You need to sign in or sign up before continuing.
Take a photo of a barcode or cover
bagusayp 's review for:
The Magic Mountain
by Thomas Mann
Thomas Mann's magnum opus, The Magic Mountain, stands as a monumental work of literature that delves into the profound exploration of the decay of civilisation. It took me over a month to read it cover to cover, as this long novel took me on an intellectual and philosophical journey through the lives of its characters, presenting a panoramic view of society's disintegration. Our main character, Hans Castorp, is a rather neutral person with little self-consciousness. He absorbs the views of the people around him during his stay at the Sanatorium Berghof along the Swiss Alps. He is instrumental in the construction of the sanatorium in the story, as his three-week visit to be the guest of his cousin, Joachim Ziemssen, turns into a seven-year one that ends with the commencing of the First World War.
Hans Castorp’s stay at the sanatorium is described as a matter of “getting used to not getting used to”. Through the lens of the sanatorium's temporal suspension and the characters' experiences, Mann explores the subjective nature of time, its malleability, and its profound impact on human existence. Mann attempts to convince me (and other readers too) of the nature of time as a social construct which could be disintegrated within the confine of a certain structure, i.e. sanatorium or prison. Like in his debut novel, [b:Buddenbrooks|1051767|Buddenbrooks|Thomas Mann|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657442110l/1051767._SY75_.jpg|3458174], Mann meticulously dissects the decay of bourgeois values and traditional ideals, intertwining personal narratives with broader social criticism. While Buddenbrooks focuses on the disintegration of a family over generations, The Magic Mountain zooms in on an individual, Hans Castorp.
In The Magic Mountain, Hans Castorp is drawn to the enchanting and seductive world of the sanatorium, where time seems suspended and sensual pleasures abound. Through these parallel narratives, Mann illustrates the allure and dangers of pursuing ephemeral beauty and escapism, ultimately reflecting the broader societal longing for distraction and the disintegration of moral foundations. Hans Castorp also engages in love affairs and exchanges views with many of the sanatorium residents. He encounters Clavdia Chauchat, a captivating Russian lady with exotic Kyrghyz eyes, during his stay at the sanatorium, exchanging words with her in French, hiding behind the comfort of saying things in a second language which he otherwise would not dare say in his mother tongue (their French conversations take pages and left untranslated, which brings me into questioning the intention of Mrs Lowe-Porter when she translated this novel). Their love story highlights the complexities and contradictions of human relationships, the yearning for connection, and the inherent flaws and limitations of romantic love which did not manifest due to the confine of their relationships within the sanatorium.
While the novel is not plot-driven and is very slow in its development, there are some interesting characters who bring out ideas in their interactions with Hans Castorp. We get Herr Settembrini, the Italian who represents the voice of reason, humanism, and Enlightenment values. He advocates for progress, rationality, and the importance of individual freedoms. Settembrini embodies the spirit of the bourgeoisie, with his belief in education, liberalism, and the power of reason to uplift humanity. On the other hand, we also get the balance through the existence of Naphta, a Jew who embodies the voice of radicalism, opposition, and the rejection of rationality. He represents a more extreme and dissenting perspective, driven by his fervent embrace of irrationality, religion, and revolutionary ideals. Naphta, a Jesuit-educated Marxist, engages in heated debates with Settembrini and represents the antithesis to the rationalist Enlightenment values. Both agents represent the competing ideas in Europe in a world that existed on the eve of the First World War.
The Magic Mountain serves as a culmination of Mann's exploration of the decay of civilisation. Throughout his previous works, notably in Buddenbrooks, Mann highlights the erosion of traditional values, the fragility of social structures, and the moral bankruptcy of a society on the verge of collapse. By situating the characters in isolated and enclosed spaces, such as the tuberculosis sanatorium or the fading nobility in Buddenbrooks, Mann exposes the underlying decay and rot that permeates the facade of a seemingly prosperous and cultured society. The Magic Mountain stands as a monumental achievement in literature, intertwining elements from his earlier works to present a gripping narrative that explores the decay of civilisation.
While I feel engaged with this book, I feel the issue of translation remains a problematic feature of this novel, similar to Buddenbrooks, both were translated by Mrs Lowe-Porter over a century ago. I find it difficult to follow the narrative at times, which I gather due to the complexities of Mann’s ideas and choices of words in the translation. Mrs Lowe-Porter’s English translation was published in haste, only a year after The Magic Mountain was first published in 1924. I imagine it would be a herculean task, given how complex the ideas in The Magic Mountain are as compared to Mann’s earlier works. In the afterword of this English version, Mann suggests the readers give a second chance to reread The Magic Mountain to truly understand his intention. While I feel strongly encouraged to read it again, perhaps I’ll wait for the opportunity for reading the retranslation of this novel by [a:Susan Bernofsky|162943|Susan Bernofsky|https://images.gr-assets.com/authors/1387252348p2/162943.jpg].
Hans Castorp’s stay at the sanatorium is described as a matter of “getting used to not getting used to”. Through the lens of the sanatorium's temporal suspension and the characters' experiences, Mann explores the subjective nature of time, its malleability, and its profound impact on human existence. Mann attempts to convince me (and other readers too) of the nature of time as a social construct which could be disintegrated within the confine of a certain structure, i.e. sanatorium or prison. Like in his debut novel, [b:Buddenbrooks|1051767|Buddenbrooks|Thomas Mann|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657442110l/1051767._SY75_.jpg|3458174], Mann meticulously dissects the decay of bourgeois values and traditional ideals, intertwining personal narratives with broader social criticism. While Buddenbrooks focuses on the disintegration of a family over generations, The Magic Mountain zooms in on an individual, Hans Castorp.
In The Magic Mountain, Hans Castorp is drawn to the enchanting and seductive world of the sanatorium, where time seems suspended and sensual pleasures abound. Through these parallel narratives, Mann illustrates the allure and dangers of pursuing ephemeral beauty and escapism, ultimately reflecting the broader societal longing for distraction and the disintegration of moral foundations. Hans Castorp also engages in love affairs and exchanges views with many of the sanatorium residents. He encounters Clavdia Chauchat, a captivating Russian lady with exotic Kyrghyz eyes, during his stay at the sanatorium, exchanging words with her in French, hiding behind the comfort of saying things in a second language which he otherwise would not dare say in his mother tongue (their French conversations take pages and left untranslated, which brings me into questioning the intention of Mrs Lowe-Porter when she translated this novel). Their love story highlights the complexities and contradictions of human relationships, the yearning for connection, and the inherent flaws and limitations of romantic love which did not manifest due to the confine of their relationships within the sanatorium.
While the novel is not plot-driven and is very slow in its development, there are some interesting characters who bring out ideas in their interactions with Hans Castorp. We get Herr Settembrini, the Italian who represents the voice of reason, humanism, and Enlightenment values. He advocates for progress, rationality, and the importance of individual freedoms. Settembrini embodies the spirit of the bourgeoisie, with his belief in education, liberalism, and the power of reason to uplift humanity. On the other hand, we also get the balance through the existence of Naphta, a Jew who embodies the voice of radicalism, opposition, and the rejection of rationality. He represents a more extreme and dissenting perspective, driven by his fervent embrace of irrationality, religion, and revolutionary ideals. Naphta, a Jesuit-educated Marxist, engages in heated debates with Settembrini and represents the antithesis to the rationalist Enlightenment values. Both agents represent the competing ideas in Europe in a world that existed on the eve of the First World War.
The Magic Mountain serves as a culmination of Mann's exploration of the decay of civilisation. Throughout his previous works, notably in Buddenbrooks, Mann highlights the erosion of traditional values, the fragility of social structures, and the moral bankruptcy of a society on the verge of collapse. By situating the characters in isolated and enclosed spaces, such as the tuberculosis sanatorium or the fading nobility in Buddenbrooks, Mann exposes the underlying decay and rot that permeates the facade of a seemingly prosperous and cultured society. The Magic Mountain stands as a monumental achievement in literature, intertwining elements from his earlier works to present a gripping narrative that explores the decay of civilisation.
While I feel engaged with this book, I feel the issue of translation remains a problematic feature of this novel, similar to Buddenbrooks, both were translated by Mrs Lowe-Porter over a century ago. I find it difficult to follow the narrative at times, which I gather due to the complexities of Mann’s ideas and choices of words in the translation. Mrs Lowe-Porter’s English translation was published in haste, only a year after The Magic Mountain was first published in 1924. I imagine it would be a herculean task, given how complex the ideas in The Magic Mountain are as compared to Mann’s earlier works. In the afterword of this English version, Mann suggests the readers give a second chance to reread The Magic Mountain to truly understand his intention. While I feel strongly encouraged to read it again, perhaps I’ll wait for the opportunity for reading the retranslation of this novel by [a:Susan Bernofsky|162943|Susan Bernofsky|https://images.gr-assets.com/authors/1387252348p2/162943.jpg].