Stunde Null

When you're in the centre of Koln, you don't need much of an imagination  to sense what life was like here in the dying days of the war. The place has been completely rebuilt - such was the scale of the bombing. In the first week of my occupancy of the flat I have taken in a pleasant Koln suburb, television had black-grained images of American troops edging in March 1945 into the rubble of the the outskirts and centres of Bonn and Koln. And these continue to be shown - although May 9 is well past. Postcards with scenes of this rubble and destruction are also prominently on display in the city centre's kiosks.
In 1961 I spent a few summer weeks on a German course at Gottingen University – where my core text was Heinrich Boll’s Der Zug Kam Punktlich which described powerfully but laconically the journey to the eastern front of a German soldier in 1943 or so who knew he would meet his death and simply wondered which of the station names which flashed by would be his resting place.
Boll's bleak post-1945 novels made a big impact on me and it was therefore with a sense of serendipity that I picked up for free at some bookcases near my Clinic his The Silent Angel .

Heinrich Böll's The Silent Angel was one of only a handful of postwar novels that depicted the aftermath of intensive carpet bombing of Germany in the second world war. Though written early in Böll's career, the novel was not published in his lifetime due to the subject matter that was perceived by his publisher as unpalatable to the German public. Isn't it inappropriate to dwell on a topic that brings home the very episodes one wanted to forget? After so much destruction and suffering, is it not perhaps best to move on to cheery stories?
Böll described the wasteland of war-torn Germany right after the end of the bombings. Amid this tortured landscape the characters moved like zombies, traumatized by their experiences and haunted by relentless hunger. The lack of food and shelter consigned the majority of the citizens to the status of refugees. They lived only to survive hunger, scrounging for the rare bread and provisions that came at high prices.

At the start of the novel, Hans, a German soldier who lacked proper identification, stumbled into a hospital and was offered a bread loaf by a nun working there. The reader was given a first taste of the novel's subject.

Quickly he broke off a large piece of the bread. His chin trembled and he felt the muscles of his mouth and jaws twitch. Then he buried his teeth in the soft, uneven place where the bread had been broken, and bit in. The loaf was old, at least four or five days old, perhaps even older, plain brown bread bearing some bakery's red paper label; but it tasted so sweet. He bit in even more deeply, taking the leathery, brown crust into his mouth as well; then he seized the loaf in his hands and tore off a new piece. While he ate with his right hand he held the loaf fast in his left, as if someone might come and try to take it from him, and he saw his hand lying on the bread, thin and dirty, with a deep scratch that was soiled and scabbed

Physical hunger and destroyed landscapes of the city inhabit the tissues of the novel. Hunger (and destruction) was so pervasive as to go beyond the realm of the physical. It crossed the threshold of the characters' physical state, to become the hunger of their souls, the debilitating poverty of spirit. It became the very fires in their belly that drove them to resist that very same hunger.
Böll was able to illuminate a time that was barely recorded, even consciously avoided, according to Sebald—erased from memory, sanitized and repressed by German writers. It was not a popular subject but it was necessary to keep a record of destruction of cities and its effects on men and women. Sebald found in The Silent Angel not only an important subject but a quality of writing that he felt approached the gravity of the subject.

Sebald's essay ["Air War and Literature"] takes to task the postwar German writers for failing to record the destruction wrought by wars. For Sebald, the books of Ledig, as well as that of Heinrich Böll and Peter Weiss, among others, are a rare exception to this apparent defect in the German letters. Sebald champions the kind of novels that speak plainly and precisely, and with unpretentious objectivity, as opposed to novels full of "aesthetic or pseudo-aesthetic effects." He favors the concrete and documentary style of writing over the abstract and imaginary. For Sebald, accounts of suffering must be commensurate to the magnitude of the human loss; these are the kind of novels worth writing about in the face of total destruction.

In The Silent Angel, the imaginary was given up in favor of the imaginative.
The curtains had been pulled open, and in the large, black window frames stood the fantasylike image of the ruins: smoke-blackened flanks of buildings, cracked gables that seemed about to fall—overgrown mounds that had been ripped apart a second time, leaving only a few spots where the green was mossy and peaceful. . . . (91-92)
The above passage described the image of the ruins as "fantasylike" but the real view of destruction made the image un-fantasylike. The qualification of the smoke-blackened, cracked, overgrown, andripped objects could not deny the direct harms inflicted to the people on the ground.

Likewise, Böll's similes and imagery were purposefully constructed. An open piano in a corner "stood like a monster with a thousand false teeth" (39). In a particular ruin could be seen "only naked destruction, desolate and terribly empty, as if the breath of the bomb still hung in the air" (86). That lingering "breath of the bomb" was sufficient to convey the utter "nakedness" of the damage.

A most powerful description of destruction was that of the silent statues in a church.   

His gaze remained below: the altar was buried in debris, the choir stalls had been toppled by the blast. He saw their broad brown backs inclined in what seemed sarcastic prayer. The lower rank of saints on the columns showed gaps as well: abraded torsos and flayed stone, hideous in its mutilation and painfully deformed, as if it once had been alive. He was struck by the demonic grotesqueness. A few faces grimaced like furious cripples because they lacked an ear or a chin, or because strange cracks deformed them; others were headless, and the stone stumps of their necks thrust up horribly from their bodies. Equally disturbing were those who lacked hands. They almost seemed to bleed, silently imploring, and a baroque plaster statue was oddly split, almost cracked like an egg: the pale plaster face of the saint was undamaged, the narrow, melancholy face of a Jesuit, but its chest and belly were ripped open. The plaster had trickled down—it lay in whitish flakes at the base of the figure—and from the dark hollow of the belly straw spilled forth, saturated with hardened plaster. (119-120)

This posthumous horror was probably one of the most indirect and one of the most graphic descriptions of the aftermath of a night of "successful" bombing run a reader will encounter in fiction.

Despite the depressing, vivid images in the novel, the reader could not fail to detect the deep sense of the novelist's humanity. He did not reduce his characters to virtual zombies. Instead, the novelist kept intact their human strengths and failings. Amid the the piles of debris in the city, the white powder chalk and plaster, signs of renewal of vegetation started to shoot up from the ground. From these bleak surroundings, Böll's beautiful prose was able to yield a comforting quality of tenderness. The words had lightness and softness, like sweet bread. It was not really all black smoke and white dust: 

He stood up, walked quietly over to the door, and opened it cautiously. Light was coming from the kitchen. The old, blue coat that she had draped over the windowpane let large, yellow beams of light in through its tattered holes, and the rays fell onto the debris in the hall: the axe blade gleamed somewhere and he saw the dark logs, their split surfaces glowing yellowly. He approached slowly and now he could see her. He realized he'd never seen her like this before. She was lying on the couch with her legs drawn up, wrapped in a large, red blanket, reading. He saw her from behind. Her long, damply shining hair seemed darker, tinged with red; it fell across the arm of the couch. A lamp stood beside her, and the stove was lit. A pack of cigarettes lay on the table, together with a jar of marmalade, a loaf of bread that had been cut into, and beside it the knife with its loose, black handle. . . . (130-131) The colours and sheen (blue, yellow, gleamed, dark, glowing yellow, red, damply shining, darker, tinged with red, black) were so lovingly spread over this description of domestic setting and minutiae (coat, windowpane, axe blade, logs, couch, blanket, "book", hair, lamp, stove, cigarettes, marmalade, bread, knife handle) as to drum up the characters' expectations of a return to peaceful, normal circumstances. There was a flicker of love in that passage, a sense that all was not lost. The sense that hunger (physical, spiritual) does not go unfulfilled. The intermittent pangs of hunger only served as their amulet.