, and within them are the kernels of horror and joy shared by all of humanity” --A.V. Club
“Matthiessen can write with ecstatic beauty… In his new novel, In Paradise, he takes what may be his deepest look yet into the abyss…Profound and fiercely fresh.” --Tampa Bay Times
"An ambitious tale that tries to do nothing less than achieve some understanding of 20th century Europe’s defining event, the Holocaust.” --Buffalo News
“An eloquently written and thought-provoking novel… In Paradise demonstrates that Peter Matthiessen remained a vital part of America’s contemporary literary scene, an unflinching original who continued to write provocative narratives.” --Counterpunch
“Short and austere… Clements’ story and those of the others are anguished inquiries, harrowing reassessments and attempts — emotional, artistic and spiritual — to grasp the ungraspable.” --Minneapolis Star Tribune
“[In Paradise] deftly and ruthlessly pursues the battles that we face, both individually and also in dialogue with others, when we try to engage with horrors that can never be named.” --The Jewish Book Council
“An earnest, informed, often insightful and…subtle novel.” --Christian Science Monitor
“Contains some of the most frightening and passionate writing of Matthiessen’s long career … With In Paradise, Peter Matthiessen has created philosophical and moral cacophony of lasting worth and, indeed, of a strange power. It belongs on the shelf beside At Play in the Fields of the Lord, Far Tortuga, and Shadow Country. Of how many books can that be said?” --Open Letters Monthly
"Not a mere recounting but a persuasive meditation on Auschwitz’s history and mythology...Matthiessen uses scenes of confrontation, recollection, bitterness, and selfexamination to trace aspects of culture that led to the Holocaust and that still reverberate today." --Library Journal (starred review)
"Matthiessen…ponders Auschwitz decades after the Holocaust, in a novel that’s philosophical, mordant and surprisingly romantic…An admirable…study of the meaning of survivorship." --Kirkus Reviews
From Booklist
*Starred Review* After participating in three Zen retreats at Auschwitz, Matthiessen addresses that experience with what, at 86, may very well be his final novel. With In Paradise, the two-time National Book Award–winner doesn’t shy away from boldly tackling the most profound of subjects. And as protagonist Clements Olin wonders, what “fresh insights into the horror of the camps” remain to be had, especially from someone without direct experience of the camp? Olin, a Polish-born American scholar and “Holocaust authority,” joins an ecumenical group that includes Germans, Poles, Israelis, Jews, Catholic nuns, and Zen Buddhists at the death camp for “a fortnight of homage, prayer, and silent meditation . . . to bear witness lest the world forget man’s depthless capacity for evil.” Some attend to alleviate shame or guilt, while others are tourists and Holocaust voyeurs and still others are looking for some sort of closure or healing. But earnestness is overrun with grievances as, Olin observes, “behind all the good will, there are so many old hates.” Arguments, accusations, and old resentments erupt, disrupting any silent meditation. Olin’s motivations for attending are initially obscure, but we learn that his family might not all have escaped to the U.S. when the Nazis came to power in Poland. Matthiessen expertly raises the challenges and the difficulties inherent in addressing this subject matter, proving, as the muralist Malan says, that the creation of art “is the only path that might lead toward the apprehension of that ultimate evil . . . that the only way to understand such evil is to reimagine it.” HIGH-DEMAND BACKSTORY: The world-renowned naturalist and author Peter Matthiessen, in his first work of fiction since the 2008 National Book Award winner, Shadow Country, pens what may be the 86-year-old author’s “last word” in this powerful novel about the Holocaust. --Ben Segedin
Review
A Newsweek Best Book of 2014
Praise for Peter Matthiessen:
“You could well school yourself as a young American writer, in the early 21st century, by reading and then rereading the works of Peter Matthiessen. But of course he wasn't just a writer's writer; he was for all readers. He was for the world.” --National Geographic
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“Matthiessen was unique in our literature, a descendant of Melville and Dostoyevsky who chronicled the heart of darkness at the center of the American fever dream. … The loss to American letters is immeasurable.” -- LA Review of Books
Praise for In Paradise:
“Matthiessen’s descriptions are poetic and scarifying…he creates indelible vignettes about what remains and what took place here.�Like the rest of Matthiessen’s vast body of work, “In Paradise” leads us into questions that define our most profound mysteries.”�–The Washington Post
��
“The beauty of [In Paradise] comes in [Matthiessen’s] powerful descriptions. With his command of the language, he can add something new and profound to that vast library of Holocaust literature. In Paradise allows Peter Matthiessen to once again demonstrate that he remains one of our most powerful writers.”–The Miami Herald
“The conflict between the drama of the self and its surrender in the shadow of the Holocaust is Matthiessen's bold subject...powerful.” –New York Review of Books
“Peter Matthiessen's In Paradise is a deeply intelligent study of Holocaust remembrance…bleakly funny… [and] eloquent” –The Wall Street Journal
“A fitting coda to [Matthiessen’s] career… Where better to look for some sort of human essence than in a landscape that embodies us at our worst?...This is the key message of Matthiessen’s life and writing -- that we are intricate, thorny, inconsistent, that the lines between good and bad blur within us, that we are capable of anything. The only choice is to remain conscious, to engage with openness.” –Los Angeles Times
“Written with a young man’s energy, In Paradise possesses an old man’s wisdom, which eschews the presumptions of age and the easy attainment of certitude." –The Daily Beast
“In Paradise is a fitting final addition to Matthiessen's oeuvre, in that it combines moral seriousness and imagination grounded in the world with elegance of expression and a willingness to take risk.” – National Geographic
�
“[In Paradise] … provides rare insight into the dark magnetism of a brutal landmark. What drives a survivor to return? What inspires conflicted visitors to join hands in spontaneous dancing? Matthiessen’s courage and clarity in addressing this topic [were] signal virtues of his career.” –Newsday
“Underpinned by an ambitious, near audacious, storyline… Matthiessen proceeds to set out his fictional stall in deftly assured fashion….[He] combines tactical restraint with lucid, compelling yet almost conversational prose. He has an ability to render a character in a detail or two…All of this craft combines to make much of In Paradise read like a masterclass in fiction…stunning.” –The Irish Times
“Affecting and powerful… In�Paradise gets at the heart of the defining tragic enigma of the 20th�century… [a] complex and worthy adieu.” –Jane Smiley, The Guardian
“A moving valedictory for one of America’s most wide-ranging and poetical writers… Matthiessen’s novel embraces humanity’s endless capacity to heal and reinvent itself.” –�Financial Times
“In Paradise is…contemplative and moving, and in its haunting story of Holocaust survivors who revisit Auschwitz, we find one of the last century’s greatest authors penning a book worthy of his legacy.” –Grantland
“Matthiessen’s writing flexes the same kind of muscularity as others of his generation—Vonnegut, Styron, Doctorow—but his devotion to Zen Buddhism results in a spiritual journey that’s palatable even to the non-spiritual… [his characters] are fully realized people, and within them are the kernels of horror and joy shared by all of humanity” –A.V. Club
“Matthiessen can write with ecstatic beauty… In his new novel, In Paradise, he takes what may be his deepest look yet into the abyss…Profound and fiercely fresh.”–Tampa Bay Times
"An ambitious tale that tries to do nothing less than achieve some understanding of 20th century Europe’s defining event, the Holocaust.”–Buffalo News
“An eloquently written and thought-provoking novel… In Paradise�demonstrates that Peter Matthiessen remained a vital part of America’s contemporary literary scene, an unflinching original who continued to write provocative narratives.” –Counterpunch
“Short and austere… Clements’ story and those of the others are anguished inquiries, harrowing reassessments and attempts — emotional, artistic and spiritual — to grasp the ungraspable.” –Minneapolis Star Tribune
“[In Paradise] deftly and ruthlessly pursues the battles that we face, both individually and also in dialogue with others, when we try to engage with horrors that can never be named.”–The Jewish Book Council
“An earnest, informed, often insightful and…subtle novel.” –Christian Science Monitor�
“Contains some of the most frightening and passionate writing of Matthiessen’s long career … With In Paradise, Peter Matthiessen has created philosophical and moral cacophony of lasting worth and, indeed, of a strange power. It belongs on the shelf beside At Play in the Fields of the Lord, Far Tortuga, and Shadow Country. Of how many books can that be said?”–Open Letters Monthly
“The two-time National Book Award–winner doesn’t shy away from boldly tackling the most profound of subjects… Matthiessen expertly raises the challenges and the difficulties inherent in addressing this subject matter, proving…that the creation of art “is the only path that might lead toward the apprehension of that ultimate evil . . . [that] the only way to understand such evil is to reimagine it.” –Booklist (starred review)
"Not a mere recounting but a persuasive meditation on Auschwitz’s history and mythology...Matthiessen uses scenes of confrontation, recollection, bitterness, and self-examination to trace aspects of culture that led to the Holocaust and that still reverberate today."
–Library Journal (starred review)
"Matthiessen…ponders Auschwitz decades after the Holocaust, in a novel that’s philosophical, mordant and surprisingly romantic…An admirable…study of the meaning of survivorship." –Kirkus Reviews
Most helpful customer reviews
241 of 246 people found the following review helpful.
Wild in our breast for centuries
By Daniel Myers
It’s a more than daunting task to review this work by Peter Matthiessen, whom I and many others regard as one of the two or three finest living American writers: A work set in Auschwitz during the 1990s whose main character, Clements Olin, an alter ego of the author himself, who comes, primarily, as it turns out, to see if he can discover anything about the woman who was his mother. But that’s not what makes it hard to review. Everyone who attends this gathering to “bear witness” is spiritually stripped bare during the novel and taken to task for sentimentality, lies and sloppy thinking, including: American Jews, Israeli Jews, Poles, Roman Catholics, Muslims, Auschwitz survivors and, not least, Zen adherents such as Clements Olin himself. The very term “bear witness” is taken to task as rank hypocrisy and sentimentalism, mainly by the character known through most of the book as Earwig. Every participant has his or her perversities, hatreds, deep character flaws. There is an entire chapter entitled “Dancing At Auschwitz” concerning a dance held by some of the participants in the “bear witness” gathering and the repercussions and recriminations that follow it. The very title of the chapter is bound to throw many off, never mind the contents. About these things, all I can do is let the prospective reader know what to expect. Pray, don’t approach the book with a cocksure attitude towards the Holocaust, save that it happened. The only ones - and none of them are at the gathering - who come across as thoroughly in the wrong are those who deny that the genocide took place.
So, you’re forewarned about all that. The strengths of the book, it seems to me, remain Matthiessen’s fearless, virtuosic writing and what to me is the pith of the novel, encapsulated in Anna Akhmatova’s poem which serves as the epigraph to the book which ends::
“- something not known to anyone at all
But wild in our breast for centuries.”
Neither the poet nor Clements Olin can give this thing a name, but it has to do with something deep in the heart of man, something to do with falling in love, something so akin to to despair, that it might be called despair’s obverse side. But this meditation on human heartbreak and loss, on all the genocides which have happened, which are happening and which shall happen in mankind’s sojourn on the Earth is not for the sappy nor for those who have some Manichean view of the universe. If you’re absolutely sure that you’re in the right, this book will flay you alive.
I don’t think I’m giving anything away by apprising the would-be reader that the book does not end on a cheerful note, but rather a heartbroken one. Still...in the penultimate scene, Clements visits a Polish cathedral, famed for its stained glass, and is alone in it during a thunderstorm:
“In the high windows, ice blues of the firmament pierce wild red cells; all Heaven has been murdered, set afire. The winter sunlight comes and goes, shadows sweep past; the burning panes are lashed by sheets of rain. In that instant, as a sun shaft reignites the colors, the fire blood, the organ shriek, bind his mortal senses hard and tight as a pennant whipped by wind round its pole.”
We have this splendour of prose which, though it leave you feeling as a pennant whipped by wind round its pole, will also leave you in awe that we still have a writer of Matthiessen’s scope and prescience under the sun.
82 of 84 people found the following review helpful.
"No butterflies live here"
By Jim Tenuto
If you read Peter Matthiessen you must have wondered if his obsession with E.J. Watson would ever wane. His decades long examination into the life and death of one of Florida’s most colorful scoundrels and visionaries spanned thousands of pages.
IN PARADISE finds Matthiessen’s talents turned to the Holocaust and the result is a powerful, morally ambiguous examination of our responses to the Shoah. D. Clements Olin is the putative protagonist of the novel, the son of a Polish calvary officer who fled, along with his landed and titled parents, before Germany’s invasion of Poland in the years that preceded World War II. Olin’s mother…well, let’s leave that to the book.
Olin searches for family and emotions. He is a near affectless man, unsuccessful in marriage, marginally competent in his career, which, of course, is academia. Ostensibly he is examining the life of Tadeusz Borowski, a Polish poet who survived the camps only to commit suicide in 1951 three days after the birth of his daughter.
He joins a disparate group that visits Auschwitz and Birkenau. Germans who want to expiate a national guilt, Catholic clergy who bristle at the Church’s blind eye during the Final Solution, Poles who steadfastly claim ignorance of what occurred under their very eyes, and Jews—survivors and others—who return to confirm man’s capacity for evil.
Yet even the survivors are challenged. In surviving the camps many are asked what they had to do to live through the horror. “Reading Borowski was Olin’s first exposure to the swarming scene of terror on this platform, the howls of lost children running everywhere and nowhere ‘like wild dogs,’ the young mother so frantic to be spared that she forsakes the little boy calling Mama! Mama! Who runs behind here (‘Oh no, sir! He’s not mine!’), casting away the last of her humanity for a few more hours of excruciating life.”
The most intriguing character is G. Earwig, an improbably name, “unattached” pilgrim, whose caustic outbursts and outrageous comments, ecumenically directed at everyone, make him the pariah of the group.
The writing about the camps is spare, wintry, a landscape devoid of life. In one of the preserved barracks “a wistful child has scrawled on the wall: ‘No butterflies live here.’” This poignant image is somehow more powerful than the hill of empty shoes or the piles of human hair.
Set in 1996, amidst the turmoil and renewed genocide in Eastern Europe, IN PARADISE offers a bleak, hopeless view of man.
83 of 86 people found the following review helpful.
No recompense, no reward, no compromise
By Thomas F. Dillingham
Readers familiar with Peter Matthiessen's earlier novels will find some qualities that they already value, but in many ways this is a new direction for Matthiessen, an uncompromising and occasionally fierce exploration of the ways human evil flourishes, as well as the bewilderment, even despair, those who try to oppose evil may experience at their repeated failures. Matthiessen quotes a poem by Anna Akhmatova as an epigraph--it begins "Everything is plundered, betrayed, sold,/Death's black wing scrapes the air," and that is fair warning. A visit to Auschwitz--the most notorious in some ways of the Nazi death camps--is not an opportunity to salve one's personal guilt, nor to plump up one's easy conscience and self-esteem, as the central character, Prof. Clements Olin, discovers, to his pain but also, perhaps, toward his enlightenment.
There is nothing simple about this narrative, though the situation can sound simple: Prof. Olin, a student of modern Slavic literature with a special interest in the works that emerged from the Holocaust, arrives in Poland on his way to Auschwitz, where he is to join (more as an observer than participant, or so he thinks) an ecumenical religious group planning to spend days on the selection ramp, meditating and witnessing on behalf of the murdered millions. Olin (whose family name has a history as that of an aristocratic family, Olinsky, who held property in the vicinity of Oswiecim) is also, secretly, in search of information about his mother, who did not leave for America when Olin's father and grandparents fled.
Olin encounters a wide variety of people--a "Nordic-Jew" as his roommate; a group of Zen meditators; Jewish groups from Israel and America, German descendants of SS officers, a Polish priest, a pair of novices aspiring to be nuns, a defrocked monk, and more. The uneasy interactions among these disparate people, occasionally bursting into heated argument as their stereotypic assumptions and prejudices emerge to contradict the official reasons for their presence--to atone for the sins of the Holocaust and to forge unity among the various religious and social views they bring with them. In the cold and oppressive environment of the remains of the death camp, the psychological impact of the memories--both stimulated by documentary films and museum exhibits and also evoked by the feelings of the "presence" of the millions of dead--is heavy and unsettling. Olin, who expects to be engaged at a scholarly or academic level, even in approaching his search for evidence of his mother's fate, undergoes strong challenges to his sense of his self--more than just "identity crisis," the near collapse of his sense of who he is and why he continues to live.
Matthiessen has presented intense and powerful characters in earlier works--Far Tortuga, Killing Mr. Watson, especially--but here he is probing deeper and more painfully into the fundamental questions of the relation between our "selves" and our responsibility for behavior--both our own behavior and that which we witness and either condone or try to ignore or, under some circumstances, stand up, oppose, resist, even attempt to prevent or stop altogether. Part of the testing of those human characteristics in this novel comes from the presence of a Mr. G. Earwig (an assumed name, of course) who purposely separates himself from all the others, mocking, reprimanding, denouncing, deeply insulting the others, calling into question all of their values and characters and assumptions. He is, in this way, a person in the mold of Thersites, the mocking cynic and nihilist who appears in Homer's Iliad, but also, even more destructively, in Shakespeare's Troilus and Cressida. He becomes the dark side of Olin as the narrative progresses, and his presence, and then his life story (which may or may not be true) serve as catalysts for Olin's own crisis of identity.
There are other elements of Olin's story that are better left for the reader to discover. But as my title for this review indicates, there are no easy ways out of the moral challenges and dilemmas these characters face, and no simple resolution. This novel leaves this reader shaken and impressed. Yes, some parts of it are open to question or criticism, but the quibbles are unworthy of mention. Yes, Olin himself reminds us that many have felt that there is an impropriety, an inauthenticity, even an outright dishonesty in writing about the Holocaust by anyone who did not experience and survive it. From that perspective, all others should be silent. But Matthiessen makes a powerful case for the honest and wrenching effort to confront that history, even as one who comes at it from a position of privileged distance, comfort, abstraction and analysis. Certainly this is a novel worth reading, and more than once.
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