Anna Fender’s innovative non-fictional narrative “Assistant” takes readers into the confusing, harrowing and often inexplicable world of the German Democratic Republic (GIRD). The citizens who resided within the communist rule of East German found themselves trapped within a dictatorship that exerted absolute control over it’s people. Anna Fender’s narrative of the brutalities Of Assistant provides an explicit portrayal and deciphering of the symmetrical relation between the accounts of its victims and perpetrators.
The places these individuals are bound within unearths the current state of heir livelihoods, and their futures since of the fall of the divider between the East and West of Germany. However, Fenders commentary on the revelation and renewal of the once harsh land depicts the rebirth of the German world as the ” sun yellow and dusky pink being revealed from behind scaffolding” and” children swing on roundabouts I never noticed were there”.
Fenders highly detailed description of the “grey’ world of Assistant provides the significant evidence required to validate the absurd world of the “Brown Linoleum palace”, the dcore symbolic of the rule of the Stasis regime. The allegorical representative color Of the German Democratic Republic was that of “different shades of brown”, and a realm of which its physical ornamentation was illogically only decorated “halfway up” so officials could enjoy the view of the Communist regime they constructed ” from the ground up” as they rode within the confinements of their car.
Seven years after the fall of the Berlin Wall which confined East German people, Funded decides to visit Berlin in the middle of Winter in the year 1996 where she describes the no longer “secret walled in garden” as grey and dull. Funded initially arrives onto the domain of repressed historical memories via “Alexander Plants Station. She portrays her arrival into a world she was anticipating with enthusiasm to visit as “cold and repressive”, also stating that it was “designed to make people feel small” and insignificant as its spaces were “so cavernous”.
Thus relating to the way the Stasis Regime successfully attempted to dwarf its citizens. Funded remarks on the amount of dirt and grime that has built itself upon the building walls due to years of Neglect, providing a similarity with that of the years required to develop Stasis history, something that many rent citizens of the German world persist to discard. Later in the narrative Funded makes a visit to the “Stasis Museum”, where the persona of Maria’s cell has been re-created of which she depicts as “frighteningly neat”, parallel to the Stasis’s obsession with Order of which represented the Stasis regime’s way of thinking.
Anna Fenders need and desire to describe the Winter Berlin world in 1 996 demonstrates the truth of how the place of the GIRD is so similar to that of stories her narrative uncovers. Anna Fender’s chronicles of Assistant unearths the profound symmetry of the rent conditions in which it’s victims and perpetrators decide to live in comparison to that of their historical East German pasts. It is ironical how Fender’s personal description of the physical place in which these individual’s decide to reside within can reveal their own personal account subconsciously without intention or the purpose of doing so.
On Funded first encounters the persona of Miriam, she learned that Miriam became the “enemy of the state” at the mere age of 1 6 from an attempt to escape the confinement of the Stasis consumed city. However, her barriers only got smaller and smaller when she as locked up in a jail cell while enduring sleep deprivation torture conducted by the Stasis Officials and once released she was “no longer human”.