Kairos

As much as Kairos is a novel about a deeply personal love affair between two people, it also documents the political history of a country in turmoil. Erpenbeck grew up in East Germany, close to the Berlin Wall, and was 22 at the time of its fall. To what extent is it fair to call the novel an allegory for the reunification of Germany, and if so, what sense did you get of the political reality of the time?

Kairos is written in the present tense, which can seem unusual as historical fiction is often written in the past tense. Why do you think the author chose to write this story in particular in this manner? How does it serve the narrative of Kairos and what effect did it have on you as a reader, both initially and as you progressed through the novel?

Erpenbeck also shifts perspective throughout the novel, oscillating between that of Katharina and Hans. She does this frequently, sometimes within the same sentence and with no signalling to the reader that a shift has occurred. What effect does this technique of duality have on the text?

The body of the novel is the story of Hans and Katharina’s relationship, which could be deemed unconventional due to the substantial age gap between the two. Yet the author draws little attention to this, nor does she condemn Hans for his abuse towards Katharina or any of the relationship’s more toxic elements such as the power imbalance. Discuss the benefits of this neutrality within the narrative.

Mirroring and symmetry reoccur throughout the novel: ‘They lie so close that when one turns, the other turns too,’ Erpenbeck writes of Hans and Katharina. The novel itself is also structured in a symmetrical manner, while much of it documents the political history of East and West Germany, two halves of a whole. What is the deeper meaning, and purpose, of these motifs that Erpenbeck has embedded throughout?

Hans and Katharina’s relationship seemingly begins as one of equality. Yet early in their relationship, Hans suggests ‘it’s important that he sets some conditions, before it’s too late,’ and mentions that in the future, he will ‘hand [Katharina] on’. Discuss what these glimmers offer the reader, and whether Hans’s potential for abuse is always apparent.

How do Hans’s childhood experiences, particularly witnessing the grip of fascism within his family, influence his behaviour and relationships throughout the novel? Consider how his upbringing, under the Nazis, contributes to behavioural patterns of dominance and control, and the implications it has on his adult relationships.

Hans and Katharina’s relationship ends while the Berlin Wall falls. What parallels does Erpendeck draw between the two? Discuss whether the author positions either of these conclusions as wholly good or bad. Is Erpendeck asking us to consider the grey areas between the two?

In an interview with American novelist Claire Messud, Erpendeck states that she intended to create ‘a museum’ through Kairos. The novel reflects on the art, the objects, the brands and ideas of a waning GDR. To what extent does she encapsulate this period, and location, in the pages of Kairos? What aspects of life in East Berlin are highlighted, and how are they contrasted with the post-unification era?

Many readers have commented on the detached style of the novel. Erpendeck writes purposefully, observing while remaining staunchly uninvolved. How does this style serve the reading experience, and bring to life the relationship between the two protagonists?