{"id":81020,"date":"2026-04-10T20:00:00","date_gmt":"2026-04-10T20:00:00","guid":{"rendered":"https:\/\/one.sightlinemg.com\/navytimes\/uncategorized\/2026\/04\/10\/all-quiet-on-the-western-front-finds-a-new-voice\/"},"modified":"2026-08-08T17:09:44","modified_gmt":"2026-08-08T17:09:44","slug":"all-quiet-on-the-western-front-finds-a-new-voice","status":"publish","type":"post","link":"https:\/\/one.sightlinemg.com\/navytimes\/veterans\/military-history\/2026\/04\/10\/all-quiet-on-the-western-front-finds-a-new-voice\/","title":{"rendered":"\u2018All Quiet on the Western Front\u2019 finds a new voice"},"content":{"rendered":"\n

Published in January 1929, \u201cAll Quiet on the Western Front\u201d sold a million copies in Germany in its first year and two million around the world.<\/p>\n\n\n\n

Just a little over a decade after World War I ended, Erich Maria Remarque\u2019s readers found themselves behind the German front lines, empathizing with German soldiers who had once been mortal enemies to the Americans, British and the French. <\/p>\n\n\n\n

Like the outcropping of surrealism after WWI, \u201cAll Quiet on the Western Front\u201d opened up a new genre of books for veterans to process what they had gone through.<\/p>\n\n\n\n

\u201cThe novel attracted global audiences in its own time \u2014 and continues to do so nearly a century later \u2014 because it lays bare features identifiable in virtually any war: deprivation, terror, trauma, kinship, black humor, alienation from society, and (usually) some questioning of the cause,\u201d Samantha Power, <\/b>Pulitzer Prize-winning author and former U.S. ambassador to the U.N., writes in the forward of the book\u2019s most recent translation.<\/p>\n\n\n\n

However, while it is one of the most famous books to come out of WWI \u2014 or any war for that matter \u2014 \u201cAll Quiet on the Western Front\u201d \u2014 until recently \u2014 had only been translated twice from German to English. Once in 1929 by an Australian; the second translation, from 1993, is available only in the United Kingdom.<\/p>\n\n\n\n

Arthur Wesley Wheen\u2019s 1929 edition, despite its numerous mistranslations and stylistic flaws, is the dominant one today, having been the only one available in the U.S. for almost one hundred years.<\/p>\n\n\n\n

Maria Tatar, the John L. Loeb professor of Germanic Languages and Literatures & Folklore and Mythology Emerita, saw a gap in the literature and painstakingly restored the novel with contemporary prose<\/a> while remaining faithful to Remarque\u2019s voice. <\/p>\n\n\n\n

With \u201cAll Quiet on the Western Front\u201d now in the public domain, she writes in her foreword, \u201cwe have the opportunity to try to convey its power in a new translation, and to introduce it to a new generation.\u201d<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

\u201cI think my real mission was to bring back the voice of [protagonist] Paul B\u00e4umer. To let him speak,\u201d Tatar told Military Times. \u201cIn a way, this is a talking book. I\u2019d like to think of it as a book that speaks to us, that gives somebody who is muted by the war, really, a voice.\u201d<\/p>\n\n\n\n

\u201cWe get to process the violence of war through Paul,\u201d Tatar continued. \u201cAnd the interesting thing is that, of course, war is this world-shattering experience. Not just world shattering, but also word<\/i> shattering. So there\u2019s a strange paradox embedded in the book \u2014 we\u2019re getting these sorts of unmediated thoughts of the soldier as he\u2019s experiencing combat. I really did see my mission as trying to capture the register of B\u00e4umer\u2019s voice in English, which is, I have to say, not as easy as I thought it would be.\u201d<\/p>\n\n\n\n

Calling the translation a \u201clabor of love\u201d and a \u201cstruggle,\u201d Tatar strove to bring back, or rather preserve, the Germanness of \u201cAll Quiet on the Western Front.\u201d<\/p>\n\n\n\n

\u201cTranslation means carrying over, carrying across,\u201d said Tatar. \u201cAnd I felt as I was translating that I was rowing across the River Styx, bringing back a dead man, giving him a voice and channeling Remarque as well.\u201d<\/p>\n\n\n\n

Wheen\u2019s 1929 translation has become the definitive translation of Remarque\u2019s work, but according to Tatar, Wheen himself \u201cadmitted that his German was not very good.\u201d<\/p>\n\n\n\n

\u201cThe manuscript was sent to me,\u201d Wheen later reported, \u201cas being one able to understand it, and on reading I found that I understood it less by reason of my knowledge of German, which I have but imperfectly, than by virtue of having made the experience recorded in it.\u201d<\/p>\n\n\n\n

In some instances, Wheen includes the word \u201cmate\u201d in his translation \u2014 something no German on the Western Front would conceivably call his fellow soldiers. In another, Remarque writes about a guy \u201cgetting lucky,\u201d which translates into English literally<\/i> as \u201che had a pig.\u201d According to Tatar, Wheen subsequently took that to mean the soldier had pork for dinner.<\/p>\n\n\n\n

While Brian Murdoch\u2019s 1993 version comes closer to a true rendering of \u201cAll Quiet,\u201d Tatar notes that there were \u201cplaces where I felt uncomfortable, where the dialog is so difficult to capture in the right way, to get the right tone. And although Murdoch is successful in many ways that\u2019s where I think he fell short, in not working hard enough to get the dialog close to something like a Hemingway style.\u201d<\/p>\n\n\n\n

Remarque\u2019s \u201cAll Quiet on the Western Front\u201d serves as a semiautobiographical account of the author\u2019s war. Conscripted in the German Army in 1917 at the age of 18, Remarque was hit by shrapnel in the leg, arm and neck and sent to a hospital to convalesce before returning once again to the front. Remarque\u2019s unvarnished account of the war is evident in \u201cAll Quiet.\u201d <\/p>\n\n\n\n

\u201cIt is written from the heart, not from the head,\u201d Tatar noted. <\/p>\n\n\n\n

\u201cTim O\u2019Brien describes in \u2018The Things They Carried\u2019 the majesty of combat,\u201d said Tatar. \u201cI think he calls it the \u2018aesthetic purity of absolute moral indifference.\u2019 But what I find in Remarque\u2019s work is more of a grotesque aesthetic. It\u2019s not the majesty of combat. You get this fragmentation, destructive violence, disintegration, dissolution. And yet, in the face of all of that, there\u2019s a subtext that endorses affective engagement, emotional engagement, sympathetic identification, almost as if to compensate for the unspeakable, physical injuries of war. So in the midst of all of this violence, we\u2019re seeing what Paul sees. We\u2019re feeling what he feels. You feel his pain in an extraordinary way. <\/p>\n\n\n\n

\u201cAs I was translating the novel, I was so often on the edge of tears,\u201d Tatar continued. \u201cAnd part of it is that Remarque is so skillful as a narrator, in drawing you into combat. First you get all these acoustical effects \u2014 the roar of cannon, the explosions. And then he gives you all these sensory, visual details. You\u2019re really drawn into this explosive, terrifying scene of time.\u201d<\/p>\n\n\n\n

The novel has endured for almost a century because while the tools for killing have evolved, much of warfare remains the same. There are and will always be soldiers seeking solace in the camaraderie of their peers and \u201cwondering what the hell it achieves to kill and be killed for causes defined by others,\u201d Powers writes.<\/p>\n\n\n\n

It also details the painful, deep disconnect of soldiers returning home from war.<\/p>\n\n\n\n

\u201cThey\u2019re people I don\u2019t understand,\u201d Paul reflects. \u201cAnd I both envy and loathe them.\u201d<\/p>\n\n\n\n

Human nature almost ensures that there will be more generations who empathize with Paul, but Tatar hopes that her translation has \u201cfound the words for a story that we must keep reading to keep from repeating it.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Despite its nearly century of resonance with readers, \u201cAll Quiet on the Western Front\u201d has only been translated twice \u2014 until now. 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