Point of View
Remarque has been praised for the simple, direct language of his war novels in contrast to their often violent subject matter; he is also acknowledged for his ability to create moving, realistic characters and situations. His prose style is punctuated with fragmented narrative passages that mirror Paul's often disoriented state of mind. The plot moves in a "bildungsroman" format, demonstrating a young man's personal development. There are impressionist details that move in tableau fashion. Remarque's choice of a first-person narrator does, however, create one possible problem: the two concluding paragraphs have to stem from a new, apparently omniscient third-person narrator whose intervention is needed after the death of the first-person narrator. The story does not suffer from this change of viewpoint or from the absence of any explanation of the mechanics by which it came to be set down.
The narrative stance provides Remarque with a realistic context for a naive and simple style, which is part of the novel's popular appeal, as well as a fragmented, uncoordinated syntax and use of the present tense, a form that reflects immediacy; these features thus became part of the famous 'frog's eye view' of the war. He is able to comment on events through Paul Baumer himself—and through him of the other characters—without the need to provide an omniscient narrative perspective: indeed with a requirement not to do so. Style and point of view are matched, and both reflect the incomprehensibility of war.
Narrative viewpoint and the focus on the central character are also closely linked with...
(The entire section is 669 words.)