The Case Worker by George Konrad
let all those who
want to; one of us will talk, the other will listen; at least we shall be
together.
“If there is meaning in life at all,” writes neurologist,
psychologist, and Holocaust survivor Viktor Frankl in his landmark study, Man’s Search for Meaning, “then there
must be meaning in suffering.” By this he is not suggesting that one’s suffering
serves a higher purpose, that it is part
of some divine or even biological plan, only that in its recalcitrance, its
sheer ubiquity, it has the potential to teach us things—things about each
other, things about ourselves.
The Case Worker—the first of five
fine novels by Konrad to be translated into English—is a strange and strangely
moving tale. Set in Soviet-controlled Hungary in the early 1970’s, in a Budapest
so grim, so beleaguered, it bears little resemblance to the charming, spa city of
postcards and films, the story follows the life and musings of an ordinary social
worker, “an underpaid, disabused, middle-level official,” “a burden bearer
without illusions,” “a professional child-snatcher,” whose charge is to sell
indifference and normalcy, and to protect the interests of the state, a job he
performs diligently, if with a mounting sense of impotence, despair:
Go
on, I say to my client. Out of habit, because I can guess what he’s going to
say, and doubt his truthfulness. He
complains some more, justifies himself, puts the blame on others. From time to
time he bursts into tears. Half of what he says is beside the point; he reels
off platitudes, he unburdens himself. He thinks his situation is desperate;
seems perfectly normal to me. He swears his cross is too heavy; seems quite
bearable to me. He hints at suicide; I let it pass. He thinks I can save him; I
can’t tell him how wrong he is.
Like Dante in the Inferno, the bewildered narrator of this story finds himself falling into a “deep place” (basso loco) where the sun itself is
silent, a “gray-brown realm of unrelieved weariness,” a drab, phantasmagoric
world crowded with every variety of misfit and tortured soul
whose “anguish [is] massive, tentacular, and incurable”. The Budapest of this
novel is a special ring of hell in which the damned suffer daily a state of perpetual
siege without even the consolation of knowing that their pain matters—somehow, to someone, that
it serves the lot of humankind, that, finally, it is homiletic, the handiwork of
some remote and sagacious god.
At one point the eponymous case worker recalls a story he’d heard about
a disenchanted rabbi (a tale closely reminiscent of that of the Buddha’s enlightenment
as a young and naïve prince) who, weary of threatening his congregants with the
wrath of “Yahweh Ineffable” deserts his synagogue and ventures out into the
world to discover it anew. There he finds an old woman dying in her filthy hovel
who implores him, “Why was I born when as long as I can remember nothing but
misfortune has been my lot?” To which the helpless rabbi replies, “That you
should bear it.” Drawing the sheet over her face, he decides from then on to be
mute. The next person he encounters is a young beggar girl carrying her dead
child on her back. When in reference to her baby, she asks the rabbi, “The poor
thing got nothing, neither pleasure nor pain. Do you think it was worth his
being born?”—a question to which the helpless rabbi nods his head. Thereupon
he decides to be deaf as well as dumb and hide away from the world in a cave.
There he finds a ferret with an injured foot, which he heals with bandages and
special herbs. Soon the two grow fond of each other. Then one day a condor
swoops out of the sky and carries off the ferret before the rabbi’s eyes, so
that he decides to close them for good. Yet—since blind, deaf, and dumb—he can do
nothing but wait for death, he returns to his congregation, where he “did what he
had done before, and waxed strong in his shame.”
The protagonist of The Case
Worker, a man all but overwhelmed by the futility of his work, and by the
boundlessness of human suffering, is on the verge of following the rabbi’s example
when he is trapped, shackled to this world and its pain by the life of a hideously
misshapen, nearly feral orphan named Feri. At last, again, I turn to Frankl: “A
man who becomes conscious of the responsibility he bears toward a human being
who affectionately waits for him, or to an unfinished work, will never be able
to throw away his life. He knows the ‘why’ for his existence, and will be able
to bear almost any ‘how’.”
György Konrád (1933- ) is an Hungarian-Jewish writer
whose first novel, The Case Worker
(1969) was based on his experiences as a children’s social worker for the
state. In this and other writings he
treats the social and spiritual problems of Eastern European life under fascism
and communism, as well after the collapse of Soviet control. Among his other
and highly recommended works of fiction are The
City Builder (19175), The Loser
(1980), A Feast in the Garden (1989),
and Stonedial (1998). (Thanks in part
to The Columbia Encyclopedia)
Peter Adam Nash
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