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3.62 AVERAGE
3.62 AVERAGE
adventurous
challenging
dark
emotional
informative
inspiring
mysterious
reflective
medium-paced
I only read the title story. I keep reading the gay canon backwards. I am sure comparisons to Isherwood abound. But really this reminded me more of a gussied up Dennis Cooper. I did enjoy it. I wonder why so many gay authors longly peer through the windows to look at lives they can not lead. Well actually I know why but all the isolation does get tiresome.
informative
reflective
relaxing
medium-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
N/A
Simply amazing. In fact, some may even say magnificent.
Mann's writing is lucid, detailed, and engaging, creating a sense of suspense as tension builds and a sense of awe as beauty is espoused and a sense of curiosity as the mysteries of life are pondered. Throughout these six stories, Mann discusses many of the same themes - beauty, art, morality, religion, and the futility of life itself. Indeed, the frailty of stability and a sense of purpose that plagued Mann's psyche given the philosophical and social zeitgeist which he inhabited. Such context and more is explored in Luke's detailed and extremely helpful introduction, which I would suggest reading to anyone who gets this edition. It is dense and can be sluggish at times, but it is an exemplary essay discussing Mann's life, his work, and the shortcomings of previous translations.
I do not dislike any of the stories presented in this book, each unique in their own way, while there is a clear consistency in Mann's themes and figurative language (another topic discussed in Luke's introduction). As one progresses through the stories, I believe one can see the development of Mann's writing, culminating in the titular novella, "Death in Venice." While this finale is beautifully written and explores important questions about art, youth, and life, I still view "Gladius Dei" as my personal favorite. It exhibits the blurred line between beauty and lewdness, with the matter not easily resolved by a devoted, if peculiar, older man who seeks to save art's sanctity. Indeed, the sacredness of art and love (and thus life itself) are a consistent theme throughout these books, again, discussed most lucidly in "Death in Venice."
At large, I believe a lot of the themes in these stories, which may generally be grouped together in a sense of loss, isolation, and powerlessness, are still relevant to this day, showcasing Mann's effective and timeless exploration of these issues. As such, I would highly suggest anyone interested in these issues in today's literature to read this book as well.
Another note on "Death in Venice": I agree with Luke that the theme of Greek mythology, chiefly focused on Eros and beauty itself, is sorely missed in the Death in Venice (1971) film by Luchino Visconti. Likewise, the film falters in ensuring that the theme of Tadzio's beauty is that of art and innocence, rather than a perception of the youth that can be misconstrued as paedophilia, especially by modern audiences. In fact, it appears that Björn Andrésen, who played Tadzio, also believes the film effectively states that such affections are appropriate. Perhaps the use of the Greek mythological elements would have clarified this issue further.
In conclusion, Mann's collection of stories from his early career are a great introduction to his works and are largely timeless to this day, the mysteries of life just as evasive.
Mann's writing is lucid, detailed, and engaging, creating a sense of suspense as tension builds and a sense of awe as beauty is espoused and a sense of curiosity as the mysteries of life are pondered. Throughout these six stories, Mann discusses many of the same themes - beauty, art, morality, religion, and the futility of life itself. Indeed, the frailty of stability and a sense of purpose that plagued Mann's psyche given the philosophical and social zeitgeist which he inhabited. Such context and more is explored in Luke's detailed and extremely helpful introduction, which I would suggest reading to anyone who gets this edition. It is dense and can be sluggish at times, but it is an exemplary essay discussing Mann's life, his work, and the shortcomings of previous translations.
I do not dislike any of the stories presented in this book, each unique in their own way, while there is a clear consistency in Mann's themes and figurative language (another topic discussed in Luke's introduction). As one progresses through the stories, I believe one can see the development of Mann's writing, culminating in the titular novella, "Death in Venice." While this finale is beautifully written and explores important questions about art, youth, and life, I still view "Gladius Dei" as my personal favorite. It exhibits the blurred line between beauty and lewdness, with the matter not easily resolved by a devoted, if peculiar, older man who seeks to save art's sanctity. Indeed, the sacredness of art and love (and thus life itself) are a consistent theme throughout these books, again, discussed most lucidly in "Death in Venice."
At large, I believe a lot of the themes in these stories, which may generally be grouped together in a sense of loss, isolation, and powerlessness, are still relevant to this day, showcasing Mann's effective and timeless exploration of these issues. As such, I would highly suggest anyone interested in these issues in today's literature to read this book as well.
Another note on "Death in Venice": I agree with Luke that the theme of Greek mythology, chiefly focused on Eros and beauty itself, is sorely missed in the Death in Venice (1971) film by Luchino Visconti. Likewise, the film falters in ensuring that the theme of Tadzio's beauty is that of art and innocence, rather than a perception of the youth that can be misconstrued as paedophilia, especially by modern audiences. In fact, it appears that Björn Andrésen, who played Tadzio, also believes the film effectively states that such affections are appropriate. Perhaps the use of the Greek mythological elements would have clarified this issue further.
In conclusion, Mann's collection of stories from his early career are a great introduction to his works and are largely timeless to this day, the mysteries of life just as evasive.
I finished this virtually in one day, with only about ten pages left this morning. I only read Death in Venice by Thomas Mann and not the other short stories, but the book seems to be filled with good literature. Death in Venice was certainly very good; it was captivating right from the start and I was quite interested in how the plot would develop when a certain character was introduced. The ending was perhaps a bit abrupt, with not much explanation for the last sentence or why something like that suddenly happened as nothing had occurred that might lead me to think it could have such an effect.
I gave this book a 5 star because the prose was quite beautiful and the story was interesting and exciting. I wish there was more to the story, perhaps more development of the characters' interpersonal relationships, though there is a point made in the distance being kept between them.
I recommend it for anyone who wants an a-day-in-the-sun read or just something light for a day or two of travel (bonus points if you're on your way to Venice).
I gave this book a 5 star because the prose was quite beautiful and the story was interesting and exciting. I wish there was more to the story, perhaps more development of the characters' interpersonal relationships, though there is a point made in the distance being kept between them.
I recommend it for anyone who wants an a-day-in-the-sun read or just something light for a day or two of travel (bonus points if you're on your way to Venice).
Не знаю, чи зумисне це, але в усіх чотирьох новелах більшою чи меншою мірою дія відбувається в санаторіях - двічі в Німеччині, двічі в Італії. Відповідно наші герої - досить заможні європейці.
Я не буду розділяти новели окремо, скажу лише, що найлегше за способом подачі мені йшов "Маріо і Чарівник", а найтяжче зайшла саме "Смерть у Венеції".
Я не можу сказати, що це було щось надто депресивне - хоча смерть ходить постійно дуже поруч. Але напевно проблеми і сеттінг для мене якісь далекі і чужі, мені складно було прониктися тими проблемами, які докучали героям, хоча самотність Тоніо Крегера досить відгукалася - але вже ретроспективно.
Повний відгук: https://t.me/kseniia_reads/298
Я не буду розділяти новели окремо, скажу лише, що найлегше за способом подачі мені йшов "Маріо і Чарівник", а найтяжче зайшла саме "Смерть у Венеції".
Я не можу сказати, що це було щось надто депресивне - хоча смерть ходить постійно дуже поруч. Але напевно проблеми і сеттінг для мене якісь далекі і чужі, мені складно було прониктися тими проблемами, які докучали героям, хоча самотність Тоніо Крегера досить відгукалася - але вже ретроспективно.
Повний відгук: https://t.me/kseniia_reads/298
dark
reflective
sad
medium-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
challenging
informative
inspiring
reflective
relaxing
sad
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
adventurous
reflective
tense
slow-paced
Plot or Character Driven:
Character
Strong character development:
N/A
Loveable characters:
No
Diverse cast of characters:
N/A
Flaws of characters a main focus:
Yes
Beautiful, rich in mythology and thought. The allusion to Socrates' dialogue with Phaedrus was perfectly executed. There is so much that can be discussed about this novella. Absolutely stunning.