I voluntarily read and reviewed an ARC of this book. All thoughts and opinions are my own.

I read this story twice. Once during my advanced German literature reading course I took more than 10 years ago and then again for this purpose of this review.

It is strange to say I enjoyed it, but I kind of did. It certainly leaves a lasting impression on the reader, as it did for me.

I remember it so vividly, most likely because we discussed it in detail, but also because of the subtle approach the author took in addressing some of the subjects he touches on.

It has its spine-tingling moments as various significant events occur and how the female protagonist is treated and expected to behave.

I find this is a perfect story to read for a book club meeting, since it isn’t too long and there is so much to talk about and discuss in detail and from a range of perspectives, such as reading the German version versus the English one and what impact on the narration the translation could have.

Overall, I would recommend this book in its original German version and its English translation. It is a piece of German literature that I was introduced to much later than I liked.

Unique entertaining a book that will keep you engaged fun interesting unique .A novella that surprised me with. him much I enjoyed the novella #netgalley#pushkinpress.

First published in Germany in 1808; published in translation by Pushkin Press on January 7, 2020

From a modern perspective, this two-century old novella seems like the stuff of romantic comedy. A scholarly introduction by the translator, Nicholas Jacobs, advises the reader that the story was regarded as scandalous at the time of its publication. Certainly it is meant as drama rather than comedy — “operatic drama,” according to Jacobs — although Jacobs explains that the happy ending is uncharacteristic of Heinrich von Kleist, who apparently had a gloomy worldview that his other work reflects, no doubt accounting for Kleist’s eventual suicide. Whether the ending is happy by modern standards is something that the reader will need to judge.

The story is set in Northern Italy during the War of the Second Coalition at the end of the eighteenth century. European monarchies, fighting against Napoleon’s France, ultimately lost that war, but the Russian army won some campaigns in Italy during 1799.

The Marquise in the title is a widow named Julietta. She has a country house but, given the war, she finds it prudent to stay with her two children at the house of her parents. Her father, the Commandant, is ordered to defend the citadel in which his house is located. Russian troops overrun the citadel and order the Commandant to surrender, which he does as soon as the surrender can be made honorably. The surrender is accepted by a Russian Count who compliments the Commandant on his good manners. War at the time was apparently a civilized conflict between gentlemen.

While the fighting is ongoing, however, Russian soldiers capture Julietta and her mother. One of the soldiers subjects Julietta “to the most shameful mishandling” with the implied intent of having his way with her. Fortunately, the Count comes along and rescues the Marquise from the ungentlemanly assault. He apologizes to the Marquise on behalf of the culprits, then apologizes to the Commandant, who clearly holds the Count in high esteem. The Russians depart and the Commandant is once again free to do whatever aristocrats do when they are not fighting wars on behalf of their conquerors.

After some confusion about the Count’s possible death (leaving the Marquis “inconsolable that she had let the opportunity pass of throwing herself at his feet”), the handsome Russian returns, proclaims his devotion to the Marquise, and proposes marriage. The proposal is complicated by the fact of the Count’s military service, which remains to be discharged. The Commandant won’t have his daughter marrying a deserter, so the Count’s wooing is held in abeyance pending the Count’s efforts to wiggle out of his duty to his country.

The heart of the story begins when the Marquise finds herself “with child.” The bewildered Marquise, who knows how babies are made, is confident that she did not make one. Virgin birth having fallen out of fashion, however, her family is not only disinclined to believe her, but disowns her. “You are despicable!” her father says. “I curse the hour I bore you” and so on.

The story proceeds as a family drama, with the Marquise’s mother hatching a plot to reveal the identity of the baby’s daddy. At a later point, foreshadowed when the story begins, the Marquise resolves to place an ad in the newspaper, promising to wed the father if he will come forward and reveal himself.

Will the Marquise reconcile with her family? Will her honor be intact? Who is the rogue who made her pregnant? Will she marry him and, if so, can she possibly be happy? Kleist answers all of those questions. The answers are not surprising, given the literary and social conventions in effect when the story was written. The notion of an unmarried woman becoming pregnant is no longer scandalous to most modern readers, but the real scandal — the fact that the Marquise became pregnant without her consent — seems to have been lost on Kleist.

Viewed through modern eyes, the way in which the Marquise presumably became pregnant overshadows all else, but Kleist evidently viewed the crime as forgivable under the circumstances. It’s interesting to note the contrast between the “shameful mishandling” by a soldier and what Kleist evidently regarded as less shameful mishandling because it is attributed to love rather than lust. Times have changed for the better, but putting aside that shift in perspective, the story delivers the kind of suspenseful, eyebrow-raising melodrama that should hold a reader’s interest.

RECOMMENDED

A different way of handling an age old problem. How to cope with an unexpected and unexplainable pregnancy. In a very conservative time. In a very respectable family.

A tragi comedy very well written.

Contrary to many other commentators and reviewers I really wasn’t impressed with this 1808 novella from acclaimed German author Heinrich Kleist and found it ultimately puzzling and unsatisfying. It tells of a virtuous widow the Marquise of O whose castle in Northern Italy is attacked by Russian soldiers and a group of them assault her. A dashing Russian count rushes to her rescue. Sometime later the Marquise discovers she is pregnant, presumably as a result of the count’s rape. Or is it? It has been suggested by some that there was no rape. But then….Anyway, finally accepting that she is in fact pregnant she advertises in the local press for the man responsible to come forward so that she can marry him for the sake of the unborn child. The count comes forward and is rejected. Because? He raped her? He didn’t rape her? It was consenting? More ambiguity is thrown into the mix with a scene when the Marquise is sitting on her father’s lap and he kisses her “like a lover”. I found it all overblown and melodramatic with a contrived ending that fell flat after all the earlier anguish. What is Kleist actually saying here? That rape during war is acceptable? That because the count offers to marry her his actions (if any) are excusable? That the Marquise is responsible for her own fate? Too many unanswered questions for me. But my thanks to NetGalley for letting me discover this unusual and original novella –certainly it’s one that intrigues even if I remain unconvinced by it.

It’s a challenge to discuss this book (originally published in 1808) in any kind of measured way in 2019 and not sound like a sociopath. Through a contemporary lens, its premise is unarguably disgusting: a widow finds herself pregnant, having been raped while she’s unconscious, and puts a notice in the paper saying that she’s willing to marry any man who comes forward as the father. If you can’t stomach this on principle (and you would certainly be forgiven), stay far away. I do try my best to engage with classics on their own terms and I must admit this one leaves me somewhat baffled. While I found this to actually be curiously engaging, I’m ultimately unsure of what Kleist was trying to say with it and I must concede that this probably was not the best place to start with this author with only the translator’s brief introduction for context.

Thank you to Netgalley and Pushkin for the advanced copy provided in exchange for an honest review.

The only good thing I can say about Heinrich von Kleist’s The Marquise of O— is that it’s short. Originally published in 1808, this book is very much a product of its time. Modern readers will, at best, describe this book as problematic and unfeminist. Others, like me, will call it rape apologia. I picked this book up because I had hoped it would tell me an unusual story of a woman taking charge of her circumstances. The ending of this story put paid to that hope by doubling down on shame and keeping up appearances.

Julietta, the eponymous Marquise, is a widow with two children, living with her brother and parents in M—. M— is attacked by a troop of Russians one day as part of what I’m pretty sure are the Napoleonic Wars. In the attack, Julietta is assaulted by Russians, then rescued by Count F—, who is described in heroic and dashing terms. Nothing is explicit in this section of the book, but we know what happened (even if Julietta does not) because the Marquise finds herself pregnant. When the pregnancy is confirmed by a doctor and a midwife, Julietta’s father throws her out of the house and tries to take her children away from her. All of this happens while Count F— is trying to get Julietta to marry him, claiming that he is passionately in love with her.

All of my sympathy in this book is with Julietta. Count F— throws up red flag after red flag while he pursues Julietta in spite of her many refusals. A little background reading in Wikipedia revealed that The Marquise of O— is an example of a genre trope that has rightly be abandoned to history: the forced seduction. I hoped and hoped that Julietta would be allowed to live independently, free of the social conventions that push her into marrying her rapist. Von Kleist, apparently, was not brave enough to break those social conventions even in fiction.

I do not recommend this book. Leave it to history’s bookshelf, way at the back, behind all the better books that don’t try to turn rape into a love story.

"The Marquise of O–" is a fantastic read. I'll definitely be recommending this to patrons and friends alike in the coming months.

This is the new translation of Kleist’s The Marquise of O- by Nicholas Jacobs and he introduces the piece first published in 1808. A novella, it bears all the hallmarks of an operatic drama, so unless you are prepared to read this as an historic piece it might come hard to you the modern reader, But if you set aside modern life, mores, social behaviours and expectations and accept it as a creation of its times it becomes a strange and almost compelling tale to read.
The Marquise of O- is a widow with young children, but has vowed never to marry again. War breaks and during it she is persuaded to go to the citadel defended by her father. When it is overrun by the enemy she is first threatened with being ravished by the troops, but then is rescued by an unknown invading young gentleman/officer. – Count F. She is grateful to this saviour. He is required to move on with the army and is reported dead in a later engagement. Sometime later en route to another mission he returns and apparently besotted proposes to the Marquise. He has no parents or close family so both the Marquise (and her father) decide they need more time to think on this. They try and persuade him to finish his embassy. He wants an immediate yes and his behaviour becomes more erratic. He is persuaded to leave.
It then appears that the Marquise is pregnant and claims not to know the father. After a row with her father she returns to her property and posts a letter in a newspaper saying she will marry the father of her child if he presents himself. Her family is furious. They try and trick her into admitting the father and a rift develops. A letter arrives from the “father” and he is asked to meet her at her father’s house. Misunderstandings, family arguments, rifts, bizarre and extreme emotions and actions follow. Eventually the Marquise agrees to marry, goes through a church ceremony, separates from her husband and has the child. Later she will be reconciled to the father – the Count and life goes on.
Reading this tale is like watching a slow car crash. Everybody is in a place they do not want to be, they seem to be acting in extreme ways that accord with their own concepts of personal honour – none of which are in accord with those of their closest family. Their actions and reactions seem instead of resolving the issue to create wider and wider ripples of chaos. The histrionics and melodrama while maybe appropriate to opera seem otherwise bizarre, ridiculous and unlikely. Then gradually everybody compromises and it all seems to filter into nothing. Behind all the fuss and histrionics nobody seems to be able to cut through the issues and create something lasting and positive – it seems to happen eventually by accident. Is the oddity in the actions – or in the scale of response before life settles? But within this tale it is hard to see real people so sympathy for them can be slight. See what you think.

The widowed Marquise of O was the daughter of Colonel G, Commandant of the citadel in Northern Italy during the Napoleonic Wars. Russian soldiers, led by Count F, overran the citadel with heavy artillery fire and set the palace ablaze. Total confusion ensued. The Marquise was "...subject to the most shameful mishandling...a Russian officer appeared and with angry thrusts scattered the dogs lusting after their booty." This officer, (Count F) delivered her to safety. She passed out. Regaining consciousness, the Marquise wanted to express her gratitude to her rescuer but was informed that Count F was killed in a skirmish with the enemy while leaving the fortress.

The Marquise of O had resided with her parents and two children since the death of her husband. By all accounts, she was devoted to her parents, teacher to her children, and enjoyed art and literature. She was chaste and respectable and had decided not to marry again. Imagine her surprise when Count F appeared at her father's house asking for her hand in marriage. He explained that after being seriously wounded, his every thought was of the lovely Marquise. Reports indicated that on the battlefield and suffering from a mortal chest wound, he cried out, "Juliette, this bullet is your revenge".

Confirmed by both a doctor and a midwife, the Marquise learned of her pregnancy. It was incomprehensible to this woman of integrity. By dishonoring her parents, she was banished from home. Gathering her wits about her, "...the idea occurs to her of inserting a newspaper announcement inviting the father of her child to make himself known."

"The Marquise of O" is a novella written by Heinrich von Kleist and published in 1808. The two principal characters are the Marquise and Count F. The Marquise courageously tried to unravel her mind boggling situation and reconcile with her parents. Count F found that "...it was impossible for him to go on living without somehow cleansing his soul...". Could inner peace and redemption be within his reach? Will the father of the Marquise's unborn child come forward? An enjoyable read!

Thank you Pushkin Press and Net Galley for the opportunity to read and review "The Marquise of O".

I liked the writing although I sometimes feel a tad detached due to the telling the story in the 3rd person and it is more telling than showing.
Interesting premise and it was okay, however I preferred "Isolde" to the Marquis of O-.

Thanks Netgalley for providing me with an eARC.

I love classic literature - and this fun novella, which at times is just as absurd as confusing, is a prime example of how literature can be sometimes silly and fun.
I would definitely recommend reading this, especially if you enjoy 19th century literature, as it's a short and funny novella, which is easily read in less than a day.

This is a fact paced and frenetic short story, which has elements of gothic romance and comedy weaved through the drama. Set in Italy during the napoleonic war, Jullietta is assaulted by a group of Russians during an attack. She is rescued by Count F, and falls unconscious. Later, she discovers she is pregnant and after being thrown out of the family home, a plea is written in the newspaper, urging the child’s father to make himself known so she can marry him.

The translation has no faults, and I had not heard of Kleist before and he has an interesting writing style. The story covers the issues of rape and family reputation, and modern day readers may struggle with the lightheartedness of the subject and the ‘happy ending’ presented.

An ARC was provided to me for free by the publisher via Net Galley in return for an honest review.

(2.5 stars rounded up) Thank you Net Galley. The book is well written and translated. However it is offensive in the current context. But given the time it is set in it can serve as a reminder of how social relationships have changed and how few were the options available to the marginalized, especially women.

On first reading about The Marquise of O-, I thought it sounded a bit bonkers to be honest. On first reading it, I wasn’t really sure what I thought about it so, left it for a day and then read it again. It’s fascinating. It is a short novella, quite fast paced and on the second (and closer) reading, I picked up on all sorts of subtleties that I pretty much raced through the first time around.

New readers will have to set their modern sensibilities aside. The novella was written (and set) during Napoleonic wars, it is very modern for the time and deals with rape and also features a problematic father/daughter relationship. It is about respectability and reputation, guilt and redemption and despite its heavy subject matter, it’s often quite funny and absurd. Lots of heightened emotions, fainting, falling at people’s feet – very gothic/ romantic. It is also quite clever, full of ambiguities, double meanings and foreshadowing. Even after the second reading, I am still left with questions. I can easily understand why Kafka read it over and over again. Fascinating.

My thanks to Pushkin Press and Netgalley for the opportunity to read The Marquise of O-.

This might not be an easy story to read in the XXI century.

I requested it because I found the synopsis funny in how ridiculous it sounded (and imagine my surprise upon discovering that this really happened). The way we view rape now is very different from the way it was viewed then and add to that the fact that a man wrote this? Yeah, I wanted to read it because it is a classic but I knew I would have problems with it.

The book starts by introducing us to the author’s background. Here’s an unkind and perhaps untrue summary: he was a dramatic bitch and he wrote like it. Throughout this story, it often feels like he is making fun of the Marquise’s situation which bothered me a lot: there is nothing funny about rape and this being described as a “comic drama” did not help. But it is funny, not because of what happens but because of some of the character’s reactions.

This is a very short story and although it is easy to read I did find myself having to take a few breaks because they way it was written and punctuated was so fast-paced that I started to feel short-breathed and anxious. I’m not kidding. That's how good the author was. And if there was something that blew me out of the field was the female characters.

The Marquise is a woman of her time, completely dedicated to her family and living piously but when she found herself shunned by her family after discovering that she was pregnant she refuses to allow them to mistreat her. We truly discover her strength when her father and brother try to take her children away from her and she not only refuses but dares them to try.

The Marquise’s mother defies her husband at every turn and forces him not only to recognize he was wrong but to apologize to his daughter.

The midwife that appears very briefly, rather than judge or turn her back on the Marquise, advises her on how to act in order to preserve her honor and reputation without ever blaming or making the Marquise feel guilty or in the wrong.

Even the father tried to have his daughter’s best interest when he drew a marriage contract that forced her husband to fulfill all his obligations without any of the rewards.

I will remember this book as a very unfeminist story with very feministic characters that refused to cow down in the face of injustice and took their future in their own hands. The ending was, of course, the complete opposite of what any XXI feminist would desire but I positively surprised by these characters and the strength they possessed.

Thank you to NetGalley and Pushkin Press for this DRC.

The end and some sections may tick-off some readers, but it's written as a *comic* drama. So probably best to read it with that in mind along with time in which it was written. The author is talented, but I didn't connect with a lot of it.

I really appreciate the copy for review!!

It's hard to know where to start with this book as I btoh enjoyed and disliked it almost in equal measure. It is intriguing, clever and haunting but it is very hard to reconcile the novella's 'happy ending' with the centrality of the rape storyline. I enjoying reading European classics but I had never come across Heinrich von Kleist before and feel he deserves to be better known in this country if this novella is anything to go by, as this work is a wonderful combination of reality and absurdity. Kleist seems to have had an emotionally turbulent and troubled life - he committed suicide aged just 34 in 1811 - and this is reflected in the Marquise of O, where the world appears as an imperfect and fragile place; one where truth and human happiness can never really be relied on.
The story revolves around a young widow of 'unblemished reputation' who, having been 'rescued' by a dashing young Count from a group of soldiers intent on raping her, finds herself inexplicably pregnant. She places an advert in a newspaper asking for the father of her child to make himself known to her so she can marry him. The father turns out to be her 'rescuer' who had raped her himself after she had fainted in his arms. Her gentle conquering 'angel' is in fact a 'devil'. After initially refusing to have anything to do with him, he wins her round in a year by his contrite behavior and they end up 'happily' married. Understanding this book requires you to leave behind our contemporary abhorrence of the idea that a woman could ever love the man who had raped her and it is hard to see this as the happy ending that Kleist intended, but for all that it is a fascinating read, one which reminded me of Kafka in style and in that sense of suspended reality.

The Marquise of O-- is an interesting read, not least due to its strange tragicomic balance. Essentially based around a rape, the story is, nonetheless, a study of the nature of respectability and blame. For some modern readers, this book's premise alone may be too difficult, but if you are willing to give it a go, it does pose some moral conundrums and stylist interest, even if you cannot accept how the marquise's difficulties resolve. For me, this is a 3.5 star-read. It was engaging if a tad contrived at times.

Kleist's "The Marquise of O-" takes the literary movement Sturm und Drang to a whole new level; never, in my experience with romantic literature, have I come across a story with such ludicrously extravagant emotion as this.