THE
CASTLE OF TRUTH
Hermynia Zur Mühlen
Hermynia Zur Mühlen was born Hermine Isabella Maria Folliot de
Crenneville in Vienna in 1883. Raised in material luxury and
emotional impoverishment by a self-obsessed mother and a distant,
authoritarian father, she discovered some comfort in her grandmother
and a favourite, eccentric uncle. Imaginative and spirited, she
rebelled against the aristocratic roots, setting up a political cub
at the age of eleven with the aim of bringing down the aristocracy.
Her radicalism went further, however: she embraced the rising
socialism of the age, a viewpoint she never abandoned. Inevitably,
being feminine, she ran into serious difficulties in trying to live
the kind of life she favoured. In a bid for independence from her
family she married Viktor von Zur Mühlen in 1905; a mistake. They
were opposites in their political and social perspectives. She spent
nine years on her husband’s estate where there was no intellectual
or artistic life, the peasants lived in dismal poverty and she
became tubercular. The latter misfortune she never recovered from,
but it did take her to a sanatorium in Davos where she met the much
more congenial Stefan Klein. She divorced and moved with Klein to
Frankfurt am Main where they spent fourteen years trying to change
the world by writing. Members of the German Communist Party they
were excited by the Bolshevik Revolution and had high hopes for the
Soviet Union – like many others who found them dashed by Stalinism.
Zur Mühlen was an excellent and prolific translator, but it is
arguably in the arena of the fairy tale that her greatest
achievement lies. In 1921 she published Was Peterchens Freunde
erzhälen (What Little Peter’s Friends Told Him) which
incorporated criticism of the exploitation of the workers into the
simple fairy tale form. The notion of the exploitation of the
employee by the employer has been driven out of popular
consciousness, but at the time the idea was still alive that the
relation itself was exploitative. Today, the term has declined to
the notion of an extreme: the relation is accepted as
self-justifying. In Zur Mülhen’s writing, the rebellion of the
workers against the very nature of employment is depicted as the
shape of a new world. Her work has more of a revolutionary than
reformist edge.
She wasn’t alone in giving new life to the fairy tale with a radical
edge: Erich Kästner, Berta Lask, Kurt Schwitters and others were
engaged in the same kind of enterprise. She was forced to flee
Germany, of course, and later Vienna and found refuge, of sorts, in
England where she lived till her death in 1951. Disillusioned with
Stalinism and the Communist Party, she shifted her faith to
religion, a change evident in her work. She had some great
successes. Her 1929 memoir was a best-seller and the mystery novels
she wrote under the pen-name of Lawrence Desberry were popular. All
the same, she struggled to place some of her work and she and Klein
were no strangers to the perils and pitfalls of a writer’s life.
Jack Zipes has chosen mainly stories from the Weimar years when she
was deliberately seeking to raise consciousness about the condition
of working people and the possibilities for change. The Castle of
Truth appeared in 1924. At its heart is the idea that truth
endures and is indestructible. The wealthiest man in town, admired
and respected for his money, builds a magnificent palace above which
stands the dilapidated castle of truth. A poor girl who marries into
wealth decides to climb the mountain and discover truth. The rich
man has the castle torn down, but its debris conveys the truth to
everyone it touches. The tale works well and is written in Zur
Mülhen’s characteristic clear and direct style. It is well chosen as
the title story. Of course the form has its limits: a tendency to
Manichean oppositions, absence of depth in characterisation and
therefore a tilt towards stereotypes, a willingness to allow the
desired message to prevail over complexity. These make the tales
less appealing to adults, of course, than to children. Yet as a
complement to the canon of fairy tales, these stories which bring a
perspective often absent are a valuable addition. Zur Mülhen
deserves to be much better known among English readers and children
can find here not just the charm of simple stories well told, but
also a view of the world not often encountered in the literature
aimed at them or in the education system.
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